Download Hirez Poll As PDF Here

Total Page:16

File Type:pdf, Size:1020Kb

Download Hirez Poll As PDF Here QuadraphonicQuad Hi-Rez Poll Chart of 5.1 SACD, DVD-Audio, and Blu-Ray 'Audio Only' Surround Discs SEPTEMBER 2021 UPDATED 2021-9-16 FORMAT CODES: [S] = SACD; [D] = DVD-Audio; [B] = Blu-Ray Audio Disc Score Artist Title Format Votes 10 9 8 7 6 5 4 3 2 1 Outliers 3D: THE CATALOGUE (inc Atmos 9.85 Kraftwerk [B] 65 57 6 2 0 0 0 0 0 0 0 0 mix) DARK SIDE OF THE MOON (BDA) 9.81 Pink Floyd [B] 180 154 19 5 2 0 0 0 0 0 0 1 (Quad) (5.1) 9.78 The Doobie Brothers QUADIO Box set (Quad) [B] 149 122 21 6 0 0 0 0 0 0 0 2 9.78 Gentle Giant FREE HAND (inc. Atmos mix) [B] 65 55 7 2 1 0 0 0 0 0 0 0 9.73 The Beatles ABBEY ROAD (Dolby Atmos mix) [B] 78 61 14 2 1 0 0 0 0 0 0 0 9.73 Gordon Goodwin BIG PHAT BAND XXL [D] 41 30 11 0 0 0 0 0 0 0 0 0 9.72 Santana SANTANA [JAPAN] (Quad) [S] 71 53 16 2 0 0 0 0 0 0 0 0 9.71 Talking Heads BRICK (box set) [D] 119 92 21 5 1 0 0 0 0 0 0 0 9.71 Miles Davis IN A SILENT WAY [S] 21 17 2 2 0 0 0 0 0 0 0 0 9.70 Miles Davis BITCHES BREW (Quad) [S] 92 70 17 4 1 0 0 0 0 0 0 1 XTC as the Dukes of 9.70 PSURROUNDABOUT RIDE [B] 82 64 12 5 1 0 0 0 0 0 0 0 Stratosphear 9.70 King Crimson THE COMPLETE 1969 RECORDINGS [B] 10 8 1 1 0 0 0 0 0 0 0 0 IN THE COURT OF THE CRIMSON KING 9.69 King Crimson [B] 64 48 13 2 1 0 0 0 0 0 0 0 (2019 50th Anniversary Mix) 9.67 Yello POINT (Atmos) [B] 42 31 8 3 0 0 0 0 0 0 0 0 9.65 Yes THE YES ALBUM [B][D] 163 123 27 9 4 0 0 0 0 0 0 1 9.65 The Beatles ABBEY ROAD (5.1 Mix) [B] 140 108 21 8 1 1 1 0 0 0 0 0 9.65 Chicago QUADIO (Quad) [B] 134 100 22 11 1 0 0 0 0 0 0 0 IN SEARCH OF HADES: THE VIRGIN 9.65 Tangerine Dream [B] 37 26 9 2 0 0 0 0 0 0 0 0 RECORDINGS 1973-1979 SUPERPICKERS & CHET ATKINS PICKS 9.65 Chet Atkins [S] 17 13 3 0 1 0 0 0 0 0 0 0 THE BEST (Quad) 9.64 Gentle Giant THE POWER AND THE GLORY [B] 97 67 25 5 0 0 0 0 0 0 0 0 9.64 Roy Orbison BLACK AND WHITE NIGHT [S][B][D] 86 62 17 7 0 0 0 0 0 0 0 0 9.64 XTC SKYLARKING [B] 78 56 16 6 0 0 0 0 0 0 0 0 9.64 The Pineapple Thief VERSIONS OF THE TRUTH [B] 66 49 11 5 1 0 0 0 0 0 0 0 9.64 Earth Wind & Fire GRATITUDE [S] 14 9 5 0 0 0 0 0 0 0 0 0 9.63 Yes FRAGILE (2015 Mix) [B][D] 131 87 39 5 0 0 0 0 0 0 0 1 9.63 Tomita PLANETS ULTIMATE EDITION (Quad) [S] 32 25 3 3 1 0 0 0 0 0 0 0 Pierre Boulez & NY 9.63 BARTOK CONCERTO FOR ORCHESTRA [S] 16 10 6 0 0 0 0 0 0 0 0 0 Philharmonic 9.62 Steven Wilson HAND. CANNOT. ERASE. [B] 125 92 21 11 0 1 0 0 0 0 0 0 9.62 