DOCSLIB.ORG

High-Fidelity-1963-A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A PREVIEW OF NEW FALL RECORDINGS 60 cents C:) iah fideli o 1 AUGUST THE MAGAZINE FOR MUSIC LISTENERS POTLIGNT ON www.americanradiohistory.com ...until you see the new Fisher all -in -one stereo receivers. (THE NEW 400, THE NEW 500 -C AND THE NEW 800-C) Algwwpietimt.nnmwnrmnnir.JPIIi3/4. 4411111L 1 ñ r r. r- r= C í The new Fisher 400 The new Fisher 500 -C The new Fisher 800 -C with FM only, $329.50* with FM only, $389.50* with AM -FM, $449.50* "Everything you need -on one compact tion, just as free from overheating or The FM sensitivity is equal to that of chassis" has always been a famous other life- expectancy problems as it the remarkable 500-C and 800 -C. Fisher specialty. As a matter of fact, would be if it were sold as a separate Just connect a pair of speaker systems integrated single- chassis stereo receivers component. That in itself is an achieve- to any one of the new Fisher stereo re- by Fisher outsell all other high fidelity ment that no other manufacturer has ceivers and you have stereo reproduction components in the world today. thus far equaled. of the highest Fisher quality. And that, But the completely new stereo receiv- The unit shown in detail at left is as you know, is the highest quality ers shown here set a new standard even the new Fisher 500 -C. It is completely there I. for Fisher. Never before have so much identical to the new 800 -C except that amplifier power, such high tuner sensi- the latter includes, in addition, a high - tivity, so many advanced control features sensitivity AM tuner section with adjust- THE WARRANTY THAT and such a degree of over -all engineering able (Broad /Sharp) bandwidth plus a MEANS MORE AND sophistication been offered on a single built -in ferrite rod AM antenna. DOES MORE FOR YOU! chassis only 171/2 inches wide, 544 The new Fisher 400 was designed to inches high and 131/2 inches deep. (Only make Fisher stereo receiver quality In striking contrast to the indus- 13 inches deep in the case of the 400.) available at an unusually moderate try -wide standard of 90 days, the What's more, each section of these re- price. It is in all essentials comparable Fisher Warranty is extended to ceivers - the tuner, the Multiplex con- to the 500 -C, except for slight differ- all tubes and diodes for one year verter, the stereo control -preamplifier, ences in FM circuitry, indicator features from date of purchase! the stereo power amplifier - is just as and control functions. Its music power ruggedly built, just as reliable in opera- output is 60 watts (IHFM Standard). *c.*i.n .Lsw OR 125449559. $24.95 RRiC., ,,,G...s 12551* (SPORT, . .., 14..,,T. ,,,.,...o,o ,,,,R ....,oN.,. ,o.: .s,.,. 1. 5 D ,.,1, ._C.,. CIRCLE 36 ON READER-SERVICE CARD www.americanradiohistory.com You haven't seen this kind of tuner and amplifier engineering on one chassis 75 WATTS total music power output (tHFM Standard) from new stereo power 4 wide -band IF stages amplifier section 3 stages of limiting New GOLDEN SYNCHRODEt (including wide -band ratio detector) front end for 1.8 µv FM sensitivity Multiplex section of the (tHFM Standard) superior time -division type a dt TH I FIS11ER BB 69 90. 92 94 96 90 100 102 Ipl IQ6 100 I, New professional -type Exclusive Fisher STEREO BEACONt d'Arsonval tuning meter for instant indication of Multiplex broadcasts and automatic switching Fisher between mono and stereo modes Exclusive DIRECT TAPE MONITORt system New four -position speaker selector switch New front -panel earphone jack CIRCLE 36 ON READER -SERVICE CARD tsAT[Mrp[rxOixG www.americanradiohistory.com You may have seen beautifully engineered, sensitive Multiplex tuners and powerful, low- distortion stereo amplifiers, but... (Free! $1.00 Value! Mail this postcard to receive your copy of The Fisher Handbook, a 40 -page reference guide to custom stereo.) PLACE 40 STAMP HERE FISHER RADIO CORPORATION 21 -25 44th Drive Long Island City 1, N.Y. www.americanradiohistory.com :P.%115 t111J1 `/3 srExll:o 35/111M IS ma,. WNW; ileda.+ ALFRED ROBERTA DRAKE PETERS the 5 most NINA Y e. .... 1s ltllotawaulRu _. inivortant advances Ìn stereo PBCOPtlÌi9 Read how these 5 Command albums opened up new vistas in stereo and revolutionized the entire concept of recording PERSUASIVE PERCUSSION BRAHMS SYMPHONY NO. 2 formed before. Now this great Amer- 1. concentration on ,stiotalating 3. in D. Op 73. ican musical - marking Command's entrance into this field rings out musical quality . remarkable William Steinberg/ - clarity and range." with a magnificence that rivals the Pittsburgh Symphony Orch. original opening night. NEW YORK TIMES "The su»umit ißt P(,/, ad." The record that made critics say, N. Y. HERALD TRIBUNE "Stereo didn't make COMMAND; THE SCHOOL FOR SCANDAL COMMAND made stereo!" With Per- When Command entered the classical 5. by Richard Brinsley Sheridan suasive Percussion the true musical field, it was with this recording of the Brahms 2nd which was called "the "Performance dazzling... rerord- excitement of stereo became a fact. iilg immaculate stereo ingen- Exploiting the full color of popular best classical orchestral album of ... 