The Legend Of Violin ‚Hellier‘ LS3/5a Sampler – ‘HELLIER’ Antonio Stradivari 1679 The ‘Hellier’is one of only ten inlaid and decorated instruments made by the master and perhaps the most celebrated of all his pre-1700 instruments. Designs and stencils for the decorations can be seen today in the Museo Stradivariano in Cremona showing Stradivari’s exceptional skill as a draftsman. The conception and execution of the Hellier is a tour-de-force of the maker’s work. The violin’s namesake, Sir Samuel Hellier, originally pur-chased the instrument from Stradivari, and it remained in his family until well into the 19th century. The Hellier then passed through the hands of various collectors, include-ing Oscar Bondy, George Crompton, Charles Oldham and a later member of the Hellier family. More recently, the violi-n was in the Hottinger Collection, landing at Rembert Wur-litzer, Inc. in 1965. The violin was retained by the Wurlitzer firm until its closing in 1974 when it was acquired by Willi-am Moennig and Son of Philadelphia. Since that time, the violin has gone into private ownership.

The Hellier has been on display at the following exhibiti-ons:

The South Kensington Loan Exhibition, London, 1872 and 1885;

The music Loan Exhibition at Fishmonger Hall, London, 1909;

L’sposizione di Liuteria Antica a Cremona nel 1937;

Rembert Wurlizer Loan Exhibition of Stringed Instruments and Bows, New York, 1966;

Capolavori di Antonio Stradivari, Cremona, 1987.

Nikolaj Znaider

Celebrated as one of the foremost violinists of today, Nikolaj Znaider is regularly invited to work with the world’s leading orchestras including, Vienna Philharmonic, Berlin Philharmonic, Royal Concertgebouw Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, St. Petersburg Philharmonic, New York Philharmonic, Chicago Symphony, Philadelphia Orchestra, Cleveland Symphony, and enjoys artistic collaborations with acclaimed conductors including Barenboim, Dudamel, Sir Colin Davis, von Dohnanyi, Dutoit, Gergiev, Jansons, Jurowski, Maazel, Masur, Mehta, Rostropovich, Temirkanov and Thielemann.

Born in Denmark to Polish-Israeli parents, Znaider studied with the eminent Russian pedagogue Boris Kushnir and drawing on this eclectic background his playing has been heralded in the Strad Magazine as „extraordinarily intelligent, soulful and impassioned, yet without a hint of indulgence“ and the Chicago Tribune said

„Perhaps not since the young Gidon Kremer burst upon the violin world in 1970 has a violinist caused quite the stir of Nikolaj Znaider“.

A keen recitalist and chamber musician, Znaider has shared the stage with the foremost artists of today such as Daniel Barenboim, Leif Ove Andsnes, Yuri Bashmet, Yefim Bronfman, Lynn Harrell, Lang Lang and Pinchas Zukerman. In January 2008, he made his recital debut at the Vienna Musikverein to much critical acclaim – Die Presse wrote „for many, the 32 year old is already today the best violinist of the world“.

Znaider is passionate about the education of musical talent and is Founder and Artistic Director of the Nordic Music Academy, an annual summer school whose vision it is to create conscious and focused musical development based on quality and commitment. Nikolaj Znaider plays the „Kreisler“ Guarnerius „del Gesu“ 1741 on extended loan to him by The Royal Danish Theater through the generosity of the VELUX FOUNDATIONS and the Knud Hagaard Foundation.

Hellier – The Legend Of Violin

01. Jealousy (3:26)
02. Romanza Andaluza.Op.22 No.1 (4:40)
03. Consolation (3:26)
04. Scherzo-Tarantelle.Op.16 (4:36)
05. Meditation From „This“ (4:26)
06. It Ain’t Necessarily So (2:41)
07. Estrellita (3:21)
08. Polonaise De Concert In D Mjaor.Op4 (5:09)
09. Zigeunerweizen.Op.20 (7:46)
10. El Choclo (5:06)
11. Vocalise.Op.34.No.14 (5:28)
12. Enrico Toselli.Serenata (3:45)
13. Hungarian Dances No.2 (2:29)

Artykuł The Legend Of Violin ‚Hellier‘ LS3/5a Sampler pochodzi z serwisu Rogers HiFi.

