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Beethoven – Stravinsky : Sonata in C Major, Op.53 – Petrouchka
Appropriate to this recording, his dissertation was on Beethoven's "Waldstein" piano sonata. In 1983 he was appointed principal pianist with the Erie Philharmonic Orchestra. For this recording a custom-built 9-foot concert grand piano was used. This unique instrument, built by Sheldon Smith in his Berkeley, Calif., workshop — where the recording also took place — has a powerful lower register, which provides a substantial left-hand foundation. The upper registers are somewhat less damped and more ringing than is typical of contemporary pianos. Schoeps omnidirectional condenser microphones, in a spaced pair, were used in conjunction with vaccum tube record amplifiers to capture a harmonically rich and accurate sound.
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Bill Evans Trio – How My Heart Sings
Bill Evans's return to full activity in 1962 came almost a year after his celebrated trio recordings at the Village Vanguard. Just ten days after that classic 'live' session, bassist Scott LaFaro had died in a highway accident. Evans, deeply shaken, eventually re-formed his trio with the same drummer (Paul Motian) and Chuck Israels on bass.
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Bill Evans Trio – at Shelly’s Manne-Hole
This is the last album Bill Evans made for his first label. That fact alone would give this at least historical significance; and there is surely also some importance to its being one of only two occasions on which the pianist was recorded for Riverside during "live" performance (the other, of course, resulted in the classic pair of Village Vanguard albums). But above all, these two nights at Shelly Manne's club in Hollywood marked the only recording by the excellent but short-term third trio; after the death of Scott LaFaro, bassist Chuck Israels joined Bill and Paul Motian; then in 1963 Los Angeles studio-stalwart drummer Larry Bunker made this brief but noteworthy contribution to the Evans legend.
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Holly Cole : Temptation
Over the past decade, new talents such as Cassandra Wilson, Patricia Barber and Holly Cole have redefined the world of female jazz vocals. Cole's "Temptation", a 1995 Blue Note release, is her musical tribute to the writings of Tom Waits. Besides being a superb audiophile recording (perfect in every production detail, from the rendering of Cole's amazing voice to the incredibly natural sound captured by producer Craig Street's team), this album has garnered kudos for her interpretation of Waits' unique compositions.
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Joe Walsh : The Smoker You Drink, The Player You Get
In between his stints with the James Gang and the Eagles, Joe Walsh tackled his second solo studio album "The Smoker You Drink The Player You Get" which became his most successful solo outing. The 1973 LP continued the heavy and light rock mix of tracks found on his previous release, "Barnstorm". Analogue Productions has done reissue justice to the album that AllMusic decries features some of the most remembered Joe Walsh tracks, but it's not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone's standards.
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Miles Davis : Kind of Blue (UHQR-edition)
Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment. "The result (drum rolls) is the best-sounding Kind of Blue ever, superior in every way to all previous pressings, including the original. The pressing is superquiet, allowing the slightest of details to pop out from the black backdrop. Cobb's drumkit is spooky real. I've heard this album, in one version or another, hundreds of times, and there are fine touches in Cobb's snare swooshes and cymbal taps — accents on accents, rhythms within rhythms — that I've never heard before. Chamber's bass lines are stunningly clear: the notes he's playing, the pluck of the strings, the glow of the wood. There are also new layers of detail in Miles' mouthpiece manipulations, Evans's pedal work, and the sheer beauty of Coltrane's and Adderley's saxophones. ... the chase is eternal. This reissue holds the brass ring, for now." — Fred Kaplan, Stereophile, August 2021
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Miles Davis : The New Miles Davis Quintet
Miles Davis concluded a most successful year in 1955 from many standpoints. His playing was sharper than it had been in some time and as lyrical and probing as ever. Critics and fans alike re-acclaimed him as the leading trumpeter in numerous articles and several polls.
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Miles Davis All Stars : Walkin’
AllMusic Review by Lindsay Planer The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums).
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Norah Jones : Not Too Late
"Not Too Late" finally showcases the true vocal talents of Norah Jones, who has been on top of the musical world since her "Come Away With Me" debut in 2003. Now, the richly-deserved Analogue Productions treatment on 200-gram, super-silent vinyl, showcases the phenomenal abilities of this young singer.
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The Sound of Jazz : Count Basie, Billie Holiday etc
This 200-gram Analogue Productions LP reissue is a magnificent-sounding recording of a historic TV event. For a rare and glorious one-hour nationwide broadcast, CBS brought together 32 leading musicians — a Who's Who of the swing era — including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry 'Red' Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on "Fine and Mellow".