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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
Charlie Mariano
Charlie Mariano Plays
- Charlie Mariano - Charlie Mariano Plays
- 01. Chloe (4:10)
- 02. You Go To My Head (2:42)
- 03. S' Nice (4:13)
- 04. Manteca (3:37)
- 05. It S You Or No One (4:39)
- 06. Three Little Words (4:45)
- 07. Green Walls (3:29)
- 08. Give A Little Whistle (4:47)
- 09. I Should Care (2:58)
- 10. My Melancholy Baby (5:15)
- Charlie Mariano - saxophone
139.00 PLN
K2HD:
Nr kat.: VICJ61494Label : JVC Japan
LEGENDARNE NAGRANIA BETHLEHEM RECORDS w formacie K2HD (JVC JAPAN)
>>> THIS IS K2 HD SOUND - 100 kHz and 24-BIT RESOLUTION! "Back in the 1950s, Charlie Mariano was one of the most promising of the bop-orietned altoists. This Fresh Sound CD reissues 16 selections from three sessions originally released by Bethlehem. The personnel is consistent with Mariano joined by pianist Claude Williamson, bassist Max Bennett, drummer Stan Levey, trombonist Frank Rosolino (on eight songs) and the cooltoned trumpeter Stu Williamson (on 11). The repertoire mixes together fairly basic group originals and swinging standards with many fine solos by the horns. An excellent example of Charlie Mariano's playing in the 1950s." — Scott Yanow (AMG) Altoist Charlie Mariano, active since the late Forties playing around his native Boston, became much better known through his stay at Stan Kenton's orchestra (1953-1955). He managed to assert his own individual quality and his own musical importance while keeping a deep-seated devotion to Charlie Parker. On these early sides, recorded in Los Angeles, Mariano blows with a great deal of emotion, authority, bite and consistency, showing why he became one of the most demanded studio sidemen in the West Coast (1953-1957) as well as one of the most important altoists in modern jazz since Charlie Parker. Charlie Mariano (as), Stu Williamson (tp), Frank Rosolino (tb), Claude Williamson (p), Max Bennett (b), Stan Levey (d)
