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Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen

Jazz At The Pawnshop vol. 2

Jazz At The Pawnshop vol. 2 image
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Various Artists - Jazz at the Pawnshop, Vol. 2 01. E.Y. "Yip" Harburg - Over the Rainbow (7:17) 02. Various Artists - Gubben Och Källingen (7:30) 03. Milt Gabler - In a Mellow Tone (10:30) 04. Jimmy Van Heusen - Nancy (With the Laughing Face) (6:34) 05. Various Artists - High Life [Take 2] (5:57) 06. Raymond Hubbell - Poor Butterfly (3:56) 07. Dorothy Fields - Exactly Like You (6:14) 08. Ted Persons - Things Ain't What They Used to Be (9:09) 09. Duke Ellington - It Don't Mean a Thing (If It Ain't Got That Swing) (3:06)
  • Arne Domnerus - alto saxophone
  • Bengt Hallberg - piano
  • Georg Riedel - bass
  • Egil Johansen - drums
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79.00 PLN


Nr kat.: PRCD9044
Label  : Prophone Records
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129.00 PLN

SACD Multi-CH:

Nr kat.: PRSACD7079
Label  : Proprius (Szwecja)

Jeden ze znanych amerykańskich recenzentów jazzowych, publikujący w stołeczne prasie napisał najkrótszą recenzję tej płyty: "The Best Jazz Recording of the Century"! I TAK JUŻ ZOSTAŁO. Historia nagrania płyty to wręcz scenariusz filmu. Oprócz niespotykanej nigdzie indziej radości ze wspólnego muzykowania - realizatorom udało się uzyskać nieprawdopodobną jakość techniczną dźwięku. Coś wspaniałego! (i ma kontynuacje! Także cz. 3!) ...Today (1992) in my fifties, I can look back on over thirty years in the recording business, and I am thus also able to survey my whole career in a certain perspective. I recognize my quest for that tight and harmonious sound of those early records in my childhood. Maybe they have been there in my sub-conscience all the time, directing me in my ”sound pictures” in a way that makes musicians feel comfortable. After years in multi-track studios with all their over-emphasis on the very latest technology, such as overdubbing and that painstaking splicing that nearly made me a legend, I simply, in the mid-seventies, withdrew to only two Neumann U47 microphones and a Nagra stereo recorder. For several years I recorded only folk music all over Scandinavia and – once – even in India! These recording activities have given me invaluable experiences of exposure to living sound in full dimensional stereo. I started to challenge myself in trying to focus the microphones so close to the music that I could catch the same recorded sound that I remembered from the old records. I said to myself; if they could do it over 60 years ago with just one single microphone it must be possible for us with our utterly sophisticated technology also... (Gert Palmcrantz, Recording Engineer)


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