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I Hear A SymphonyLike no other, Motown's founder Berry Gordy knew how to market 'his' acts. The Supremes (later named Diana Ross & The Supremes) were his mainstream Pop offering, bridging the gap between Soul and popular music, while even incorporating Classic themes (like A Lover's Concerto was inspired by Bach).
I Hear A Symphony (1966) contains some of the best tunes written by famed producing trio Holland-Dozier-Holland, as well as great cover versions of popular songs like Unchained Melody and the Beatles' Yesterday.1. Stranger In Paradise
3. I Hear A Symphony
4. Unchained Melody
5. With A Song In My Heart
6. Without A Song
7. My World Is Empty Without You
8. A Lover's Concerto
9. Any Girl In Love (Knows What I'm Going Through)
10. Wonderful, Wonderful
11. Everything Is Good About You
12. He's All I Got$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bach TriosCellist Yo-Yo Ma, mandolinist Chris Thile, and bassist Edgar Meyer perform works by J.S. Bach originally written for keyboard instruments plus a sonata for viola da gamba. Ma, Thile, and Meyer last recorded together, with Stuart Duncan, on the Grammy Award-winning album Goat Rodeo Sessions, which the Los Angeles Times called haunting, invigorating, often breathtaking. The vinyl edition of Bach Trios will be pressed on two 140-gram vinyl discs.1. Trio Sonata No. 6 in G Major, BWV 530: I. Vivace
2. Trio Sonata No. 6 in G Major, BWV 530: II. Lento
3. Trio Sonata No. 6 in G Major, BWV 530: III. Allegro
4. Prelude No. 19 in A Major from The Well-Tempered Clavier Book I, BWV 864
5. Wachet auf, ruft uns die Stimme, BWV 645
6. Fugue No. 20 in A Minor from The Well-Tempered Clavier Book II, BWV 889
7. Ich ruf zu dir, Herr Jesu Christ, BWV 639
8. Prelude No. 18 in E Minor, BWV 548
9. Fugue No. 18 in E Minor, BWV 548
10. Passepied from Keyboard Partita No. 5 in G Major, BWV 829
11. Kommst du nun, Jesu, vom Kimmel herunter, BWV 650
12. Contrapunctus XIII: Rectus from The Art of the Fugue, BWV 1080
13. Contrapunctus XIII: Inversus from The Art of the Fugue, BWV 1080
14. Erbarm dich mein, o Herre Gott, BWV 721
15. Sonata for Viola da Gamba No. 3 in G Minor, BWV 1029: I. Vivace
16. Sonata for Viola da Gamba No. 3 in G Minor, BWV 1029: II. Adagio
17. Sonata for Viola da Gamba No. 3 in G Minor, BWV 1029: III. Allegro$26.99140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Plays Bach No. 1 (Speakers Corner)
As long as 40 years ago, at a time when Pop and Classical music were strictly separated from one another, Jacques Loussier's "Swinging Bach" thrilled both friends of Baroque music and jazz lovers alike. Other musicians have tried, and are still trying, to jump on this modern "Bach band wagon" - but not one of them has achieved anything like the international success of the French trio.
"Play Bach" is to be taken at its word. If Prelude, Fugue or Toccata is on the label - then that's what one gets: the melodies and the harmonic structure of Johann Sebastian's original works are largely left untouched - you always know where counterpoint stops and groove sets in. Just as in Bach's day the keyboard is at the fore, but the double bass also has a good share of the polyphony, and the finely nuanced percussion swings along as though it has no cares in the world and adds its own sparks of fire to pearl-like scale passages.
What better way to bring the Bach Year to an end than with the re-release of the first Loussier album? The first of Bach's 48 Preludes and Fugues shows how it began - just as they show how Jacques Loussier began.
- Jacques Loussier (arranger, piano)
- Pierre Michelot (bass)
- Christian Garros (drums, percussion)
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Chris Thile & Brad MehldauNonesuch Records labelmates mandolinist/singer Chris Thile and pianist Brad Mehldau, longtime admirers of each other's work, first toured as a duo in 2013. At the end of 2015, they played a two-night stand at New York City's Bowery Ballroom before going into the studio to record Chris Thile & Brad Mehldau, a mix of covers and original songs.
Chris Thile and Brad Mehldau come from different worlds but the same species, says the New York Times. Mr. Thile is a progressive-bluegrass pacesetter; Mr. Mehldau is the most influential jazz pianist of the last 20 years. Both are team players ... Both love Bach and the Beatles, and both have developed fan bases bigger and broader (and younger) than their genre silos can accommodate.
The two musicians first performed together in September 2011 as part of Mehldau's residency at London's Wigmore Hall. The Guardian said of that performance, Mehldau struck up his signature rocking chord vamp over which lightly struck motifs swell to sensuous extended melodies. Thile kept cajoling him with percussive snaps, flying runs, and chords strummed fast enough to sound as seamless as a purring strings section, inducing Mehldau to bat back the playful provocation with stinging rejoinders.
MacArthur Fellow and A Prairie Home Companion host Chris Thile is the founding member of Punch Brothers, which a Boston Globe reviewer called the tightest, most impressive live band I have ever seen. The band has released four albums on Nonesuch beginning in 2008: Punch, Antifogmatic, Who's Feeling Young Now?, and The Phosphorescent Blues. Thile's other releases on the label include Sleep with One Eye Open with Michael Daves; Edgar Meyer & Chris Thile and Bass & Mandolin-the latter of which won a Grammy Award; a solo record of Bach violin sonatas and partitas; and A Dotted Line with his longtime band Nickel Creek. He also recently collaborated with Yo-Yo Ma, Stuart Duncan, and Edgar Meyer on the double Grammy Award-winning album The Goat Rodeo Sessions.
Brad Mehldau's Nonesuch debut was the 2004 solo disc Live in Tokyo and includes six records with his trio: House on Hill, Day Is Done, Brad Mehldau Trio Live, Ode, Where Do You Start, and Blues and Ballads. His collaborative records on the label include Love Sublime, Highway Rider, Metheny Mehldau, Metheny Mehldau Quartet, Modern Music, and Mehliana: Taming the Dragon. Mehldau's additional solo albums on Nonesuch include Live in Marciac and last year's 8-LP/4-CD 10 Years Solo Live, which the New York Times says contains some of the most impressive pianism he has captured on record. Earlier this year, he released a duo album with Joshua Redman, Nearness, of which the Wall Street Journal said: Few records released this year better define what jazz sounds like today, even if there isn't a hip noun to describe it.1. The Old Shade Tree (Brad Mehldau & Chris Thile)
2.Tallahassee Junction (Brad Mehldau)
3. Scarlet Town (David Rawlings & Gillian Welch)
4. I Cover the Waterfront (Johnny Green & Edward Heyman)
5. Independence Day (Elliott Smith)
6. Noise Machine (Chris Thile)
7. The Watcher (Brad Mehldau)
8. Daughter of Eve (Chris Thile)
9. Fast As You Can (Fiona Apple)*
10. Marcie (Joni Mitchell)
11. Don't Think Twice It's Alright (Bob Dylan)
12. Tabhair dom do Lámh (Ruaidri Dáll Ó Catháin)
*Vinyl-only bonus track$27.99Vinyl LP - Sealed Buy Now