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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
Sam Rivers
Live
Live Review by Scott Yanow [-] The music on this 1998 CD reissue was originally scattered over several releases until it was finally grouped together in 1978 for the double LP The Live Trio Sessions (along with another eight minutes of related material not brought back here). The bulk of the music ("Hues of Melanin") is from a November 10, 1973 Yale University concert that features Rivers with both Cecil McBee and Lewis Worrell on bass along with drummer Barry Altschul. The continuous free improvisation has Rivers stretching out with great length on soprano, flute (complete with very odd vocal sounds), piano, and then (during the final five-and-a-half minutes of the 44-minute performance) tenor. It is a pity that Rivers chose to feature his main ax so sparingly, for this piece would have been much stronger if he had played tenor for 35 minutes rather than just five. The latter part of the CD is from a Norway concert on August 3, 1973 ("Suite for Molde"), with Arild Andersen taking McBee's place. Rivers plays soprano and flute for eight minutes and then tenor for 11 minutes; the latter section is the strongest of the entire disc. Sam Rivers' longtime fans may think of this collection as bordering on the classic, and there are certainly some emotional moments, but Rivers has sounded more consistent elsewhere.