1961," and one of the finest Brahms ious . considered a summation music, Persuasive Percussion became of all the resources or stereo." a gigantic first in a new and exciting ever recorded. Since that memorable way to experience sound. It was, as occasion, Command albums of Wag- HI -FI STEREO REVIEW the New York Times stated, "destined ner, Beethoven, Debussy, Ravel and to turn the recording industry topsy many more have been greeted with Direct from its triumphant perform- turvy." highest praise and critical acclaim. ances on Broadway and in London All bear Command's almost fanaticall comes this superb Commar.d recording insistence on perfection that places of Richard Brinsley Sheridan's The its Classics in a position without peer. School for Scandal. Recorded in Lon- STEREO 35 /MM don with the original cast headed by Sir P,alph Richardson and Sir John 2. "iWith this spectacular recording Gielgud, the listener is afforded over Enoch Light's COMMJ1A\'D label CAROUSEL by Rodgers and two hours of recorded theatrical has crossed one mor(' threshold to 4. Hammerstein starring Alfred splendor. Itere in this Command re- the ultimate sound." in Drake and Roberta Peters. cording the spoken word is raised to HIGH FIDELITY MAGAZINE its full dignity and glory. "I have played your album of This is the album that accomplished `Carousel' with tremendous en- the greatest leap forward in stereo. It joyment and find it extremely was Command who perfected the tech- sensitive and beautifully made in For free, full color brochure every way." nique of master recording originals of all Command releases, on 35 mm magnetic films. Through (Signed) RICHARD RODGERS this method Command made it pos- WRITE TO: 8 -HF sible to bring sound of such scope and Not content with creating breathtak- intensity right into your own living ing reproductions of great music, room that you actually feel the pres- Command has gone on to add a new WORLD LEADER ence of each instrument. Here was dimension to the musical theatre with IN RECORDED SOUND music with absolutely no mechanical performers who match the greatness distortion coupled with "almost unbe- with their own stature. With a bril- lievable" purity. No wonder LIFE liant cast starring Alfred Drake and RECORDS called this, "the season's biggest Roberta Peters, you hear the music of ear opener!" Carousel as it has never been per - 1501 Broadway, New York 36, N. Y. CIRCLE 24 ON READER -SERVICE CARD At;ct;sr 1963 1 www.americanradiohistory.com DIAMONDS BY CARTIER Plug -in head assemblies with pre- mounted cartridges for Type A and Model AT6 Garrard Automatic Turntables. Choose the right pickup for your Garrard installations - choose a Pickering - the new U38 /ATG and the famous U38 /AT are both available premounted in Plug.in Heads for Garrard Type A and Model AT6 Automatic Turntables. Featuring Pickering's exclusive "floating stylus" FEATHERWEIGHT OPERATION - for maximum record protection. 1 to 3 grams tracking (recommended 2 grams) - where environmental conditions ...so little mass that it actually floats on water... permit light tracking forces. so light it "floats" over the surface of your records. GA /38ATG - for Garrard Type A G6 /38ATG - for Garrard Model AT6 Includes U /38 Stereo Fluxvalve Cartridge (premounted) with D3807ATG The Pickering "floating stylus" action protects the Golden SAFE VGUARD "Floating Stylus" diamond and the life of the record while it plays. STANDARD OPERATION - for use where environmental conditions require a nominal tracking force of 4 grams or more. FOR THOSE WHO CAN HEAR THE DIFFERENCE GA /38AT for Garrard Type A G6/38AT - for Garrard Model AT6 - PICK ERING & CO., INC., Includes U/38 Stereo Fluxvalve Cartridge (premounted) with D3807AT Plainview. N. Y. SAFE VGUARD "Floating Stylus" icNering 1963 Pi<keriná 8 Co., Inc., Plainview, N. Y., U.S.A. CIRCLE 63 ON READER- SERVICE CARD 2 HIGH FIDELITY MAGAZINI www.americanradiohistory.com Page 45 high fidelity Page 4- Music and Musicians 51 Listening to Schoenberg Peter Heyworth 55 The Jazz Composer: a Study in Symbiosis Gene Lees 18 Notes from Abroad -London, Tokyo, Hamburg 30 Virgil Fox: an interview .Shirley Fleming 67 New Fall Recordings: a preview A Special Section on Tape 37 Spotlight on Tape: an editorial 38 Confessions of an Illicit Tape Recordist P " ! M "r 41 What Tape To Choose? Steuart Negerinn 45 Taping FM Stereo Edward Tatra!! Can/,' 48 Tapes fromm the Professionals R.
Recommended publications
  • Early Fifteenth Century

