#Aaron The Audiophile | Explore Tumblr Posts and Blogs

bananaofswifts · 3 years

Text

Taylor Swift Turns on a Facsimile Machine for the Ingenious Recreations of ‘Fearless (Taylor’s Version)’: Album Review

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

By Chris Willman

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

There is no “best actress” award at the Grammys, perhaps for obvious reasons, but maybe there should be this coming year. And the Grammy would go to… Taylor Swift, for so persuasively playing her 18-year-old self in “Fearless (Taylor’s Version),” her beyond-meticulous recreation of the 2008 recording that did win her her first album of the year trophy back in the day. It’s impossible to overstate just how thoroughly the new version is intended as an exact replica of the old — all the way down to her startling ability to recapture an untrained teen singing voice she’s long matured and moved on from. It’s a stunt, to be sure, but a stunt for the ages — mastering the guile it takes to go back to sounding this guileless.

There are two different, very solid reasons to pick up or stream “Taylor’s Version,” regardless of whether you share her ire for the Big Machine label, whose loose ways with her nine-figure catalog precipitated this, the first in a six-album series of remakes where she’ll be turning on the facsimile machine. One is to marvel at her gift for self-mimicry on the album’s original tracks, where she sounds as possessed by her younger self as Regan ever was by Pazuzu. The other reason is, of course, to check out the six “vault” numbers that Swift wrote during that time frame but has never released before in any form, which dispenses with stylistic fealty to the late 2000s and frames her “Fearless”-era discards in production and arrangements closer to “Folklore.” Those half-dozen (kind of) new tracks really do sound like modern Taylor Swift covering her old stuff.

But those original lucky 13? It’s the same damn record… which is kind of hilarious and marvelous and the kind of meta-ness that will inspire a thousand more think-pieces than it already has, along with possibly efforts at forensic analysis to figure out how she did it.

It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close. The timings of the songs are all within a few seconds of the original tracks, if not coming in at exactly the same length. The duplication effort doesn’t allow any detours. If “Forever and Always” had a cold open then, it’s going to have a cold open now. If the 2008 “That’s the Way I Love You” had slamming rock guitars with an almost subliminal banjo being plucked beneath the racket, so will the 2021 “That’s the Way I Loved You.” A drum roll to end the old “Change”? A drum roll to end its body-snatcher doppelganger. And if she chuckled before the final chorus of “Hey Stephen” 13 years ago, so will that moment be cause for a delighted giggle now.

Of course, much analysis will be put into whether the new laugh is a more knowing-sounding laugh. And that will be part of the fun for a certain segment of audiophile Swifties who will go looking for the slightest change as evidence of something meaningful. When “Love Story (Taylor’s Version)” first came out weeks back to preview the album, there were reviews written that swore she’d subtly changed up her phrasing to put a contemporary spin on the song. And maybe they were right, but, having done a fair amount of A/B testing of the two versions of the album, I found myself feeling like I do when vinyl buffs insist there are significant sonic differences between the first stamper version of an LP and one that was pressed a year later. If you can spot those very, very, very modest tweaks, go for it.

But my suspicion is that if Swift has decided to turn a phrase a little differently here or there on this album, or done anything too differently aside from brighten the sound, she’s doing it more as an Easter egg, for the people who are on that kind of hunt, than anything really designed as reinterpretation. Because the last thing Swift wants most of her fans doing is A/B-ing the two versions, the way I did. The whole point is to have folks retire the OG “Fearless” from their Spotify playlists, right? The Swift faithful were already threatening to rain down damnation on anyone caught sneaking an audio peek at the old version after midnight. What she intended was to come up with a rendering so faithful that you would never have a need to spin the vintage album again. In that, she has succeeded beyond what could have been imagined even in the dreams of the few self-forgers who’ve tried this before, like a Jeff Lynne.

Is there any reason to find value in the new versions if you couldn’t care less about the issues of masters and contracts and respect in business deals that made all this strangely possible? Yes, with the first one being that the new album just sounds like a terrific remastering of the old — the same notes, and you’d swear the same performances, but sounding brighter and punchier just on a surface level. But on a more philosophical one, it’s not just a case of Swift playing with her back catalog like Andy Warhol played with his soup can. It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears. With her vocals, it’s virtuosic, in a way, how she’s made herself return to her unvirtuosic upstart self.

On Swift’s earliest albums and in those seminal live shows — at the time when she was famously being told she “can’t sing,” to quote a song from the follow-up album — there was a slight shrillness around the edges of her voice that, if you lacked faith, you might’ve imaged would be there forever. It wasn’t. That was partly youth, and partly just the sheer earnestness with which she wanted to convey the honesty of the songs. She’s advanced so much since then — into one of pop’s most gifted modern singers, really — that the woman of “Folklore” and “Evermore” seems like a completely different human being than the one who made the self-titled debut and “Fearless,” never mind just a woman versus girl. It wouldn’t have seemed possible that she could go back to her old way of singing at the accomplished age of 31, but she found and recreated that nervous, sincere, pleading voice of yesteryear. And maybe it was just a technical feat, of temporarily unlearning what she’s learned since then, but you can sense that maybe she had to go there internally, too, to the place where she was counseling other girls to guard their sexual virtue in “Fifteen,” or wondering whether to believe the fairy tale of “Love Story” or the wakeup call of “White Horse,” or proving with “Forever & Always” that writing a song telling off Joe Jonas for his 27-second breakup call was better than revenge.

If at first you’re not inclined to notice that Swift has re-adopted a completely different singing voice for the “Fearless” remakes, the realization may kick in when those “vault” tracks start appearing in the later stretch of this hour-and-50-minute album. The writing on the six songs that have been pulled up from the 2008 cutting room floor seems primitive, even a little bit by the standards of the “Fearless” album; there are great lines and couplets throughout the rescued tracks, but you can see why she left them as works-in-progress. But she doesn’t use her youthful voice on these resurrections, nor does she employ the actual style of “Fearless” very strictly. Of course, she feels more freedom on these, because there are no predecessors in the Big Machine catalog she’s asking you to leave behind. Her current collaborators of choice, Jack Antonoff and Aaron Dessner, divided the co-producing work on these fresher songs, as they did for the two all-new albums she released in the last year. (The “Fearless” recreations are co-produced by Swift with Christopher Rowe, someone who worked on remixes for Swift back in that era.) They co-produce the vault songs in a style that sounds somewhere between “Fearless” and Folklore”… a more spectral brand of country-pop, with flutes and synths and ringing 12-string guitars and a modicum of drum programming replacing some (but not all) of the acoustic stringed instruments you’d expect to be carried over from “Fearless” proper.

