DOCSLIB.ORG

High Fidelity Magazine June 1956

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
High Fidelity Magazine June 1956 ify. I Ai 1. 1i Ijj AGAZINE FOR MUSIC LIST ENERS a 50 CENTS 1 0 i A DISCOGRAPHY BY HAROLD SCHONBERG www.americanradiohistory.com cuuliatape now offers you THE MOST COMPLETE LINE of recording tape and accessories O PLASTIC -BASE AUDIOTAPE O TYPE "LR" AUDIOTAPE O TYPE "EP" AUDIOTAPE The finest, professional quality recording Made on 1 -mil i\lylare polyester film, it Extra Precision magnetic recording tape for tape obtainable - with maximum fidelity, provides 50% more recording time per reel. tclemctering, electronic computers and other uniformity. frequency response and freedom The thinner, stronger hase material assures specialized data recording applications. from background noise and distortion. ntaxinutnt durability and longer storage life O ADHESIVE REEL LABELS COLORED AUDIOTAPE even tinder adverse conditions. O Provide positive identification of your tapes. Same professional quality as above, but on O SELF -TIMING LEADER TAPE right on the reel. blue or green plastic base. Used in conjunc- A durable, white plastic leader with spaced tion with standard red -brown tape, it pro- markings for accurate timing of leader in- HEAD ALIGNING TAPE vides instant visual identification of recorded tervals. Test frequencies, pre -recorded with precisely selections spliced into a single reel - fast, correct azimuth alignment, permit accurate easy color cueing and color coding. Avail- O SPLICING TAPE aligning of magnetic recording heads. able at no extra cost! Permacel 91 splicing tape is specially formu- lated to prevent adhesive from O AUDIO HEAD DEMAGNETIZER O COLORED AUDIOTAPE REELS squeezing out, drying up or becoming brittle. Completely removes permanent magnetism Plastic 5" and 7" Audiotape reels in attrac- from recording heads in a few seconds. tive, jewel-tone colors -red, yellow, green O STANDARD AUDIOTAPE ON and blue - provide still greater flexibility of "MYLAR" POLYESTER FILM color coding any tape recorded material ac- High -strength, super- durable Audiotape that cording to subject matter, tape speed, single meets highest professional standards of per- This complete Audiotape line is backed by or dual track, etc. Also available at no extra formance. Available in 1, 11/2 and 2 mil more than 16 years of specialized experience cost. base thickness. in the sound recording field, by America's largest exclusive manufacturer of sound recording media, both discs and tape. For AUDIO DEVICES, Inc. full details on any of these items, see y-our 444 Madison Avenue, New York 22, New York Offices in Hollywood - Chicago Audiotape dealer, or write to Audio Devices. www.americanradiohistory.com for connoisseurs. Authentic High Fidelity by Jensen The man who owns a Jensen Imperial takes it for granted that his loudspeaker has all of the acoustical perfection possible to achieve with the latest science and engineering. Seeking all of the finer things of life, he has a natural appreciation for the complete authenticity and blending of sound ... the subtle separation of instruments ... the sheer realism that uniquely characterizes the Imperial. He is the man who has bought a loudspeaker for the utmost exhilaration and delight that great music can give when it is a truly great repeat performance with authentic high fidelity by Jensen. A Jensen Imperial is an indulgence in excitement. Do you dare to contemplate this luxury? In selected Mahogany $525.00. Satin Korina blonde $535oo. JENSEN MANUFACTURING COMPANY Division of The Muter Company 6801 S. Laramie, Chicago 38, Illinois IN CANADA: Copper Wire Products, Ltd., Licensee JUNE 1955 I www.americanradiohistory.com P I C K E R I N G models cartridges .e ie .AsLf//Gezh#,96 240 WUPhYiVdtee l... they are sold separately for all standard arms or mounted back -to -back to make up the famous