    Early Fifteenth Century

    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari

    Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari

    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company

    A Culture of Recording: Christopher Raeburn and the Decca Record Company

    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
  • 4970379-70Ef42-714439855734.Pdf

    4970379-70Ef42-714439855734.Pdf

    GUILLAUME DE MACHAUT la messe nostre-dame - l ‘ amour courtois ARS ANTIQUA DE PARIS directed by michel sanvoisin Joseph Sage, countertenor Hugues Primard, tenor Pierre Eyssartier, tenor Marc Guillard, baritone Michel Sanvoisin, recorders Philippe Matharel, cornet Raymond Cousté, lute Colette Lequien, vièle Marie Jeanne Serero, organ La Messe Nostre-Dame 1. Kyrie I, Christe, Kyrie II, Kyrie III 06:52 2. Gloria 05:12 3. Credo 06:44 4. Sanctus 04:35 5. Agnus Dei 03:29 6. Gratias 01:44 L'Amour Courtois 7. De Toutes Flours (organ, vièle) 03:31 8. Quant Theseus (two tenors, vièle, organ, lute) 04:44 9. Plus Dure Que Un Dyamant (lute) 01:59 10. Ma Fin Est Mon Commencement (countertenor, recorder, lute) 06:14 11. Hoquet David (vièle, organ, lute) 02:16 12. Douce Dame Jolie (countertenor) 03:54 13. Ce Qui Soutient Moy (recorder, lute) 01:29 14. Rose, Liz (tenor, baritone, organ, vièle, cornet, lute) 04:16 15. Dame, Ne Regardes Pas (recorder, vièle) 01:51 16. Ma Chiere Dame (countertenor, recorder, vièle, lute) 01:46 17. Dame, Se Vous M'estes Lonteinne (baritone, organ, vièle, cornet) 02:55 18. Trop Plus Est Belle (vocal and intstrumental ensemble) 02:59 TOTAL PLAYING TIME 68:14 Recorded at Scuola Grande di San Giovanni Evangelista, Venice 1990 Recording Engineers: Silvia and Giovanni Melloncelli p©20161Edelweiss Emission The Originals is a unique series that has once again been made available for audiophiles, so they can enjoy the stellar euphonic sound of EDELWEISS EMISSION. 2016 begins with the reissue of a previously sold out series of outstanding releases performed by a number of celebrated musicians.
  • Elisa Gerolimetto 2019.Pdf

