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.

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.

Erwin Lehn Orchestra Color in Jazz. As they say: ŤWonders never ceaseť! Who’d have believed that the disco kids of today would dance to a radio dance orchestra performing big band jazz? The excerpt „Color“ on the „Talkin‘ Loud“ sampler certainly wets one’s appetite for the full eleven minutes with the Erwin Lehn Orchestra. The album’s motto is „Color In Jazz“ and all seven titles of this re-issue are as colourful as a painter’s palette: spicy rhythms in the winds, varied rock and sweet beats, a touch of Latin, lyrical melodies on the flugelhorn, and powerful tuttis are the ingredients mixed together to produce the sound colouring of these compositions by Bernd Rabe (who unfortunately died last year) and Erwin Lehn (an extremely active pensioner)..It would be too simple to simply attach the label „commercial“ to this particular area of big band jazz. „Popular“ would be more appropriate – an epithet which never troubled swing bands in the USA. Hopefully this re-release will attract new fans to the area of big band swing. Just listen to this album, which can easily hold its own against anything coming from America as far as musical and technical quality are concerned, and you’ll be thrilled!

Audiophile Pressing

Erwin Lehn Orchestra – Color in Jazz

1. Alfredo
2. Burgess
3. Atlantic II
4. El Cuervo Nuevo
5. Lift Up
6. Color
7. Funf zu vier

Speakerscorner’s junge Jahre – very rare Ausgabe

Artykuł <b>Erwin Lehn Orchestra</b><br /> Color in Jazz pochodzi z serwisu Rogers HiFi.

Seit 1806 sind zwar viele Violinkonzerte entstanden, die einen wirkungsvolleren und virtuoseren Solopart besitzen, doch es gibt kaum ein Werk ähnlichen kompositorischen Gehalts, das wegen der offenen, exponierten Lage seines Soloparts so schonungslos auch die geringste Unebenheit der Darstellung aufdeckt: Beethovens Violinkonzert bedeutet immer noch eine der großen artistischen Herausforderungen für jeden Geiger. Eines der besten Beispiele ist die Aufnahme: BEETHOVEN Violin Concerto Anne-Sophie Mutter von Clearaudio.

Audiophile Pressing:

https://rogershifi.de/produkte/produkte/clearaudio-vorverstaerker-nano-phono-v2/

Andere Titeln mit Anne-Sophie Mutter.

Artykuł BEETHOVEN <br />Violin Concerto <br />Anne-Sophie Mutter pochodzi z serwisu Rogers HiFi.

Solche Bearbeitungen ungenannter Bearbeiter zum eigenen Gebrauch sind schon für Johann Sebastian Bach die selbstverständlichste Sache der Welt gewesen. Bei den Bearbeitungen von fremder Hand muß man halt darauf achten, daß diese Arrangements mit gutem Geschmack gemacht wurden, meint Mischa Maisky, und dafür legt er bei dieser Auswahl: Mischa Maisky, Pavel Gililov MEDITATION  – die Hand ins Feuer.

Rostropovich of the Future

Born in 1948 in Riga, Latvia, Mischa Maisky received his first music lessons there at the Children’s Music School and Conservatory. In 1962 he entered the Leningrad Conservatory. In 1965 his debut with the Leningrad Philharmonic earned him the nickname “Rostropovich of the Future”. One year later he was a prizewinner at the International Tchaikovsky Competition in Moscow and began his studies with Rostropovich at the Moscow Conservatory while pursuing a concert career throughout the former Soviet Union. After being imprisoned in a labour camp near Gorky for 18 months in 1970, he emigrated from the USSR.

Maisky and extraordinary musicians

„In great demand as a chamber player, Maisky has performed with a number of extraordinary musicians, including Vladimir Ashkenazy, Gidon Kremer, Peter Serkin, and Martha Argerich. Acclaimed for his renditions of concertos by Haydn and Schumann, Maisky is the only cellist to have received a Deutsche Grammophon offer to record Bach’s complete works for the cello. The year 2000 was dedicated to Bach by Maisky, when he performed all of Bach’s cello works in three recitals in a single day, and presented 100 Bach performances around the world.“ – All Music Guide

• 6. Frederic Chopin: Prelude
• 7. Franz Schubert: Ave Maria
• 8. Robert Schumann: Traumerei
• 9. Johannes Brahms: Wiegenlied
• 10. Manuel de Falla: Nana
• 11. Gabriel Faure: Apres un reve
• 12. Jules Massenet: Elegie
• 13. Camille Saint-Saens: Le Cygne
• 14. Maurice Ravel: Habanera
• 15. Anonym: Katalanisches Volkslied (Gesang der Vögel)
• 16. Peter Tschaikowsky: Nocturne
• 17. Sergei Rachmaninow: Vocalise
• 18. Fritz Kreisler: Liebesleid

Sein Meister.

BOCCHERINI VIVALDI TARTINI Cello Concertos Mstislav Rostropovich

Artykuł Mischa Maisky, Pavel Gililov MEDITATION pochodzi z serwisu Rogers HiFi.

Charles Dutoit and the London Philharmonic Orchestra give a splendid, warm performance without overwhelming violinist Salvatore Accardo’s playing. Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of these works of Niccolo Paganini. The Italian violin virtuoso and conductor, Salvatore Accardo, is highly regarded for his interpretations of Paganini. He studied violin in the southern Italian city of Naples in the 1950s and gave his first professional recital at the age of 13, performing Paganini’s Capricci. He won the Geneva Competition in 1956 and in 1958 became the first prize winner of the Paganini Competition in Genoa. Audiophile Pressing: PAGANINI Diabolus in Musica Salvatore Accardo Charles Dutoit

Charles Dutoit

The Swiss conductor, Charles Édouard Dutoit, is known for his interpretations of French and Russian 20th century music. Dutoit studied in Switzerland where he was born and graduated from the Geneva Conservatory where he won first prize in conducting. In his youth, he frequently attended Ansermet’s rehearsals and had a personal acquaintance with him. He has been guest conductor for the Orchestre de la Suisse Romande and the Lausanne Chamber Orchestra as well as conducting for Radio Zurich, the Bern Symphony Orchestra, the National Symphony Orchestra of Mexico, Sweden’s Gothenburg Symphony and the Minnesota Orchestra.

PAGANINI Diabolus in Musica Salvatore Accardo Charles Dutoit

• 01. La Risata del Diavolo (tema) (0:35)
• 02. La Campanella – Rondo dal Concerto per Violino e Orchestra No.2 (8:59)
• 03. Capriccio per Violino Solo No.5 – Agitato (2:19)
• 04. Adagio flebile con sentimento (6:54)
• 05. Rondo galante.Andantino gaio-dal Concerto per Violino e Orchestra n.4 (11:09)
• 06. Introduzione e variazioni su God Save the King Op.9 (6:45)
• 07. Capriccio per violino solo No.24 – Tema.Quasi Presto-Variazioni-Finale (4:28)
• 08. Polacca. Andantino vivace – dal Concerto per Violino e Orchestra No.3 (11:38)
• 09. Capriccio per violino solo No.1 – Andante (1:50)
• 10. Rondo.Allegro spirituoso-dal Concerto per Violino e Orchestra n.1,op.6 (9:46)
• 11. Capriccio per violino solo No.13 – Allegro (2:02)12. Sonata Moto Perpetuo – Allegro vivace (3:11)

Artykuł PAGANINI <br />Diabolus in Musica <br />Salvatore Accardo Charles Dutoit pochodzi z serwisu Rogers HiFi.