Sampler LS3/5a Professional Monitor Loudspeaker. Fantasy trip

Its first song has already caught my breath. The irresistible voice has taken me away from this chaotic world. When you feel tired one day, these songs can be your shoulder and comfort your heart. Let’s close our eyes and indulge in the beautiful music world.

This music, this loudspeakers… This is my world.

Uncompressed Sound **  Natural Dynamics

01. Nat King Cole – The More I See You (3:32)
02. Carly Simon – Over The Rainbow (2:26)
03. Don Williams – She Never Know Me (2:49)
04. Louis Armstrong & Ella – Summertime (5:00)
05. Bobby Gentry – Close To You (3:45)
06. Debby Boone – I’ll Be Home (3:15)
07. The Choirboys – Walking In The Air (3:25)
08. Johnny Hartman – You Are Too Beautiful (5:35)
09. Saint Saens – Carnival of the Animals, Fossiles (Boston Pops Orchestra) (1:25)
10. Manuel Barrueco & Steve Morse – Cavatina (3:16)
11. Antonio Vivaldi – The Four Seasons, Spring, I. Allegro (Alan Loveday-Violin) (3:12)
12. Cannonball Adderley – Goodbye (2:37)
13. W.A. Mozart – Piano Sonata No.11 in A Major, ‚Rondo Alla Turca‘ (Andrei Gavrilov-Piano) (3:28)
14. Georges Bizet – Carmen, Act III. Entr’acte (Kristina & Laura ) (2:36)
15. Dmitri Shostakovich – Jazz Suite, Waltz No.2 (Philadelphia Orchestra) (3:44)

Artykuł Sampler LS3/5a <br />Professional Monitor Loudspeaker pochodzi z serwisu Rogers HiFi.

SAMPLER Rogers Audiophile Reference.

Half Century of Music Excellence

For the past 50 years, Rogers has been best known for its precision acoustic engineering to reproduce the most accurate musical rendition, achieving sonic perfection for the discerning music lovers. After manufacturing the mono „Williams“ valve amplifier in the fifties, the production of the stereo „Cadet“ integrated valve amplifier became a world best seller in the late sixties. The concurrent development of loudspeakers during that same period included unique horn-loaded systems, and the wall hanging design with thin cabinet called „Wafer“ that was well ahead of the times. Entering the transistors age, Rogers was one of the first manufacturers to offer transistor products including the famous Ravenbourne and Ravenbrook stereo amplifiers and tuners.

...commissioned by the BBC

In the seventies, Rogers was commissioned by the BBC to manufacturer the LS3/5a monitor speakers. The LS3/5a becomes the „benchmark“ product used throughout the broadcast industry as well as professional recording studios. After 25 years, Rogers continues manufacturing the LS3/5a due to its high demand from like-minded audiophiles.

For your enjoyment, Rogers is proud to present to you this special Reference Quality CD with the music that you will love. The tracks in this Reference CD were carefully selected to complement Rogers equipment, including our Class A valve amplifier, the CD transport, and our full line of Rogers Loudspeakers, including the prestigious LS3/5a monitor.

Finally, we want to thank the international renowned music producer, Mr. Winston Ma, who has spent tireless efforts to produce each track of this CD. We know you will enjoy this Reference CD with our complement I

Rogers International (UK) Limited – London, England

Rogers Audiophile Reference CD

It is my honor and privilege to be commissioned by Rogers International (UK) Ltd. to produce a demonstration compact disc in celebration of its 50th Anniversary.

In order not to blemish the reputation of Rogers, the most respected British Hi Fi manufacturer, every care has been taken in the preparation of this album. The latest and the best mastering technology, the Super HDCD (High Definition Digital Compatible) format in 24-bit/88.2 KHz has been employed. This is, definitely, an important basis whereby an audiophile can be sure that the device he is relying on in gauging the performance of a system is of such quality and accuracy that he can use as the reference. With this in mind, this album is complied.

… objectively

An audio engineer judges the performance of a piece of equipment, mainly, by testing and measuring, in ascertaining whether the equipment under test fulfills certain technical specification. He does sometimes test the equipment by auditioning, but he may, objectively, trust more the data he can derive from his measurement.