Jethro Tull AQUALUNG (Quad) (5.1) [B] 123 89 24 7 3 0 0 0 0 0 0 1 9.62 Van Morrison MOONDANCE [B] 101 71 23 6 1 0 0 0 0 0 0 0 9.62 Talking Heads SPEAKING IN TONGUES [D] 82 55 23 4 0 0 0 0 0 0 0 0 9.61 King Crimson LARKS' TONGUES IN ASPIC [B][D] 104 74 20 9 1 0 0 0 0 0 0 0 SPIRIT & THAT'S THE WAY OF THE 9.61 Earth Wind & Fire [S] 51 36 11 3 1 0 0 0 0 0 0 0 WORLD (Quad) 9.61 Bach (E. Power Biggs) FOUR TOCATAS AND FUGUES [S] 41 30 8 1 2 0 0 0 0 0 0 0 9.61 Gene Clark NO OTHER [B][S] 18 12 5 1 0 0 0 0 0 0 0 0 WISH YOU WERE HERE (BDA) (Quad) 9.60 Pink Floyd [B] 143 106 26 6 2 2 1 0 0 0 0 1 (5.1) Harold Melvin & The BLACK AND BLUE & WAKE UP 9.60 [S] 30 22 4 4 0 0 0 0 0 0 0 0 Blue Notes EVERYBODY 9.60 MFSB PHILADELPHIA FREEDOM (Quad) [S] 20 15 2 3 0 0 0 0 0 0 0 0 9.59 Steven Wilson THE RAVEN THAT REFUSED TO SING [B] 131 93 28 5 4 1 0 0 0 0 0 0 9.59 Porcupine Tree STUPID DREAM [D] 130 89 31 9 0 1 0 0 0 0 0 0 A FAREWELL TO KINGS (40TH ANN. 9.59 Rush [B] 68 47 15 5 1 0 0 0 0 0 0 0 STEVEN WILSON 5.1 MIX) 360 DEGREES OF BILLY PAUL & WAR 9.59 Billy Paul [S] 29 21 5 2 1 0 0 0 0 0 0 0 OF THE GODS (Quad) 9.59 Booka Shade DEAR FUTURE SELF (Atmos) [B] 17 11 5 1 0 0 0 0 0 0 0 0 9.58 XTC BLACK SEA [B] 66 43 20 2 0 1 0 0 0 0 0 0 9.57 Tears For Fears THE SEEDS OF LOVE [B] 79 52 20 7 0 0 0 0 0 0 0 0 9.56 Bob Marley LEGEND (30th Ann. Edition) [B] 123 80 35 6 1 1 0 0 0 0 0 0 9.56 Loggins & Messina FULL SAIL (Quad) [S] 41 27 10 4 0 0 0 0 0 0 0 0 9.56 Weather Report TALE SPINNIN' (Quad) [S] 41 25 14 2 0 0 0 0 0 0 0 0 9.53 Porcupine Tree FEAR OF A BLANK PLANET [D] 131 90 33 4 2 0 0 0 2 0 0 1 9.53 Gentle Giant THREE PIECE SUITE [B] 51 31 16 4 0 0 0 0 0 0 0 0 9.53 Billy Cobham SPECTRUM (Quad) [S] 49 32 12 4 1 0 0 0 0 0 0 0 9.53 Chase PURE MUSIC & CHASE (Quad) [S] 36 26 5 3 2 0 0 0 0 0 0 0 9.53 Amin Bhatia THE INTERSTELLAR SUITE [B] 34 21 10 3 0 0 0 0 0 0 0 0 9.53 Tomita CLAIR DE LUNE (Quad) [S] 19 10 9 0 0 0 0 0 0 0 0 0 9.52 Porcupine Tree LIGHTBULB SUN [D] 122 78 33 8 3 0 0 0 0 0 0 0 9.52 Donald Fagen KAMAKIRIAD [D] 31 21 7 2 0 1 0 0 0 0 0 0 9.51 Roxy Music AVALON [S] 172 115 36 17 2 1 1 0 0 0 0 0 9.51 Elton John TUMBLEWEED CONNECTION [S] 146 93 35 18 0 0 0 0 0 0 0 1 9.51 The Beatles THE BEATLES (The White Album) [B] 145 97 33 10 2 3 0 0 0 0 0 1 9.51 Talking Heads REMAIN IN LIGHT [D] 92 54 32 5 1 0 0 0 0 0 0 0 9.51 Poco CANTAMOS & SEVEN (Quad) [S] 43 25 16 1 1 0 0 0 0 0 0 0 9.50 Santana ABRAXAS (Quad) [S] 62 34 25 3 0 0 0 0 0 0 0 0 9.50 Robert Reed SANCTUARY