PICKERIíNG 260 TURNOVER PICKUP. The 220 and 240 are engineered to maximize performance. By comparison they MODEL 220 -for 78 rpm records are without equal diamond or sapphire stylus ... The 220 and 240 are MODEL 240 -for 331 Lighter- 5'/2 grams and 45 rpm records diamond stylus only Smaller-5 /a by 3/4 by 3/8 inches The 220 and 240 haue MODEL 260 -turnover cartridge for 78 or 331/2 Highest Output -30 millivolts /10cm /sec. and 45 rpm records (the MO and 240 More Compliance with Less Tracking Force back -to -bock) Lower Overall Distortion Less Moving Mass Wider Frequency Response Mu -Metal Shielding for Less Hum 7 hese characteristics have real meaning to those who understand that maximum performance depends upon components which meet professional standards. If you want the best that high fidelity can offer, ask your dealer to demonstrate the 220, 210 end 260 Pickering cartridges .. /[C /rto-J á/r/A ccegloglom, r[dl/lJo ger.y/VddeCti PICKERING and corapatng incorporated Ocearrt8ide, L. I., Nero York - _ .. ---- - -- -. 0 -PICKERING COMPONENTS ARE PROFESSIONAL QUALITY dG fG ado- CCG'lZ tea .. Demonstrated and sold by Leading Radio Parts Distsibufrets everywhere. For the one nearest you and for detailed literature; write Dept. H -7 2 HIGH FIDELITY MAGAZINE www.americanradiohistory.com P High 3idelity T H E M A G A Z I N E FOR M U S I C L I S T E N E R S The Cover. To nearly every one of us, no Volume 5 Number 4 June 1955 doubt, has come the experience of dream- ing, while asleep, the solution of a great problem, or the creation of a splendid poem, or some kindred achievement. When AUTHORitatively Speaking 4 we awake, in most cases, if we recall the dream- accomplishment at all, it seems non- Noted With Interest sense by the light of day. But get this: 9 Art Director Roy Lindstrom, at home in Letters 22 bed, dreamt he was in his office, indulging in witty banwr with his associates. Turning As The Editors See It 33 from thorn (in his dream) he saw lying on his drawing -board a Chopin cover, which The Triple Life of Dr. Hermann Scherchen, he had just finished. In case you want to by Robert Charles Marsh 34 see exactly the same cover . .. well, your Why should a conductor- decorate left hand is touching ir. All he had do bis acreage with three recording to studios? was copy from memory. He swears this is true. The Day They Almost Got My Number, This Issue. If you want to get attention. by Herbert Kupferberg 37 beat a drum. This expression usually is A short (but heart -rending) story. used metaphorically, but in the case of Hermann Scherchen it applies almost "Baha, Betofen, and Bramsu," literally. Five years ago he passed out by George E. Posner and Robert Fink 38 scores, gave instructions to a pair of drum- The fi is high as Fujiya,ua in Old Nippon mers and conducted a recording session. The results were to give some thousands The Well- Adjusted Watt, by Irving M. Fried 40 of listeners a new view of "Papa" Haydn, A critical look at amplifiers and amplifier- standards. to put the naine Westminster ors all collec- tors' lips, and hugely to increase the fidel- Custom Installations ity- consciousness of the whole recording 42 industry. Scherchen became (perhaps along You Meet the Nicest People, But by Albert J. Franck with Ernest Ansermet) the musician most ..., 44 beloved of audio-enthusiasts, and his ver- A former record -dealer reveals some of the weirder aspects of the trade. sion of the "Military" Symphony a staple at all audio shows. It wasn't accident, as Music Makers, by Roland Gelatt 49 Robert Marsh makes clear in the lead article this time. Record Section 51 -89 Records in Review; Dialing Your Disks; Building Your Record Library; Frédéric Chopin: A Discography by Harold Schonberg CHARLES FOWLER, Publisher FM Antenna Installation, by L. B. F. Carini . 