An audiophile, while likes to refer to the specification sheet, often rates the performance of a piece of equipment by subjective auditioning and comparison. He is more concerned with the qualities he can perceive, such as musicality, definition, transparency etc. To him, musicality, emotion and sense of involvement are the more important criteria for music listening.

… sweet nuance

I hope this edition can achieve the best of both worlds. Carefully selected passages of music are meant to exemplify how a system should reproduce those particular pieces of music. A fine- tuned system should be able to reproduce the dynamics of a concert grand, the sweet nuance of a Stradivarius, the naturalness of human voice, the power of a kick drum, the sub-sonic of a church organ and the transient of a flamenco guitar. All these qualities are what an audiophile is looking for. The suggested test for each band of music is charted in the liner notes for the reference of the listener. The passages have been carefully selected in order to highlight the sonic characteristics of the music therein. They are, at the same time, also beautiful musical gems for pure listening pleasure.

May I wish the audiophiles who own Rogers equipment find the above qualities in their systems.

Winston Ma

How to use this album for gaugin the performance of your system

1. High Life. „Jazz at the Pawnshop¹‚ is generally considered one of the best jazz recordings of the century. „High Life“ is a selection from this legendary recording. As soon as you play it, the music will immediately draw you to the crowdy and smoky jazz club – The Pawnshop, in Stockholm. Gert Palmcrantz is indeed a rare talent in recording engineering. He had not only recorded the music admirably well, but also captured the atmosphere of the whole setting: the small and congested stage where all the musicians were in the mood and playing with the same wave length; the audience was in high spirit; the recording equipment was perfectly set up …. Everybody was so involved in the music that you can feel their presence in your listening room. If you have a good system, you can even see Arne Domnerus moved from left center to center and from center to center right while he was playing his saxophone. Then comes the articulate cymbal display, then the xylophone, the drums…. You will be totally involved. You feel „you are there“. This is what we call the art of high-end audio at its best.
2. A Taste of Honey This is another multi-award-winning recording. Patricia Barber has a unique voice and style: melancholy coolness. In this song, her voice is deep and full of sweet sadness, reminiscent of an affair. The guitar and the percussion were recorded better than anything. The definition is really stunning. The recording brings about that emotion that you do not often find in other recordings. You simply do not want her to stop singing.
3. Feelings. This is not a Steinway, but a Yamaha. It was also not recorded in a concert hall, but in a studio (Lion Studio, Singapore). The secret of why this piece sounds so musical, warm and lustrous is that it was recorded in the analogue format, then, meticulously transferred to a digital master. The recording engineer was John Herbert. Here, Jerome plays with his feeling and in such tempo that you will be captivated by the music. From a technical viewpoint, reproduction of this „feelings“ requires a high degree of dynamic contrast of your system, without which, the piano will sound plain and dull. The musicality will be gone.
4. Il Est Ne Divin Enfant: The name of this song is difficult, but not the music. Kurt Bestor has been able to create that kind of joyous and festive mood of Christmas that will make your body unconsciously dancing with the music and rhythm. The bass extension and more importantly, the bass resolution have a lot to do with such effect. The effect is very different from that of No. 2. This score will light up your spirit for the rest of the day.
5. I Can’t Help Falling in Love: This is an easy-listening number you will enjoy. Some people might have different views on Michael Gold’s resemblance of Dean Martin. I know this is his natural voice, which is full smooth and warm.