    Elisa Gerolimetto 2019.Pdf

    Indice Premessa 3 Introduzione 5 1 La tromba: principi e storia dall’antichità al XVII secolo 13 1.1 Le origini 13 1.2 Il Medioevo 20 1.3 Il Rinascimento 25 1.4 Il Barocco 29 2 L’ambiente veneziano 37 2.1 Il fasto della Serenissima 37 2.2 La cappella musicale della Basilica di San Marco e le 42 cerimonie di Stato 2.3 Zorzi Trombetta e il complesso dogale 50 2.4 Le trombe d’argento del Doge 59 2.5 La musica all’interno delle confraternite 69 2.6 Trombe e pifferi nelle manifestazioni delle Scuole Grandi 73 2.7 Trombe e pifferi nelle manifestazioni delle Scuole Piccole 84 2.8 La tromba nell’opera veneziana 90 3 La tromba squarciata 93 3.1 I diarii di Marin Sanudo 93 3.2 Le descrizioni della messa di ringraziamento di Claudio 101 Monteverdi 3.3 Il termine tromba squarzada 109 3.4 L’Accademia Filarmonica di Verona 113 3.5 La tromba squarciata nell’iconografia veneziana 122 Conclusioni 127 Appendice 135 Riferimenti bibliografici 157 1 2 Premessa Desidero ringraziare il professor David Douglas Bryant e il professor Sergio Durante, relatore e correlatore di questa tesi e fonti di inesauribile conoscenza, per avermi trasmesso la passione per la ricerca ed avermi guidato in questo percorso. Un sentito ringraziamento va a Michele Magnabosco, Bibliotecario conservatore presso l’Accademia Filarmonica di Verona, per la disponibilità, l’aiuto ed il materiale fornito, indispensabili per l’elaborazione di alcune riflessioni. Un ringraziamento anche al professor Luigi Collarile, docente di Semiotica presso l’Università Ca’ Foscari di Venezia, ed al professor Marco Massimo Di Pasquale, docente di Storia della Musica presso il Conservatorio Statale di Musica “Arrigo Pedrollo” di Vicenza, per aver contribuito alla delucidazione di alcuni enigmi organologici.
  • “It's Just a Matter of Time”: African American Musicians and The

    “It's Just a Matter of Time”: African American Musicians and The

    “It’s just a matter of time”: African American Musicians and the Cultural Boycott in South Africa, 1968-1983 by Ashrudeen Waggie Thesis presented in fulfilment of the requirements for the degree of Master of Arts (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. L. Lambrechts Co-supervisor: Dr. C. J. P. Fransch March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third-party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Ashrudeen Waggie March 2020 Copyright © 2020 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract In 1968 the United Nations General Assembly instituted a cultural boycott against apartheid South Africa. The cultural boycott prevented South Africa from having cultural, educational and sporting ties with the rest of the world, and it was an attempt by the international community to sever ties with South Africa. A culmination of this strategy was the publication of an annual registry by the United Nations of all international entertainers, actors, and others who performed in South Africa from 1983. Based on this registry a number of academic studies have been conducted, but very few studies have investigated those who came to perform in South Africa before the publication of the registry even though renowned artists such as Percy Sledge (1970), Brook Benton (1971 & 1982), Jimmy Smith (1978 & 1982) and Isaac Hayes (1978) performed in South Africa during this time.
  • Jimmy Smith Hobo Flats Part 1 / Part 2 Mp3, Flac, Wma