90 JOHN M. CONLY, Editor ROY H. HOOPES, JR., Managing Editor Tested in the Home 95 Associate Editors Scott are -C Amplifier; V -M Model 700 Tape Recorder; Sonotone IP ROY F. ALLISON FRANK R. WRIGHT Cartridges; Browning FM Tuner; Quiet; Lang 151V Speaker System; The Regency Radio; Collard RC -54 Changer; Pyramid Symphonette ROY LINDSTROM, Art Director Player. Editorial Assistants Miriam D Manning, Cora R. Hoopes The Listeners' Bookshelf, by R. D. Darrell ...... Io6 ROLAND GELATT, Nein York Editor Contributing Editors Audio Forum I18 C. G. BURKE I16 JAMES G. DEANE Traders' Marketplace JAMES HINTON, JR. Professional Directory 124 MANSFIELD E. PICKETT, Director of Advertising Sales Advertising Index 127 WARREN B. SYER, BUSU,ejS Manager CHRISTINE KORTE, Circulation Manager Iligh Fidelity Magazine is published monthly by Audiocom. Inc., at Great Barrington, Mass. Telephone: Groot Barrington 130o. Editorial, publication, and circulation e1lices t: The Publishing House, Great Branch Offices (Advertising only): New York: Barrington, Mass. Subscriptions: 36.00 per year in the United States rad Canada. Single copies: 50 cents will he Room 600, 6 East 39th Street. Telephone: each. Editorial contributions will he welcomed by the editor. Payment for articles accepted arranged Murray Hill 5-6332. Fred C. Michalove, Eastern prior to publication. Unsolicited manuscripts should be accompanied by return postage. Entered as Maas., under the act of 3, Manager.- Chicago: John R. Rutherford and Assoc - second -class matter April 27, 1951, at the post office at. Great Barrington, March ates, 230 East Ohio SI, Chicago, III Telephone: 1879. Additional entry at the post office, Pittsfield, Mass. Member Audit Bureau of Circulation. Printed Mass. Copyright 1955 by Audiocon,, Inc. The cover Whitehall 4 -6715: Loa Angeles: 1052 West 8th in the I1. S. A. by the Ben Franklin Press. Pittsfield, Street. Telephone: Madison 6 -1371. Edward Brand. design and contents of High Fidelity magazine arc fully protected by copyrights and must not be repro- West Coast Manager. duced in airy manner. TUNE 1955 3 www.americanradiohistory.com THE SOUND OF GENIUS..
Load more

Recommended publications
  • Download the Vocal of Frank Foster
    1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo).
    [Show full text]
  • Centro Cultural De La Raza Archives CEMA 12
    http://oac.cdlib.org/findaid/ark:/13030/kt3j49q99g No online items Centro Cultural de la Raza Archives CEMA 12 Finding aid prepared by Project director Sal Güereña, principle processor Michelle Wilder, assistant processors Susana Castillo and Alexander Hauschild June, 2006. Collection was processed with support from the University of California Institute for Mexico and the United States (UC MEXUS). Updated 2011 by Callie Bowdish and Clarence M. Chan UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections © 2006 Centro Cultural de la Raza CEMA 12 1 Archives CEMA 12 Title: Centro Cultural de la Raza Archives Identifier/Call Number: CEMA 12 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 83.0 linear feet Date (inclusive): 1970-1999 Abstract: Slides and other materials relating to the San Diego artists' collective, co-founded in 1970 by Chicano poet Alurista and artist Victor Ochoa. Known as a center of indigenismo (indigenism) during the Aztlán phase of Chicano art in the early 1970s. (CEMA 12). Physical location: All processed material is located in Del Norte and any uncataloged material (silk screens) is stored in map drawers in CEMA. General Physical Description note: (153 document boxes and 5 oversize boxes). creator: Centro Cultural de la Raza (San Diego, Calif.). Access Restrictions None. Publication Rights Copyright resides with donor. Copyright has not been assigned to the Department of Special Collections, UCSB. All Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections.
    [Show full text]
  • Debussy's Pelléas Et Mélisande
    Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet.
