{"title":"SALE","description":"\u003cp\u003eFrom June 24th to July 14th, discover a selection of over 70 exceptional albums with prices up to 70% off!\u003c\/p\u003e","products":[{"product_id":"art-blakey-live-in-scheveningen-1958-telechargement-hd","title":"ART BLAKEY - LIVE IN SCHEVENINGEN 1958 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eOn the evening of November 29th 1958, on the stage of the Kurhaus in Scheveningen, when Art Blakey grabs the microphone to say \"I would like to take a moment and say good evening on behalf of the Jazz Messengers and myself\", everyone knows that he is living a historic moment. Pianist Bobby Timmons has just created the iconic \"Moanin'\" and saxophonist Benny Golson the famous \"Along Came Betty\", which the Jazz Messengers mix with compositions by their illustrious companions, Thelonious Monk, Charlie Parker and Dizzy Gillespie. The essence of world jazz is on stage, and is taken up again on this edition forgotten until today\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Art Blakey, Drums\u003cbr\u003e\nLee Morgan, Trumpet\u003cbr\u003e\nBenny Golson, Tenor Saxophone\u003cbr\u003e\nBobby Timmons, Piano\u003cbr\u003e\nJymie Merritt, Bass|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eR\u003cspan data-mce-fragment=\"1\"\u003eecorded\u003c\/span\u003e at the Kurhaus in Scheveningen, Netherlands, 29.XI.1958\u003cbr\u003e MONO ℗ 1958 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2018 FONDAMENTA from the original tapes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225126047906,"sku":"TLRE-BL58-32DI","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-BLAKEY.jpg?v=1715948562"},{"product_id":"bill-evans-trio-live-at-hilversum-1968-telechargement-hd","title":"BILL EVANS TRIO - LIVE AT HILVERSUM 1968 - HD DOWNLOAD","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eWho is this man who quietly enters the small VARA studio in Hilversum on June 22, 1968? Bill Evans. He has the figure of Yves Saint-Laurent, slim, and that same \"pretend I'm not here\" attitude. Smiling behind him are Puerto Rican drummer Jack Dejohnettes and bassist Eddie Gomez, his constant touring companion for several years. A month ago, they won a historic Grammy Award in Montreux, a kind of coronation for Bill Evans that confirms him at the top of his art. Evans knows like no other how to give true colors to life. A musician out of any category, out of any caste, everyone feels that he is this genius jazz tailor to whom a generation of pianists will dedicate respect and admiration. This is the first publication of this historic\u003c\/span\u003e recording.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Bill Evans, Piano\u003cbr\u003e\nEddie Gomez, Bass\u003cbr\u003e\nJack Dejohnette, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: André Perriat\u003cbr\u003e 180g vinyl album\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLimited number of copies\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\"\u003e:\u003c\/span\u003e 900\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eR\u003cspan data-mce-fragment=\"1\"\u003eecorded\u003c\/span\u003e in Hilversum, 22.VI.1968\u003cbr\u003e STEREO ℗ 1968 NOS\u003cbr\u003e Remastered by ℗ \u0026amp; © 2016 FONDAMENTA from the original analog tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225136337058,"sku":"TLRE-EVAN68-32DI","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-EVANS.jpg?v=1715949181"},{"product_id":"andre-navarra-the-cello-telechargement-hd","title":"ANDRÉ NAVARRA - The Cello - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eFondamenta is launching the Phoenix Collection as a tribute to the great cellist André Navarra on the occasion of his 30th birthday. the 30th anniversary of his death. Accompanied by his son, our teams have travelled throughout Europe in search of the original original tapes - many of which were still unpublished or abandoned - in order to draw up the artistic testament of one of the cellists and founders of the great French cello tradition. Each of the tapes has been carefully restored using the Phoenix Mastering process that we have been developing over several years, one of the one of the stages of which is based on Devialet technologies. The result is a unique 6-disc boxed set, featuring The result is a unique 6-disc boxed set of all the great cello concertos in unprecedented sound quality\u003c\/span\u003e. \u003c!-- Navarra : The Cello --\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cp class=\"subdescription\"\u003e\u003cstrong\u003e24bit\/176.4kHz AIFF audio files. 64 pages pdf Booklet included.\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003eCD1\u003c\/p\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eCamille Saint-Saëns Concerto in A minor for Cello and Orchestra, Op. 33, No. 1\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line with-audio\"\u003e\n\u003cdiv class=\"play-pause\"\u003e\u003c\/div\u003e\n\u003cli\u003eAllegro non troppo \u003caudio\u003e\n\u003csource type=\"audio\/mpeg\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Navarra-16bit-FR4Y21622001.mp3?v=1611492342\"\u003e\u003c\/audio\u003e\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAllegretto con moto\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eTempo Primo\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eLalo: Concerto in D minor for Cello and Orchestra\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003ePrelude: Lento – Allegro maestoso\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eIntermezzo: Andantino con moto – Allegro presto\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eIntroduction: Andante – Rondo: Allegro vivace\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003eCD2\u003c\/p\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eBrahms: Concerto in A minor for Violin, Cello and Orchestra, Op. 102\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAllegro\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAndante\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line with-audio\"\u003e\n\u003cdiv class=\"play-pause\"\u003e\u003c\/div\u003e\n\u003cli\u003ePerennial non troppo \u003caudio\u003e\n\u003csource type=\"audio\/mpeg\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Navarra-16bit-FR4Y21622009.mp3?v=1611492342\"\u003e\u003c\/audio\u003e\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eKodály: Duo in D minor for Violin and Cello, Op. 7\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAllegro serioso, non troppo\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAdagio\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eMaestoso and largamente, ma non troppo lento\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003eCD3\u003c\/p\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eProkofiev: Symphony-Concerto in E minor for Cello and Orchestra, Op. 125\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAndante\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAllegro\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAndante con moto – Allegretto – Allegro marcato\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eBloch: Schelomo, Hebrew Rhapsody for Cello and Orchestra\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003eCD4\u003c\/p\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eKhachaturian: Concerto in E minor for Cello and Orchestra\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAllegro moderato\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAndante sostenuto\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAllegro [a batteta]\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"tracklist-line with-audio\"\u003e\n\u003cdiv class=\"play-pause\"\u003e\u003c\/div\u003e\n\u003cli\u003eBruch: Kol Nidrei for Cello and Orchestra, Op. 47 \u003caudio\u003e\n\u003csource type=\"audio\/mpeg\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Navarra-16bit-FR4Y21622020.mp3?v=1611492342\"\u003e\u003c\/audio\u003e\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eMartinů: Concertino in C minor for Cello, Winds, Percussion and Piano, H. 143\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003eCD5\u003c\/p\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eElgar: Concerto in E minor for Cello and Orchestra, Op. 85\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAdagio – Moderato\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eLento – Allegro molto\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAdagio\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line with-audio\"\u003e\n\u003cdiv class=\"play-pause\"\u003e\u003c\/div\u003e\n\u003cli\u003eAllegro, my non troppo \u003caudio\u003e\n\u003csource type=\"audio\/mpeg\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Navarra-16bit-FR4Y21622025.mp3?v=1611492342\"\u003e\u003c\/audio\u003e\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eBach: Concerto in A major for Cello, Strings and Basso continuo, Wq. 172\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line with-audio\"\u003e\n\u003cdiv class=\"play-pause\"\u003e\u003c\/div\u003e\n\u003cli\u003eAllegro \u003caudio\u003e\n\u003csource type=\"audio\/mpeg\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Navarra-16bit-FR4Y21622026.mp3?v=1611492342\"\u003e\u003c\/audio\u003e\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eLargo con sordini, mesto\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAllegro assai, mesto\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003eCD6\u003c\/p\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eDvořák: Concerto in B minor for Cello and Orchestra, Op. 104\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAllegro\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eAdagio, my non troppo\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eFinale: Allegro moderato – Andante – Allegro vivo\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\u003cbr\u003e\n\u003cli\u003eIntroduction BBC\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"tracklist-line tracklist-line-underlist\"\u003e\n\u003cli\u003eSchumann: Concerto in A minor for Cello and Orchestra, Op. 129\u003c\/li\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eNicht