This program of sultry, minor key music with a Brazilian tinge seems inspired by Ike Quebec, who was suffering from advanced cancer that would claim his life three months later. But here is big-toned, impassioned tenor is in tact. Quebec's take on the bossa nova craze that explored that year (1962) is more muscular than Stan Getz's and doesn't rely on the familiar Jobim and Gilberto songs of the day. He and Kenny Burrell solo on the sly, subtle rhythms of Wendell Marshall, Willie Bobo and Garvin Masseaux.

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"…As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands…Back home a month later, I unpack some test pressings Chad Kassem has sent me…I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud." – Jason Victor Serinus, Stereophile, April 2008

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This disc was recorded at the age of 17, shortly after she won the First Prize at the conservatory of Aix-en-Provence. In spite of her youth, this is already playing of a high level, displaying an unusual level of understanding and maturity for one so young.

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This is the first recording of the Ballade which satisfies me after hearing the Rubinstein for so many years...(not to say there may not be others I have not heard.) The brilliant Denon sonics make this my favorite. Buy this CD if you can still find it, its from 1987!

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Considered by some to be the best RCA Living Stereo recording of all! Arthur Fiedlers performance of Offenbach's "Gaite Parisienne" combines delightfully lyrical music with spectacular sonics to create an unforgettable listening experience. This fabled acoustics of Boston's Symphony Hall and the magnificent tonal hues of the BPO are on full display on this festive recording from June 1954.

Gene Ammons’ Soulful tenor sax sound evokes both Lester Young and Ben Webster. Better known as "Jug" to his friends, Ammons demonstrates here is supreme ability to tell a story on his horn. This masterpiece has it all - the blues, the ballads, and Ammons’ big hit Canadian Sunset. Jug is given support by Tommy Flanagan, Doug Watkins, Art Taylor and Ray Barretto.

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The recordings on this attractive four-disc set were made at the height of the master's powers, between 1952 and 1969. This is a historic set, then, and one that provides tremendous pleasure. The excellent notes in the accompanying booklet make a fine, instructional listening companion. And DG's presentation is handsome: The discs come in extra-thin, individual jewel cases and are housed in an unusually sturdy cardboard box. Nothing, however, is as elegant as the music herein.

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This album received the 2002 Grammy Award for Best Instrumental Soloist(s) Performance with Orchestra.

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Hahn's tone is intense, focused, variable, and of pristine purity in all registers, at all dynamic levels. She never loses her sense of meter or direction; her phrases have shape and elegance; and she needs no external effects. Her playing is austere and controlled, with an inward, noble expressiveness; she can change tone and mood on a dime. In the Brahms, the high soaring passages are ecstatic, the Finale is quite fast and very strict; only the Joachim cadenza is almost too free. Altogether, it's a most impressive achievement.

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This is a repost of www.megasharefiles.free.fr, a post a year ago. All credits goes to him/her. Narration is in French but the music of Armstrong is not, a stunting Armstrong.

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Peterson has been a consummate interpreter of standards from the outset of his career, a talent extensively documented in his Verve Songbook recordings, but his talents shine in a special light on this 1962 recording of Leonard Bernstein songs from West Side Story. Part of the surprise comes from Peterson's playing with expectations, propelling Bernstein's art ballads with potent dance rhythms or adding rhapsodic breadth to dance numbers. Bernstein's harmonies provide plenty of fuel for Peterson's improvisations, while bassist Ray Brown and drummer Ed Thigpen complement the pianist with their usual balance of poise and power. With a thoughtful approach taken to each of the musical's themes, this is among the most accomplished--and coherent--jazz adaptations ever undertaken of a Broadway score. --Stuart Broomer

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Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, resulting in some of the greatest jazz recordings of all time (including MILESTONES and KIND OF BLUE). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed SOMETHIN' ELSE.

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Stereophile (2/93, p.119) - "...Universally praised since its first release in 1958....To even hint at criticism of the playing would be childish....An album I'll never tire of hearing..."

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Jazz giants like Jack McDuff, Sonny Stitt, Kenny Burrell, and Bobby Hutcherson all contribute tracks and brush shoulders with jazz middleweights like Wallace Roney, Russell Gunn, and Pat Martino. As the title suggests, the songs are relaxed and the mood is mellow. Although the songs date from well beyond jazz's peak years, the performances are uniformly solid and the disc is a nice low-priced collection of mood music. ~ Tim Sendra, All Music Guide

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This album collected many romances that will preoccupy our soul always because they are very good and bright, a little sad, but always iskrennie.V these romances Russian soul, sadness, grief and radost.Oni very touched my soul and I am happy that I had the opportunity to breathe in their breath and they go their own way.

By gathering a wide sampling of vocal duets featuring Buena Vista Social Club's most successful icon, the present compilation documents the worldwide impact made by the nonagenarian cigar-smoking guajiro troubadour whose musical roots are precisely derived from said vocal structure, as illustrated in the last of the 16 duets included in this Warner Company/East West S.A.

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ClassicsToday.com, 01 December 2005 "This stunning new Traviata, fresh from the stage of the Salzburg Festival 2005, is a performance to live with"

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.. With seven times more demand than available tickets and rumours that on the black market prices were reaching thousands of euros, this Salzburg Traviata was the hottest ticket since the days of Karajan.

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Released in conjunction with the Caballé biography Casta Diva, this isn't some routine compilation, but a collector's item. The first half is devoted to German lieder--hardly Caballé's core repertoire--recorded by the now- defunct Spanish label Vergara before she was an international star. Performances are accomplished and earnest, but a bit reserved and slightly lacking the vocal mellifluousness of her maturity. It's great to hear this fabulous voice singing Strauss's Zueignun. Less adventurous fans have a selection of Italian arias filling out the rest of the disc.

Music master Zhang Wei Liang expresses the colors and smells and tastes of tea with musical instruments and then transforms the music into Zen. In addition to Chinese instruments such as bamboo flute, gu-zheng and er-hu, he also utilizes western string symphony and MIDI to evolve beyond traditional Chinese music. Taste Zen in a cup of tea; taste tea in the light of Zen. Have a cup of tea and let the melodies lift you from physical senses to an inner world of Zen freedom.