    [Show full text]
  • ONYX4106.Pdf
    DOMENICO SCARLATTI (1685–1757) Sonatas and transcriptions 1 Scarlatti: Sonata K135 in E 4.03 2 Scarlatti/Tausig: Sonata K12 in G minor 4.14 3 Scarlatti: Sonata K247 in C sharp minor 4.39 4 Scarlatti/Friedman: Gigue K523 in G 2.20 5 Scarlatti: Sonata K466 in F minor 7.25 6 Scarlatti/Tausig: Sonata K487 in C 2.41 7 Scarlatti: Sonata K87 in B minor 4.26 8 Gieseking: Chaconne on a theme by Scarlatti (Sonata K32) 6.43 9 Scarlatti: Sonata K96 in D 3.52 10 Scarlatti/Tausig: Pastorale (Sonata K9) in E minor 3.49 11 Scarlatti: Sonata K70 in B flat 1.42 12 Scarlatti/Friedman: Pastorale K446 in D 5.09 13 Scarlatti: Sonata K380 in E 5.57 14 Scarlatti/Tausig: Sonata K519 in F minor 2.54 15 Scarlatti: Sonata K32 in D minor 2.45 Total timing: 62.40 Joseph Moog piano Domenico Scarlatti’s legacy of 555 sonatas for harpsichord represent a vast treasure trove. His works fascinate through their originality, their seemingly endless richness of invention, their daring harmonics and their visionary use of the most remote tonalities. Today Scarlatti has once again established a firm place in the pianistic repertory. But the question preoccupying me was the influence his music had on the composers of the Romantic era. If we cast an eye over the countless recordings of transcriptions and arrangements of his contemporary Johann Sebastian Bach (1685–1750), it becomes even clearer that in Scarlatti’s case, we find hardly anything comparable. A fascinating process of investigation eventually led me to Carl Tausig (1841–1871), Ignaz Friedman (1882–1948) and Walter Gieseking (1895–1956).
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Home Audio System Getting Started Disc/USB Playback Operating Instructions USB Transfer
    Home Audio System Getting Started Disc/USB Playback Operating Instructions USB Transfer Tuner BLUETOOTH Network Gesture Control Sound Adjustment Other Operations Additional Information MHC-V90W MHC-V90W.UC2.4-728-217-11(1) For the customers in the USA CAUTION The use of optical instruments with Owner’s Record this product will increase eye hazard. The model and serial numbers are located on the rear of the unit. Record these numbers in the spaces provided below. Refer to them whenever you call upon your Sony dealer regarding this product. Model No. This appliance is classified as a CLASS 1 LASER product under IEC 60825- Serial No. 1:2007. This marking is located on the rear exterior. WARNING FOR UNITED STATES To reduce the risk of fire or CUSTOMERS. NOT APPLICABLE electric shock, do not expose this IN CANADA, INCLUDING IN THE apparatus to rain or moisture. PROVINCE OF QUEBEC. To reduce the risk of fire, do not cover the ventilation opening of POUR LES CONSOMMATEURS the appliance with newspapers, AUX ÉTATS-UNIS. NON tablecloths, curtains, etc. Do not expose the appliance to naked APPLICABLE AU CANADA, Y flame sources (for example, lighted COMPRIS LA PROVINCE DE candles). QUÉBEC. To reduce the risk of fire or electric shock, do not expose this appliance For the customers in the USA to dripping or splashing, and do not place objects filled with liquids, such as This symbol is intended to vases, on the appliance. alert the user to the presence of uninsulated As the main plug is used to disconnect “dangerous voltage” within the unit from the mains, connect the the product’s enclosure unit to an easily accessible AC outlet.