zu schnell\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eLangsam\u003c\/li\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist-line\"\u003e\n\u003cli\u003eSehr lebhaft\u003c\/li\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cul class=\"tracklist_band_single_product\"\u003e\n\u003cli\u003eAndré Navarra, Cello\u003c\/li\u003e\n\u003cli\u003eJosed Suk, Violin\u003c\/li\u003e\n\u003cli\u003eCharles Munch, Conductor\u003c\/li\u003e\n\u003cli\u003eKarel Ančerl, Conductor\u003c\/li\u003e\n\u003cli\u003ePierre Dervaux, Conductor\u003c\/li\u003e\n\u003cli\u003eMartin Turnovsky, Conductor\u003c\/li\u003e\n\u003cli\u003eSir John Barbirolli, Conductor\u003c\/li\u003e\n\u003cli\u003eTibor Varga, Conductor\u003c\/li\u003e\n\u003cli\u003eRudolf Schwarz, Conductor\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eRemastered by ℗ \u0026amp; © 2016 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225151082658,"sku":"TLRE-NAVABX-32DI","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-NAVARRA.jpg?v=1715948957"},{"product_id":"blossom-dearie-the-lost-sessions-from-the-netherlands-telechargement-hd","title":"BLOSSOM DEARIE - THE LOST SESSIONS FROM THE NETHERLANDS - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eAmong the great moments in the career of Blossom Dearie, an exceptional singer and pianist, are the concerts she gave and recorded in the Netherlands between 1968 and 1989, of which we have a faithful reflection here, thanks in particular to a fine recording. She dominates all instrumental formats, from solo to the large Metropole Orchestra, and all repertoires, from the film song \"Raindrops Keep Falling On My Head\", which she magnifies, to Joni Mitchell's \"Both Sides Now\", which she renews with intelligence, not forgetting a masterpiece for which she is responsible, \"Winchester in Apple Blossom Time\". Not forgetting her other personal works, as well as \"Bring All Your Love Along\", of which we hear the first recorded version here. Blossom's sublime farewell, eternal spring, in the form of a delicate reverenc\u003c\/span\u003ee.\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Blossom Dearie, Vocals \u0026amp; Piano\u003cbr\u003e\n*with the Metropole Orchestra|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eWith the kind authorisation of the Blossom Dearie Estate\u003cbr\u003e\u003cbr\u003e STEREO ℗ AVRO 1968, 1970, 1971, 1982\u003cbr\u003e STEREO ℗ TROS 1989\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2016 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225181294754,"sku":"TLRE-DE68-32LP","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-DEARIE.jpg?v=1715927254"},{"product_id":"blossom-dearie-the-lost-sessions-from-the-netherlands-cd","title":"BLOSSOM DEARIE - THE LOST SESSIONS FROM THE NETHERLANDS - CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eAmong the great moments in the career of Blossom Dearie, an exceptional singer and pianist, are the concerts she gave and recorded in the Netherlands between 1968 and 1989, of which we have a faithful reflection here, thanks in particular to a fine recording. She dominates all instrumental formats, from solo to the large Metropole Orchestra, and all repertoires, from the film song \"Raindrops Keep Falling On My Head\", which she magnifies, to Joni Mitchell's \"Both Sides Now\", which she renews with intelligence, not forgetting a masterpiece for which she is responsible, \"Winchester in Apple Blossom Time\". Not forgetting her other personal works, as well as \"Bring All Your Love Along\", of which we hear the first recorded version here. Blossom's sublime farewell, eternal spring, in the form of a delicate\u003c\/span\u003e reverence. \u003cbr\u003e\u003cbr\u003e|STARTGOLD|Blossom Dearie, Vocals \u0026amp; Piano\u003cbr\u003e\n*with the Metropole Orchestra|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eCourtesy of Blossom Dearie Estate\u003cbr\u003e\u003cbr\u003e STEREO ℗ AVRO 1968, 1970, 1971, 1982\u003cbr\u003e STEREO ℗ TROS 1989\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2016 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: André Perriat\u003cbr\u003e 180g vinyl album\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eLimited number of copies\u003c\/span\u003e : 999\u003cbr\u003e Printed and pressed in Germany\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225188733090,"sku":"FON-1804033","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD-1.jpg?v=1715927222"},{"product_id":"claudio-arrau-the-unreleased-beethoven-recital-1959-cd","title":"CLAUDIO ARRAU - THE UNRELEASED BEETHOVEN RECITAL 1959 - CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThe Lost Recordings has rediscovered the master tapes of this double recital in the Berlin radio archives. The label thus offers the world premiere of this Beethoven recital by the great Claudio Arrau, recorded on 12 March 1959 at the Hochschule für Muzik in Berlin. An exceptional document.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhen he took the stage at the prestigious Hochschule für Musik in Berlin on 12 March 1959, Claudio Arrau, at the age of 56, was an artist at the height of his fame and in the fullness of his pianistic and intellectual qualities.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRarely better than in these solitary piano pieces, inextricably intertwining sentimental confession, wandering mystical reverie and constant concern for form, has Beethoven put \"on stage and in sound\" the common man grappling with his confused feelings, doubts and existential wanderings, transcending with his creative genius the contingencies and limits of his aleatoric condition in order to aim at the sublime and\u003c\/span\u003e monumental. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Claudio Arrau, piano|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 12.III.1959, Berlin Hochschule für Musik \u003cbr data-mce-fragment=\"1\"\u003eMONO ℗ \u0026amp; ©1959 RBB\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2020 The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225381376162,"sku":"TLRE-ARRA59-39CD","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_d151e27e-40cb-4fbd-a3a7-32a097cc6fa1.jpg?v=1715949047"},{"product_id":"claudio-arrau-the-unreleased-beethoven-recital-1959-telechargement-hd","title":"CLAUDIO ARRAU - THE UNRELEASED BEETHOVEN RECITAL 1959 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThe Lost Recordings has rediscovered the master tapes of this double recital in the Berlin radio archives. The label thus offers the world premiere of this Beethoven recital by the great Claudio Arrau, recorded on 12 March 1959 at the Hochschule für Muzik in Berlin. An exceptional document.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhen he took the stage at the prestigious Hochschule für Musik in Berlin on 12 March 1959, Claudio Arrau, at the age of 56, was an artist at the height of his fame and in the fullness of his pianistic and intellectual qualities.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRarely better than in these solitary piano pieces, inextricably intertwining sentimental confession, wandering mystical reverie and constant concern for form, has Beethoven put \"on stage and in sound\" the common man grappling with his confused feelings, doubts and existential wanderings, transcending with his creative genius the contingencies and limits of his aleatoric condition in order to aim at the sublime and\u003c\/span\u003e monumental.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Claudio Arrau, piano|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 12.III.1959, Berlin Hochschule für Musik\u003cbr data-mce-fragment=\"1\"\u003e MONO ℗ \u0026amp; © 1959 RBB\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2020 The Lost Recordings from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225387733154,"sku":"TLR-2103039-HD","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-ARRAU.jpg?v=1715949014"},{"product_id":"dave-brubeck-quartet-live-at-the-kurhaus-1967-telechargement-hd","title":"DAVE BRUBECK QUARTET - LIVE AT THE KURHAUS 1967 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eAt the time of one of their last concerts in 1967, the Dave Brubeck Quartet had already been in existence for 16 years, in more or less the same formation. That's how well the four of them know each other! It was at the Black Hawk night club in San Francisco that Dave and Paul made their debut. Their trademark: to break down racial barriers against which they will fight without restraint, even in the most extreme period of McCarthyism, and to make jazz accessible to the greatest number of people, by revisiting ballads, popular songs or great themes of classical music. But above all, they developed an almost infinite variety of complex rhythms. In Scheveningen, on the evening of 24 October 1967, the Dave Brubeck Quartet was more than just a jazz band. He was the ambassador of American music in\u003c\/span\u003e Europe.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Dave Brubeck, Piano\u003cbr\u003e\nPaul Desmond, Saxophone\u003cbr\u003e\nEugene Wright, Bass\u003cbr\u003e\nJoe Morello, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eR\u003cspan data-mce-fragment=\"1\"\u003eecorded\u003c\/span\u003e at Kurhaus, Scheveningen, 24.X.1967\u003cbr\u003e STEREO ℗ 1967 KRO\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2016 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225406804130,"sku":"TLRE-BR67-32DI","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-BRUBECK-2.jpg?v=1715927602"},{"product_id":"dizzy-gillespie-live-at-singer-concert-hall-1973-double-vinyle","title":"DIZZY GILLESPIE - LIVE AT SINGER CONCERT HALL 1973 - DOUBLE VINYL","description":"\u003cspan data-mce-fragment=\"1\"\u003eFor Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates \"Brother K\" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: \"The Blues\", where he abandons his trumpet to unleash the full force and warmth of his voice. The musicians withdraw to a surprisingly light theme. We leave as we arrive, on tiptoe. However, we leave with a certainty:\u003c\/span\u003e “Yes Dizzy, you made it”.