6. Summertime You should have never heard a „Summertime“ like this before. Terry Perez, the brilliant cellist, has been successfully brought about the scene of a very peaceful, or perhaps, a lazy summer afternoon. Her silky bowing, with the extremely articulate percussion, is breezing your face with sweet intimacy. The resolution of the double bass and the tinkling of the cymbals have projected such a deep soundstage and musical event that you would like to spend the whole evening listening to the music. This recording was done in Hall C, SUNNY Purchase Performing Arts Center, known to be one of the best recording venue in the proximity of New York. Phil Bulla was the recording engineer. If you do not find it involving, your system might not be in an optimum condition. This recording was reviewed as one of „The Best New Recordings in CES, Jan., 96“ by Stereophile magazine, USA.
7. Night: You might have heard a lot of drums. However, this is a recording of an array of Chinese drums, which I highly recommend to you. Unlike western drums, the Chinese drums in this recording generate tremendous energy of high concentration in the mid-range that challenges the power handling capability of any system. If done it right, you can hear the resonance of different drums and their locations; you can gauge the size of the drums by the tightness of the sound and their varying frequencies at mid and low registers. The other percussion instruments fill up the soundstage with liveliness and energy. A good piece to exercise your system, in particular, its mid-range.
8. The mon Represents My Heart You might not be too often to hear a harmonica or a Chinese Urhu and even rare to hear them playing in concert with each other. Backed by a beautiful string section, piano and percussion, the two unique instruments display very pleasing tone colors. The images of the instruments should be solid with a lot of air around them. Enjoy the mellow and tender of the urhu, joined by the exquisite harmonica. They are singing together. This recording was reviewed as one of „The Best New Recordings of CES Jan., 96 by Stereophile magazine, USA,
9. Falling in Love with Lore Listen to the dynamics and grandeur of the piano at the opening of this number and the beautiful bass that follows – all in high resolution and definition. Jeramy and his friends are definitely in the mood. They are, very obviously, enjoying the company of each other. Let us join the fun.
10. Deer Hunter Strings are the most essential part of light and classical music. However, they are not easy to be reproduced. It all depends on the analytical ability of your system, the smoothness and accuracy of its mid-range and the articulation of the highs. Here is a piece of a violin solo, embedded in a velvet mass of strings. Check how much you can get in terms of depth, height, and breadth of the soundstage. Do you have sufficient warmth and sheen for strings or you only frown at the harshness of them?
11. Besame Mucho The small jazz ensemble of Jeramy Monteiro adds a delightful flavor to your listening mood for this Latin American evergreen. The rhythmic arrangement is so inviting. Shall we dance?
12. Edelweiss: John Whitney’s simple piano introduction might have already caught your attention. The rest of the music just flows and you can just relax and ease your tension of the day.
13. The First Noel. Don’t ever consider this recording as another Christmas song. It is intentionally produced as an audiophile score. The definition and the imaging of the guitar and piano should be among the best you have ever heard. The tranquility and the charm so created by the performance are a good example of what audiophiles call the sense of involvement.
14. The Trout. The double bass is stunningly natural and the low frequency resolution is articulate and transparent. John Whitney has turned Maestro Schubert’s famous work into a modern beauty. This recording has also been reviewed as one of „The Best Recordings in CES Jan., 98“ by Stereophile magazine, USA.
15. Alone in My chamber The arrangement of this song is simple: just basically a harmonica and piano. However, many audiophile friends acclaim that it has created an emotion of sweet sadness and loneliness. This is exactly the atmosphere the composer wished to achieve. There are very few, if any, other arrangements and performances that can produce this result. A good system should be able to capture this emotion.

