![]() Records are constantly coming and going out of print, and some never to return again, like the Music Matter’s SRX for example. He has a wealth of knowledge and experience and is a true vinyl guru sharing and expanding knowledge about vinyl. Michael is a very entertaining guy and shares many stories along the way in this video. The lengthy video is 2 hours and 10 minutes long. This list is made from the video Analog Planet posted on YouTube on Apr 3, 2019. Recorded at the Concertgebouw, Amsterdam, The Netherlands on 26.II.Michael Fremer 100 All Analog In Print Reissued Records You Should Own Listįrom the Vinyl Savior himself, Michael Fremer 100 all-analog in print reissued records you should own list. It announced, loud and clear, the communicative enthusiasm that was the lasting hallmark of these four exceptional musicians. The concert inaugurated a triumphant career in Europe. Nevertheless, we have chosen to retain the surviving part to bear witness to the groundbreaking creativity then bubbling under the surface in this exceptional quartet’s timeless art. Sadly, the original tape comes to a halt before the end of this piece could be recorded. With their rhythmic patterns, interspersed with one or two bursts of resounding laughter, the musicians displayed the creative spirit that was to result in the legendary album “Time Out” a year later. The concert concluded with “The Duke”, a tribute to Ellington, and then a superb rendition of “Take the A-Train”, a 1940s classic and the hallmark piece of Ellington’s orchestra, played here in a whirlwind of energy and innovative rhythms. The band went on to play “The Wright Groove”, a short piece written by Eugene. After hearing Jascha Heifetz, he decided he could never reach the maestro’s heights and switched to drums. When he played “Watusi Drums”, the audience discovered an exceptional drummer who had started out as a virtuoso violinist: fifteen years previously, he had been playing Mendelssohn’s Concerto with the Boston Symphony Orchestra. It was now Joe’s turn to take the limelight. In the same vein, they led on with “For All We Know” – to thunderous applause. Eugene, who liked to be called “the Senator”, seemed to lead the private dialogue with an unseen hand, dexterous and sensitive. The saxophone then announced the theme of “One Moment Worth Years”. Paul led the show in his flowing, ethereal style, with sporadic brassy, dissonant contrasts, proving – if proof were needed – his consummate skills in harmonic phrasing. They continued with a 1930s standard, “These Foolish Things”, by Jack Strachey, a song that had helped make Ella Fitzgerald famous. This was followed by a Disney piece, “Someday, My Prince Will Come” introduced by the piano, three years before the great Miles Davis brought out his eponymous album. He had an inventiveness that was not only melodic but also rhythmic, and he knew how to win over an audience. The piano came in, sounding out a counter-melody that revealed Brubeck’s classical training and knowledge of counterpoint, acquired when he studied under Milhaud and Schoenberg. ![]() After some timid applause, Desmond kicked off with the melancholy, sophisticated theme of “Two Part Contention”. Picture the packed auditorium murmuring expectantly, and four musicians overcome with stage fright yet eager to perform. That winter evening of 1958, the four American musicians, all in their late thirties, took the stage of the Concertgebouw.
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