Bill Evans Re: Person I Knew Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Bill Evans Re: Person I Knew mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Re: Person I Knew Country: Germany Released: 1981 MP3 version RAR size: 1822 mb FLAC version RAR size: 1867 mb WMA version RAR size: 1297 mb Rating: 4.8 Votes: 254 Other Formats: DTS TTA MIDI AHX MP4 DXD FLAC Tracklist Hide Credits Re: Person I Knew A1 5:12 Composed By – B. Evans* Sugar Plum A2 8:13 Composed By – B. Evans*, J. Court* Alfie A3 4:57 Composed By – B. Bacharach*, H. David* T.T.T. A4 5:12 Composed By – B. Evans* B1. Excerpt From Dolphin Dance a 1:25 Composed By – H. Hancock* Very Early b 5:40 Composed By – B. Evans* 34 Skidoo B2 6:08 Composed By – B. Evans* Emily B3 5:12 Composed By – J. Mandel* Are You All The Things B4 6:17 Composed By – B. Evans* Companies, etc. Phonographic Copyright (p) – Fantasy Records Distributed By – Metronome Musik GmbH Recorded At – Village Vanguard Mixed At – Fantasy Studios Mastered At – Fantasy Studios Credits Bass – Eddie Gomez Drums – Marty Morell Mastered By – George Horn Piano – Bill Evans Producer – Helen Keane, Orrin Keepnews Recorded By – Michael DeLugg Remix, Edited By – Nyya Lark Notes Recorded at the Village Vanguard, New York City on January 11-12, 1974 Ⓟ 1981 Fantasy Records Barcode and Other Identifiers Label Code: LC0720 Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year Bill Re: Person I Knew F 9608 Fantasy F 9608 US 1981 Evans (LP, Album) Original Jazz OJCCD-749-2, Bill Re: Person I Knew OJCCD-749-2, Classics, US 1992 F-9608 Evans (CD, Album, RE, RM) F-9608 Fantasy Bill Re: Person I Knew 504.7175 Fantasy 504.7175 Brazil 1981 Evans (LP, Album) Re: Person I Knew Bill UCCO-90134 (CD, Album, Ltd, RE, Fantasy UCCO-90134 Japan 2012 Evans RM, SHM) Bill Re: the person i knew ami 9608 fantasy ami 9608 Italy 1981 Evans (LP, Album) Related Music albums to Re: Person I Knew by Bill Evans Kronos Quartet With Special Guests Eddie Gomez & Jim Hall - Music Of Bill Evans Tony Bennett / Bill Evans - The Tony Bennett / Bill Evans Album Bill Evans - 25 Evans Bill Evans / Eddie Gomez - Intuition Bill Evans - Bill Evans Bill Evans - Blue In Green (The Concert In Canada) Bill Evans - Eloquence Tony Bennett / Bill Evans - The Tony Bennett Bill Evans Album Bill Evans, Eddie Gomez - Montreux III The Evans Sisters / Dottie Evans -.