II [D] 40 22 16 2 0 0 0 0 0 0 0 0 9.50 The Band THE BAND [B] 26 18 4 3 1 0 0 0 0 0 0 0 9.50 The O'Jays SURVIVAL & FAMILY REUNION (Quad) [S] 20 12 6 2 0 0 0 0 0 0 0 0 9.50 King Crimson THE ROAD TO RED [B] 16 11 3 1 1 0 0 0 0 0 0 0 9.49 Yes TALES FROM TOPOGRAPHIC OCEANS [B][D] 110 69 27 13 1 0 0 0 0 0 0 0 9.47 Tomita FIREBIRD (Quad) [S] 15 7 8 0 0 0 0 0 0 0 0 0 9.47 Booka Shade GALVANY STREET (Atmos) [B] 15 7 8 0 0 0 0 0 0 0 0 0 9.46 Dire Straits BROTHERS IN ARMS [D][S] 280 186 63 20 2 6 1 1 1 0 0 0 9.46 Steely Dan GAUCHO [D][S] 191 121 48 13 7 2 0 0 0 0 0 0 9.46 Elton John MADMAN ACROSS THE WATER [S] 140 83 40 15 2 0 0 0 0 0 0 0 9.46 Jeff Beck WIRED [JAPAN] [S] 46 27 14 4 1 0 0 0 0 0 0 1 Los Angeles Guitar 9.46 GUITAR HEROES (4.1) [S] 26 15 8 3 0 0 0 0 0 0 0 0 Quartet (LAGQ) 9.46 Mando Diao AELITA (inc.
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Live Among the White Trash: a History of Nono----Manman on Stage
    Live Among the White Trash: A history of nono----manman on stage “There are no No-Man concerts scheduled for the foreseeable future.” (from the official no-man website) Anyone who has followed no-man’s career over the previous ten years or so will be acutely aware that the band does not play live. If no-man “exist” as a band at all – and their infrequent releases mean they are more an ongoing understanding between two men rather than an active unit – it is only in the studio. Over a series of uncompromising albums no-man’s music has become ever more complex, yet ironically, “live sounding” than the release which proceeded it. But this organic “liveness” is mainly an illusion; the feeling of spontaneity often the result of numerous edits and takes which only the precision of studio work can produce. Others have tried to perform equally difficult music live: Radiohead ambitiously thrusting their clicks-and- cuts post-rock upon the world’s stadiums, for example. But for a variety of reasons, no-man simply haven’t tried – at least, not since 1994 and not until a one-off performance in 2006. The only comparable case is Talk Talk’s retreat into the studio in the late 1980s. Both bands have undoubtedly crafted their best work without going near an audience. 1 But it wasn’t always so. no-man were once very much a live act, promoting singles and albums with dates and undertaking two full-blown tours – though they rarely played outside London, never went further north than Newcastle, and never played outside Great Britain.