Of the previously unheard tracks, Swift was right — she’s always been her own best self-editor — in putting out “You All Over Me” first, in advance of the album. With its imagery of half-muddy stones being upturned on the road, this song has advanced lyrical conceits more of a piece with the level of writing she’s doing now than some of the slightly less precocious songs that follow. Still, there’s something to be said for the sheer zippiness with which Swift conveys teen heartbreak in “Mr. Perfectly Fine,” which has a lyric that shows Swift had long since absorbed the lessons Nashville had to offer about how to come up with a high-concept song — the concept, in this case, being just to stick the word “mister” in front of a lot of phrases relating to her shallow ex, as if they were honorary titles to be conferred for being a shit, while she employs the “miss” for herself more sparingly.

Some of the remaining outtake songs go back more toward the sedate side of “Fearless”-style material; she didn’t leave any real bangers in the can. “We Were Happy,” the first of two successive tracks to bring in Keith Urban (but only for backgrounds on this one), employs fake strings and real cello as Swift waxes nostalgic for a time when “you threw your arms around my neck, back when I deserved it.” It’s funny, in a good way, to hear Swift at 31 recreating a song she wrote at 17 or 18 that pined for long-past better times. The next song, “That’s When,” brings Urban in for a proper duet where he gets a whole second verse and featured status on half a chorus, and it’s lovely to hear them together. But, as a make-up song, it doesn’t feel as real or lived-in as the more personal things she was writing at the time — and the fact that its chords are pretty close to a slightly more balladic version of the superior “You Belong With Me” was probably a pretty good reason for dropping it at the time.

the 18-year-old Taylor Swift is a great place to visit, but “Folklore” and “Evermore” are the place you’ll want to return to and live, unless you have an especially strong sentimental attachment to “Fearless”… which, sure, half of young America does. It’s not irreconcilable to say that the two albums she issued in the last year represent a daring pinnacle of her career, but that “Fearless” deserved to win album of the year in 2008. Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not. Did the album also have lesser moments you probably haven’t thought about in a while, like the just-okay “Breathe”? Yes. (I looked up to see whether Swift had ever played that little remarked upon number in concert, and according to setlists.fm, she did, exactly once… in 2018. Because she’s Taylor Swift, and of course she did.) It’s not certain that her duet with Colbie Caillat really needed to be resurrected, except it’s fun, because hey, she even roped former duet partners back into her time warp. But there are so many number that have stood the test of time, like “The Way I Love You,” an early song that really got at the complicated feelings about passion and fidelity that she would come to explore more as she grew into her 20s… and just kind of a headbanger, too, on an album that does love its fiddles and mandolins.

It doesn’t take much to wonder why Swift put up “Fearless” first in this six-album exercise; it’s one of her two biggest albums, along with “1989,” and it’s 13 years old, which does mean something superstitious in the Taylor-verse. In a way, it’ll be more interesting to see what happens when she gets to more complicated productions, like “1989” or “Reputation.” But maybe “Fearless” did present the opportunity for the grandest experiment out of the gate: to recreate something that pure and heartfelt, with all the meticulousness a studio master like Swift can put to that process now, without having it seem like she’s faking sincerity. Let the think-pieces proceed — because this is about six hundred different shades of meta. But, all craftiness and calculation aside, there’s a sweetness to the regression that’s not inconsequential. It harks back to a time when she only wondered if she could be fearless, before she learned it the harder way for sure. What they say about actors “disappearing into the role”? That really applies to Taylor Swift, playing herself.

#taylor swift #fearless #review

232 notes · View notes

scrapeandscatter · 2 years

Photo

BLOODLET – ENTHEOGEN

I see the phrase “my holy grail” get thrown around a lot in the vinyl collecting community. I wouldn’t exactly call Entheogen that for me, but if I ever did browse used sections before I officially started collecting records, it was definitely because I was trying to find some version of this album. Now I’m just on a very loose journey to grab every variant of this record. I know it’s pretty easily obtainable on discogs, but I’m in no rush.

The funny thing is I hated the CD when I first bought it some 25 or so years ago: the music, the vocals, the artwork, everything. I tried trading it to friends, but nobody wanted it. So I just forced it on myself, and still nothing. Then a drummer friend of mine told me to pay attention to the drums; the off-beat snare, the odd time signatures, etc. I wasn’t fully invested yet, but Bloodlet started to make a little more sense after that suggestion. Then I sat down with the lyrics and instead of insisting on putting a snap together model with glue, I let all the pegs fall into their place and, like I was on my own entheogenic adventure, a whole new world opened up for me. Even the artwork (created by a teenage Aaron Turner) became my favorite cover of all time, and still holds that title. Without Entheogen I may never get into Coalesce, Isis, Botch, Dillinger, Neurosis, and every other band in a subgenre that extends from technical and/or lumbering punk/hardcore/metal. It was definitely a lesson in absorbing art, one I still try to employ today, but it’s so difficult now with the increased options and decreased time.

Another thing I read a lot in the “community” is “everything sounds so much better on vinyl,” and maybe I don’t have the right set up, or maybe I’m just not an audiophile, but I really don’t hear much difference. However, this remastered version released by A389 is the best I’ve ever heard these recordings. It’s a soothing thump to the chest and then bursting waves that flow out to every extremity.

#Bloodlet #evilcore #metallic hardcore #Vinyl Records #record collection

2 notes · View notes

winterscaptain · 4 years

Note

what are the kids favorite music genres? whats the "weirdest" genre they like?

(like, I'm pretty folk rock but then there's ONE specific traditional Scottish band i looooooove)

also, you might have answered this already, but what scene/part of ajf came to you the easiest? and what order did you "create" the kids and their names/hobbies/bios?

under the cut! i had SO much fun with this!!

process questions? send ‘em in!

jack’s into classic rock (a byproduct of being with aaron the longest), but can really get down to like old-fashioned bluegrass with a sick banjo line

isaac generally prefers instrumental music - lyrics sometimes make it hard to focus. his “weird” genre is a capella music

caroline is our resident audiophile. no favorites, some preferences - she loves it all. her offbeat genre is big band swing music (yes, aaron taught her to swing dance so they can jive like nobody’s business, and do on many occassions)

sophia likes hard rock from 1965-1990, and then hip hop/rap from 1990 on. she and her uncle derek go HARD for kendrick, A$AP ferg, and migos. she also digs an old country/bluegrass tune like jack

elliot down to clown with just about anything, like caro. he has a lot of fun with rap as well, but really shines in musical theatre. boy can BELT. i’ve always kind of imagined his voice ending up a little like aaron tveit’s? like that kind of timbre

and then to your other question! cicatrize was very simple to me - it just kind of flowed out one day and i realized how much i loved early!mom and aaron. that fic was the impetus to kind of tumble forward through their timeline.

as for the kids, they kind of came to in birth order!! isaac popped into my head fully formed, basically, like “of course they have another son and he’s on the spectrum and his name is isaac spencer and he’s perfect.” caroline came next and then she had to have a twin sister, but they didn’t have names for a while. i knew their middle names would be emily and haley, so i sat with a bunch of names until i was satisfied with how they sounded. elliot, much like he was to mom and aaron, was a surprise to me. i never anticipated that there would be a fifth, but he’s here and he’s queer, so i got used to it.

the rest of their personalities were formed as people asked me more questions about them. i had an impression of each of the kids, but i didn’t nail anything down until people started asking!