Copy Link

Recommended publications

Richard Aldag Broadway Boogie-Woogie
RICHARD ALDAG BROADWAY BOOGIE-WOOGIE 9 My lover asks [1:58] Marnie Breckenridge, soprano | Jennifer Kloetzel, cello Hadley McCarroll, piano RICHARD ALDAG Duo for Flute & Violin (2017) TROY1764 10 Allegro ma non troppo [2:24] 11 Presto [1:37] 1 Fantasy for Flute, Piano & Percussion (2015) [11:00] 12 Affettuoso [2:53] Gina Gulyas, flute | Ian Scarfe, piano 13 Vivace [2:39] Divesh Karamchandani, percussion Gina Gulyas, flute | Rachel Patrick, violin Due Celli (2013) 14 Romance for Cello & Piano (2015) [5:43] 2 Toccata: Calmly, vivo [3:23] Jennifer Kloetzel, cello | Hadley McCarroll, piano 3 Aria: Lento e cantabile [3:32] 4 Saltarello: Presto con fuoco [2:01] 15 Lacrimosa for String Quartet (2016) [7:22] Jean-Michel Fonteneau, cello | Jennifer Kloetzel, cello Chamber Music Society of San Franciso Jory Fankuchen, violin | Natasha Makhijani, violin Nocturne & Dance (2014) Clio Tilton, viola | Samsun van Loon, cello 5 Nocturne [6:42] 6 Dance [5:22] 16 Serenade for Chamber Ensemble Matthew Boyles, clarinet | Rachel Patrick, violin “Broadway Boogie-Woogie” (1991, rev. 2014) [9:05] Ian Scarfe, piano Gina Gulyas, flute | Matthew Boyles, clarinet Rachel Patrick, violin | James Jaffe, cello Arab Love Songs (2015) Ian Scarfe, piano | Divesh Karamchandani, percussion 7 Oh, my love [2:37] Andy Meyerson, percussion | Richard Aldag, conductor [3:14] 8 I am no teacher Total Time = 71:12 TROY1764 WWW.ALBANYRECORDS.COM TROY1764 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2019 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL.
[Show full text]
2. Case Study: Anime Music Videos
2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose.
[Show full text]
Ilhiiiletter 93024--O24-O April 1997 I Vol
P.(). BOX 24-O Ojai, Calif. ilhiiiletter 93024--O24-O April 1997 i Vol. I6 No. 4 pubescent life forms, I truly believe it will be the Harry Allens Other Voices who carry the important message forward. Richard M. Sudhalter, Southold, New York Congratulations on your piece OfMs and Men and the discussion Cornetist Sudhalter was at one time a European correspondent of ebonics. for UPI. He is the co-author of a biography of Bix Beiderbecke And I all but jumped for joy on reading the profile on Julie La and is completing a new study ofjazz history Rosa. First, because he’s a singer I admire and of whom I’m very fond. But there’s another dimension to it as well. While your two-part article While Ibu Wereni Watching has The ongoing feminization of America has vandalized a number your usual clarity ofthought and meticulous structure, it leaves the of usefiil distinctions. Among them seem to be clear understanding reader who accepts your premises the choice of responding with Ehe specific essences brought to the table by male and female. impotent despair or with a fatalistic shrug and a tum to more never subscribed to the concept of interchangeable “gender pleasant topics. Yet neither of these responses is constructive; they roles” by which either sex can discharge the fimctions historically only drive the ethos of the artistically educated fiirther toward performed by the other. I’ve always felt that the polarity itself being a marginalized, self-pitying, backward-looking tribe of (with all the infinite intemal gradations) was invaluable, offering elitists.
[Show full text]
Sylvester Step II Mp3, Flac, Wma
Sylvester Step II mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Funk / Soul Album: Step II Country: US Released: 1978 Style: Soul, Disco MP3 version RAR size: 1196 mb FLAC version RAR size: 1310 mb WMA version RAR size: 1615 mb Rating: 4.8 Votes: 522 Other Formats: MIDI AA AHX VOX ASF APE WAV Tracklist Hide Credits You Make Me Feel (Mighty Real) A1 Arranged By [Rhythm Arrangements] – Tip Wirrick*, SylvesterWritten-By – Wirrick*, Sylvester Dance (Disco Heat) (Cont.) A2 Arranged By [Rhythm Arrangements] – Eric Robinson Written-By – Robinson*, Orsborn* B1 Dance (Disco Heat) (Concl.) I Took My Strength From You (Cont.) B2 Arranged By [Rhythm Arrangements] – SylvesterWritten-By – Bacharach - David* C1 I Took My Strength From You (Concl.) C2 You Make Me Feel (Mighty Real) (Epilogue) Grateful C3 Arranged By [Rhythm Arrangements] – Michael C. Finden*, SylvesterWritten-By – Finden*, Sylvester Was It Something That I Said D1 Arranged By [Rhythm Arrangements] – SylvesterWritten-By – Fuqua*, Sylvester Just You And Me Forever D2 Arranged By [Rhythm Arrangements] – Eric Robinson Bass – James Jamerson Jr.Drums – James GadsonWritten-By – Robinson*, Orsborn* Companies, etc. Phonographic Copyright (p) – Fantasy Records Copyright (c) – Fantasy Records Recorded At – Fantasy Studios Recorded At – Conway Studios Recorded At – Clark-Brown Audio Mixed At – Fantasy Studios Mastered At – Kendun Recorders Produced For – Honey Records Productions Credits Arranged By [Strings And Horns] – Leslie Drayton Art Direction – Phil Carroll Backing Vocals – Izora Rhodes*, Martha Wash Bass – Bob Kingson (tracks: A1 to B3) Concertmaster, Contractor [String Contractor] – Charles Veal* Contractor [Horn Contractor] – George Bohanon Design – Dennis Gassner Drums – Randy Merritt (tracks: A1 to B3) Engineer [Assistant] – Wally Buck Engineer [Recording] – Buddy Bruno, Eddie Bill Harris Guitar – Tip Wirrick* Lead Vocals, Piano [Acoustic] – Sylvester Mastered By [Mastering] – George Horn Organ, Electric Piano, Clavinet – Michael C.
[Show full text]
Not Just a Fantasy: Fantasy Studios Jul 1, 2008 12:00 PM, by Barbara Schultz
Not Just a Fantasy: Fantasy Studios Jul 1, 2008 12:00 PM, By Barbara Schultz LEGENDARY STUDIO IS BACK FROM THE BRINK Fantasy Studios’ grand Studio A is equipped with an SSL 8056 G+ console, Pro Tools HD3 and Augspurger custom mains. Photo: Steve Maruta In the San Francisco Bay Area studio scene and beyond, Fantasy Studios (www.fantasystudios.com) and the Fantasy Records label are the stuff of legend. The facility has been situated in West Berkeley for more than three decades — part of an indie media mini-empire once owned by filmmaker Saul Zaentz. The studio most famously hosted recordings by the Fantasy label's biggest act, Creedence Clearwater Revival, as well as other national acts, including Santana and Green Day. Because the facility changed hands a couple of times in recent years, you may have heard through the grapevine that Fantasy Studios was going to close last year, or this year… There was more than a grain of truth to those rumors. The studios, label and back catalog were taken over by Concord Records a few years ago, with Concord renting space in the building Zaentz still owned, but then Zaentz sold the building itself to a real estate developer, Wareham Development. When Concord's long-term lease on the building expired at the end of 2007, the label's management decided to move the label and catalog south to Concord's Beverly Hills headquarters and dismissed all of the Fantasy Studios staff. Longtime studio manager Nina Bombardier began making plans for a new life outside the music business, and all of her employees assumed the studios would close.
[Show full text]
San Francisco University High School
JACKSON STREET GALLERY EXHIBITIONS Theatre tickets may September 13 – October 25 | Artist’s Reception: September 13, 5:00-7:00 p.m. be purchased on sfuhs.org/arts. November 1 – November 29 | Artist’s Reception: November 1, 5:00-7:00 p.m. Our arts program urges students All other events to think about the arts beyond January 31 – March 8 | Artist’s Reception: January 31, 5:00-7:00 p.m. are free and open the studio or stage, and consider to the public. how they intersect with society, AP STUDIO ART SHOW For more information history, literature, science, and April 2 – April 24 | Artist’s Reception: April 2, 5:00-7:00 p.m. go to sfuhs.org/arts technology. Investigate the or call 415.447.3136 creative process through a variety THEATRE of lenses, including Western Fall Play | Preview, October 24, Noon | October 25 & 26, 7:30 p.m. Civilization: History of the Arts, AP Art History, and more. Winter Play | Preview, January 23, Noon | January 24 & 25, 7:30 p.m. Students collaborating in the uLab, our fabrication and design thinking space. Student Drama Series | February 28, 4:00 p.m. & 7:00 p.m. Spring Musical | Preview: April 23, Noon | April 24-25, 7:30 p.m. and April 26, 5:00 p.m. MUSIC Spacious painting and drawing studio Our brand new uLab features Ample storage for our extensive Fall Concert | November 7, 7:00 p.m. with plenty of natural light, easels, and traditional shop tools plus laser cutter, instrument collection Projects in Music 4.1: Fall Recitals | November 11-12, Lunch and after school large work tables 3D printers, computer-controlled router Music library that houses our expansive and more.