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Dizzie Gillespie, Trumpet and Vocals\u003cbr\u003e\nMike Longo, Piano\u003cbr\u003e\nAlexander Gafa, Guitar\u003cbr\u003e\nEarl May, Bass\u003cbr\u003e\nMickey Roker, Drums\u003cbr\u003e\nGuest Artist : Jon Faddis, Trumpet on tracks 9 and 10|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Singer Concert Hall\u003cbr\u003e Laren Jazz Festival, 25.VIII.1973\u003cbr\u003e STEREO ℗ 1973 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2017 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: André Perriat\u003cbr\u003e 180g 2-vinyl album\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e2nd edition\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225416863906,"sku":"TLR-1704028V","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_1a890342-fae8-4e6c-a4ad-0a48df2df6df.jpg?v=1715926956"},{"product_id":"dizzy-gillespie-live-at-singer-concert-hall-1973-cd","title":"DIZZY GILLESPIE - LIVE AT SINGER CONCERT HALL 1973 - CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eFor Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates \"Brother K\" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: \"The Blues\", where he abandons his trumpet to unleash the full force and warmth of his voice. 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However, we leave with a certainty:\u003c\/span\u003e “Yes Dizzy, you made it”.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Dizzie Gillespie, Trumpet and Vocals\u003cbr\u003e\nMike Longo, Piano\u003cbr\u003e\nAlexander Gafa, Guitar\u003cbr\u003e\nEarl May, Bass\u003cbr\u003e\nMickey Roker, Drums\u003cbr\u003e\nGuest Artist : Jon Faddis, Trumpet on tracks 9 and 10|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Singer Concert Hall\u003cbr\u003e Laren Jazz Festival, 25.VIII.1973\u003cbr\u003e STEREO ℗ 1973 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2017 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e \u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225425711266,"sku":"FON-1704038","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_22224d61-0d37-478f-9894-8fde7992fd44.jpg?v=1715927020"},{"product_id":"dizzy-gillespie-live-at-singer-concert-hall-1973-telechargement-h","title":"DIZZY GILLESPIE - LIVE AT SINGER CONCERT HALL 1973 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eFor Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates \"Brother K\" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: \"The Blues\", where he abandons his trumpet to unleash the full force and warmth of his voice. The musicians withdraw to a surprisingly light theme. We leave as we arrive, on tiptoe. However, we leave with a certainty:\u003c\/span\u003e “Yes Dizzy, you made it”. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Dizzie Gillespie, Trumpet and Vocals\u003cbr\u003e\nMike Longo, Piano\u003cbr\u003e\nAlexander Gafa, Guitar\u003cbr\u003e\nEarl May, Bass\u003cbr\u003e\nMickey Roker, Drums\u003cbr\u003e\nGuest Artist : Jon Faddis, Trumpet on tracks 9 and 10|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Singer Concert Hall\u003cbr\u003e Laren Jazz Festival, 25.VIII.1973\u003cbr\u003e STEREO ℗ 1973 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2017 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225429643426,"sku":"TLRE-DI73-32DI","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-GILLESPIE.jpg?v=1715927075"},{"product_id":"duke-ellington-live-at-the-berlin-jazz-festival-1969-1973-cd","title":"DUKE ELLINGTON - LIVE AT THE BERLIN JAZZ FESTIVAL 1969•1973 - CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eOn 8 November 1969, on the stage of the Berlin Philharmonic's main hall, the Duke, whose portrait is the poster of the Jazztage Festival celebrating his 70th birthday, slowly joined his piano. His orchestra is at the helm, adorned with a gleaming section, some of whom have accompanied him for 30 years, such as Cootie Willams and Cat Anderson. Legendary saxophonists Paul Gonsalves and Johnny Hodges and Russell Procope are also present.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn a sort of rattle, the Duke launched 'La plus Belle Africaine'. A baroque but perfectly mastered mixture of sunny colours captured during a tour in Dakar, launched by the solo saxophone and then taken up with flashes of inventiveness by all or part of the band. The tone is set. Cat Anderson launches into a furious \"El Gato\" which shakes the audience with its creaking, deliberate deconstruction and evokes the revolutionary, fragmentary and unfinished gestures of Thelonious Monk or Cecil Taylor. A studied contrast with the gentle continuation of \"I Can't Get Started\", just before the 43-second parenthesis of \"Caravan\", which is a mischievous link to the flamboyant \"Satin Doll\" that masterfully punctuates this concert.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1973, a few months before his death, Duke returned to Berlin in a formation based on his trio (Joe Benjamin on double bass and Quinten \"Rocky\" White Jr. on drums), joined by Harold Johnson on trumpet, the clarinettist and baritone saxophonist Harry Carney - and by his long-time sidekick, the tenor saxophonist Paul Gonsalves. Duke Ellington gives his piano a central place here, making it both the driving force of the ensemble and its harmonic and rhythmic backbone.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn the Blues that opens the concert, we hear Debussy. Take the A train' follows. The Duke likes changes of mood. Only, here and there, touches of discontinuous speech remind us how sagaciously the Duke was able to draw on the audacious harmonies of his contemporaries. And then he dares to do everything. Like offering his band the rhythmic virtuosity of Baby Laurence on tap dance in \"Tap Dance\". The magic works. The success is total.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTwo concerts in Berlin, two facets of a poetic universe, two visions of an alchemist who knew how to draw with lightness but also with a mixture of jubilation and authority, from the harmonic sources of all music and which make so relevant the formula he loved: \"there are only two kinds of music: good and bad\". We have had the extreme privilege of resurrecting the better one\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nDuke Ellington, Piano\u003cbr\u003e\nJoe Benjamin, Bass\u003cbr\u003e\nQuinten \"Rocky\" White Jr., Drums\u003cbr\u003e\nHarold \"Money\" Johnson, Trumpet\u003cbr\u003e\nPaul Gonsalves, Saxophone\u003cbr\u003e\nHarry Carney, Baritone Saxophone, Clarinet\u003cbr\u003e\n\u003cbr\u003e\n*Duke Ellington, Piano, Leader\u003cbr\u003e\nAnd his Orchestra, Featuring:\u003cbr\u003e\nCat Anderson, Cootie Williams, Mercer Ellington, Trumpet\u003cbr\u003e\nHarold Ashby, Johnny Hodges, Paul Gonsalves, Russell Procope, Saxophone\u003cbr\u003e\nHarry Carney, Baritone Saxophone, Clarinet\u003cbr\u003e\nRufus Jones, Drums|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Berlin Philharmonic\u003cbr\u003e Berliner Jazztage, 2.XI.1973\u003cbr\u003e STEREO ℗ 1973 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded at the Berlin Philharmonie\u003cbr\u003e Berliner Jazztage, 8.XI.1969\u003cbr\u003e MONO ℗ 1969 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 The Lost Recordings from the original analog tapes\u003c\/span\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225469620386,"sku":"TLR-2204041","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_3e03cf3f-4e9d-4fca-95fb-ea4eb20b5a88.jpg?v=1715927389"},{"product_id":"duke-ellington-live-at-the-berlin-jazz-festival-1969-1973-vinyle","title":"DUKE ELLINGTON - LIVE AT THE BERLIN JAZZ FESTIVAL 1969•1973 - VINYL","description":"\u003cspan data-mce-fragment=\"1\"\u003eOn November 8, 1969, on the stage of the great hall of the Berlin Philharmonic, the Duke, whose portrait is the poster of the Jazztage Festival which celebrates his 70th birthday, slowly joined his piano. His orchestra is at the orders, adorned with a gleaming section of which some have accompanied him for 30 years, such as Cootie Willams and Cat Anderson. The legendary saxophonists Paul Gonsalves and Johnny Hodges and Russell Procope are also present.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn a kind of rattle, the Duke launches \"La plus Belle Africaine\". A baroque but perfectly mastered mixture of sunny colors captured during a tour in Dakar, launched on the solo saxophone and then taken up with flashes of inventiveness by all or part of the orchestra. The tone is set. Cat Anderson launches into a furious \"El Gato\" that shakes the audience with its squeaks, its voluntary deconstructions and evokes the revolutionary, fragmentary and unfinished gestures of a Thelonious Monk or a Cecil Taylor. A studied contrast with the gentle continuation of \"I Can't Get Started\", just before the 43-second parenthesis of \"Caravan\", set as a mischievous link to the flamboyant \"Satin Doll\" which masterfully punctuates this concert.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1973, a few months before his death, Duke returned to Berlin in a formation organized on the basis of his trio (Joe Benjamin on double bass and Quinten \"Rocky\" White Jr. on drums), joined by Harold Johnson on trumpet, clarinetist and baritone saxophonist Harry Carney - and by his long-time sidekick, tenor saxophonist Paul Gonsalves. Duke Ellington gives a central place to his piano, making it both the driving force of the ensemble and its harmonic and rhythmic framework.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn this Blues that opens the concert, we hear some Debussy. This is followed by \"Take the A train\". The Duke likes changes of mood. Only, here and there, touches of discontinuous speech remind us how much the Duke knew how to draw with sagacity from the audacious harmonies of his contemporaries. And then he dares everything. Like offering his band the rhythmic virtuosity of Baby Laurence on tap dance in \"Tap Dance\". The magic works. The success is total.