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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
Audiophile Classic - Extended HD2
KODALY, ALBENIZ, Minneapolis Symphony Orchestra, Antal Dorati
Hary Janos Suite, / Iberia
Extended High Definition Mastering 2
DVORAK, Columbia Symphony Orchestra, Bruno Walter
Symphony No. 9 From the New World
Extended High Definition Mastering 2
Miles Davis, Julian 'Cannonball' Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans, Wynton Kelly
Kinf Of Blue
Extended High Definition Mastering 2
GOUNOD, Vienna State Opera Orchestra, Armando Aliberti
Faust / Vienna Waltzes
Extended High Definition Mastering 2
RIMSKY-KORSAKOV, L'Orchestre de la Suisse Romande, Ernest Ansermet
Scheherazade
Extended High Definition Mastering 2
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
Miles Davis
Porgy and Bess
- Miles Davis - trumpet
199.00 PLN
SACD Hybr:
Nr kat.: UDSACD2200Label : Mobile Fidelity
Of all Gil Evans' orchestral scores for soulmate Miles Davis, PORGY AND BESS is his richest and most ambitious--a watershed of modern jazz harmony which served to secure Davis' pop star stature and define his brooding mystique. Inevitably, even non-jazz listeners own a copy of PORGY AND BESS or SKETCHES OF SPAIN. Like MILES AHEAD, Evans' band on PORGY AND BESS de-emphasized the traditional reed section in favor of a tuba, three French horns, two flutes and two saxophones. The resulting chords and overtones are dark, alluring and mysterious. Thus the opening brass-cymbal bluster of "The Buzzard Song" gives way to a mid-eastern carpet of flutes and deep brass as Davis' poignant trumpet speaks in split tones and yearning cadences, bursting with blues feeling; a tuba soon picks up the theme as muted trumpets are followed by tolling trombone/French horn chords. Each of the thirteen sections contrast lush instrumental details with intimate trumpet arias (which suggest the profound influence of Billie Holiday, particularly over the eerie textures of "I Loves You Porgy"). Evans' ability to orchestrate hypnotic call and response patterns with Davis, and his ability to layer multiple textures at contrasting tempos makes for several memorable moments: Philly Joe's dancing breaks and exchanges with Miles on "Gone," the church-like amens of "Gone, Gone, Gone," the counter-melodies on a lightly swinging "Summertime," Miles' sustained lyricism (and Evans' tart blue chordal rejoinders) on "Prayer," the brash after-hours swagger of "It Ain't Necessarily So," and the contrasting folkish themes of "Here Come De Honey Man." Timeless music.
