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Debussy : Prelude – Afternoon of a Faun / Nocturnes – Nuages and Fetes
The flute of the faun brought new breath to the art of music.« With these words, the star conductor and composer Pierre Boulez stressed the immense importance of the impressionist key work "Prélude à l’après-midi d’un faune". Whether one regards the gentle, mysterious opening on the solo flute as a doorway to the avant-garde or simply as a musical representation of the lasciviously fantasising god of Nature Pan (faun) is neither here nor there. What remains fascinating is the passionate performance of the large orchestra, whom the composer refused to subject to angular cadences and bestowed it instead with continually shimmering, ethereal, well-nigh wistful harmony
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Elvis Presley – Elvis’ Golden Records
Manufacturer : Speakers Corner This memorial album is comprised of his fourteen "golden" disks, that is, records that have enjoyed the success of selling over a million copies. This long-playing album represents a success never attained by any other artist at any other time - namely, fourteen consecutive golden records. In his unique presentation of songs, Elvis Presley has, himself, created a tradition. No matter how desperately imitators may attempt to capture his personality, Elvis will always be the innovator of a style which set an entire musical trend in motion.
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John Coltrane : Settin’ The Pace
Coltrane does not do the old Dexter Gordon/Leo Parker duet number, "Settin' the Pace," in this set. The overall title merely refers to his preeminence in the jazz world at the time the recording was released in the early Sixties. Recorded in 1958, this session comes from a time when Trane had already played in the Miles Davis Quintet and the Thelonious Monk Quartet and was frequenting Rudy Van Gelder's New Jersey studio in recording situations backed by the Red Garland Trio.
Thelonious Monk – Thelonious Alone in San Francisco
The varied catalog of memorable Riverside albums by Thelonious Monk includes two solo-piano efforts. Producer Orrin Keepnews remembers them as equally successful but strikingly different projects. The 1957 Thelonious Himself was recorded in New York on three separate nights and involved much creative ferment and many re-takes. This album was accomplished with remarkable ease in Northern California two years later, in two brief sessions on consecutive afternoons (one preceded by lunch at a family-style Italian restaurant), with only one of the ten selections (a totally unfamiliar old pop tune arbitrarily chosen at the last moment) requiring more than one take.