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTwo concerts in Berlin, two facets of a poetic universe, two visions of an alchemist who knew how to draw with lightness but also with a mixture of jubilation and authority, in the harmonic sources of all the musics and which make so relevant the formula which he liked: \"there are only two kinds of music: the good and the bad\". We have had the extreme privilege of resurrecting the best\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nDuke Ellington, Piano\u003cbr\u003e\nJoe Benjamin, Bass\u003cbr\u003e\nQuinten \"Rocky\" White Jr., Drums\u003cbr\u003e\nHarold \"Money\" Johnson, Trumpet\u003cbr\u003e\nPaul Gonsalves, Saxophone\u003cbr\u003e\nHarry Carney, Baritone Saxophone, Clarinet\u003cbr\u003e\n\u003cbr\u003e\n*Duke Ellington, Piano, Leader\u003cbr\u003e\nAnd his Orchestra, Featuring:\u003cbr\u003e\nCat Anderson, Cootie Williams, Mercer Ellington, Trumpet\u003cbr\u003e\nHarold Ashby, Johnny Hodges, Paul Gonsalves, Russell Procope, Saxophone\u003cbr\u003e\nHarry Carney, Baritone Saxophone, Clarinet\u003cbr\u003e\nRufus Jones, Drums|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Berlin Philharmonic\u003cbr\u003e Berliner Jazztage, 2.XI.1973\u003cbr\u003e STEREO ℗ 1973 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded at the Berlin Philharmonie\u003cbr\u003e Berliner Jazztage, 8.XI.1969\u003cbr\u003e MONO ℗ 1969 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: Kevin Gray\u003cbr\u003e Masters \u0026amp; Mothers: Quality Record Pressings\u003cbr\u003e 180g Single 33rpm vinyl album\u003cbr\u003e 2nd edition\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT ALBUM DOWNLOAD CARD IS INCLUDED WITH THE VINYL\u003c\/span\u003e.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225469882530,"sku":"TLR-2204041V","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_67e3c1f3-b14c-405a-ad71-d481f2895747.jpg?v=1715927352"},{"product_id":"duke-ellington-live-at-the-berlin-jazz-festival-1969-1973-telechargement","title":"DUKE ELLINGTON - LIVE AT THE BERLIN JAZZ FESTIVAL 1969•1973 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eOn 8 November 1969, on the stage of the Berlin Philharmonic's main hall, the Duke, whose portrait is the poster of the Jazztage Festival celebrating his 70th birthday, slowly joined his piano. His orchestra is at the helm, adorned with a gleaming section, some of whom have accompanied him for 30 years, such as Cootie Willams and Cat Anderson. Legendary saxophonists Paul Gonsalves and Johnny Hodges and Russell Procope are also present.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn a sort of rattle, the Duke launched 'La plus Belle Africaine'. A baroque but perfectly mastered mixture of sunny colours captured during a tour in Dakar, launched by the solo saxophone and then taken up with flashes of inventiveness by all or part of the band. The tone is set. Cat Anderson launches into a furious \"El Gato\" which shakes the audience with its creaking, deliberate deconstruction and evokes the revolutionary, fragmentary and unfinished gestures of Thelonious Monk or Cecil Taylor. A studied contrast with the gentle continuation of \"I Can't Get Started\", just before the 43-second parenthesis of \"Caravan\", which is a mischievous link to the flamboyant \"Satin Doll\" that masterfully punctuates this concert.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1973, a few months before his death, Duke returned to Berlin in a formation based on his trio (Joe Benjamin on double bass and Quinten \"Rocky\" White Jr. on drums), joined by Harold Johnson on trumpet, the clarinettist and baritone saxophonist Harry Carney - and by his long-time sidekick, the tenor saxophonist Paul Gonsalves. Duke Ellington gives his piano a central place here, making it both the driving force of the ensemble and its harmonic and rhythmic backbone.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn the Blues that opens the concert, we hear Debussy. Take the A train' follows. The Duke likes changes of mood. Only, here and there, touches of discontinuous speech remind us how sagaciously the Duke was able to draw on the audacious harmonies of his contemporaries. And then he dares to do everything. Like offering his band the rhythmic virtuosity of Baby Laurence on tap dance in \"Tap Dance\". The magic works. The success is total.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTwo concerts in Berlin, two facets of a poetic universe, two visions of an alchemist who knew how to draw with lightness but also with a mixture of jubilation and authority, from the harmonic sources of all music and which make so relevant the formula he loved: \"there are only two kinds of music: good and bad\". We have had the extreme privilege of resurrecting the better one\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nDuke Ellington, Piano\u003cbr\u003e\nJoe Benjamin, Bass\u003cbr\u003e\nQuinten \"Rocky\" White Jr., Drums\u003cbr\u003e\nHarold \"Money\" Johnson, Trumpet\u003cbr\u003e\nPaul Gonsalves, Saxophone\u003cbr\u003e\nHarry Carney, Baritone Saxophone, Clarinet\u003cbr\u003e\n\u003cbr\u003e\n*Duke Ellington, Piano, Leader\u003cbr\u003e\nAnd his Orchestra, Featuring:\u003cbr\u003e\nCat Anderson, Cootie Williams, Mercer Ellington, Trumpet\u003cbr\u003e\nHarold Ashby, Johnny Hodges, Paul Gonsalves, Russell Procope, Saxophone\u003cbr\u003e\nHarry Carney, Baritone Saxophone, Clarinet\u003cbr\u003e\nRufus Jones, Drums|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Berlin Philharmonic\u003cbr\u003e Berliner Jazztage, 2.XI.1973\u003cbr\u003e STEREO ℗ 1973 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded at the Berlin Philharmonie\u003cbr\u003e Berliner Jazztage, 8.XI.1969\u003cbr\u003e MONO ℗ 1969 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 The Lost Recordings from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e\n","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225470046370,"sku":"TLR-2204041-HD","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-ELLINGTON.jpg?v=1715927428"},{"product_id":"ella-fitzgerald-live-at-the-concertgebouw-1961-cd","title":"ELLA FITZGERALD - LIVE AT THE CONCERTGEBOUW 1961 - CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eOn February 10,\u0026nbsp;\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1961 at the\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;Amsterdam\u0026nbsp;\u003c\/span\u003e\u003cstrong data-wg-splitted=\"\" data-mce-fragment=\"1\"\u003eConcertgebouw\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, just one year after her famous Berlin concert,\u0026nbsp;\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eElla Fitzgerald\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;once again found herself in front of a packed house. Following a sober introduction of the musicians by Norman Granz, Ella Fitzgerald took to the stage. With the freshness of the eternal, slightly impertinent little girl, she propels herself one note into the rhythm of \"Too Close for Comfort\". Her voice settles, she holds her audience by the hand, gently, surely. Ella takes to the stage as if in her own living room. She welcomes each spectator like a privileged guest. Each song is a glass of champagne that she offers with grace. At times melancholy, at times playful, most of the time laughing, dynamic and catchy. \"Hilariously inventive Ella! As Bing Crosby once said: \"Man, woman or child, Ella is the greatest of them al\u003c\/span\u003el”. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Ella Fitzgerald, Vocals\u003cbr\u003e\nLou Levy, Piano\u003cbr\u003e\nHerb Ellis, Guitar\u003cbr\u003e\nWilfred Middlebrooks, Bass\u003cbr\u003e\nGus Johnson, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Amsterdam, 18.II.1961\u003cbr\u003e MONO ℗ 1961 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2017 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e \u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225470996642,"sku":"FON-1704027","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_03ad73ad-48c8-4548-887f-d93504fb612e.jpg?v=1715948236"},{"product_id":"ella-fitzgerald-live-at-the-concertgebouw-1961","title":"ELLA FITZGERALD - LIVE AT THE CONCERTGEBOUW 1961 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eOn February 10,\u0026nbsp;\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1961 at the\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;Amsterdam\u0026nbsp;\u003c\/span\u003e\u003cstrong data-wg-splitted=\"\" data-mce-fragment=\"1\"\u003eConcertgebouw\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, just one year after her famous Berlin concert,\u0026nbsp;\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eElla Fitzgerald\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;once again found herself in front of a packed house. Following a sober introduction of the musicians by Norman Granz, Ella Fitzgerald took to the stage. With the freshness of the eternal, slightly impertinent little girl, she propels herself one note into the rhythm of \"Too Close for Comfort\". Her voice settles, she holds her audience by the hand, gently, surely. Ella takes to the stage as if in her own living room. She welcomes each spectator like a privileged guest. Each song is a glass of champagne that she offers with grace. At times melancholy, at times playful, most of the time laughing, dynamic and catchy. \"Hilariously inventive Ella! As Bing Crosby once said: \"Man, woman or child, Ella is the greatest of them\u003c\/span\u003e\u0026nbsp;all”.\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Ella Fitzgerald, Vocals\u003cbr\u003e\nLou Levy, Piano\u003cbr\u003e\nHerb Ellis, Guitar\u003cbr\u003e\nWilfred Middlebrooks, Bass\u003cbr\u003e\nGus Johnson, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Amsterdam, 18.II.1961\u003cbr\u003e MONO ℗ 1961 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2017 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225472340130,"sku":"TLRE-FI61-32DI","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-FITZGERALD-2.jpg?v=1715948386"},{"product_id":"emil-gilels-the-unreleased-recitals-at-the-concertgebouw","title":"EMIL GILELS - THE UNRELEASED RECITALS AT THE CONCERTGEBOUW - HD DOWNLOAD","description":"\"\u003cspan data-mce-fragment=\"1\"\u003eIn June 2017, when I have to perform in Moscow, I meet Kirill Gilels, grandson of the famous pianist Emil Gilels. He has listened to what our Phoenix Mastering restoration process can accomplish and gives us a list of the years and locations of his grandfather's unpublished recordings. In Berlin, Moscow, St. Petersburg, we discover a heritage that amazes us with the quality and consistency of Emil Gilels' piano playing. We are undoubtedly facing one of the greatest musicians of the 20th century. It is finally in Amsterdam, thanks to the determination of Piet Tullenaar, that we manage to extract five recitals that the pianist gave between 1975 and 1980 at the Concertgebouw and which everyone had forgotten existed. As we audition the tapes one by one in the studio allocated to us, neither Piet Tullenaar, nor Michel Navarra, nor myself exchange a word. What a beauty!