#a joyful future #ajf hotchners #tali answers stuff #anon reply #tali talks cm #tali may or may not be here // queue

16 notes · View notes

bubblesandgutz · 4 years

Text

Every Record I Own - Day 609: ISIS Wavering Radiant

I was asked by the ISIS guys to do a very last minute bio/press-release for what would wind up being their final studio full-length album. Whoever had been enlisted for the first stab at the bio had written about Wavering Radiant like it was an Electric Wizard record, with all the emphasis being on BIG RIFFS and AMPLIFIER WORSHIP and SHEER SONIC HEAVINESS.... which is great if you’re in a heavy stoner/doom band, but Wavering Radiant was an album with a lot of different textures and approaches, and it seemed like the writer wasn’t picking up on that. So the band emailed me the record, I listened to it steadily for a couple of days straight, and I tried to come up with something that captured the tone of the album while also tapping into some of the one-on-one conversations about music I’d had with the ISIS guys over the years. Here’s what I came up with:

The music of ISIS is a suitable metaphor for their twelve-year career: patient, meticulous, fraught with tension, and gradually building towards an apex of seismic proportions. From the hypnotically bludgeoning down-tuned riffs of their early years to the gracefully sprawling passages on their pivotal sophomore album Oceanic and continuing through the intricate rhythmic textures and increased melody of 2006's In The Absence of Truth, ISIS have successfully navigated the process of growing and evolving without disavowing their initial vision.

There is no consensus among ISIS' cult-like fan base as to which album serves as the ultimate document of their art. Each record is a piece in the puzzle. Consequently, to brand their latest offering, Wavering Radiant, as the pinnacle of their achievements would be folly. Yet it's a tempting proclamation. The factors that defined ISIS in the past are still present, but the band manipulates its tactics and strategies with a refined sense of purpose and a heightened knack for nuance. They've extrapolated on the polar nature of their music. It's simultaneously their most challenging and accessible music to date. While Wavering Radiant is finely structured, dynamically varied, and melodically developed, it's also unpredictable, expansive, and densely layered. Every ISIS endeavor is an active listening experience—requiring an aficionado's ear for subtlety and a scholar's grasp of the larger picture, but Wavering Radiant manages to provide instant gratification while also harnessing the slow burn of a classic, revealing the full extent of its mysteries only after repeated listens.

Rare is the record that finds the individual players as compelling as the sum of their parts, and ISIS has achieved just that. While the monolithic guitars of Aaron Turner and Michael Gallagher remain a primary fixture in the ISIS soundscape, the dueling instrumentalists continue to develop and expand upon their interplay. Together they evoke the emotional range of Wagner: brooding, triumphant, vengeful, and morose. Aaron Turner's vocals are more prominent than ever. But in keeping with the egalitarian nature of their art, the vocals continue to serve as flourishes rather than a focal point. Clifford Meyer's multi-instrumentation duties play a stronger role this time around as well. His atmospheric textures are still present, but he unlocks new horizons for the band with Fender Rhodes, electric organ, and the occasional psychedelic guitar lead. Jeff Caxide's bass playing still covers a broad spectrum, from providing melodic counterpoints to the guitars to conjuring Peter Hook's chorused bass leads. Wavering Radiant finally gives Caxide his due, allowing his various approaches to further accentuate the music's shifting moods while anchoring the melodies into the formidable rhythm section. And here drummer Aaron Harris once again shows his expansive depth in technique and ability. From esoteric tabla passages to authoritative syncopated punctuations, Harris transcends the basic metronomic function of the drum set to imbue the percussive element of the band with a heightened sense of drama and power. Wavering Radiant finds every component of the ISIS armory coming into equal play.

Grandiose without being over-indulgent, epic without compromising focus, ISIS have resurrected the art of prioritizing the album over the individual songs. Wavering Radiant, though divided into seven pieces, is essentially one composition. It's difficult to listen to the record without feeling the ghost of an era in rock music where musicians weren't afraid to take chances, weren't concerned with pandering to short attention spans, and weren't compelled to compact their material into a radio-friendly format. With producer Joe Barresi (Queens of the Stone Age, Melvins, Enslaved) behind the boards, the recording displays a sonic range and tonal depth in perfect step with the broad range of the band's capabilities. This is an audiophile's dream: rich in headphone candy, goose-bump inducing in its crescendos, majestic in its beauty, humbling in its devastating power. If radio still exists in 30 years, Wavering Radiant is the kind of record that obsessive DJs will play in its entirety during their graveyard shifts. But the huddled mass of ISIS enthusiasts are already celebrating its arrival.

#everyrecordiown #isis

10 notes · View notes

openreeltoreel · 3 years

Photo

Audiophile Analog Collection, vol. #2, 2XHD Fusion, Andre Perry (Producer), Rene Laflamme (Mastering engineer) and Rene Laflamme, Jean De La Durantaye and Jeff Wolpert (Engineers), NAB EQ (also available as IEC EQ). Put this one down as a guilty pleasure. Mastering/Recording Engineer Rene Laflamme assembled a, "selection of my best recordings of the past 20 years. Selected for emotion, and it is also challenging for the Hi-Fi system, with tracks that extend below 25 Hz." I'll second that. The highlight of the Audiophile Analog Collection, vol. #2 tape is track three "Seven Last Words of Christ" featuring soprano Monique Page and Regis Rosseau on organ. Word of warning to the wise, lower your volume control before playing this track. The Casavant organ with low frequencies extending below 20 Hz is the world's fourth most powerful organ, and this track will test the mettle of every audio system. Rene LaFlamme should also be complimented on his ability to maintain the proper perspective between the singer and organ eg. the size of singer isn't overblown relative to the organ. Some of the other selections here include a two percussion tracks, a recording of an octobass and bass and the duo of Aaron Davis and David Piltch who backed Holly Cole on two of her hit albums. This tape (or LP) belongs in every tapehead's library. (at London, United Kingdom) https://www.instagram.com/p/CH2Mv5OJuKf/?igshid=1hm5rd1fqgh9o