    [Show full text]
  • STUDIO 680 Home Audio Loudspeaker System
    STUDIO 680 Home Audio Loudspeaker System High definition imaging for high fidelity sound. Features For those searching for a home audio speaker system that goes above and beyond what Top-graded PolyPlas cones they’ve ever heard, seek no further: The new JBL Studio 6 speaker system is everything your High-quality sounding compression drivers inner audiophile could hope for. Enjoy the top-ranked sound of its PolyPlas cones; marvel at the New, appealing form factor concert-grade accuracy and power of its acoustics speaker drivers; and get electrified by its HD imaging waveguide, complete with high-frequency compression driver. It features a modern High-Definition Imaging Waveguide with new clean look that’s equally stylish and easy to set up. After JBL Studio 6, home listening will High-Frequency Compression Driver never sound – or feel – the same. STUDIO 680 Home Audio Loudspeaker System Features and Benefits What’s in the box: 1 x JBL Studio 680 Floor Standing Top-graded PolyPlas cones Loudspeaker For those who prefer their home stereo and home theater to sound precisely like it would 1 x Owner’s Manual sound at a live concert or movie theater. 1 x Warranty Card High-quality sounding compression drivers 4 x Carpet Spikes Compression drivers that add best-in-class clarity and detail to your sound experience. 4 x Feet Pads New, appealing form factor Technical Specifications: Our speaker system is pleasing to the eyes, making it a perfect match for your home décor. Dual 6.5”, 2.5-way compression driver High-Definition Imaging Waveguide with High-Frequency Compression Driver floor standing loudspeaker High-quality home audio helps deliver a live-concert sound directly to your home.
    [Show full text]
  • High-Fidelity-1955-Nov.Pdf
    November 60 cents SIBELIUS AT 90 by Gerald Abraham A SIBELIUS DISCOGRAPHY by Paul Affelder www.americanradiohistory.com FOR FINE SOUND ALL AROUND Bob Fine, of gt/JZe lwtCL ., has standardized on C. Robert Fine, President, and Al Mian, Chief Mixer, at master con- trol console of Fine Sound, Inc., 711 Fifth Ave., New York City. because "No other sound recording the finest magnetic recording tape media hare been found to meet our exact - you can buy - known the world over for its outstanding performance ing'requirements for consistent, uniform and fidelity of reproduction. Now avail- quality." able on 1/2-mil, 1 -mil and 11/2-mil polyester film base, as well as standard plastic base. In professional circles Bob Fine is a name to reckon auaaaa:.cs 'exceed the most with. His studio, one of the country's largest and exacting requirements for highest quality professional recordings. Available in sizes best equipped, cuts the masters for over half the and types for every disc recording applica- records released each year by independent record lion. manufacturers. Movies distributed throughout the magnetically coated world, filmed TV broadcasts, transcribed radio on standard motion picture film base, broadcasts, and advertising transcriptions are re- provides highest quality synchronized re- corded here at Fine Sound, Inc., on Audio products. cordings for motion picture and TV sound tracks. Every inch of tape used here is Audiotape. Every disc cut is an Audiodisc. And now, Fine Sound is To get the most out of your sound recordings, now standardizing on Audiofilm. That's proof of the and as long as you keep them, be sure to put them consistent, uniform quality of all Audio products: on Audiotape, Audiodiscs or Audiofilm.
    [Show full text]
  • Following Hit Trail
    August 4, 1962 50 Cents B1ILLE31:1A11:11111 IN/R..11910 WEEK Music -Phonograph Merchandising Radio -Tv Programming Coin Machine Operating Teen -Angle Albums MUSICBILLBOARD WEEK PAGE ONE RECORDS PAGE ONE RECORD Following Hit Trail SINGLES ALBUMS Blazed by Singles The slight pickup in LP sales which started in mid -July continued last week, sparked mainly by hit LP's with pop * NATIONAL BREAKOUTS * NATIONAL BREAKOUTS artists and a number of movie sound tracks. Though this was true in most markets there were a number of areas where LP SHE'S NOT YOU, ElvisPresley, RCA Victor MONO sales were still sluggish. Where LP business ranged from good 8041 to strong it was the fast sales pace of the hit items, especially ROSES ARE RED, Bobby Vinton, Epic LN 24020 the newer LP's, that created most of thetraffic.Hit LP's appear to be jumping to the top of charts at a much faster rate than they used to, and grabbing sales immediate?), upon STEREO release instead of after a month or two on the market. More and more the LP business, according to dealers,is following * REGIONAL BREAKOUTS No Breakouts This Week. the hit trend of the singles record market, perhaps because so These new records, not yet on BMW's Hot 100, have many of the new albums are teen -oriented. been reported getting strong sales action by dealers Meanwhile, singles business continued to flow its happy in major market(s)listedinparenthesis. way, with dealers and rackers reporting that this summer's 45 * NEW ACTION LP'S sales are the best in the last three summers.
