Logowanie
Te tytuły za chwilę znikną z oferty
Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen
Jazz at the Pawnshop
NAJWYŻSZY, NAJBARDZIEJ AUDIOFILSKI WINYLOWY NOŚNIK NA ŚWIECIE
CHOPIN, LISZT, Martha Argerich, Claudio Abbado, The London Symphony Orchestra
Concerto for Piano and Orchestra No. 1 in E minor, op. 11 / Concerto for Piano and Orchestra No. 1 in E flat major
UHQCD - dotknij Oryginału - MQA (Master Quality Authenticated)
Gregorio Paniagua, Atrium Musicae de Madrid
La Spagna Paniagua
Premiera nowego nośnika Ultimate HQCD
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, MENDELSSOHN, Martha Argerich, Charles Dutoit, Royal Philharmonic Orchestra
Piano Concerto No. 1 in B-flat minor, Op. 23 / Concerto for Violin, Piano and String Orchestra in D minor -
Nikt nigdy szybciej tego koncertu nie zagrał. Wirtuozeria i maestria
Wes Montgomery
The Incredible Jazz Guitar
ZamknijGaleria okładek
- Wes Montgomery - guitar
20bit K2Super Coding - ale jak to brzmi!
John "Wes" Montgomery taught himself to play at the age of nineteen and created a style as influential to jazz guitar as was Charlie Christian's to an earlier generation. Recorded in the early part of his solo career, THE INCREDIBLE JAZZ GUITAR OF WES MONTGOMERY defined standards for hard bop guitar which are as cogent today as they were in 1960. The album jumps out with the quartet hustling through Sonny Rollins' "Airegin," where Wes performs his often imitated licks with grace and agility. His extended phrases, thematic development, harmonic and melodic embellishment come together in a formidable technique with a heavy swing. An impressive use of octaves and chords coupled with the rejection of a guitar pick in favor of his own thumb allowed Wes' guitar to sing with warmth and with beauty. The lyrical rendition of "Polka Dots And Moonbeams" and his own "D-Natural Blues" are prime examples of the fullness of his lines. To this day, whenever a guitarist uses octaves he runs the risk of comparison to Wes, such was his mastery of this technique. Another aspect of his legacy is the compositions. Since their appearance on this album, "Four On Six" and "West Coast Blues" have become standard jazz repertoire. Yet to remain in awe merely of his approach is to miss the point of what he has to say. Montgomery's technique served only to express the emotions and inspirations born from the depths of his soul. From the strings of his guitar, through all the amplifiers, tapes and speakers, what shines through is Wes' heart and a style without which there wouldn't be players like Pat Martino, Kevin Eubanks and Mark Whitfield today.
