Showing 1–12 of 64 results
A Buck Clayton Jam Session – How Hi The Fi
The Buck Clayton LP How Hi The Fi was the first issue in 1954 from the famous Buck Clayton jam sessions. It was recorded at Columbia's 30th Street Studios, which was one of the greatest recording sites in the world (the studio has since been abandoned, which must be one of the most stupid decisions executed by the corporate record industry), with a sound that's still instantly recognizable. These Buck Clayton jam sessions were among the first large scale projects to utilize the potential of the new LP technology.
Bartok : Concerto for Violin
During his career spanning 60 years Isaac Stern recorded this major contemporary work several times and demonstrates once again his superb mastery of his instrument in this particular recording. With bravura he conjures up eruptive snatches of melody out of the rhapsodic depths, allows the slow movement to glow with pastoral sentiment, and tears through the vast variations finale with a perfect command of the score, his instrument and his creative prowess.
Beethoven – Triple Concerto
Why does the piano part seem comparatively simple in contrast to the violin and cello parts, which make the highest demands on the instrumentalists? And why on earth do three musicians play in concert with an orchestra? As interesting as these questions are with regard to Beethoven’s cryptic "Triple Concerto", there is a multitude of ways to approach this exceptional work by the great symphonist.
Beethoven : Piano Concerto No. 3 in C minor : Glenn Gould – Leonard Bernstein
The composition of Beethoven’s Third Piano Concerto is linked to a number of musical innovations that mark the character of this weighty work in C minor. Unlike his two previous concertos for the keyboard, in the Third Beethoven does not permit the piano part to melt with the orchestra, but lets the instrument act for itself as a opponent, as it were, within the symphonic context.
Billie Holiday – Lady Day
Excerpt from George Avakian’s notes on the album sleeve: When planning this album, I had a hellish time trying to choose what I thought were the absolute cream of Billie Holiday. In the course of this wrestling, it struck me that not only were Billie’s vocals incredibly perfect, but that I could not remember a single instance of anyone playing a bad solo or even a bad phrase among the hundred or more performances I had to choose from in the golden period of her work.
Blood, Sweat and Tears – Child Is Father to the Man
Rolling Stone 500 Greatest Albums of All Time - Rated 266/500! Featured in Michael Fremer's Heavy Rotation in the January 2008 Issue of Stereophile! There’ll be disappointment in store for those who expect to hear the voice of David Clayton-Thomas when listening to the present Blood, Sweat And Tears LP, "Child Is Father To The Man". Experts will know however that on the group’s very first album they will get to hear the excellent Al Kooper. The man is far more than a singer, for he not only plays the piano and various other keyboards but has also composed almost all the numbers and made the arrangements for the string ensemble.
Bob Dylan – Another Side of Bob Dylan
Both the lyrics and music have gotten deeper and Dylan's trying more things -- this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair.
Bob Dylan – Highway 61 Revisited
Throughout the album, he alternates between druggy, surreal imagery, which can either have a sense of menace or beauty, and the music reflects that, jumping between soothing melodies to hard, bluesy rock. And that is the most revolutionary thing about Highway 61 Revisited - it proved that rock & roll needn't be collegiate and tame in order to be literate, poetic and complex.
Bob Dylan – The Witmark Demos : 1962-1964 The Bootleg Series Vol. 9
AllMusic Review by Stephen Thomas Erlewine Like any fledgling songwriter, Bob Dylan signed with a publishing company at the outset of his career. Publishers are standard practice for songwriters -- it’s where the money comes in, as songs are published, performed, and covered -- but in the early ‘60s there was an expectation that publishers would help place songs in the hands of appropriate singers, a practice Dylan effectively ended by popularizing writers singing their own songs, but in 1962, this self-sufficiency was a rarity.