Producer: Winston MA Recording engineers: various

Re-mastering engineer: Paul Stubblebine, Audio Consulting & Engineer Studio: Studio C, Hyde Street Studio, San Francisco USA Date: April 1,2 and 3,1998.

Format: 24-bit HDCD mastering process

Equipment: High quality signal path provided by Stephen Jarvis

Copyright: First Impression Music, Inc.,

Rogers International (UK) Ltd. is a subsidiary of Wo Kee Hong Group

The CD has never been sold in music stores. Lucky people could get it together with speakers. Its collector value exceeds 500 EUR on the open market.

Anyone who buys new or used Rogers LS3 / 5a monitors in the „60“ and „65“ jubilee versions will receive this treasure as a gift.

Artykuł SAMPLER <br />Rogers Audiophile Reference pochodzi z serwisu Rogers HiFi.

He has an excellent sense of phrasing, and conveys all that one needs of the dance-like character in each movement. The solemn preludes, especially those of the C major and D minor Suites, come off beautifully, and there is plenty of contrast in timbre. Clément can develop a good, sonorous tone on his C and G strings … Jean-Max Clément is playing the arpeggio figures with clarity of technique, excellent tone, and harmonic intent. – The Grammophone Magazine

 

The Jean-Max Clément cycle has much to commend it. He’s a communicative player, and whilst some of his tempi are generally on the slower side than we are used to today, the music-making has a spontaneity, leaving the favourable impression of music freshly composed and being created on the wing. He draws a big, rich, full-bodied sound from his instrument, and his varied vibrato endows his playing with a wealth of tonal shadings. He’s not averse to the use of portamenti to obtain a particular expressive effect. Nor is he afraid of applying some tasteful rubato to enhance the line. I love the way he captures the sombre introspection of Suite No. 5, gauging to perfection the ebb and flow of the melancholy Sarabande. To the faster dance movements there’s rhythmic vitality. This is certainly a premier league set, in admirable sound for its age. – Stephen Greenbank, Music Web International

Article-No.: CL43064
Barcode: 8808678160642
Format: 2LPs 180g 33rpm /gatefold sleeve
Release date: 09.03.2017

Artykuł BACH Jean-Mac Clement Six suites for unaccompanied cello pochodzi z serwisu Rogers HiFi.

Sam Taylor Saxophone Lady. Developed in the postwar era, Enka is a Japanese music genre, which was popular at one time. Considered to resemble traditional Japanese music stylistically, Enka is also a form of sentimental ballad music, presenting a unique sense of vicissitude among Japanese.

Similar topics are used in the lyric and title of Enka over and over again, such as ocean, liquor, tear, woman, rain, northern land, snow, separation and so on, in order to convey pathos and bitterness between lovers around these topics. Aiming to highlight special flavor and elegant demeanor of Enka, this album is performing with saxophone which is considered to be “the unparalleled romantic instrument”. Therefore, please fully Indulge yourself in the enchanting cooperation of saxophone and Enka.

Artykuł Sam Taylor <br />Saxophone Lady pochodzi z serwisu Rogers HiFi.

Elvis Presley Jailhouse Rock Dual Speed. „Jailhouse Rock“ war der Soundtrack zum dritten Elvis Presley Film aus dem Jahr 1957. Im Film spielt Elvis den hitzköpfigen Südstaatler Vince Everett, der unabsichtlich einen Mann tötet und ins Gefängnis muss. Dort findet er die Musik als neuen Weg ins Leben und es wurden gleich fünf Songs speziell für diesen Film geschrieben. Als die Single „Jailhouse Rock“ im Herbst 1957 in den Verkauf kam, blieb sie sieben Wochen Nummer Eins in den USA. Die Veröffentlichung in England im Jahr 1958 bedeutet den ersten Einstieg auf Platz 1 der Charts in der britischen Musikgeschichte.

Die fünf Songs…

Die fünf Songs auf diesem Album wurden ursprünglich nur als sieben Zoll EP mit 45rpm veröffentlicht und verkauften sich in dieser Variante mehr als zwei Millionen Mal. In Reminiszenz hieran erscheint das Audio Fidelity Re-Issue als 12 Zoll EP mit einer Seite mit 33rpm und einer Seite mit 45rpm. Die Neubearbeitung wurde durch Kevin Gray vorgenommen und man muss zweimal hinhören, um zu erkennen, dass es sich um Mono-Material handelt, denn Elvis steht auf einer breiten Bühne und bei „Young and Beautiful“ scheint er geradezu vor der Band zu stehen.

Das Audio Fidelity Re-Issue erscheint in einem mit Klarlack überzogenen Cover als 180g Pressung und dürfte ein Muss für jeden Elvis Fan sein, denn so gut hat man „Jailhouse Rock“ noch nicht gehört.

Titel:
Seite A – 33 1/3rpm:
1. Jailhouse Rock
2. Young and Beautiful
3. I Want to Be Free
4. Don’t Leave Me Now
5. (You’re So Square) Baby I Don’t Care
Seite B – 45rpm:
1. Jailhouse Rock
2. Young and Beautiful
3. I Want to Be Free
4. Don’t Leave Me Now
5. (You’re So Square) Baby I Don’t Care

Elvis Presley Jailhouse Rock EP on Dual Speed 12″ Vinyl from Audio Fidelity

5-Songs Presented on 33 1/3 RPM on the A-Side & 45 RPM on the B-Side!

Appearing for the Very First Time on This Format!

„Jailhouse Rock is Elvis Presley’s third appearance before the movie cameras. An Avon Production released through M-G-M, this film goes far beyond anything Elvis has done to date. Cast in the role of a well-meaning but fiery-tempered young Southerner, Elvis (Vince Everett in the film) finds himself sent to prison after he accidentally kills a man.