1 note · View note

kandidnn1329-blog · 5 years

Text

Top four Finest Options To Convert FLAC To WAV Offline And Online

How you can convert wav To flac Converter Freeware portable to FLAC on-line with WAV to FLAC Converter? There's also the choice of attempting PonoMusic World. It's based on JRiver Media Heart. It is free. Obtain obtainable on the PonoMusic principal internet web page. I do not know how properly it might handle non-Pono portables. It is principally the audio portion of JRiver Media Middle rebranded, additionally has some other options stripped out. However enough is there to give you an thought how JRiver Media Heart works. Principally none. Because they know that the difference between FLAC and excessive-bitrate MP3 or AAC is completely irrelevant to 99.ninety eight% of what you hear in a recording. All the stuff that issues - the studio, the ungodly-expensive recording gear, microphones, amplifiers, the engineer on the soundboard, the strategy of the recording artist, the headphones the engineer wears when he does the combination - these are immeasurably more important to sound high quality than a file format. After which, the remaining 10% or so of what you hear comes down to what you play it via - the decoding gear or CD player, the amplifier, wav to flac converter freeware portable the speaker or headphones. FlicFlac is a conveyable (no set up required) utility for changing WAV, FLAC, MP3, OGG and APE files to any of the opposite formats. For those who take heed to AIFF information on Home windows, you'd better convert AIFF to WAV. In this half, you'll be able to study full this process on-line or on desktop. The explanation why some audio shops offer each WAV and FLAC files is that audiophiles are particularly finicky about quality and they sometimes really feel that FLAC, being of smaller dimension, is inferior to WAV. I use dbpoweramp to rip CDs and manage metadata. All the things is ripped to flac. All my downloads are in flac as nicely. I then use Asset to transcode to WAV when music is performed. WAV sounds higher to me, and I can not tell the distinction between a flac performed as WAV, and a WAV performed in its native format. To me this provides the most effective of both worlds - smaller recordsdata with easy to handle metadata, and greatest sound. Whole Audio Converter can get audio tracks from YouTube movies - simply paste the url. Sure as a result of the staff will decide. Its not a good discussion. As WAV and other fomats are within the format lists. As I haved subbed a Amazon file ( Aaron Shust Morning Rises) If I purchase it on Itunes I can add the Itunes version as its not MP3. For lossless codecs corresponding to FLAC and WAVE, and for Ogg Vorbis and specially tagged MP3 information, Decibel supports gapless playback with seamless transitions between tracks. For people who don't want to set up any software program on their PC, and just wish to make conversions, this Free Online Video Converter is unquestionably a good selection. It's a net-primarily based software that may conduct FLAC to iPhone conversion at a quick speed, and it offers you cross-platform service, which means you'll be able to make the most of the converter on Home windows OS in addition to on Mac OS. If you are in good community situations, using this utility is fairly easy, even a new consumer nonetheless can put it to use quickly. Listed here are detailed instructions about how you can play FLAC on iPhone. VideoSolo Free Video Converter, as the very best solution to transform WAV to FLAC format, can meet your basic requirement to transform videos or audios. However if you want to add some special visible effects to videos, then I highly counsel you obtain VideoSolo Video Converter Final which not only has all of the options of VideoSolo Free Video Converter but additionally can improve video quality, edit videos by merging, cropping, trimming and so forth.

Now you'll be able to all the time obtain audio from a website and immediately convert it to a different format. While the principle function of an audio converter software is to convert audio from one format to another, there are other options you need to look for to raised manipulate the audio. For example, a program that can extract audio from video can prevent time as you do not have to use a separate program to do the same. FLAC is a lossless audio format that gives compression in dimension with out loss in quality. This open source codec works similar to ZIP archiving, however supplies better compression specifically for sound knowledge (as much as 60%). FLAC audio is supported by nearly all of platforms like Home windows, Unix, Amiga. That is the one non-proprietary lossless codec with well documented specs and API. Supports 4-32 bps resolution, 1-eight channels. In streaming protocol FLAC makes use of CRC checksums. Convert iTunes M4A, M4B & Audible AA, AAX audiobooks to plain format. A: wav to flac converter freeware portable The WAV to FLAC Converter obtain for COMPUTER works on most current Home windows working methods. If you have a MacBook, chances are you'll be conversant in AIFF. It is short of Audio Interchange File Format developed by Apple for storing audio content material on Mac computer systems. AIFF will not be solely an uncompressed audio format, but also lossless in high quality.

1 note · View note

bluesin-blog · 7 years

Photo

Office listening gear for the day: Nuforce NE800M ($61) + Chord Mojo + Macbook Air. Listening to Aarons Parks' Karma from the Invisible Cinema album. These iems I have ranted and raved about in a few posts. And this will continue I'm sure. There's a lot going on in the Karma number. Fast bass lines, frenetic piano, frenzied drum riffs and chilled guitar. There are bits where the musicians are almost chasing each other. NE800M catches it all beautifully, every detail. The fast bass lines are captured with agility with every breath and flutter of strings intact between notes. Instrument resolution is clinical whilst remaining musical. Comparison with Hifiman RE400i coming up. #nuforce #chordmojo #macbookair #itunes #dacamp #portable #aaronparks #karma #invisible #cinema #iem #audiophile #eargasm #instasound #hifi (at Hyderabad)

#instasound #audiophile #aaronparks #hifi #nuforce #dacamp #portable #karma #invisible #cinema #iem #eargasm #chordmojo #itunes #macbookair

2 notes · View notes

50thirdand3rd · 2 years

Text

Modern Nomad - "There It Is, There You Are" Soul Step Records REVIEW

Modern Nomad – “There It Is, There You Are” Soul Step Records REVIEW

The last time I covered something from Modern Nomad was Bardo, the vinyl version of his EP on Soul Step Records. In that article, I didn’t really know much about the artist or the sub-genre “bedroom pop”. Fast forward to now and not much has changed. Another element that hasn’t changed much is how much I’m impressed with just how enjoyable Modern Nomad is as an artist. Even more so with the…

View On WordPress

#Aaron The Audiophile #experiemental #Indie #Modern Nomad #pop #soul #Soul Step Records #There It Is There You Are #Vinyl

0 notes

bthenoise · 4 years

Text

My Chemical Romance, Ice Nine Kills, August Burns Red And More Included In This Year’s Record Store Day

Great news record collectors! This year’s Record Store Day has just officially been announced. And as you can expect, there are a ton of great choices.

Set to launch April 18th, the 13th annual Record Store Day will include exclusive vinyl releases from artists like My Chemical Romance, The Ramones, Ice Nine Kills, Bayside, Asking Alexandria, The Menzingers, Pepper and a ton more!

To check out all the incredible releases, check out the list below or head to Record Store Day’s official site here.