    [Show full text]
  • Music Video As Black Art
    IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru.
    [Show full text]
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • Miller High Life Theatre Event Advisory
    ADDRESS PHONE NUMBER WEBSITE 500 W. Kilbourn Avenue, Milwaukee, WI 53203 414.908.6000 MillerHighLifeTheatre.com FOR IMMEDIATE RELEASE Sarah Maio [email protected] 414-908-6056 King Crimson Announce “Music Is Our Friend” North American Tour Dates 2021 King Crimson comes to the Miller High Life Theatre on August 31, 2021 MILWAUKEE – (June 7, 2021) – The Miller High Life Theatre and Alternative Concert Group are proud to welcome King Crimson with special guest The Zappa Band to the Miller High Life Theatre, August 31, 2021. Artist VIP presale is June 9 at 11 a.m., and venue presale is June 10th at 10 a.m. Tickets go on sale to the public Friday, June 11 at noon at the Miller High Life Theatre box office or Ticketmaster. When King Crimson returns to action this July, it will be the seventh year that the band has toured since returning to performing live in 2014, a run only interrupted by the lockdown in 2020. In that time, the audience has been reinvented, as much as the band itself, something Robert Fripp noted after the band’s performance in Pompeii, Italy’s famous amphitheater: “In Pompeii, a large percentage of the audience was young couples; KC moved into the mainstream in Italy. I walked onstage knowing that this band's position in the world has changed level.” - Robert Fripp The band’s shows regularly include material from twelve of their thirteen studio albums, including many songs from their seminal 1969 album In the Court of the Crimson King, described by Pete Townshend as an “uncanny masterpiece.” The 7-piece line-up play many historic pieces, which Crimson has never previously played live, as well as new arrangements of Crimson classics – “the music is new whenever it was written.” There are also new instrumentals and songs, as well as compositions by the three drummers, Pat Mastelotto, Gavin Harrison and Jeremy Stacey, which are a regular highlight.
    [Show full text]
  • New York Clipper (August 1880)
    ! ; — ! : ' : : . I rjaAPTJC QXTELKIV. ) Sdltor and Proprietor. (" I>rjiW YORK, FLOWERS. S^TUHD^Y AUGrXJS I His lips -were white. 7, 1830. -No. (nomlrt ao. IO« THI nw TOM CLirpSB. could not lut.„ JPrloe Ten Cents. BY VABDTKS BBOWK. behind this sinister mask, rnlly avenged Jnaignerite had been ^Vbtoceeamatbrrant; Oo whmt tklr mora ' -"-tC*""?" Tb« places andotherSn5 o?hL"*J^;tP^5?n'^'?«Tl^«"«^«. ™*' evening last Winter at bama ororth to idont - -.=l2.1^4^^?*^o=J.'WcompaniedbyaDorter pape^-^^SSh I'^riii'd; arf wSu^tJtS'^ schoolgirls' reunion or somcthlSirVf Uit lirt ° , When tbe flowcn emms— J^j!^fi,°^°S' WaUaohlan, having piok- «t only a transient girlish timTiL ^ fortunate In anlvinir to- ooat;.seaixjhed hlB^SoEeto 0«nK<'«e«- Aiid.lf ita«glartai.ba«, nvht,='he *J°V°*" "J Perastedrand^BfooniSe known Mid ; "a little laterand ^,^JS^ To br'whatererainie found he woSd Lve J^^Pl^ef B»yl was channM is pnw^t Did Niton flDd. In no lodgtoK espeoiaUy pocketbooki very mild. Daring b«r Idle boon at thto hotel thi whence he extraotedthe bankbilte the recess we haS sumt.! (II ilattira crei knav IdJaoM). i "^seei season is OTersnSw by tlie Countess, with the doiterity sSJn-i*'™-- ™«™y oloi a Alexlnn. professional as yon hSSS" ?S?°'!^"5. the hiS'dto: prestidlgifateur. Jfi'^/-.i5?""'J?- tarow to tdo paasport," he inin^^f^** continued, exam sDCgested her as a snhecltote- ah* enna<fnte!i "»°<1 yon iS^ w°™' I?P«"' a rumpled sheetl Witnessed tbe reSSuiSt iliw..""*'"*^' 'andwritliv. my denrj^ ta, nmong other notabHldM a , rI^h'"?^'?'>-™'"" ertr?,?Ji^'*.P*'**='- then, no DOV- • Conotess dl^NanMy has In tba aimpla flowan thMt mtMadmn mt+k* couple, o„iy ^Ih^^"^^.- Ab.
