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The orchestral antagonists – the Marlboro Festival Orchestra – weaves a chamber music-like, delicate and wonderfully transparent carpet of sound, upon which Beethoven’s characteristic woodwind instruments are bedded like roses.
There’ll be disappointment in store for those who expect to hear the
voice of David Clayton-Thomas when listening to the present Blood, Sweat
And Tears LP, Child Is Father To The Man.
Experts will know however
that on the group’s very first album they will get to hear the excellent
Al Kooper. The man is far more than a singer, for he not only plays the
piano and various other keyboards but has also composed almost all the
numbers and made the arrangements for the string ensemble.
Of the first of two transitional albums in which Dylan moved beyond protest, and then beyond folk music.
Both the lyrics and music have gotten deeper and Dylan's trying more things -- this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that.
The result is one of his very best records, a lovely intimate affair.
"Let My Children Hear Music" contains the powerful "Hobo Ho" and "Adagio Ma Non Troppo" which is based on a piano improvisation by Mingus in 1964.
"On the original LP issued by Columbia, Mingus thanked producer Teo Macero for "his untiring efforts in producing the best album I have ever made."
This is not a Classic Records Re-Issue
If you love Brubeck-Desmond-Morello and Wright issue, you'll appreciate hearing this version.
At Carnegie Hall is a date that showcases all of the finest elements of the storied Brubeck Quartet that featured, alongside Brubeck's piano, alto innovator Paul Desmond, bassist Eugene Wright, and Joe Morello on drums.
First the rhythm section: On this February night in 1963 -- either the 21 or 22nd depending on which side of the cover you believe -- W.C. Handy's "St. Louis Blues" was given a knotty rhythmic workout it had never seen on Basin or Bourbon Street
Limited Edition Numbered.
Time Further Out: Miro Reflections is a jazz interpretation of the Joan Miro Painting: 1925, which appears on the cover of this album. Conceived as a blues suite, each reflection is in the form of 12 bar blues or a variation thereof.