Deutsche Grammophon proudly presents 42 of its greatest ever recordings for violin, from its matchless catalogue of the finest violinists of the last 75 years. Fritz Kreisler began it all for the company by recording a series of his own compositions and arrangements. 31 violinists grace 111 The Violin, with recordings from the early 1900s to 2012.
Renee Doria has a very unique voice and not a 'cookie cutter' the way a lot of sopranos nowadays sound–I can always tell it is her singing. I love her fast, fluttery vibrato and rich, warm, creamy, powerful middle voice. My only complaint is (as I've heard from some of the youtube posts) that sometimes she puts too much pressure on the notes above the staff and sounds like she is screaming them out. But here she sounds completely polished and nearly seamless from top to bottom.
You might call Jimmy D. Lane a natural born bluesman. His father was the legendary Jimmy Rogers, who Jimmy D. shared the stage with for many years before recording on his own. Lane can play it '50s-style, as he did with his father and on Eomot RaSun's album, but he can also turn it up and rock out with any of the finest guitar slingers. For It's Time, Lane tackles a program of original tunes (except for one), with the aid of Double Trouble, Stevie Ray Vaughan's rhythm section. These guys bring decades of experience to their blues rhythms, and know exactly how to support a player like Lane. Keyboard duties are split between Celia Ann Price on B3 and piano, and Mike Finnigan on the B3. In addition, the album was produced and engineered by the one and only Eddie Kramer, who adds crisp, clear production values and some very subtle studio tricks (check out the panning in the slide solo on "Stuck in the Middle"). As a writer, Lane sticks close to standard subject matter "What Makes People" is certainly a close cousin of Willie Dixon's "The Same Thing," but the variety of tempos and grooves and great playing all around keep the album exciting.
Features a CD + Blu-Ray Audio. For many music fans, this is THE classic XTC album, the one there was most demand for in remixed and 5. 1 surround and one of those for which the tapes, until recently, were thought lost. The album has been mixed for 5. 1 Surround Sound from the original multi-track studio master tapes by Steven Wilson with input from Andy Partridge and is fully approved by XTC. Features a 5. 1 Surround mix in 24-bit / 96-khz mixed from the original multi-track tapes available in LPCM and DTS HD MA. Additional Blu-ray features include: The new stereo album mix in 24-bit / 96-khz LPCM audio. Four additional songs from the album sessions in stereo and 5. 1 mixed by Steven Wilson. The original (uncorrected polarity) stereo album mix hi-res stereo + non-album track. The original (corrected polarity) stereo album mix in hi-res stereo. Instrumental versions (mixed by Steven Wilson) of all new mixes in 24bit/96khz LPCM audio.
In 1972, at the height of David Bowie's newly ignited fame, former label Pye unlocked the vault and produced an EP, the aptly subtitled "For the Collector – Early David Bowie," reprising four of the six songs Bowie recorded during 1965-1966. Since that time, those four (plus their two companions) have established themselves among the most frequently revisited songs in his entire catalog, reissued so frequently, and in so many different formats, that there truly cannot be a single Bowie fan left out there who doesn't own them at least three times over.
Three Blind Mice Blu-spec CD reissue series! Limited paper sleeve edition! Pianist Imada Masaru was 42 years old when he recorded this album in 1975. His adventurous spirit led him to use the electric piano for the first time in a recording, and thanks to his musicianship, he made it sound like he'd been playing the instrument for years. The program opens with the title track, a sophisticated urban funk. Guitarist Kazumi Watanabe plays a big role here. It is followed by a more intricate, fusion-like "Straight Flash."