    [Show full text]
  • Visions Presents Steven Wilson Mp3, Flac, Wma
    Steven Wilson Visions Presents Steven Wilson mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Visions Presents Steven Wilson Country: Germany Released: 2013 Style: Prog Rock, Art Rock MP3 version RAR size: 1715 mb FLAC version RAR size: 1315 mb WMA version RAR size: 1759 mb Rating: 4.9 Votes: 230 Other Formats: AU AA VOX VQF TTA AUD MPC Tracklist 1 –Steven Wilson Luminol 12:12 2 –Blackfield Blackfield 4:08 3 –Porcupine Tree I Drive The Hearse (Live) 6:50 4 –No-Man True North (Radio Edit) 4:25 5 –Steven Wilson Harmony Korine 5:09 6 –Blackfield Pills 3:36 7 –Porcupine Tree Even Less 7:13 8 –No-Man Back When We Were Beautiful 5:07 Companies, etc. Phonographic Copyright (p) – Steven Wilson Copyright (c) – Steven Wilson Notes Given away in a cardboard sleeve with German magazine "Visions" issue 240 March 2013. Information on backcover: For promotional use only. Not for resale 1 - (taken from the album "The Raven That Refused To Sing And Other Stories") 2 - (taken from the album "Blackfield") 3 - (taken from the album "Octane Twisted") 4 - (taken from the album "Schoolyard Ghosts") 5 - (taken from the album "Insurgentes") 6 - (taken from the forthcoming album "IV") 7 - (taken from the album "Stupid Dream") 8 - (taken from the album "Together We're Stranger") The copyright in this compilation is owned by Steven Wilson/Blackfield/Porcupine Tree/No-Man under exclusive license to Kscope This compilation ℗ 2013 Steven Wilson This compilation © 2013 Steven Wilson Made in Germany Track timings are not appearing on this release.