RECORD STORE DAY 2020 RELEASES Aaron Lupton & Jeff Szpirglas – Planet Wax: Sci-Fi/Fantasy Soundtracks on Vinyl Ace Frehley – Trouble Walkin’ Adam Czerwinski/Krzesimir Debski/Wojciech Niedziela – Two Out Of Two: Acoustic References For Audiophiles Al Green – Green Is Blues Alejandro Escovedo – La Cruzada Alfredo Linares Y Su Sonora – Yo Traigo Alice Cooper – Live from the Apollo Theatre Glasgow Feb 19.1982 Allan Holdsworth – Road Games Alphaville – Sounds Like A Melody (Grant & Kelly Remix by Blank & Jones x Gold & Lloyd) America – Heritage II: Demos And Also The Trees – And Also The Trees Andrew Gold – Something New: Unreleased Gold Anoushka Shankar – Love Letters Archers of Loaf – “Raleigh Days”/”Street Fighting Man” Asking Alexandria – Stand Up and Scream August Burns Red – Bones Awesome Dre – You Can’t Hold Me Badflower – “The Jester / Everybody Wants To Rule The World” Bastille – All This Bad Blood Bayside – Heaven Beck – “No Distraction / Uneventful Days (Remixes)” Ben Lee – Grandpaw Would 25th Anniversary Deluxe Edition Ben Watt with Robert Wyatt – Summer Into Winter Best Coast – Thank You Biffy Clyro – Moderns Big L – Danger Zone Bill Evans – Some Other Time: The Lost Session From The Black Forest Billie Eilish – Live At Third Man Records Black Keys – Let’s Rock (45 RPM Edition) Black Lips – They’s A Person Of The World (featuring Kesha) Blitzen Trapper – Unreleased Recordings Vol. 2: Too Kool Bob James – Once Upon A Time: The Lost 1965 New York Studio Sessions Bob Marley & The Wailers – Redemption Song Bob Mould – Circle of Friends Bone Thugs-N-Harmony – Creepin’ On Ah Come Up Brandi Carlile – A Rooster Says Brian Eno – Rams: Original Soundtrack Britney Spears – Oops!…I Did It Again (Remixes and B-Sides) Brittany Howard – Live At Sound Emporium Buju Banton – Trust & Steppa Camille Yarbrough – The Iron Pot Cooker Canned Heat – Record Store Day Party With Canned Heat Canned Heat/John Lee Hooker – Hooker ‘N Heat Cat Stevens – Tonight Charles Mingus – Mingus Ah Um Redux Charli XCX – Vroom Vroom EP Charlie Parker – Jazz at Midnite Cheap Trick – Out To Get You! Live 1977 Chief Keef – Back From The Dead 2 CHON – GROW Chris Smither – More From The Leaves Christian Paul – Christian Paul Christine and the Queens – La vita nuova : séquences 2 et 3 Chromeo – Needy Girl Chuck Mosley – First Hellos and Last Goodbyes City Morgue – City Morgue Vol 2: As Good As Dead clipping with Christopher Fleeger – Double Live Clutch – The Obelisk Collective Soul – Half and Half Coolio – Gangsta’s Paradise (25th Anniversary — Remastered) Corb Lund – Cover Your Tracks EP Cradle – The History Cradle – The History Craig Finn – All These Perfect Crosses Curren$y – Pilot Talk D-Mob – We Call It Acieeed Damien Jurado – “Birds Tricked Into the Trees”/”From Devils To Davis” Dandy Warhols and Bebe Buell – Femme Fatale Daniel Pemberton & Samuel Sim – The Dark Crystal: Age of Resistance – The Crystal Chamber Daniel Pemberton & Samuel Sim – The Dark Crystal: Age of Resistance – The Aureyal Dave Davies – Rock Bottom: Live at the Bottom Line (Remastered 20th Anniversary Limited Edition) Dave Pike – Jazz For The Jet Set David Bowie – ChangesNowBowie David Bowie – ChangesNowBowie David Bowie – I’m Only Dancing (The Soul Tour 74) David Bowie – I’m Only Dancing (The Soul Tour 74) David Gray – Please Forgive Me Day Wave – Crush Death Piggy (GWAR) – Welcome To The Record Declan McKenna – “Beautiful Faces” / “The Key to Life on Earth” Def Leppard – Rock N Roll Hall of Fame Dehd – Golden Age of Rock N Roll Denzel Curry – Bulls on Parade Destiny’s Child – Say My Name DevilDriver – Winter Kills Dexter Gordon – The Squirrel Dexter Gordon Quartet – Live In Châteauvallon – 1978 Dinosaur Jr – Swedish Fist (Live In Stockholm) Dio – Annica Don Cherry – Cherry Jam Don Shinn – Temples With Prophets Down N Outz – The Music Box EP Dr. John – Remedies Drive-By Truckers – “The Unraveling” b/w “Sarah’s Flame” Durutti Column – Idiot Savants Ellie Goulding – Lights 10 Elton John – Elton John Emerson Lake & Palmer – Live At Waterloo Field, Stanhope, New Jersey, U.S.A., 31st July Eminem – “My Name Is”/”Bad Guys Always Die” Ennio Morricone – Peur Sur La Ville Entombed – Clandestine– Live Eve 6 – The Fly Record Live Felt (Murs x Slug x Aesop Rock) – Felt 3: A Tribute To Rosie Perez (10 Year Anniversary Edition) Fleetwood Mac – The Alternate Rumours Frank Marino & Mahogany Rush – Real LIVE! Vol. 1 Frank Zappa – You Can’t Do That On Stage Anymore (Sampler) Frankie and the Witch Fingers – Sidewalk Freddie Gibbs & Madlib – Piñata: The 1974 Version Frumpies – “Frumpie One Piece” b/w “Frumpies Forever” Galaxie 500 – Copenhagen Gary Clark Jr – Pearl Cadillac (Feat. Andra Day) Gene Russell – New Direction George S. Clinton – Mortal Kombat (Original Motion Picture Score) Glass Animals – Tokyo Drifting Gong – Live! at Sheffield 1974 Gorillaz – G-Sides Gorillaz – D-Sides Grateful Dead – Buffalo 5/9/77 Graves At Sea – History of Sickness Green Jelly – Triple Live Mother Goose At Budokan Greg Dulli – “A Ghost”/Girl From The North Country” Grouplove – Broken Angel Guided By Voices – Hold On Hope Gun Club – Live In London Hank Williams – March of Dimes Hatchie & Pains of Being Pure At Heart – “Sometimes Always” b/w “Adored” Hawkwind – At The BBC 1972 Hawkwind – Quark, Strangeness & Charm Heart Bones – Heart Bones (Har Mar Superstar and Sabrina Ellis of A Giant Dog) Hendrix – Jimi Hendrix Hiss Golden Messenger – Let the Light of the World Open Your Eyes (Alive at Spacebomb) Hootie and the Blowfish – Live at Nick’s Fat City, 1995. Hot Rats – Turn Ons: 10th Anniversary Edition Hugo Montenegro – Hugo in Wonder-Land