Showing 793–804 of 814 results
Weather Report – Tale Spinnin’
The heart-stopping mix of motivic fixed points and exciting improvisations, "the sketchy melodies, all that a synthesizer and other similar electronic devices could offer, combined with a Milky Way of rhythms" (Der Spiegel) was the pathway down which the group went – without ever becoming pure routine. The fifth album, "Tale Spinnin’", is captivating for its wealth of distinctive, often warm, synthesized sounds, which are further enhanced by Wayne Shorter’s bright, twangy soprano saxophone, lending it a jazzy aura. To be sure, this gripping jazz fusion never progresses steadily all the time, but takes up snatchy, though seemingly familiar, melodic ingredients and combines them to produce a new mixture. "Badia", however, is completely different: a quietly flowing and totally rhythmic ethnic work, which today would be classified as World Music.
Wes Montgomery – Down Here On The Ground
Sales figures of the first two LPs for World Pacific Records were minimal at the time when Wes Montgomery’s first band was purely a family affair called The Montgomery Brothers. From California, Wes travelled eastwards, and the Riverside label produced his first jazz recordings. But it was with the label Verve and Creed Taylor, who had risen to the position of producer, with whom he made his true success story.
Willie Nelson – Red Headed Stranger
Willie's 1978 concept album, with its mystic and religious overtones, broke all of the traditional rules of country music and helped establish Austin, Texas as ground zero of the "Outlaw" movement. Nelson's self-financed, surprise double-platinum smash helped him reach by far his largest audience and yielded the No. 1 country single "Blue Eyes Crying In The Rain."
Willie Nelson – Stardust
“Why be predictable?,” Willie Nelson asked Columbia Records executive Nick Blackburn, after the latter resisted the Red Headed Stranger’s decision to make an album of classic pop tunes. Talk about outlaw country. Cutting against the genre’s traditions and Music Row conventions, Nelson’s Stardust remains a genius-level creation as well as the icon’s most commercially successful release, a truly gorgeous record infused with ultimate respect for composers and lyrics and many of the finest performances of his career. It is a quintessential part of any catalog.
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Woody Guthrie – Woody’s Roots
Many of Guthrie's songs were a result of his living through the era of the Dust Bowl when he left his wife and children behind in Texas to find work in California. It was in Los Angeles, California in the late '30s when he achieved fame with radio partner Maxine "Lefty Lou" Crissman as a broadcast performer of traditional folk music. This earned him enough money to send for his family to join him.
Woody Herman – 1963
Three big bands remained true to swing in the Sixties: those of Duke Ellington, Count Basie and Woody Herman. Although the Count ventured into the spheres of James Bond and the Beatles, and despite the Duke’s musical hits, it was Woody Herman who best made the transition into the world of new sounds and compositions. The “Herds” (as Woody called his various bands, with himself as shepherd) galloped through the second half of the 20th century, leaving giant footprints in the history of jazz.
Wynton Kelly : Kelly Blue
Kelly's five co-workers on the LP are among the best of the many fine young jazzmen who have come to the fore in the past few years. To begin with, the rest of the rhythm section consists of the two with whom Wynton has been teamed in Miles' sextet. With such support, plus that his own fingers and imagination give him, plus a repertoire ideally suited to the blues concept on which the album is based, it seems likely that this could be the push needed to put Wynton Kelly out in front, where he belongs.
Wynton Kelly Trio & Wes Montgomery – Smokin At The Half Note
An American jazz critic once said that Wes Montgomery was the "best thing that could happen to a guitar". Grand words, one might say quickly racking one's brains to come up with other great names. But after only a few minutes of listening to this live recording made in 1965 at the Half Note in New York, you will forget your brain-storming and concentrate on the unfused performance of this brilliant guitarist and the superb Wynton Kelly Trio. The very first number on this album, which despite its tongue-in-cheek title "No Blues" is full of the spirit of black jazz, makes plain Montgomery's unique talents. Highly-polished arching melodies, sharply-dissonant chordal runs and free improvisation displaying brilliant technique are the characteristics of this wizard of the "semi-acoustic" guitar. The quartet's thrilling mixture of Blues, Latin and Soul is as fresh, modern and compelling as it was 30 years ago. This is music which gets down to the nitty-gritty, is always cool and straight with no fuss or frills getting in the way: the message comes over clearly - and it makes the blood surge through one's veins! The almost tangible atmosphere of the recording venue and the pure sound quality further enhance this collector's item and guarantee a jazz happening of the very highest order.
Yamamoto : Cartridge Mono
YC-03S / YC-03M Specifications Form: Low impedance MC cartridge Channel composition: YC-03S: 45 and 45-degree system stereo / YC-03M: Parallel 2 winding 4 terminal monaural Output voltage: 0.25mV (1kHz, 5cm/sec.) Channel sepalation: YC-03S: 25dB or more (1kHz) Channel balance: 1dB or less (1kHz) Cantilever: YC-03S: 0.26mm dia. solid boron / YC-03M: 0.50mm dia. aluminum pipe Stylus chip: YC-03S: Line contact needle / YC-03M: Round needle Impedance: 1.2ohms Proper needle pressure: 1.2-2.0g Frequency characteristic: 20-20,000Hz Body: YC-03S: African blackwood material (eco-paint finish) YC-03M: Boxwood material (eco-paint finish) Magnet: Neozium magnet Outside dimension: 18 (W) 30 (L) 15 (H) Weight: YC-03S: 8.0g YC-03M: 6.7g Accessories: four-sets of M2.6 brass and gold plating attachment screws
Yamamoto Sound Craft : Vacuum tube Headphone amplifier HA-02
INFORMATION TAKEN FROM YAMAMOTO SOUND CRAFT HA-02 is the headphone amplifier which uses a vacuum tube as an amplification element. Although output power is small, it has the output terminal for speakers and it can also sound a speaker with small volume as BGM. Only one right and left are using each the miniature vacuum tube 408A of a Western Electric for an amplification tube. Although this WE408A is a vacuum tube of a vintage, it is one of the produced vacuum tubes, and since it was used abundantly for telefon equipment, there are no worries about a spare tube even now. It seems that it was used for various uses in order to often tend to use characteristics, although this vacuum tube is originally designed as an object for high frequency amplification. When it was used for the data of a Western Electric as a small output tube, there was description that about 300mW output power was obtained. When we manufactured the amplifier for headphone based on this description, we decided to produce commercially, since the good result was obtained.
Yamamoto Sound Craft : Vacuum tube Headphone amplifier HA-03
It is the optimal amplifier for a direction to use both headphone and a speaker. HA-03 is the unique amplifier which designed headphone, of course aiming at the amplifier which can enjoy itself by the best sound quality also with the speaker. The amplifier which can generally enjoy both headphone and a speaker in the optimal state is made difficult. In this machine, I conquered the difficulty by using the highly efficient vacuum tube C3m with one-step composition. As for vacuum tube amplifier, the simplicity of the composition appears in sound. In the case of this machine, the charm which simplifies the composition to a limit and the vacuum tube has been pulled out to the maximum extent. Since it is simple, freshness sound and music can be enjoyed.