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TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1
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MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'
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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
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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
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Connie Han
Crime Zone
- Connie Han - piano
69.00 PLN
CD:
Nr kat.: MAC1140Label : MackAvenue (USA)
With her debut Mack Avenue Records album CRIME ZONE, next generation Los Angeles pianist Connie Han has created an edgy blend of modern and traditional jazz. Han’s parents, both practicing classical musicians, instilled an appreciation for music and a strong work ethic in Han very early on, enrolling her in piano lessons at the age of five. “Learning the piano as a child was a gift. By the time I became interested in jazz at the age of 14, I had great technical proficiency on my instrument allowing me to focus all of my energy on the more sophisticated elements of jazz music. More importantly, I was able to tackle the social equation of learning how to play with others. It takes a lot of time and patience to internalize the essence and heartbeat of jazz.” The 22-year-old’s connection to jazz began at the Los Angeles County High School for the Arts where she met and was mentored by drummer Bill Wysaske, who produced CRIME ZONE and has also become the musical director of her trio. Han shares her LACHSA alumni status with several major players in the entertainment industry such as Josh Groban, Jenna Elfman, Christina Milian and GRAMMY® Award-nominated jazz pianist and composer Gerald Clayton. After a three-week stint at UCLA, Han immediately began her professional piano career at 17-years-old; a step that Han believes gives her an overall edge against most players her age. “Because I never received training from a formal jazz piano teacher, most of my musical perspective actually came from interacting with a professional drummer when I was just a youngling, trying to hang on for dear life. I think that experience has given me a unique edge which informs the heavily percussive elements of my playing.”