    Jimmy Smith Hobo Flats Part 1 / Part 2 Mp3, Flac, Wma

    Jimmy Smith Hobo Flats Part 1 / Part 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Hobo Flats Part 1 / Part 2 Country: Canada Style: Soul-Jazz MP3 version RAR size: 1982 mb FLAC version RAR size: 1201 mb WMA version RAR size: 1686 mb Rating: 4.4 Votes: 715 Other Formats: AUD MP3 FLAC AUD VOC MP1 ADX Tracklist A Hobo Flats Part 1 B Hobo Flats Part 2 Companies, etc. Manufactured By – Quality Records Limited Other versions Category Artist Title (Format) Label Category Country Year Jimmy Hobo Flats - Part I / Hobo Verve VK-10283 VK-10283 US 1963 Smith Flats - Part II (7") Records Jimmy Verve VK-133 Hobo Flats (7", Single) VK-133 US Unknown Smith Records Jimmy Hobo Flats - Part 1 / Hobo Verve VV 20.111 VV 20.111 Netherlands 1963 Smith Flats - Part 2 (7", Single) Records Jimmy Hobo Flats (7", Single, Verve 58 108 58 108 Germany 1967 Smith Promo) Records Jimmy Hobo Flats - Part I / Hobo Verve VS 509 VS 509 UK 1963 Smith Flats - Part II (7", Single) Records Related Music albums to Hobo Flats Part 1 / Part 2 by Jimmy Smith Jerome McMurray - Like The Four Winds / Hobo Man Jimmy Smith - The Best Of Jimmy Smith Harry Choates - Poor Hobo Various - Strictly For Snobs 2 S.Ohashi & His Honey Islanders, N.Hara & His Sharps & Flats - Hawaiian With Sharps & Flats Jimmy Smith - Bashin' - The Unpredictable Jimmy Smith + Hobo Flats Jeffrey Bützer, Claire Lodge - Past Wanstead Flats Jimmy Smith - Plays Red Hot Blues Jimmy Smith - Got My Mojo Working (Part I) / Got My Mojo Working (Part II) Jimmy Smith - Hobo Flats Bosque Brown - Whiskey Flats Jimmy Smith - Hobo Flats - Part I / Hobo Flats - Part II.
  • Jimmy Smith Bashin' - the Unpredictable Jimmy Smith + Hobo Flats Mp3, Flac, Wma

    Jimmy Smith Bashin' - the Unpredictable Jimmy Smith + Hobo Flats Mp3, Flac, Wma

    Jimmy Smith Bashin' - The Unpredictable Jimmy Smith + Hobo Flats mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Bashin' - The Unpredictable Jimmy Smith + Hobo Flats Country: Europe Released: 2012 Style: Contemporary Jazz, Cool Jazz, Big Band, Bop MP3 version RAR size: 1836 mb FLAC version RAR size: 1377 mb WMA version RAR size: 1766 mb Rating: 4.2 Votes: 732 Other Formats: VQF WAV ASF TTA MIDI AAC WMA Tracklist Hide Credits Bashin' - The Unpredictable Jimmy Smith Walk On The Wild Side Alto Saxophone – Jerry Dodgion, Phil WoodsArranged By, Conductor – Oliver NelsonBaritone Saxophone – George BarrowBass – George DuvivierBass Trombone – Tom Mitchell*Composed By – Elmer BernsteinDrums – Ed 1 5:55 ShaughnessyGuitar – Barry GalbraithOrgan – Jimmy SmithTenor Saxophone – Arthur "Babe" Clarke*, Bob Ashton*Trombone – Britt Woodman, Jimmy Cleveland, Urbie GreenTrumpet – Doc Severinsen, Ernie Royal, Joe Newman, Joe Wilder Ol' Man River Alto Saxophone – Jerry Dodgion, Phil WoodsArranged By, Conductor – Oliver NelsonBaritone Saxophone – George BarrowBass – George DuvivierBass Trombone – Tom Mitchell*Composed By – Hammerstein-KernDrums – Ed 2 3:57 ShaughnessyGuitar – Barry GalbraithOrgan – Jimmy SmithTenor Saxophone – Arthur "Babe" Clarke*, Bob Ashton*Trombone – Britt Woodman, Jimmy Cleveland, Urbie GreenTrumpet – Doc Severinsen, Ernie Royal, Joe Newman, Joe Wilder In A Mellow Tone Alto Saxophone – Jerry Dodgion, Phil WoodsArranged By, Conductor – Oliver NelsonBaritone Saxophone – George BarrowBass – George DuvivierBass Trombone – Tom Mitchell*Composed
  • Flying Dutchman Label Discography