    [Show full text]
  • Download This List As PDF Here
    QuadraphonicQuad Multichannel Engineers of 5.1 SACD, DVD-Audio and Blu-Ray Surround Discs JULY 2021 UPDATED 2021-7-16 Engineer Year Artist Title Format Notes 5.1 Production Live… Greetins From The Flow Dishwalla Services, State Abraham, Josh 2003 Staind 14 Shades of Grey DVD-A with Ryan Williams Acquah, Ebby Depeche Mode 101 Live SACD Ahern, Brian 2003 Emmylou Harris Producer’s Cut DVD-A Ainlay, Chuck David Alan David Alan DVD-A Ainlay, Chuck 2005 Dire Straits Brothers In Arms DVD-A DualDisc/SACD Ainlay, Chuck Dire Straits Alchemy Live DVD/BD-V Ainlay, Chuck Everclear So Much for the Afterglow DVD-A Ainlay, Chuck George Strait One Step at a Time DTS CD Ainlay, Chuck George Strait Honkytonkville DVD-A/SACD Ainlay, Chuck 2005 Mark Knopfler Sailing To Philadelphia DVD-A DualDisc Ainlay, Chuck 2005 Mark Knopfler Shangri La DVD-A DualDisc/SACD Ainlay, Chuck Mavericks, The Trampoline DTS CD Ainlay, Chuck Olivia Newton John Back With a Heart DTS CD Ainlay, Chuck Pacific Coast Highway Pacific Coast Highway DTS CD Ainlay, Chuck Peter Frampton Frampton Comes Alive! DVD-A/SACD Ainlay, Chuck Trisha Yearwood Where Your Road Leads DTS CD Ainlay, Chuck Vince Gill High Lonesome Sound DTS CD/DVD-A/SACD Anderson, Jim Donna Byrne Licensed to Thrill SACD Anderson, Jim Jane Ira Bloom Sixteen Sunsets BD-A 2018 Grammy Winner: Anderson, Jim 2018 Jane Ira Bloom Early Americans BD-A Best Surround Album Wild Lines: Improvising on Emily Anderson, Jim 2020 Jane Ira Bloom DSD/DXD Download Dickinson Jazz Ambassadors/Sammy Anderson, Jim The Sammy Sessions BD-A Nestico Masur/Stavanger Symphony Anderson, Jim Kverndokk: Symphonic Dances BD-A Orchestra Anderson, Jim Patricia Barber Modern Cool BD-A SACD/DSD & DXD Anderson, Jim 2020 Patricia Barber Higher with Ulrike Schwarz Download SACD/DSD & DXD Anderson, Jim 2021 Patricia Barber Clique Download Svilvay/Stavanger Symphony Anderson, Jim Mortensen: Symphony Op.
    [Show full text]
  • A Journal for Contemporary Music (1971-1988)
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring.
    [Show full text]
  • Deodato Whirlwinds Mp3, Flac, Wma
    Deodato Whirlwinds mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Whirlwinds Country: US Released: 1980 Style: Fusion, Jazz-Funk, Funk MP3 version RAR size: 1564 mb FLAC version RAR size: 1723 mb WMA version RAR size: 1419 mb Rating: 4.7 Votes: 615 Other Formats: RA DXD WAV DTS ASF ADX MPC Tracklist Hide Credits Moonlight Serenade A1 8:27 Bass [Center Section], Soloist, Bass – Tony LevinWritten-By – Glenn Miller Ave Maria A2 5:18 Arranged By, Adapted By – Eumir DeodatoDrums – Nick RemoWritten-By – Franz Schubert Do It Again A3 4:09 Written-By – Donald Fagen, Walter Becker West 42nd Street B1 5:50 Written-By – Eumir Deodato Havana Strut B2 4:41 Trombone, Soloist – Sam BurtisWritten-By – Eumir Deodato Whirlwinds B3 8:09 Written-By – Eumir Deodato, John Tropea Companies, etc. Manufactured By – MCA Records, Inc. Pressed By – MCA Pressing Plant, Gloversville Produced For – Kenya Music, Inc. Phonographic Copyright (p) – MCA Records, Inc. Copyright (c) – MCA Records, Inc. Published By – Kenya Music, Inc. Published By – Robbins Music Corp. Published By – American Broadcasting Music, Inc. Published By – Red Giant Music, Inc. Recorded At – Record Plant, N.Y.C. Credits Arco Bass – Alvin Brehm, Russel Savakus* Bass – John Giulino Cello – Alan Shulman, Charles McCracken, Gloria Lanzarone Congas, Bongos – Rubens Bassini Drums – Billy Cobham Engineer – Carmine Rubino Engineer [Assistant] – Kevin Herron, Richard Apuzzo Flute, Saxophone – Artie Kaplan, George Marge, Joe Temperley, Phil Bodner, Romeo Penque French Horn – Brooks