\" F. D'Oria\u003c\/span\u003e-Nicolas \u003cp\u003e|STARTTITLEGOLD| 999 Exemplaires |ENDTITLEGOLD|\u003c\/p\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Netherlands\u003cbr\u003e 19.I.1975\u003cbr\u003e 26.X.1976\u003cbr\u003e 29.III.1978\u003cbr\u003e 30.I.1979\u003cbr\u003e 15.IV.1980\u003cbr\u003e STEREO ℗ 1975 TROS\u003cbr\u003e STEREO ℗ 1976 NOS\u003cbr\u003e STEREO ℗ 1978 KRO\u003cbr\u003e STEREO ℗ 1979 NOS\u003cbr\u003e STEREO ℗ 1980 NOS\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2018 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225474994338,"sku":"TLRE-GILEBX-32DI","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-GILELS-2.jpg?v=1715947235"},{"product_id":"henryk-szeryng-the-unreleased-berlin-studio-recordings-double-cd","title":"HENRYK SZERYNG - THE UNRELEASED BERLIN STUDIO RECORDINGS - DOUBLE CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis production is exceptional in more ways than one. It is the first time that we have found recordings not of a concert, but made in a studio. And it is more than likely that the studios intended to release them. The RBB engineers have achieved a true miracle in terms of acoustics: never before,\u0026nbsp;at any time,\u0026nbsp;has the sound of a violin been restored to us with so much detail and authenticity.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo bring you the artistic and technological prowess of the engineers, we were determined to render all the dynamics and details of this landmark interpretation of Bach’s Partita No. 2 and Franck’s Sonata. A challenge indeed, because the tracks of the movements were divided over the four sides of a double album in 45-rpm format! This exploit marks another first in the history of The Lost Recordings label.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll the other versions (CD, HD download, and the download card of the vinyl edition) include the entirety of the recordings we found.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHenryk Szeryng - in majesty in Berlin\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eApril 1962 and April 1963, a year apart, Berlin acousticians, among the most experienced in the world, adjusted the removable panels of the walls of studio No. 3 of the Berlin Radio House. A technical marvel based on revolutionary, though totally traditional, methods, this hall was designed in 1929 by the architect Hans Poelzig with a unique and rarely equalled concern: to allow for high fidelity acoustics whatever the frequencies emitted, with a reverberation that can be modulated at will. Henryk Szeryng has the reputation of a scrupulous, uncompromising and authentic master who ranks alongside a Milstein or a Grumiaux. In April 1963, he was 44 years old. At the peak of his art, he meticulously took out of his box his Guarnerius del Gesu, known as \"the Duke\", with which he would make violin history that day.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"The work of Johann Sebastian Bach is a Bible. Bach is the ultimate goal, where everything begins and everything ends. His music brings you closer to your soul.\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;Henryk Szeryng.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Partita No. 2 is a monumental work in terms of the richness and variety of its writing, employing an unusual polyphony for solo violin. Bach seems to want a single theme that 'haunts' the first four movements, culminating in the majestic chaconne, which is constructed as a work in itself. At 15 minutes long, it presents a theme that will be varied sixty-three times in order to evoke, within a highly constructed whole, a universe of infinitely rich emotions, from anguish and sorrow to joy and hope. To capture the growing strength of this progression, Henryk Szeryng wanted to perform the entire partita in one go. Only two takes are needed to produce a performance of unique density, emotion and purity, the subtlety of which we were lucky enough to be able to capture.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJust a year earlier, Szeryng was in the same Studio 3 recording the Franck sonata. There is an obvious relationship between Bach and César Franck: the sense of construction, the desire for unity, the control of time. The violin sonata, composed in 1886, is based on the same intense writing as Bach's Partita. After the triumph of its first performance, its aura quickly extended beyond the musical realm. It is said to have inspired Marcel Proust to write the love story of Charles Swann and Odette de Crécy in 'Du côté de chez Swann'. As with the Partita No. 2, Henryk Szeryng and the pianist Günther Ludwig have achieved a real alchemy here and have delivered one of the most unforgettable interpretations of this work\u003c\/span\u003e.\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Henryk Szering, violin\u003cbr\u003e*Marinus Flipse, piano\u003cbr\u003e**Günther Ludwig, piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded\u0026nbsp;in Studio III, RBB, Berlin, 19.IV.1963\u003cbr\u003e MONO ℗ 1963 RBB\u003cbr\u003e Marinus Flipse, piano\u003cbr\u003e **Recorded at Studio III, RBB, Berlin, 27.IV.1962\u003cbr\u003e MONO ℗ 1962 RBB\u003cbr\u003e Günther Ludwig, piano\u003cbr\u003e ***Recorded in concert at Studio I, RBB, Berlin, 08.II.1982\u003cbr\u003e STEREO ℗ 1982 RBB\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225476042914,"sku":"TLRE-SZER62-40CD","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_f56e92c7-106a-4d06-9725-7459b9fd3535.jpg?v=1715947952"},{"product_id":"henryk-szeryng-the-unreleased-berlin-studio-recordings","title":"HENRYK SZERYNG - THE UNRELEASED BERLIN STUDIO RECORDINGS - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis production is exceptional in more ways than one. It is the first time that we have found recordings not of a concert, but made in a studio. And it is more than likely that the studios intended to release them. The RBB engineers have achieved a true miracle in terms of acoustics: never before,\u0026nbsp;at any time,\u0026nbsp;has the sound of a violin been restored to us with so much detail and authenticity.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo bring you the artistic and technological prowess of the engineers, we were determined to render all the dynamics and details of this landmark interpretation of Bach’s Partita No. 2 and Franck’s Sonata. A challenge indeed, because the tracks of the movements were divided over the four sides of a double album in 45-rpm format! This exploit marks another first in the history of The Lost Recordings label.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll the other versions (CD, HD download, and the download card of the vinyl edition) include the entirety of the recordings we found.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHenryk Szeryng - in majesty in Berlin\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eApril 1962 and April 1963, a year apart, Berlin acousticians, among the most experienced in the world, adjusted the removable panels of the walls of studio No. 3 of the Berlin Radio House. A technical marvel based on revolutionary, though totally traditional, methods, this hall was designed in 1929 by the architect Hans Poelzig with a unique and rarely equalled concern: to allow for high fidelity acoustics whatever the frequencies emitted, with a reverberation that can be modulated at will. Henryk Szeryng has the reputation of a scrupulous, uncompromising and authentic master who ranks alongside a Milstein or a Grumiaux. In April 1963, he was 44 years old. At the peak of his art, he meticulously took out of his box his Guarnerius del Gesu, known as \"the Duke\", with which he would make violin history that day.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"The work of Johann Sebastian Bach is a Bible. Bach is the ultimate goal, where everything begins and everything ends. His music brings you closer to your soul.\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;Henryk Szeryng.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Partita No. 2 is a monumental work in terms of the richness and variety of its writing, employing an unusual polyphony for solo violin. Bach seems to want a single theme that 'haunts' the first four movements, culminating in the majestic chaconne, which is constructed as a work in itself. At 15 minutes long, it presents a theme that will be varied sixty-three times in order to evoke, within a highly constructed whole, a universe of infinitely rich emotions, from anguish and sorrow to joy and hope. To capture the growing strength of this progression, Henryk Szeryng wanted to perform the entire partita in one go. Only two takes are needed to produce a performance of unique density, emotion and purity, the subtlety of which we were lucky enough to be able to capture.