    [Show full text]
  • Voir Le Programme
    ... Ou comment un lieu magique, Oppède-le-Vieux, site patrimonial remarquable, nous invite au rêve et à l’utopie. La passion de Cyril Diederich, de ses amis musiciens et chanteurs lyriques s’est consacrée, lors des deux premières éditions du festival, en 2017 et en 2018, à suspendre le temps et faire de ces belles soirées d’été, une rencontre émotionnelle d’exception entre un public ébloui et la générosité des artistes. Ces moments d’enchantement éphémère, dans ce lieu privilégié, ont convaincu Cyril Diederich de perpétuer le rêve des « Concerts au coucher de soleil » en 2019, à Notre-Dame Dalidon, en gardant l’idée de proposer dans ces deux lieux (lieu sacré de la Collégiale et lieu profane du parvis), une programmation artistique originale et de qualité. Avec « CosÌ fan tutte », mise en espace par Nadine Duffaut, cette prochaine saison ouvrira le début d’un cycle de concerts consacré aux Opéras de Mozart, les 21 et 22 août 2019. Les soirées des 24 et 25 août dont la première partie sera consacré à la musique sacrée vocale et instrumentale, s’ouvriront en deuxième partie aux grands airs d’opéras dans leurs célèbres solos, duos ou trios, de Verdi à Massenet. Les solistes du Paris Symphonic Orchestre, tous membres des grands orchestres français nationaux, (Orchestre de l’Opéra de Paris, Orchestre Philharmonique de Radio France, Orchestre National de Radio France, Orchestre de la Garde Républicaine) accompagneront nos chanteurs lyriques fidèles depuis la création. Pour garder le sens du devoir de transmission, Cyril Diederich aura plaisir à inviter également de jeunes solistes de haut niveau, issus de la nouvelle génération et découverts à l’occasion des « Saisons de la Voix » (Gordes 2018) et du concours de voix nouvelles 2018.
    [Show full text]
  • In This Issue
    THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC In This Issue ab baars Charles Gayle woody herman Coleman Hawkins kidd jordan joe lovano john and bucky pizzarelli lou marini Daniel smith 2012 Critic’s poll berlin jazz fest in photos Volume 39 Number 1 Jan Feb March 2013 SEATTLE’S NONPROFIT earshotCREATIVE JAZZ JAZZORGANIZATION Publications Memberships Education Artist Support One-of-a-kind concerts earshot.org | 206.547.6763 All Photos by Daniel Sheehan Cadence The Independent Journal of Creative Improvised Music ABBREVIATIONS USED January, February, March 2013 IN CADENCE Vol. 39 No. 1 (403) acc: accordion Cadence ISSN01626973 as: alto sax is published quarterly online bari s : baritone sax and annually in print by b: bass Cadence Media LLC, b cl: bass clarinet P.O. Box 13071, Portland, OR 97213 bs: bass sax PH 503-975-5176 bsn: bassoon cel: cello Email: [email protected] cl: clarinet cga: conga www.cadencejazzmagazine.com cnt: cornet d: drums Subscriptions: 1 year: el: electric First Class USA: $65 elec: electronics Outside USA : $70 Eng hn: English horn PDF Link and Annual Print Edition: $50, Outside USA $55 euph: euphonium Coordinating Editor: David Haney flgh: flugelhorn Transcriptions: Colin Haney, Paul Rogers, Rogers Word flt: flute Services Fr hn: French horn Art Director: Alex Haney g: guitar Promotion and Publicity: Zim Tarro hca: harmonica Advisory Committee: kybd: keyboards Jeanette Stewart ldr: leader Colin Haney ob: oboe Robert D. Rusch org: organ perc: percussion p: piano ALL FOREIGN PAYMENTS: Visa, Mastercard, Pay Pal, and pic: piccolo Discover accepted. rds: reeds POSTMASTER: Send address change to Cadence Magazine, P.O.
    [Show full text]