    [Show full text]
  • Steven Wilson, 17.07.18, Bonn, Kunst!Rasen
    Steven Wilson, 17.07.18, Bonn, Kunst!Rasen Der Prince of PopProg als (teils) übellauniger Bademeister »You look wet!« Was die Galligkeit seiner Ansagen angeht, ist Steven Wilson offensichtlich bei seinem Storm Corrosion-Buddy Mikael Akerfeldt in die Lehre gegangen. Allerdings ohne die Leichtigkeit von dessen Humor kopieren zu können. Apropos Sturm und Unwetter: ein solches hatte sich unbemerkt von wetter.de und Regenradar an den Kunst!Rasen angeschlichen und alle frühzeitig Erschienenen einmal gründlich gebadet. Bis der Regen dann nachließ. Nicht nur der ausnahmsweise mal mit dem Fahrrad entlang des Rheins angereiste Autor war – wie man sagen könnte – wet to the bone, ein anderer Betreuer ließ sich von den kurzzeitig wahrnehmbaren Blitzen und Donner sogar leider komplett in die Flucht schlagen. Allen, die zu bleiben riskiert haben, ward auf Wunsch ein rosa Cape zum Lohn (was ein weiteres Steven- Bonmot provozierte: „I see a lot of Pink –Nick (Beggs)‘ favourite colour!“). Zum Schutz Deiner persönlichen Daten ist die Verbindung zu www.flickr.com blockiert worden. Klicke auf Inhalt laden, um die Blockierung zu www.flickr.com aufzuheben. Durch das Laden des Inhalts akzeptierest Du die Datenschutzbestimmungen von www.flickr.com. Für mehr Informationen zum Datenschutz des Anbieters www.flickr.com bitte auf dessen Website informieren, bevor Du den Inhalt nachlädst. Inhalt von www.flickr.com laden Im Folgenden die strukturierte Kurzkritik von Betreuer Wolfgang zum weiteren Geschehen auf dem Rasen: Der Spaß stand wesentlich mehr im Vordergrund als das etwas programmhafte Musizieren der letzten Jahre (das jedoch auch seinen Reiz hatte). Live wirkten die Stücke des letzten Albums wesentlich besser und der Spannungsbogen des Konzerts war auch gut gewählt.
    [Show full text]
  • King Crimson Collectors' Club (1969-1974)
    King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 King Crimson 1 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 Collectors' Club (1969-1974) di Gianluca Livi Articolo originariamente apparso in due puntate sui nn. 35 e 37 (rispettivamente Marzo/Aprile e Luglio/Agosto del 2008) di "Musikbox. Rivista di cultura musicale e guida ragionata al collezionismo", qui pubblicato, con alcune varianti, per gentile concessione dell'autore. Premessa (2008) Alla fine degli anni '90, stanco dei bootleg, Robert Fripp decise di commercializzare ufficialmente alcuni live dei King Crimson su cd, muovendo dal presupposto che, se fino a quel momento i fan avevano acquistato materiale del gruppo dal vivo di scarsa qualità, facendo guadagnare esclusivamente biechi 2 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 imprenditori pirata, poteva egli stesso vendere le medesime esibizioni, ufficializzandone l'uscita sul mercato discografico e, congiuntamente, perseguendo anche un (legittimo) fine di lucro. Poiché anche parte delle registrazioni in suo possesso erano qualitativamente scadenti, conscio dell'impossibilità di immetterle nel mercato senza suscitare polemiche, decise di distribuirle solo agli iscritti di un club, il cosiddetto “Collector's Club”. Coloro che vi avessero aderito, previo versamento di una cifra iniziale abbastanza consistente, avrebbero ricevuto i titoli pubblicati di volta in volta, vedendosi scalato il valore di ogni singolo disco dalla quota d'iscrizione. L'iniziativa andò avanti con ottimi risultati fino al 2002, quando - abbandonato definitivamente il metodo dell'iscrizione al Club - i cd furono inseriti nel catalogo della DGM, unitamente ad album ufficiali dei Crimson e di altri artisti della scuderia.
    [Show full text]