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJust a year earlier, Szeryng was in the same Studio 3 recording the Franck sonata. There is an obvious relationship between Bach and César Franck: the sense of construction, the desire for unity, the control of time. The violin sonata, composed in 1886, is based on the same intense writing as Bach's Partita. After the triumph of its first performance, its aura quickly extended beyond the musical realm. It is said to have inspired Marcel Proust to write the love story of Charles Swann and Odette de Crécy in 'Du côté de chez Swann'. As with the Partita No. 2, Henryk Szeryng and the pianist Günther Ludwig have achieved a real alchemy here and have delivered one of the most unforgettable interpretations of this work\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Henryk Szering, violin\u003cbr\u003e*Marinus Flipse, piano\u003cbr\u003e**Günther Ludwig, piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded\u0026nbsp;in Studio III, RBB, Berlin, 19.IV.1963\u003cbr\u003e MONO ℗ 1963 RBB\u003cbr\u003e Marinus Flipse, piano\u003cbr\u003e **Recorded at Studio III, RBB, Berlin, 27.IV.1962\u003cbr\u003e MONO ℗ 1962 RBB\u003cbr\u003e Günther Ludwig, piano\u003cbr\u003e ***Recorded in concert at Studio I, RBB, Berlin, 08.II.1982\u003cbr\u003e STEREO ℗ 1982 RBB\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e\n","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225476599970,"sku":"TLRE-HZ62-40DI","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-SZERYNG.jpg?v=1715947987"},{"product_id":"oscar-peterson-trio-live-at-the-concertgebouw-1961-cd","title":"OSCAR PETERSON TRIO - LIVE AT THE CONCERTGEBOUW 1961 - CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eIt is 9 p.m. on February 10, 1961, when Norman Granz takes the stage of the Amsterdam Concertgebouw to present one of the most sensational concerts of the Oscar Peterson Trio. Norman Granz is the greatest impesario and producer in the history of Jazz. Behind the scenes is his protégé, the one he discovered by chance one night in 1949 on the radio of a Montreal taxi, the one he would lead to the top of the pianists. The one he presents that evening as \"the Ineffable\". It can be said that Peterson plays 100 notes when others play 10, but this virtuosity is not disturbing when it is so perfectly placed in the service of music. The fluidity of the first notes of the introduction sets the tone for an exceptional concert... This is the first release of this recording\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Oscar Peterson, Piano\u003cbr\u003e\nRay Brown, Bass\u003cbr\u003e\nEd Thigpen, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Amsterdam\u003cbr\u003e 18.II.1961\u003cbr\u003e MONO ℗ 1961 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2016 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cbr\u003e Remastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: André Perriat\u003cbr\u003e 180g 2-vinyl album\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e2nd Edition\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225477288098,"sku":"FON-1604023","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_c782ccc6-af18-4592-987e-0619c27a548f.jpg?v=1715927776"},{"product_id":"oscar-peterson-trio-live-at-the-concertgebouw-1961","title":"OSCAR PETERSON TRIO - LIVE AT THE CONCERTGEBOUW 1961 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eIt is 9 p.m. on February 10, 1961, when Norman Granz takes the stage of the Amsterdam Concertgebouw to present one of the most sensational concerts of the Oscar Peterson Trio. Norman Granz is the greatest impesario and producer in the history of Jazz. Behind the scenes is his protégé, the one he discovered by chance one night in 1949 on the radio of a Montreal taxi, the one he would lead to the top of the pianists. The one he presents that evening as \"the Ineffable\". It can be said that Peterson plays 100 notes when others play 10, but this virtuosity is not disturbing when it is so perfectly placed in the service of music. The fluidity of the first notes of the introduction sets the tone for an exceptional concert... This is the first release of this recording\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Oscar Peterson, Piano\u003cbr\u003e\nRay Brown, Bass\u003cbr\u003e\nEd Thigpen, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Amsterdam\u003cbr\u003e 18.II.1961\u003cbr\u003e MONO ℗ 1961 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2016 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225477976226,"sku":"TLRE-PE61-32DI","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-PETERSON.jpg?v=1715927811"},{"product_id":"sarah-vaughan-live-at-laren-1975-cd","title":"SARAH VAUGHAN - LIVE AT LAREN 1975 - CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eFirst publication of this unreleased concert. August 5, 1975: Sarah Vaughan is chosen to open the famous Jazz Festival in Laren, a small village near Amsterdam. She slips in among her musicians, including Bob Magnusson, Jimmy Cobb, Miles Davis's drummer, and Carl Schroeder, her pianist who has accompanied her for more than 20 years. At 51, not only does the \"Divine\" use the full range of her voice to sail from the roughest bass to the most scintillating highs, but she smiles, grasps the slightest emotion, seeks communion with each spectator as if he or she were unique, as if she were singing only for him\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Sarah Vaughan, Vocals\u003cbr\u003e\nCarl Schroeder, Piano\u003cbr\u003e\nBob Magnusson, Bass\u003cbr\u003e\nJimmy Cobb, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Singer Concert Hall, Laren, Netherlands, 5.VIII.1975\u003cbr\u003e STEREO ℗ 1975 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2016 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: André Perriat\u003cbr\u003e 180g 2-vinyl album\u003cbr\u003e \u003cspan data-mce-fragment=\"1\" mce-data-marked=\"1\"\u003e2nd Edition\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225479581858,"sku":"FON-1604022","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD-2_52d74d65-42ca-402f-a4d5-0150774978cf.jpg?v=1715947390"},{"product_id":"sarah-vaughan-live-at-laren-1975","title":"SARAH VAUGHAN - LIVE AT LAREN 1975 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eFirst publication of this unreleased concert. August 5, 1975: Sarah Vaughan is chosen to open the famous Jazz Festival in Laren, a small village near Amsterdam. She slips in among her musicians, including Bob Magnusson, Jimmy Cobb, Miles Davis's drummer, and Carl Schroeder, her pianist who has accompanied her for more than 20 years. At 51, not only does the \"Divine\" use the full range of her voice to sail from the roughest bass to the most scintillating highs, but she smiles, grasps the slightest emotion, seeks communion with each spectator as if he or she were unique, as if she were singing only for him\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Sarah Vaughan, Vocals\u003cbr\u003e\nCarl Schroeder, Piano\u003cbr\u003e\nBob Magnusson, Bass\u003cbr\u003e\nJimmy Cobb, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Singer Concert Hall, Laren, Netherlands, 5.VIII.1975\u003cbr\u003e STEREO ℗ 1975 VARA\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2016 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225480204450,"sku":"TLRE-SV75-32DI","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-VAUGHAN.jpg?v=1715947431"},{"product_id":"sarah-vaughan-live-at-the-berlin-philharmonie-1969-double-cd","title":"SARAH VAUGHAN - LIVE AT THE BERLIN PHILHARMONIE 1969 - DOUBLE CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis double recital, recorded on 9 November 1969 at the Berlin Philharmonic, takes place at a very special time in Sarah Vaughan's life.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo everyone's astonishment, the small, awkward 45-year-old gave one of the most masterful stage performances of her career that could be captured on tape. In almost two hours she silenced all misgivings by proving how her approach to music remained eminently topical. Surrounded with an elegance as discreet as it is stimulating by a trio that is a master in the art of understatement, free of mannerisms, still as virtuosic as ever, developing her vocal technique to its highest degree throughout her incredible tessitura, between naturalness and sophistication, simplicity and refinement, Sarah Vaughan shakes things up. Sarah Vaughan resolutely favours sentimental melodies, making her warm, supple, suave and swinging voice the ultra-sensitive seismograph of the whole range of mixed feelings..\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e |STARTGOLD|Sarah Vaughan, Vocals\u003cbr\u003e Johnny Veith, Piano\u003cbr\u003e Gus Mancuso, Bass\u003cbr\u003e Eddy Pucci, Drums|ENDGOLD|\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Berlin Philharmonie\u003cbr\u003e Berliner Jazztage, 9.XI.1969\u003cbr\u003e MONO ℗ 1969 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2020 The Lost Recordings from the original analog tapes\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225480499362,"sku":"TLRE-VAUG69-38CD","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_84639675-4ae2-419f-b23e-947f1cd05e98.jpg?v=1715947556"},{"product_id":"sarah-vaughan-live-at-the-berlin-philharmonie-1969","title":"SARAH VAUGHAN - LIVE AT THE BERLIN PHILHARMONIE 1969 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis double recital, recorded on 9 November 1969 at the Berlin Philharmonic, takes place at a very special time in Sarah Vaughan's life.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo everyone's astonishment, the small, awkward 45-year-old gave one of the most masterful stage performances of her career that could be captured on tape. In almost two hours she silenced all misgivings by proving how her approach to music remained eminently topical. Surrounded with an elegance as discreet as it is stimulating by a trio that is a master in the art of understatement, free of mannerisms, still as virtuosic as ever, developing her vocal technique to its highest degree throughout her incredible tessitura, between naturalness and sophistication, simplicity and refinement, Sarah Vaughan shakes things up. Sarah Vaughan resolutely favours sentimental melodies, making her warm, supple, suave and swinging voice the ultra-sensitive seismograph of the whole range of mixed feeling\u003c\/span\u003es... \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e |STARTGOLD|Sarah Vaughan, Vocals\u003cbr\u003e Johnny Veith, Piano\u003cbr\u003e Gus Mancuso, Bass\u003cbr\u003e Eddy Pucci, Drums|ENDGOLD|\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Berlin Philharmonie\u003cbr\u003e Berliner Jazztage, 9.XI.1969\u003cbr\u003e MONO ℗ 1969 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2020 The Lost Recordings from the original analog tapes\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225481744546,"sku":"TLRE-VAUG69-38DI","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-VAUGHAN-2.jpg?v=1715947587"},{"product_id":"stan-getz-astrud-gilberto-live-at-the-berlin-jazz-festival-1966","title":"STAN GETZ \u0026 ASTRUD GILBERTO - LIVE AT THE BERLIN JAZZ FESTIVAL 1966 - HD DOWNLOAD","description":"\u003cp\u003e\u003cstrong\u003eAn ethereal duo of legend\u003c\/strong\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Lost Recordings found the analogue master tapes of this extraordinary concert in the Berlin radio archives. How can one not be captivated by this performance, which delivers a previously unreleased version of some tracks from the legendary 1964 Verve album? From now on, these 19 unforgettable titles are added to our collection with, as always, an unequalled sound quality, thanks to our Phoenix Mastering® process and Kevin Gray's cuts.