The changes wrought by his prison life and his relentless ambition to gain wealth and fame after his release are other aspects of this emotionally charged film. Needless to say, when Vince Everett looks for a means to gain wealth he naturally turns to singing, which gives Mr. Presley an excellent chance to utilize his voice while staying in character.

In this album, taken from the original sound track of the movie, Elvis sings all five of the songs which were written especially for the film. There is the throbbing title song, „Jailhouse Rock,“ which opens the album, followed by „Young and Beautiful,“ „I Want to Be Free,“ „Don’t Leave Me Now,“ and „Baby I Don’t Care, all in the inimitable style of this exceptional young singer and actor, Elvis Presley.“ – album liner notes

This Audio Fidelity release will be a dual speed, 12″ at 150g, 33 1/3 RPM on the A-side and 45 RPM on the B-side. Originally released in the fall of 1957 as a 7″ single, backed with „Treat Me Nice“ and was #1 on the U.S. chart for seven weeks. This is the first time the Jailhouse Rock EP is available on 12″ vinyl in this format. It’s Elvis Presley sounding better than ever and is sure to generate great interest from music collectors and Elvis fans alike!

Artykuł <b>Elvis Presley</b> <br />Jailhouse Rock Dual Speed pochodzi z serwisu Rogers HiFi.

Joanne Grauner introducing Lorraine Feather. Regrettably Joanne Grauer is listed with only three LPs to her name in encyclopaedias of jazz. The present album on the MPS label is the second, and certainly most sought-after, of this all-round musician. And it is probably Joanne Grauer’s most personal LP, for she was given all the time she needed in the studio together with her friends – and what is more the critic and producer Leonard Feather did not influence her musically in the very least..Even though she did was not totally uninfluenced by Horace Silver, Oscar Peterson and Bill Evans, it was the opportunities offered back in 1977 by the electronic keyboard that opened new doors for Joanne Grauer. But she is certainly not an avant-gardist for melodious sound-colouring is her top priority and she achieved mood music situated somewhere between the classical jazz piano trio and rock-pop sound. Most themes come from Joanne Grauer’s pen, and she is certainly in the foreground as a soloist too. In „See You Later“, „Can’t Sleep“ and „The Voice“, she is joined by the gentle voice of Lorraine Feather, while Ernie Watts’s saxophone provides a powerful, welcome contrast which successfully puts a halt to drifting off into mere melodiousness. Joanne Grauer’s final work on the album, „Frog Child“, is given over to be-bop and makes a wonderful final cadence to a recording which carries all the hallmark of the 70s but still sounds fresh and new in the year 2001.

1. Gork
2. Evergreen
3. Misty Dreams & Ruffy’s Eyes
4. Longing
5. Happy
6. See You Later
7. Can’t Sleep
8. The Voice
9. Frog Child

Speakerscorner’s junge Jahren – very rare Ausgabe

Artykuł Joanne Grauner introducing Lorraine Feather pochodzi z serwisu Rogers HiFi.

The Lionel Hampton Quartet. They were known as The Perfect Quartet! And it wasn’t just their producer Norman Granz, surely not unbiased as to the greatness of his jazz musicians, who called them so. So it was only logical to put this Super-Quartet together. Just as the start of his career, the great Oscar Peterson was eager to show off all that he had learned from copying and listening to his maestro Art Tatum; Ray Brown provided swing and bop which he had perfected in Dizzy Gillespie’s big bands; Buddy Rich, billed as ‚the world’s greatest drummer‘, could lend impetus to simply any band; and the grandmaster of the sticks, known as ‚The Hamp‘, could hammer away at the vibraphone just as Benny Goodman before him – full of verve and swing, rhythmic and melodic, ecstatic and sensitive.

The lucky person…

This release on the Clef label, with a fitting cover by David Stone Martin, contains four numbers: two from the Quartet’s first session, and two from the second six months later. All four are an ideal starting point for lengthy improvisations much in the style of the Jazz At The Philharmonic idea, but without winds, just with a rhythm group. Nevertheless, not a single second is dull or boring, and if you were sitting in the audience at the concert you’d be crying out »more, more, more!«.
The lucky person with this re-release in his collection just needs to turn the LP over and set the needle down on the groove for more, more, more!