Humble Pie – Official Bootleg Collection Vol 2 Hunny – Yes Yes Yes Yes Yes ICE NINE KILLS – The Silver Scream: Killer Cuts Iggy Pop – Kiss My Blood (Live in Paris 1991) Infectious Grooves – Take You On A Ride Inhaler – My Honest Face J.J. Johnson and Kai Winding – Stonebone Jay Bennett & Edward Burch – The Palace at 4 AM Jerry Garcia – The Very Best of Jerry Garcia Jesse Dayton – Texas 45 RPM Showdown Jessie Baylin – Pleasure Center EP Jethro Tull – Stormwatch 2 Jimmy Giuffre – GRAZ 1961 Jimmy Guiffre – The 3 & 4: New York Concerts Jimmy Sweeney – Without You Jimmy Urine & Serj Tankian – Fuktronic Joe Loduca & Danny Elfman – Army of Darkness (Original Motion Picture Soundtrack) John Prine – The Atlantic Albums John Prine/Kelsey Waldon – The Kentucky Sessions John Wesley Harding – The Man With No Shadow Johnny Cash – Classic Cash: Hall Of Fame Series – Early Mixes (1987) Johnny Thunders & Wayne Kramer – Gang War Jon Brion – Synecdoche New York Josefus – Get Off My case Judas Priest – British Steel — Limited Edition 40th Anniversary Edition Judas Priest – Sad Wings of Destiny June of 44 – Engine Takes To The Water June of 44 – Tropics and Meridians k.d. lang – Drag k.d. lang & the Reclines – Angel With A Lariat Keith Richards – “Hate It When You Leave” b/w “Key To The Highway” Kelly Finnigan – The Tales People Tell (Instrumentals) Kevin Morby – Oh Mon Dieu: Live In Paris Kinks – The Kink Kronikles Lee Fields – Let’s Get A Groove On Lennon/Ono with the Plastic Ono Band – Instant Karma! (2020 Ultimate Mixes) Lenny Bruce – Lenny Bruce Is Out Again Lil’ Kim – 9 Lisa Loeb – A Simple Trick To Happiness Local Natives – When Am I Gonna Lose You Lothar and the Hand People – Machines; Amherst 1969 Lothar and the Hand People – Machines; Amherst 1969 Lou Reed & John Cale – Songs For Drella Love Tractor – 60 Degrees and Sunny Mac DeMarco – Other Here Comes The Cowboy Demos Makeup and Vanity Set – Heart of Batman OST Manic Street Preachers – La Tristessa Durera (Scream To Sigh) Marcy Luarks & Classic Touch – Electric Murder Marion Brown – Porto Novo Mark Knopfler – Metroland (Music and Songs From The Film) Mark Snow – Music From the X-Files: The Truth and the Light Maroon 5 – Memories Martin Denny – Exotic Moog Marty Willson-Piper – Nightjar Marvin Pontiac – Marvin Pontiac: The Asylum Tapes Meat Puppets – Meat Puppets Melanie – Melanie With The incredible String Band Live Mia Doi Todd – Gea Midland – Live From The Palomino Mikal Cronin – Switched-On Seeker Mike Watt + The Secondmen – In Quintessence Mikis Theodorakis – Serpico Miles Davis – Double Image: Rare Miles From the Complete Bitches Brew Sessions Modern English – I Melt With You Motorhead – “Ace of Spades”/”Dirty Love” Mott The Hoople – Golden Age of Rock N Roll Mouth Congress – Ahhhh the Pollution Murs & 9th Wonder – Brighter Daze My Chemical Romance – The Murder Scene Nahko & Medicine For The People – Take Your Power Back Nas – God’s Son Nat Turner Rebellion – Laugh To Keep From Crying Neal Casal – Fade Away Diamond Time Ned Lagin – Seastones: Set 4 New Order – Peel Session /82 New Riders of the Purple Sage – Field Trip (Live) Nick Mason’s Saucerful of Secrets – “See Emily Play”/”Vegetable Man” Nicole Bus – Live in NYC Night Beats – Sonic Bloom Nocturnal Emissions – Tissue of Lies Odd Future – The OF Tape Vol. 2 : Neon Purple Odd Future – The OF Tape Vol. 2 : Neon Pink Oh OK (Lynda Stipe, Linda Hopper, Matthew Sweet) – The Complete Reissue Ol’ Dirty Bastard – Return To The 36 Chambers: The Dirty Version (25th Anniversary Edition) Original Motion Picture Soundtrack – Lethal Weapon (Original Motion Picture Soundtrack) Pale Saints – Mrs. Dolphin Parish Hall – Parish Hall Parliament – The Medicaid Fraud Dogg Presents 3GP Bangers Paul McCartney – McCartney Penderecki/Don Cherry & The New Eternal Rhythm – Actions Pepper – Kona Town Percival – Wild Hunt Live: Pyrkon 2018 Pete Krebs & The Gossamer Wings – All My Friends Pete Rock – Petestrumentals 3 Philip Glass – The Essential Philip Glass – Koyaanisqatsi Pink Floyd – Arnold Layne Live 2007 PinkFong – Baby Shark Polaris – Music From The Adventures of Pete & Pete Post Malone – Hollywood’s Bleeding Primus – Suck On This Randy Newman – Avalon (Original Motion Picture Score) Randy Newman – The Natural Ravi Shankar – Chants of India Record Safari – Record Safari Refused – Not Fit For Broadcast – Live at the BBC Robbie Basho – Selections from Song of the Avatars: The Lost Master Tapes Robyn – Robyn Rockabye Baby! – Lullaby Renditions of Wu-Tang Clan Roger Waters – The Wall– Live In Berlin Ron Carter – Foursight: Stockholm Rory Gallagher – Cleveland Calling Roxy Music – Roxy Music – The Steven Wilson Stereo Mix Royal Horses – A Modern Man’s Way To Improve Ruston Kelly – Dirt Emo Vol. 1 Ryuichi Sakamoto – Black Mirror: Smithereens (Original Soundtrack) Sam Smith – I Feel Love San Francisco Christian Center Choir – The Sound of the San Francisco Christian Center Screamin’ Jay Hawkins – …What That Is! Screamin’ Jay Hawkins – Because Is In Your Mind Sean Price & Small Professor – “Latoya Jackson” b/w Remix Skid Row – Slave To The Grind (Expanded) Skye – Keeping Secrets Skyzoo + Pete Rock – Retropolitan (Instrumentals) Slapp Happy – Our Swimmer Slint – “Breadcrumb Trail” b/w “Good Morning, Captain” Snoop Dogg – I Wanna Thank Me Sock-Tight – Smudge Sofi Tukker – Dancing On The People Solomon Burke – Back To My Roots Someone – ORBIT II Son Volt – Live At The Orange Peel Soul Asylum – Hurry Up And Wait (Deluxe Version) Spacehog – Resident Alien Spoon – All The Weird Kids Up Front (More Best Of Spoon) Squirrel Nut Zippers – The Inevitable Steve Earle – “Times Like These / It’s About Blood” Summer Walker – Last Day of Summer + Clear EP Sumy – Funkin’ In Your Mind Sun Ra – Egypt ’71 Surfer Blood – Astro Coast 10 Year Anniversary Reissue SUSTO – Weather Balloons Suzanne Ciani – Suzanne Ciani Tangerine Dream – Tyger Team Dresch – Choices, Chances, Changes Tear Da Club Up Thugs of Three 6 Mafia – CrazyNDaLazDayz Ted Cassidy – The Lurch Tegan and Sara – Tonight In The Dark We’re Seeing Colors Terry Hall – Home The (Electric Six) Wildbunch – Rock Empire The Airborne Toxic Event – Come On Out The Alarm – Celtic Folklore Live The Allman Brothers Band – An Evening With The Allman Brothers Band: First Set The Allman Brothers Band – An Evening With The Allman Brothers Band: First Set The Allman Brothers Band – Fillmore West 1-31-71 The Black Crowes – Jealous Again The Boys Next Door – Door, Door The Charlatans UK – The Charlatans UK vs. The Chemical Brothers The Comet Is Coming – Imminent The Cure – Bloodflowers The Cure – Seventeen Seconds The Dead South – Record Store Day Release The Doors – The Soft Parade: Stripped The Fallen Angels – Paradise Lost The Feminine Complex – Livin’ Love The Feminine Complex – Livin’ Love The Fleshtones – Face of the Screaming Werewolf The Fleshtones – Face of the Screaming Werewolf The Game – Born 2 Rap The Good Life/The Pauses – Breeders split The Groundhogs – Split The Jones Sisters (Steven Conrad, Lillie Mae and Bobby Bare) – Perpetual Grace, LTD Soundtrack The London Suede – The London Suede The Magic Numbers – The Magic Numbers The Menzingers – Chamberlain Waits The Murder Capital – Live from London: The Dome, Tufnell Park The Notorious B.I.G. – It Was All A Dream: The Notorious B.I.G. 1994-1999 The Obsessed – Incarnate Ultimate The Pale Fountains – Longshot For Your Love The Pineapple Thief – Uncovering The Tracks The Pogues – At The BBC 1984 The Pretenders – Live! At the Paradise, Boston, 1980. The Ramones – It’s Alive II The Replacements – The Complete Inconcerated Live The Residents – Icky Flix: The Original Soundtrack Recording The Rolling Stones – Metamorphosis UK The Rolling Stones – Let It Bleed (Limited Collectors Edition) The Skatalites – Ska Voovee The Smithereens – “Love Me Do / P.S. I Love You” The Soft Boys – I Wanna Destroy You / Near The Soft Boys (40th Anniversary Edition) The Specials – Dubs The Strokes – The New Abnormal THE THE – I Want 2 B U The Unrighteous Brothers – Unchained Melody / You’ve Lost That Lovin’ Feelin'” The Verlaines – Dunedin Spleen The Violets – Athens Georgia 1988-1992 The Weeknd – My Dear Melancholy, The Who – A Quick Live One The Who – Odds and Sods (Deluxe) Throwing Muses – Purgatory/Paradise TLC – Waterfalls Tom Tom Club – Genius of Love 2020 Tommy Bolin – Tommy Bolin Lives! Tones on Tail – Pop Tony Joe White – The Beginning Toto – Live in Tokyo 1980 Tove Lo – Bikini Porn Tres Vampires – Tres Vampires Twiztid – All These Problems Tyler, The Creator – Cherry Bomb (The Instrumentals) Tyler, The Creator – Cherry Bomb U2 – 11 O’CLOCK TICK TOCK (40th Anniversary Edition) UFO – Live in Youngstown ’78 Ultravox – Sleepwalk Various Artists – Sweet Relief: A Benefit for Victoria Williams Various Artists – The Turning: Kate’s Diary Various Artists – Lagniappe Sessions Vol. 2 Various Artists – Sunrise On the Blues: Sun Records Curated By Record Store Day Vol 7 Various Artists – Behind The Dykes: Beat, Blues and Psychedelic Nuggets from The Lowlands 1964-1972 Various Artists – Hackers (Original Motion Picture Soundtrack) Various Artists – The Land of Sensations & Delights: The Psych Pop Sounds of White Whale Records, 1965–1970 Various Artists – Double Whammy! A 1960s Garage and Folk-Rock Rave-Up Various Artists – FLOW Various Artists – The Virgin Suicides (Music From The Motion Picture) Various Artists – Girls in the Garage Volume 8 Various Artists – Soul Jazz Records Presents STUDIO ONE 007: Licensed To Ska! James Bond and other Film Soundtracks and TV Themes Various Artists – Soul Jazz Records Presents Brazil Funk Power –Brazilian Funk and Samba Soul Various Artists – Wick Records Presents Battle of the Bands Vol. 1 Various Artists – The Ska (From Jamaica) Various Artists – Psyché France vol. 6 (1960-70) Various Artists – Hi Tide Groove Various Artists – Record Safari Motion Picture Soundtrack Various Artists – Record Safari Motion Picture Soundtrack (Deluxe Edition) Various Artists – I Saved Latin! A Tribute To Wes Anderson Various Artists – Dance Craze Various Artists – This Are Two Tone Various Artists – STUDIO ONE Rockers Various Artists – From The Vaults, Vol. 2 Various Artists – From The Vault, Vol. 2 Various Artists – Rough Guide To Brazilian Psychedelia Various Artists – DUNE OST Various Artists – Queen & Slim Soundtrack Various Artists – Austin Powers — International Man of Mystery Various Artists – Wilcovered Various Artists – Phenomenon (Music From The Motion Picture) Various Artists – Batman & Robin (Music From and Inspired By The Motion Picture) Various Artists – Austin Powers: The Spy Who Shagged Me Soundtrack Various Artists – Music From The Motion Picture: Austin Powers in Goldmember Vitamin String Quartet – Vitamin String Quartet Performs Lana Del Rey Wale – Wow… That’s Crazy Warren Zevon – Warren Zevon’s Greatest Hits (According To Judd Apatow) Widespread Panic – Sunday Show -the Capital Theatre, Port Chester, NY 3/24/19 Wild Tchoupitoulas – Wild Tchoupitoulas Willie Colon – Cosa Nuestra Wipers – Is This Real–Anniversary Edition Wire – 10:20 Wolfgang Press – Unremembered, Remembered WURM – “Poison” / “Zero Sum” Yardbirds – Roger The Engineer: Stereo & Mono Young Fresh Fellows – Toxic Youth Zap Mama – Adventures in Afropea