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhen the concert started that 4 November 1966 at the famous Berliner Jazzfest, four musicians took the stage. Close-knit to the point of telepathy, they were about to give one of their last concerts. The mythical partnership of Stan Getz on saxophone and Gary Burton on the vibraphone was coming to an end, but were they even aware that this was one of their last acts? Accompanying them was an exceptional rhythm section with Chuck Israels on bass and the great Roy Hayne on drums.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Stan Getz, tenor saxophone|ENDGOLD||STARTGOLD|Gary Burton, vibraphone|ENDGOLD||STARTGOLD|Chuck Israels, bass|ENDGOLD||STARTGOLD|Roy Haynes, drums|ENDGOLD||STARTGOLD|Astrud Gilberto, vocals*|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRecorded on 4.XI.1966, Berlin Philharmonie, Berliner Jazztage\u003c\/p\u003e\n\u003cp\u003eSTEREO ℗ 1966 RBB\u003c\/p\u003e\n\u003cp\u003eRemastered by ℗ \u0026amp; © 2021 THE LOST RECORDINGS from the original master tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225484038306,"sku":"TLR-2104038-HD","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-GETZ.jpg?v=1715949146"},{"product_id":"thelonious-monk-live-in-rotterdam-1967-double-cd","title":"THELONIOUS MONK - LIVE IN ROTTERDAM 1967 - DOUBLE CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eWhen he took the stage at the Club Doelen in Rotterdam on 28 October 1967, Thelonious Monk had just turned 50. Fifteen years later he would disappear from the music scene, taking refuge for the last six years of his life in New York at Pannonica de Koenigswater, never to touch the piano again. Flanked by the two \"classics\" \"Ruby, My Dear\" and \"Blue Monk\", he leads the quartet of his three accomplices, Charlie Rouse, Larry Gales, Ben Riley and their guests, for more than an hour and 20 minutes. Larry Gales' bass pops out of a box at the end of \"Hackensack\", the brass gets carried away in the middle of \"We See\"; they answer each other by swirling in the dizzying \"Oska\". And in the middle of the concert, a solo moment on 'Don't Blame Me': everything appears contrasting, twisted, oblique, each note seeming to be surprised by the previous one. Monk first goes around the melody from behind before bringing it back, pure, to the front. Finally they close: \"Blue Monk\", all classical restraint\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Thelonius Monk, Piano\u003cbr\u003e\nCharlie Rouse, Tenor Sax\u003cbr\u003e\nLarry Gales, Bass\u003cbr\u003e\nBen Riley, Drums\u003cbr\u003e\n\u003cbr\u003e\nGuests :\u003cbr\u003e\nClark Terry, Trumpet\u003cbr\u003e\nRay Copeland, Trumpet\u003cbr\u003e\nJimmy Cleveland, Trombone\u003cbr\u003e\nPhil Woods, Alto Sax\u003cbr\u003e\nJohnny Griffin, Tenor Sax|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e\u003cbr\u003e R\u003cspan data-mce-fragment=\"1\"\u003eecorded at\u003c\/span\u003e\u0026nbsp;De Doelen, Rotterdam, 28.X.1967\u003cbr\u003e STEREO ℗ 1967 NOS\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2017 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: André Perriat\u003cbr\u003e 180g 2-vinyl album\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eLimited number of copies\u003c\/span\u003e : 999\u003cbr\u003e Printed and pressed in Germany\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225484497058,"sku":"FON-1704029","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_c3271f35-290a-46f5-a9b1-07611ec2dbca.jpg?v=1715948769"},{"product_id":"thelonious-monk-live-in-rotterdam-1967-telechargement","title":"THELONIOUS MONK - LIVE IN ROTTERDAM 1967 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eWhen he took the stage at the Club Doelen in Rotterdam on 28 October 1967, Thelonious Monk had just turned 50. Fifteen years later he would disappear from the music scene, taking refuge for the last six years of his life in New York at Pannonica de Koenigswater, never to touch the piano again. Flanked by the two \"classics\" \"Ruby, My Dear\" and \"Blue Monk\", he leads the quartet of his three accomplices, Charlie Rouse, Larry Gales, Ben Riley and their guests, for more than an hour and 20 minutes. Larry Gales' bass pops out of a box at the end of \"Hackensack\", the brass gets carried away in the middle of \"We See\"; they answer each other by swirling in the dizzying \"Oska\". And in the middle of the concert, a solo moment on 'Don't Blame Me': everything appears contrasting, twisted, oblique, each note seeming to be surprised by the previous one. Monk first goes around the melody from behind before bringing it back, pure, to the front. Finally they close: \"Blue Monk\", all classical restraint\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Thelonius Monk, Piano\u003cbr\u003e\nCharlie Rouse, Tenor Sax\u003cbr\u003e\nLarry Gales, Bass\u003cbr\u003e\nBen Riley, Drums\u003cbr\u003e\n\u003cbr\u003e\nGuests :\u003cbr\u003e\nClark Terry, Trumpet\u003cbr\u003e\nRay Copeland, Trumpet\u003cbr\u003e\nJimmy Cleveland, Trombone\u003cbr\u003e\nPhil Woods, Alto Sax\u003cbr\u003e\nJohnny Griffin, Tenor Sax|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e\u003cbr\u003e R\u003cspan data-mce-fragment=\"1\"\u003eecorded at\u003c\/span\u003e De Doelen, Rotterdam, 28.X.1967\u003cbr\u003e STEREO ℗ 1967 NOS\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2017 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225485611170,"sku":"TLRE-MO67-32LP","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-MONK.jpg?v=1715948824"},{"product_id":"emil-gilels-the-unreleased-recital-at-the-concertgebouw-1976-telechargement-hd","title":"EMIL GILELS - THE UNRELEASED RECITAL AT THE CONCERTGEBOUW 1976 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eOn October 26, 1976, he was on stage, alone, in a repertoire of rare complexity in front of \"people who are passionate about music\", says Kirill. Enthusiastic but demanding. We can imagine Emil both serene and tense, on the lookout for the slightest whisper, in harmony, as soon as the silence sets in, with these composers he reveres: Beethoven, Brahms, Schumann, Prokofiev. Gilels knows how to lead us with elegance towards the delicious final surprise. There are interpretations so profound, so sincere and so right that they leave a lasting impression. There is no doubt that Emil Gilels' performance on that winter evening in 1976 in the prestigious Concertgebouw in Amsterdam is one of them\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Emil Gilels, piano|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, 26.X.1976\u003cbr\u003e *Recorded at the Concertgebouw, 30.I.1979\u003cbr\u003e STEREO ℗ 1976 NOS\u003cbr\u003e *STEREO ℗ 1979 NOS\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2018 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225761779874,"sku":"TLRE-GILE76-32DI","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-GILELS.jpg?v=1715946965"},{"product_id":"ravel-concerto-for-piano-and-orchestra-in-g-major-m-83","title":"ARTURO BENEDETTI MICHELANGELI - RAVEL: PIANO CONCERTO IN G MAJOR, M. 83 - VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 2000 Copies |ENDTITLEGOLD|\u003c\/p\u003eFor decades now pianists and other musicians have acclaimed the recording of this concert, only available on video. It was of utmost importance to us to publish it as a record. While we were looking for the video recording in the BBC archives, we stumbled upon the analog stereo tape that had fallen into oblivion. We used it to bring this emotion-filled, historical evening back to life.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLondon, 11 April 1982. The expectant audience in front of the Royal Festival Hall was hoping that the extraordinary Arturo Benedetti Michelangeli – the pianist who would cancel his concerts at the last minute if he considered that neither of the two pianos he travelled with could render the colours that his mind and fingers would paint – would play that evening. The BBC sound engineers were wondering if they would be allowed to set up their microphones and cameras. Conductor Sergiu Celibidache intensely disliked any recording, maintaining that music is an art of the moment. In his opinion, microphones could not render all the harmonic richness, nor enable listeners to understand his choice of tempi, which he determined according to the acoustic parameters of any given moment.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt would take not one, but several miracles for the concert to come off. They all took place that evening. The utmost rigour, the vision of the music, and the mutual confidence and understanding between these two legendary figures since late in the 1960s all played a part.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe pianist walked regally onto the stage. In his hands, he was clutching a small black handkerchief. Maestro Celibidache followed him. That evening, they were performing Maurice Ravel’s last work for orchestra – the Concerto in G that the composer had planned to perform himself on “the five continents” until his delicate health meant he had to renounce the project.