[Show full text]
One-Of-A-Kind Recording Project Fills Fantasy Studios Karen Lile, An
www.musictrades.com DECEMBER 2018 One-Of-A-Kind Recording Project Fills Fantasy Studios Karen Lile, an independent executive producer and co- + owner of Piano Finders, brings together Grammy winners and top producers for one special benefit album INDUSTRY FOREFRONT ONE-OF-A-KIND RECORDING PROJECT FILLS FANTASY STUDIOS Karen Lile, an independent executive producer and co-owner of Piano Finders, brings together Grammy winners and top producers for one special benefit album tracks. Even musicians who couldn’t record in person found a way to partici- pate: Recording artist Alison Miller called into the studio for a recorded interview from New York’s Times Square, while a touring George Winston called in from Washington state. (The complete list of artists who donated time for the project is posted at www.comteams.com.) It wasn’t what you’d call a modest undertaking. In fact, says Lile, it would have been impossible if not for the long- term relationships she had with several of the producers—because there was no time to debate contracts. Everyone A 1952 Steinway 9' signed a simple “memorandum of under- grand rebuilt by Piano standing” and dove into the project on Finders was part of a just two weeks’ notice. three-piano comparison “Whenever time is short, and improvi- at Fantasy Studios. sation is required, I treat it like a jazz music improvisation,” Lile says. “I SEVENTY HOURS in a recording stu- 2019 would be too late to use those 70 brought in a team of experienced profes- dio is enough time to lay down quite a lot hours.
[Show full text]
David Möschler – Orchestral Conducting Résumé
David Möschler Music Director, Conductor, Teaching Artist [email protected] 919.260.8002 (cell) CONDUCTING POSITIONS & ORGANIZATIONS (selected) For all organizations my duties included choosing repertoire and season planning, rehearsing and performing with the orchestra, recruiting and auditioning personnel, contracting guest artists, commissioning and premiering new compositions, fund-raising, overseeing all aspects of concert production, publicity, program note writing, and orchestra librarian duties. Awesöme Örchestra Collective, Oakland, CA Founding Music and Artistic Director 2013– Youth Musical Theatre Company, Berkeley, CA Resident Musical Director and Conductor 2009– San Francisco Civic Symphony, San Francisco, CA Guest Conductor 2016 Undercover Presents, Sly and The Family Stone's Stand! Guest Music Director, 2013–15 Davis Summer Symphony, Davis, CA Conductor and Music Director 2008–09 Empyrean Ensemble, Davis, CA Guest Conductor and Production Manager 2008–10 UC Davis Symphony Orchestra, CA Assistant Conductor and Principal Tuba 2007–09 UC Davis University Chorus, Davis, CA Assistant Conductor and rehearsal accompanist 2007–09 UNC Symphony Orchestra, Chapel Hill, NC Assistant Conductor and Double Bass 2004–05 College Light Opera Company, Cape Cod, MA Principal Conductor and Music Staff 2005– FACULTY POSITIONS San Francisco State University, CA Faculty, Osher Lifelong Learning Institute 2017– Academy of Art University, San Francisco, CA Instructor, Department of Music Production 2014– San Francisco University High School, CA Guest Faculty, Art Department 2014– San Francisco Conservatory of Music, CA Guest Faculty, Musical Theatre Workshop 2014– Jewish Community High School of the Bay, San Francisco, CA Music Faculty 2011–13 UC Davis Department of Music, Davis, CA Graduate Fellow and Teaching Assistant 2007–10 EDUCATION University of California at Davis Masters of Arts in Music (Orchestral and Choral Conducting) – September 2010 Masters Thesis: Compositional Process and Style in Rodgers and Hammerstein's Carousel Barbara K.