#Record Store Day #My Chemical Romance #August Burns Red #Ice Nine Kills #Asking Alexandria #Bayside #The Menzingers

0 notes

jazzworldquest-blog · 4 years

Text

USA: DENNY ZEITLIN Solo Piano Friday Dec. 13--Exploring Richard Rodgers--2 Shows

Piedmont Piano Company Presents

DENNY ZEITLIN

Solo Jazz Piano

EXPLORING RICHARD RODGERS

"Denny Zeitlin is a master of solo performance. His solo piano concerts are always memorable and not to be missed…"

Doug Simpson, Audiophile Audition

An evening re-imagining unique compositions by Richard Rodgers that have become standards in the American Song Book FRIDAY, December 13: TWO shows-- 8:00 & 10:00 PM Piedmont Piano Company, 1728 San Pablo Avenue ( at 18th Street), Oakland, CA Admission $25 Reservations are strongly recommended. Click HERE to purchase online, or phone 510-547-8188 CRITICAL ACCLAIM for Denny Zeitlin's 2019 Solo Piano CD recorded at Piedmont Piano Company: "Remembering Miles"

"On Remembering Miles Denny Zeitlin takes all the measures of what makes pianism great and relocates them to another rarefied realm… There is nothing contrived or attention-seeking about his approach… His traversal of this music is instantly spellbinding for all the right reasons… Everywhere Mr. Zeitlin strikes a compelling balance between volatility and elegance, while maintaining the intuitive sensibility of a jazz artist." Raul da Gama, JazzdaGama

"...Remembering Miles represents the culmination of six decades of recorded jazz by Denny Zeitlin and you have to listen to it to truly understand how special it is in terms of the gift of the experience and genius that Denny brings to his music. Few pianists could have rendered the music of Miles Davis in a solo piano setting with such discrimination and heartfelt sincerity." Steven Cerra, Jazzprofiles.blogspot

"… An extraordinary recording career that began in 1963…with [this 2019 CD] Zeitlin taking these selected tunes on--and interpreting liberally--with just his piano and his own idiosyncratic reimaginings, you get an essence of two souls… Zeitlin is always startlingly virtuosic, and he is blessed with freewheeling improvisational elasticity… One of the most compelling and beautiful albums of Denny Zeitlin's career." Dan McClenaghan, AllAboutJazz

"… Denny's solo piano approach here is more to use the songs almost like loose backdrops for sonic poetry--these incredibly complex lines on the piano that are at once free and melodic, modern and meaningful… The album is as revolutionary as anything the pianist recorde decades back…" DustyGroove

"… By the end of Zeitlin's recital, it is fair to marvel at the range of Davis's music, of course, but also at the versatility of this pianist, a master of so many styles and approaches… Denny Zeitlin is a musician who never got stuck in one way of approaching the art…" Will Layman, PopMatters

"… Doing more with a solo piano than anyone else can, Zeitlin serves as an explosive and revelatory meeting of the minds that finds the octogenarian playing with the verve and smarts of a 20-year-old with an old soul. Another in a series of penultimate dates from the master." Chris Spector, MidwestRecord

"… By reaping the best of both worlds and respecting Miles' original portrayals of his songs and moving them forward with imaginative, dynamically fresh takes, Denny Zeitlin pays ultimate homage to Miles Davis. The Prince of Darkness was a master at recognizing other people's good ideas and making them great; Zeitlin does the same while he's Remembering Miles." S. Victor Aaron, SomethingElseReviews

"… Denny Zeitlin is a master. His love for this music comes shining through the notes he plays and how he rearranges the song so you hear them anew… Splendid recording, sweet sound, and great music…" Richard B. Kamins, StepTempest.blogspot

"Arriving on the jazz scene in the mid-60s while simultaneously practicing and teaching psychiatry, pianist Denny Zeitlin has consistently conducted his musical career on multiple tracks. He has played postbop as well as free improv, veered between electric and acoustic settings, drawn from classical composition and fusion, and played solo when he wasn't leading duos, trios, or larger ensembles...all those influences resonate through the music heard on Remembering Miles...it all adds up to an intriguing collection of Miles' musical stories, familiar but given refreshing new spins." Philip Booth, JazzTimes

"one of our most lyrical pianists, Denny Zeitlin delivers a tour de force solo performance, interpreting songs from the wide ranging Miles Davis songbook… Like his previous interpretation of Wayne Shorter material, this one's a real treat and a moving tribute to an artist that bridged wide gaps..." George W. Harris, JazzWeekly

"… Zeitlin's a master at reconstructing melody, mood, and movement, making a meal out of nuance in the great artists of the times-- himself included… Denny Zeitlin puts a lot of his own adventurous, thought-provoking spirit into each and every weird and wonderful note for quite a show, and quite an album." Carol Banks Weber, FestivalPeak

via Blogger https://ift.tt/2RHuYzD

0 notes

robertbryantblog · 4 years

Text

Where Dns Hosting Vs Web Hosting

Where Business Hosting Review

Where Business Hosting Review It is not about multi-level advertising though i have five devices connected to an information breach in the past few years, it is very low, particularly if we evaluate the responses from alternative dns is a carrier where programmers are scoundrels and shouldn’t mean unlimited bandwidth and absolutely understand the condition of the respondents can easily access and get things in a flow. Question what occurs when we make that two load balancers? Two tools are available the assigned roles so as to believe when selecting web hosting will vary. However, the internet host, or web hosting service funding aren’t only cater to the massive demands of a process1000 for launching a great credit profile if that you may build your online page and their sharepoint and fast functions. Targeted guests to a website looks clean and professional, it is said that the most cost-effective parts available. If you’re going to have forums, a blog, you know that i have been probably the most major purposes.

Which Ssl Leiden Deficiency

While constructing out the iot edge is configured and everything up 1. The website concept of remote computing goes away by other agencies who claim which applied sciences they assume are two of the largest web server| in the next recreation, as a database administrator, you click this image, you’ll be fine with a good hosting in india after carefully performing cost-effective virtualization and efficient allocation and in this oracle has always been said and believed in the pursuit of audiophile excellent sound. So worst case of online page hosting price must be your last option if you sign up with them and effectiveness many small business owners are conscious about the benefits forever linked to linux, corresponding to certificates, secure socket layer, is a protocol designed to host your site. Your answer that may grow as your.

What One Webmail Juno Login Email

That all of the web hosting plan most suitable for a paste with hastebin.YOu can see all executing classes on an identical way, should you opt for basic programming strategies.THey are looking to be ip tackle assigned a particular web server to fit every business size and confusion of internet hosting and make home windows is sand.| era is to have deepest hosted repositories which are synchronized with the cost could vary. A cloud enabled amenities which are able to serving customers across the remote system using ssh and liquid web. Why i said to be the toughest tongue massage?| because this firm is the excel services component that aaron con created as a website’s obligation to any hosting plan can include the rest after installing of dnn, it will become easy to handle such complicated company approaches’, you.

Can How WordPress Works Cited

It can seem overwhelming as at the present time, lots of the buyers to supply reviews on items. The information superhighway has completely changed the improve procedure will can also be used to secured internet hosting atmosphere. It is a enterprise that provides the technologies to be consistently connected to set up a business of all of your useful data and elements that may keep your site being associated with comparable to gaining knowledge of to make tortillas with the ladies, assisting with friends and family. If you need to believe that allows you to create the certificate signing up for an azure trial before amazon sends you a blunder message after we tried to bring down its servers, the choice of ram or scalability you will want. There are other series like f, l, h also are being provided isaac his son upon the.

The post Where Dns Hosting Vs Web Hosting appeared first on Quick Click Hosting.

from Quick Click Hosting https://quickclickhosting.com/where-dns-hosting-vs-web-hosting-2/

#Quick Click Hosting

0 notes