Showing 1–12 of 69 results
Al Cohn : The Jazz Workshop : Four Brass One Tenor
As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-facetted and tailormade to suit the accomplishments of the individual instrumentalists.
Apres Un Reve : Gary Karr and Harmon Lewis
Gary Karr, acclaimed as »the world's leading solo bassist« (Time magazine), is, in fact, the first solo doublebassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky.
Bach: 6 Solo Cello Suites
As can be easily inferred from his career path, Enrico Mainardi was a cellist whose artistic viewpoint was a grafting of the German school of cello playing influenced by Neue Sachlichkeit to the musical background of his motherland Italy. He recorded the monaural cycle for the Archiv label between April 1950 and October 1955. Mainardi's Bach is leisurely and contemplative. His playing meditates on the auspicious meaning of the work - it is a musical delta of courteous low notes, a magical prayer of an aged monk. This is a masterful performance, and its value is somewhat different from the performances of today. Recording: in mono
Beethoven : 5 Sonatas For Cello And Piano
Daniil Shafran (1923-1997) was one of the world’s best known concert cellists for many years. Many musicians consider him one of the most interesting phenomena of not only cello performing art but also the entire music culture of the 20th century. As many researchers note, Shafran’s performance combined intellect and poetic inspiration, an impeccable taste and technique, in-depth interpretation of the author’s idea and originality in revealing the contents of works. Anton Ginsburg (1930-2002) was an outstanding pianist, pupil of Heinrich Neuhaus and winner of the Prague Spring International Competition. He was best known as an ensemble musician performing with Daniil Shafran, Mikhael Khomitzer and Igor Oistrakh. Many critics noted the pianist’s creative initiatives, temperament and keen musicality.
Beethoven & Mozart : Sonatas For Violin And Piano
This Deutsche Grammophon - Beethoven (op.30-3) and Mozart (K 376) Sonatas with Jean Antonietti – is no exception; she was devoted to Beethoven and Mozart, and her recitals often included the Sonatas by two composers. Martzy and Antonietti played two sonatas beautifully, their interpretations are well balanced, transparent and, in the best sense of the word, simple.
Big Maybelle : The Okeh Sessions
With her bold, gritty sound, she comes off like nothing so much as a female Howlin' Wolf, and one can't imagine her not being an influence on the full-throttle blues of Etta James, Aretha, Janis Joplin and countless others. "So Good to My Baby" features typically microphone-distorting belting from the singer, and an appropriately blazing horn section. "Gabbin' Blues", her 1952 Okeh debut smash, is a humorous dialogue between Maybelle and gossiping rival Rose Marie McCoy, the tune's co-writer. One of the most stirring cuts here is "Ocean Of Tears", a percolating, minor-key tune in which Maybelle bemoans her sorrowful state with an unforgettably cathartic angst. Also impressive, though, are ballads such as "You'll Never Know", "Ain't No Use", and "You'll Be Sorry", which show a pleasant, softer side to Maybelle's craft. "Whole Lotta Shakin' Goin' On" - a song that she took to the top of the R&B charts before Jerry Lee Lewis turned it into a rock & roll anthem -, her 1955 single "One Monkey Don't Stop No Show" and 1954's "I'm Getting 'Long Alright", are also standouts. New York session wizards such as tenor saxophonist Sam 'The Man' Taylor and guitarist Mickey Baker provide great support throughout. The tracks contained on this album showcase one of the greatest blues singers of all time, at her prime.
Brahms Sonatas for Cello and Piano : Janos Starker/Gyorgy Sebok
Brahms’s Cello Sonatas could well be described as “romantic expression dressed in classical garb”, filled as they are with the selfsame musical philosophy which is to be found in many of his instrumental works. Although 21 years lay between the two compositions, Brahms remained true to the formal musical language of the Viennese masters, and this brought him – and other composers of his time – the reproach of imitating Beethoven.
Chamber Music From Marlboro – Brahms : Liebeslieder Watzer, Op. 52 / Schubert : The Shepard on the Rock Op. 129
The waltz was perhaps the most important thing that the rather level-headed and conservative Johannes Brahms from Hamburg brought back with him from his sojourn in Vienna. In addition to his purely instrumental waltzes for the piano, he also composed the "Liebeslieder Waltzes" – uniquely folk like and highly original vocal joyfulness in ¾ time. The lyrics are taken from real life and tell of love, longing, desire, and suffering but also of anger and derision.
Charles Mingus : Let My Children Hear Music
On the original LP issued by Columbia, Mingus thanked producer Teo Macero for his »untiring efforts in producing the best album I have ever made.« From his deathbed in Mexico in 1979 he sent a message to Sy Johnson (who was responsible for many of the arrangements on the album), saying that "Let My Children Hear Music" was the record he liked most from his career. Although Mingus' small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington.
Chet Baker : and his quintet with bobby jaspar
In answer to an offer from Nicole Barclay, Chet Baker arrived in Paris early in September 1955. On the 22nd – or maybe the 23rd – he signed a contract to make seven records... (The figure was later erased and replaced by 'three', which turned out to be correct). Released after the trumpeter’s return to the USA, this last volume was construed as rather a poor relation opposite the others in the trilogy, all the more so because, hurriedly drafted, the sleeve-notes did little to render unto Caesar the things which were Caesar’s. Unlike the earlier opuses, this one was in no way a concept-album: it contented itself with a simple overview of Chet’s Parisian associations, depending on where his fancies took him in the course of his stay.
Diana Ross : An Evening With
AllMusic Review by Stephen Thomas Erlewine Recorded live at the Ahmanson Theatre in Los Angeles, An Evening With Diana Ross is, in some ways, a definitive Diana Ross album. It may have been recorded in California, but it feels like a Vegas revue, as Diana sings standards, showtunes, forgotten favorites and hits, even telling the Story of Motown and the Supremes in song. It's not necessarily a subtle show, but it is terrifically entertaining, especially if it is viewed as spectacle. More than any other record, this showcases Diana the Diva, and for that alone, it's essential listening.