    Flying Dutchman Label Discography

    Flying Dutchman Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Flying Dutchman Label Discography Flying Dutchman was a jazz label created 1969 by the renowned producer/arranger Bob Thiele. It produced a fascinating mix of forward thinking music; the label combined the sounds of jazz, soul, experimentation, and black politics. Although the label put out some standard jazz albums, their most incredible records were those of unique musicians such as Leon Thomas, Lonnie Liston Smith, Gil Scott-Heron and Angela Davis. Initially the label was distributed by Atco Division of Atlantic, but later was switched to Bob Shad’s Mainstream label for two years. By 1974 the distribution was switched to RCA which distributed the label to 1984. The Flying Dutchman catalog was acquired by Legacy Recordings in 1993 from Bob Shad's daughter Tamara when she sold the assets of Mainstream Records, which had distributed Flying Dutchman until it closed in 1978. The Flying Dutchman label had several subsidiaries the specialized in different musical styles. The Amsterdam label concentrated on popular music including the recordings of Thiele’s wife Teresa Brewer. The Reggae label was established to release the reggae music from Jamaica. The Bluestime label was established to release blues recordings. Starting in 1974, Flying Dutchman albums were released in the RCA numbering system and were distributed by RCA. This numbering system was also used for albums on the Signature which was reactivated in 1974; Thiele also established the Bob Thiele Music label. For other albums on the Flying Dutchman, Signature, Bob Thiele Music label releases see the discography of the Bob Thiele labels.
  • Recorded Jazz in the 20Th Century

    Recorded Jazz in the 20Th Century

    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
  • Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke

    Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke

    SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra.
  • The B-G News January 12, 1968

    The B-G News January 12, 1968

    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 1-12-1968 The B-G News January 12, 1968 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The B-G News January 12, 1968" (1968). BG News (Student Newspaper). 2163. https://scholarworks.bgsu.edu/bg-news/2163 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. The B-G News Serving a Growing University Since 1920 Friday, January 12, 1968 Bowling Green State University Volume 52, No. 53 Council Hearing Dr. Joseph Nordstrom Faculty, Students Argue Dr. Otto Bauer Educational Problems By MIKE KUIILIN by a member of the audience to of student responsibility, values Editorial Editor continue discussion past Its sched- of lectures, testing methods and "The state of Ohio Just doesn't uled adjournment. procedures, disciplinary education support higher education" was one After consulting with the panel and academic honesty. of many candid opinions offered members, Helwlg agreed to do Dr. Mandell, stating that he was by University professors, discuss- so; closing the meeting briefly disappointed with Nwanze's dls- ing the ways and means of Im- for anyone who wanted to leave. alluslonment of Bowling Green, proving the classroom environ- Only one person did — this re- pointed out that our lecture sys- ment, to a standing- room-only porter, who had a deadline to tem was derived from English crowd at last night's Student Coun- meet.