[Show full text]
Next Level Music Industry Conference
Welcome to the Inaugural Next Level Music Industry Conference Sunday, April 17, 2016 Presented by Agenda 10:00-10:30 REGISTRATION AND COFFEE 10:30-10:40 Welcome by Supervisor Effren Carrillo 10:40-11:15 Keynote Address by Griff Morris 11:15-12:30 The Artist’s Road with Stephen Hart and Lia Rose, moderated by Michael Winger 12:30-1:15 LUNCH AND NETWORKING 1:15-2:15 Getting the Gig with Chris Faville and Merl Saunders, Jr., moderated by Jim Jacobs 2:15-2:30 BREAK 2:30-3:30 Getting Heard with Al Evers, Josh Norek, and Julie Schuchard, moderated by Richard Idell, Esq. 3:30-4:00 Sonoma Opportunities Creative Sonoma, Kristen Madsen North Bay Hootenanny, Josh Windmiller 4:00-5:00 Resource Roundtables Balanced Breakfast, Stefan Aronsen Creative Sonoma & North Bay Hootenanny Grammy’s, Michael Winger KRCB Radio, Brian Griffith West Coast Songwriters Association, Shiloh Hobel Creative Sonoma’smission is to support and advance the creative community of Sonoma County through professional development, networking opportunities, marketing, and developing innovative collaborations and partnerships. www.creativesonoma.org North Bay Hootenanny is a North Bay non-profit that provides opportunities for artists and enhances public appreciation of music through events, development of online content, and community forums. www.northbayhootenanny.org Funding Providing By: Thank You: Arlene Francis Center Live Music Lantern Banquet Studios Prairie Sun Live Bohemian Redwood Cafe Chop’s Teen Center Second Octave Electric Crayon SOMO Village KRCB Thank you to our Presenters and Moderators: Stefan Aronsen is the co-founder of Balanced Breakfast, a weekly meet-up of musicians and music industry professionals built on creating community.
[Show full text]
December 2021
FULL COURSE CATALOG JANUARY 2021 - DECEMBER 2021 2727 Mariposa St. #200 San Francisco, CA 94110 1-888-378-MIND / 415-896-9800 www.pyramind.com Pyramind Inc. dba The Institute for Advanced Digital Audio Training (aka “Pyramind”) TABLE OF CONTENTS General Overview 3 Student Resources 4 Enrollment & Admissions Info 5 Pyramind Deliverables 6 Full-Time Certification Programs 8 Part-Time Programs 12 Manufacturer Certifications 13 Individual Class Descriptions (ground campus) 14 Individual Class Descriptions (online) 25 Individual Course Pricing 28 Chart of Fess 29 Staff Biographies 30 Instructor Biographies 32 Policies 35 Payment Options 42 2 Pyramind Course Catalog General Overview Educational Mission Statement serve as controllers for the software as well as keyboards for Piano class. Unique to our labs, each workstation can not only switch to the speakers for playback, but they can also switch to the projector. This Pyramind serves the public interested in creating music allows the students to have their work displayed on the big screen using today’s digital production tools. We are committed to this for both instructor and other students – a tremendously powerful education based on industry-standard practices and technology using educational feature. These multi-workstation labs accommodate today’s most powerful and affordable tools. Pyramind realizes its the 100, 200 and some 300-level classes and are equipped with mission through a unique combination of real-world/hands on training professional-grade JBL 2.0 monitoring systems. “The Lobby” studios are also equipped with tons of outboard gear as well as dual 15” and strong manufacturer and community relationships. Tannoy monitors, Adam and Focal monitors.