Recording: September 1953 and April 1954 in New York City
Production: Norman Granz

1. 1. Just One Of Those Things
2. Stompin‘ At The Savoy
3. How High The Moon
4. The Nearness Of You

Speakerscorner’s junge Jahre – very rare Ausgabe

Artykuł <b>The Lionel Hampton Quartet</b> pochodzi z serwisu Rogers HiFi.

Perez Prado and His Orchestra Prez. It could well have been that Peréz Prado regarded his nickname ‚The King of Mambo‘ not only as an honour but also restricting with regard to his ambition to move into big band jazz. Whatever the case, the release of his album with the shortened word ‚Prez‘ as its title shows that the Cuban-born arranger had plenty of self-confidence – it shouldn’t be forgotten that the saxophonist Lester Young, a living legend at that time, held the office of ‚President‘ in 1958.

Cu-Cu-Rru-Cu-Cu-Paloma

In his aspiration to enter the soundworld of the well-established bandleaders and soloists (and this album certainly signals healthy rivalry), Peréz Prado first strolls down the familiar path of Afro-Cuban folkmusic with such numbers as the sawing and gurgling „Maria Bonita“ and the highly descriptive „Cu-Cu-Rru-Cu-Cu-Paloma“. All the more surprising then is the B side which begins with a version of „Lullaby Of Birdland“ which is shaken to the core by hefty conga drum solos. Prado gives us his snappy mambo arrangement of „Flight Of The Bumblebee“, the first jazzed-up version of which was heard to buzz in concert halls in the Forties, performed by the brilliant trumpeter Harry James. Among the numbers are several red-hot big band pieces such as „Leo’s Special“ and „Fireworks“ which has a particularly lively trumpet section with the power to blast the paint off the walls.
All in all this is a recording which combines easy listening with a peppy Latin jazz feeling.

Side 1

1. Maria Bonita
2. Cucurrucucu Paloma
3. Borrachita (I’ll Never Love Again)
4. Machaca
5. Adios Mi Chaparrita (Goodby My Little Angel)
6. Marta

Side 2

7. Lullaby of Birdland
8. Flight of the Bumblebee
9. Leo’s Special
10. Come Back to Sorrento (Torna a Sorrento)
11. Fireworks

Speakerscorner’s junge Jahre – very rare Ausgabe

Artykuł <b>Perez Prado and His Orchestra</b> <br />Prez pochodzi z serwisu Rogers HiFi.

Eartha Kitt That Bad Eartha. Diva, dream woman, or femme fatale? Eartha Kitt was a little of each and certainly did not need to worry about her image. No lesser man than Orson Welles summed up her extraordinary talents in the fields of dancing, singing and performance: for him she was the most exciting woman alive.
„That Bad Eartha“, her second album, which appeared in the same year as her debut record, should doubtless be regarded as her most memorable. Just like the first, it catapulted Eartha into the charts among the ‚top five‘ and contained the most important titles of her entire career such as „I Want To Be Evil“, „My Heart Belongs To Daddy“ and „Under The Bridges Of Paris“ which she sang in two languages. When you listen to her intimate and supple rendering of „C’est Si Bon“, her signature tune, you simply cannot believe that you are listing to an American singer! Each and every one of the twelve numbers is an absolute hit, and so there’s only one conclusion to be made: this lady is missing in the collection. Let’s Do It! Eartha Kitt That Bad Eartha

Audiophile Pressing

Eartha Kitt That Bad Eartha

with Henri Rene and His Orchestra

Side One
1. I Want to Be Evil
2. C’est Si Bon (It’s So Good)
3. Angelitos Negros
4. Avril Au Portugal (The Whisp’ring Serenade)
5. Let’s Do It
6. My Heart Belongs to Daddy

Side Two
1. Uska Dara – A Turkish Tale
2. African Lullaby
3. Mountain High, Valley Low
4. Lilac Wine (Dance Me A Song)
5. Under the Bridges of Paris
6. Smoke Gets in Your Eyes

Speakerscorner’s junge Jahre – very rare Ausgabe

Artykuł <b>Eartha Kitt</b><br /> That Bad Eartha pochodzi z serwisu Rogers HiFi.