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Najbardziej analogowe brzmienie na CD - XRCD!
TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1
KWINTESENCJA BRZMIENIA ANALOGOWEGO
MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'
KWINTESENCJA BRZMIENIA ANALOGOWEGO
BRAHMS, Arthur Rubinstein
Piano Sonata No.3 in F Minor, Op.5 / Intermezzo in E, Op.116, No.6 / Romance in F, Op.118, No.5
KWINTESENCJA BRZMIENIA ANALOGOWEGO
LINN Records - Delikatesy!
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
TCHAIKOVSKY, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6
Nagranie EKSTREMALNIE audiofilskie
Alex De Grassi
Bolivian Blues Bar
- Alex De Grassi - guitar
64.00 PLN
CD:
Nr kat.: 724384828226Label : Narada
TELEGRAM: 1. Nadzwyczajna technika gry na gitarze 2. Doskonały wybór repertuaru (nieprzemijające standardy) 3. Wysublimowana aranżacja! TRZY W JEDNYM - Alex De Grassi wykonuje solo własne aranżacje standardów Theloniusa Monka, Duke'a Ellingtona, George'a i Ira'y Gershwinów i Hoagy'ego Carmichaela. New age giant Narada Records has in recent years cultivated other genres like world beat/flamenco, Celtic, and good old-fashioned guitar fingerstyling. The concept here is can't miss. Grammy nominee De Grassi is one of the world's premier fingerstylists, and he's tackling solo -- putting a bluesy slant on -- the works of Ellington, Gershwin, Monk, Hoagy Carmichael, and others. If you are into improvisational solo guitar, this might just fascinate you. But 13 tracks of even some of the greatest tunes of all time -- including "Round Midnight," "Goodbye Pork Pie Hat," and "Georgia" -- can get a little repetitive and run together when there's no outside instrumentation. "The Man I Love," in particular, wanders a bit off the melody and gets too far into noodling territory. On the plus side, De Grassi does his best to try to keep things interesting by varying his tones; on "Georgia," he creates a slow seduction using a deep, low chordal tone throughout. Part of the problem is that his arrangements are often of the ballad variety, and this makes zippier tracks like "Goodbye Pork Pie Hat" stand out like a crazed dancer amidst an all night waltz. Ironic as it sounds, De Grassi is most interesting on -- don't laugh -- the "Woody Woodpecker Theme," which allows him to pluck and dance around that famous riff. But isn't it strange when a cartoon theme stands out among new arrangements of such great classics? (AMG)