[Show full text]
The Soul Company
THE SOUL COMPANY A NEW BRITISH ROCK ALBUM FROM A NEW BRITISH ROCK BAND AVAILABLE IN STORES MARCH 2005 BROUGHT TO YOU BY TOWNSEND RECORDS AND THE UNIVERSAL MUSIC CORPORATION Contact: Bruce Mckenzie Townsend Records [email protected] Tel: 01254 885995 Keith Ray Concert Management Steffy Day Media Management go to www.soulco.org see press page Hi-res press shots available at www.soul.org Click “Press” on toolbar. “There is a giant super-tanker of indifference plowing its way through the oceans of this corporate culture we're all drowning in. I believe it's gonna take one small shove on the rudder and this super-tanker will slowly start to arc around. I hope in 2005 folks will realise it's ok to be aware and active.” Bono – Band-Aid 2004. THE POWER OF SOUL....IS THE STUNNING DEBUT ALBUM FROM NEW BRITISH ROCK BAND ‘THE SOUL COMPANY’ - THE FIRST FULL ALBUM RELEASE IN MORE THAN 10 YEARS FROM ALARM AXE-MAN DAVE SHARP. THE POWER OF SOUL.....IS DUE FOR RELEASE EARLY 2005 FROM TOWNSEND RECORDS AND THE UNIVERSAL MUSIC CORPORATION. THE POWER OF SOUL....IS A SEARING SLICE OF INTELLECTUALLY HARDHITTING BRIT-ROCK FORGED FROM JOE STRUMMER GLOBAL GO-GO CHIC AND DEEP SOUTHERN DELTA SAVVY. THE POWER OF SOUL....IS A BRITISH ROCK BARE -KNUCKLE CHALLENGE TO THE STATUS QUO THAT BURNS THICK WITH THE STICK-INCENSE OF AN EAST FLORIDA CANE FIELD SMOKE-DOWN AND LEAVES AN AFTERTASTE JUST LIKE PURE SUGARLAND PETROL STRAIGHT FROM THE CAN. IT IS A MOLOTOV COCKTAIL FLUNG DIRECTLY INTO THE WRECKAGE OF A MUSIC INDUSTRY FORCED TO IT'S CREATIVE KNEES BY A TOXIC CLOUD OF NEW MILLENNIUM CORPORATE MYOPIA AND WHILST THE BOSS MAKES HOO-DOO RADIO JU-JU, THE SOUL COMPANY DELIVERS THE JUNK TO DE-BUNK THE VOO DOO.
[Show full text]
A Brief History
A BRIEF HISTORY It’s the summer of 1968. Saul Zaentz and his partners had just acquired Fantasy Records the year before from Max and Sol Weiss, the label’s original owners. Creedence Clearwater Revival, after several years of name changes and failed singles, had just released their first Fantasy album, which contained the band’s breakthrough record “Susie Q.” And Jim Stern was working as Fantasy’s staff R&B drummer at the label’s 30th and Peralta headquarters in Oakland. “We had a room in the back,” says Stern, “with an eight-track tape recorder but no console.” There, he played on records made by staff producers Ray Shanklin (vocalist Lenny Williams) and Jesse Osborne (singer/guitarist Alice Stuart). Stern also had an electronics degree and had already done some audio work with Dan Healy and the Grateful Dead when Zaentz hired him as Fantasy’s first (and at the time only) engineer. The extraordinary success of Creedence in the late ’60s led to Fantasy’s expansion on several fronts, including the construction of a new two-story building at the corner of Tenth and Parker in Berkeley. Containing three recording studios (A, B, and C) and a mastering room as well as offices and a spacious warehouse, the facility opened in February 1971. (Studio C, with a separate entrance, was built expressly for Creedence.) Zaentz tapped Stern to run the studio operations. As chief engineer, Stern built and equipped the studios, rebuilt a couple of the echo chambers, created the second-floor tape vault, and—for nearly a decade—hired and trained staff.
[Show full text]