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Adagio assai, as Ravel wrote, is a tribute to scholasticism. “How I worked over it bar by bar. It nearly killed me.” In this section, he literally suspends time. And is this not the essential function of Art: to allow man to triumph over passing time and to grasp at the constellations to seize an alternative to his sad fate?\u003c\/span\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nArturo Benedetti Michelangeli, piano\u003cbr\u003e\nSergiu Celibidache, direction\u003cbr\u003e\nLondon Symphony Orchestra|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Royal Festival Hall, London, 8.IV.1982\u003cbr\u003e STEREO ℗ 1982 BBC\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: Kevin Gray\u003cbr\u003e Masters \u0026amp; Mothers: Quality Record Pressings\u003cbr\u003e 180g Single 45rpm vinyl album\u003cbr\u003e 1st Edition\u003cbr\u003e Limited number of copies, \u003cspan data-mce-fragment=\"1\"\u003ehand-numbered\u0026nbsp;\u003c\/span\u003e: 2000\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT ALBUM DOWNLOAD CARD IS INCLUDED WITH THE VINYL\u003c\/span\u003e.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42433345388706,"sku":"TLR-2203042V","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_4e0d6470-4dfe-43a9-8326-095e2b3abb9b.jpg?v=1715900778"},{"product_id":"dave-brubeck-quartet-debut-in-the-netherlands-1958-cd","title":"DAVE BRUBECK QUARTET - DEBUT IN THE NETHERLANDS 1958 - CD","description":"\u003cp\u003e\u003cstrong\u003eDave Brubeck Quartet - Europe, here we come!\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eWith the support of the American State Department, the Dave Brubeck Quartet, including new members Joe Morello and Eugene Wright, began a major tour of Europe early in 1958. Their first concert in the Netherlands was held on 26 February in the legendary Concertgebouw Hall in Amsterdam, usually reserved for performances of classical music. Since 1951 and the collaboration between Dave Brubeck and Paul Desmond, the band had gained a stunning reputation. In 1954, Dave Brubeck was featured on the cover of Time magazine. Rumor has it that Duke Ellington knocked on Brubeck’s hotel door to congratulate him. Brubeck is said to have responded, “It should have been you.” He dedicated one of his most famous pieces, “The Duke”, included on this album, to his fellow pianist.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThat winter evening of 1958, the four American musicians, all in their late thirties, took the stage of the Concertgebouw.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePicture the packed auditorium murmuring expectantly, and four musicians overcome with stage fright yet eager to perform. After some timid applause, Desmond kicked off with the melancholy, sophisticated theme of “Two Part Contention”. The piano came in, sounding out a counter-melody that revealed Brubeck’s classical training and knowledge of counterpoint, acquired when he studied under Milhaud and Schoenberg. He had an inventiveness that was not only melodic but also rhythmic, and he knew how to win over an audience. This was followed by a Disney piece, “Someday, My Prince Will Come” introduced by the piano, three years before the great Miles Davis brought out his eponymous album. They continued with a 1930s standard, “These Foolish Things”, by Jack Strachey, a song that had helped make Ella Fitzgerald famous. Paul led the show in his flowing, ethereal style, with sporadic brassy, dissonant contrasts, proving – if proof were needed – his consummate skills in harmonic phrasing. The saxophone then announced the theme of “One Moment Worth Years”. Eugene, who liked to be called “the Senator”, seemed to lead the private dialogue with an unseen hand, dexterous and sensitive. In the same vein, they led on with “For All We Know” –\u0026nbsp;to thunderous applause. It was now Joe’s turn to take the limelight. When he played “Watusi Drums”, the audience discovered an exceptional drummer who had started out as a virtuoso violinist: fifteen years previously, he had been playing Mendelssohn’s Concerto with the Boston Symphony Orchestra. After hearing Jascha Heifetz, he decided he could never reach the maestro’s heights and switched to drums. The band went on to play “The Wright Groove”, a short piece written by Eugene. The concert concluded with “The Duke”, a tribute to Ellington, and then a superb rendition of “Take the A-Train”, a 1940s classic and the hallmark piece of Ellington’s orchestra, played here in a whirlwind of energy and innovative rhythms.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSadly, the original tape comes to a halt before the end of this piece could be recorded. Nevertheless, we have chosen to retain the surviving part to bear witness to the groundbreaking creativity then bubbling under the surface in\u0026nbsp;this exceptional quartet’s timeless art.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe concert inaugurated a triumphant career in Europe. It announced, loud and clear, the communicative enthusiasm that was the lasting hallmark of these four exceptional musicians\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n|STARTGOLD|Dave Brubeck, Piano\u003cbr\u003e\nPaul Desmond, Saxophone\u003cbr\u003e\nEugene Wright, Bass\u003cbr\u003e\nJoe Morello, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Amsterdam, The Netherlands on 26.II.1958\u003cbr\u003e MONO ℗ 1958 VARA\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e 1st publication\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42780282028194,"sku":"TLR-2204043","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_b1973592-ab83-459f-b084-f4fc6a8dc56c.jpg?v=1715899252"},{"product_id":"dave-brubeck-quartet-debut-in-the-netherlands-1958-telechargement-hd","title":"DAVE BRUBECK QUARTET - DEBUT IN THE NETHERLANDS 1958 - HD DOWNLOAD","description":"\u003cp\u003e\u003cstrong\u003eDave Brubeck Quartet - Europe, here we come!\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eWith the support of the American State Department, the Dave Brubeck Quartet, including new members Joe Morello and Eugene Wright, began a major tour of Europe early in 1958. Their first concert in the Netherlands was held on 26 February in the legendary Concertgebouw Hall in Amsterdam, usually reserved for performances of classical music. Since 1951 and the collaboration between Dave Brubeck and Paul Desmond, the band had gained a stunning reputation. In 1954, Dave Brubeck was featured on the cover of Time magazine. Rumor has it that Duke Ellington knocked on Brubeck’s hotel door to congratulate him. Brubeck is said to have responded, “It should have been you.” He dedicated one of his most famous pieces, “The Duke”, included on this album, to his fellow pianist.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThat winter evening of 1958, the four American musicians, all in their late thirties, took the stage of the Concertgebouw.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePicture the packed auditorium murmuring expectantly, and four musicians overcome with stage fright yet eager to perform. After some timid applause, Desmond kicked off with the melancholy, sophisticated theme of “Two Part Contention”. The piano came in, sounding out a counter-melody that revealed Brubeck’s classical training and knowledge of counterpoint, acquired when he studied under Milhaud and Schoenberg. He had an inventiveness that was not only melodic but also rhythmic, and he knew how to win over an audience. This was followed by a Disney piece, “Someday, My Prince Will Come” introduced by the piano, three years before the great Miles Davis brought out his eponymous album. They continued with a 1930s standard, “These Foolish Things”, by Jack Strachey, a song that had helped make Ella Fitzgerald famous. Paul led the show in his flowing, ethereal style, with sporadic brassy, dissonant contrasts, proving – if proof were needed – his consummate skills in harmonic phrasing. The saxophone then announced the theme of “One Moment Worth Years”. Eugene, who liked to be called “the Senator”, seemed to lead the private dialogue with an unseen hand, dexterous and sensitive. In the same vein, they led on with “For All We Know” –\u0026nbsp;to thunderous applause. It was now Joe’s turn to take the limelight. When he played “Watusi Drums”, the audience discovered an exceptional drummer who had started out as a virtuoso violinist: fifteen years previously, he had been playing Mendelssohn’s Concerto with the Boston Symphony Orchestra. After hearing Jascha Heifetz, he decided he could never reach the maestro’s heights and switched to drums. The band went on to play “The Wright Groove”, a short piece written by Eugene. The concert concluded with “The Duke”, a tribute to Ellington, and then a superb rendition of “Take the A-Train”, a 1940s classic and the hallmark piece of Ellington’s orchestra, played here in a whirlwind of energy and innovative rhythms.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSadly, the original tape comes to a halt before the end of this piece could be recorded. Nevertheless, we have chosen to retain the surviving part to bear witness to the groundbreaking creativity then bubbling under the surface in\u0026nbsp;this exceptional quartet’s timeless art.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe concert inaugurated a triumphant career in Europe. It announced, loud and clear, the communicative enthusiasm that was the lasting hallmark of these four exceptional musicians\u003c\/span\u003e.\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n|STARTGOLD|Dave Brubeck, Piano\u003cbr\u003e\nPaul Desmond, Saxophone\u003cbr\u003e\nEugene Wright, Bass\u003cbr\u003e\nJoe Morello, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Amsterdam, The Netherlands on 26.II.1958\u003cbr\u003e MONO ℗ 1958 VARA\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e 1st publication\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42780289302690,"sku":"TLRE-BR58-43DI","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-BRUBECK.jpg?v=1715899300"},{"product_id":"philipp-catherine-nicolas-fiszman-live-at-the-berlin-jazzbuhne-festival-1982","title":"PHILIP CATHERINE \u0026 NICOLAS FISZMAN - LIVE AT THE BERLIN JAZZBÜHNE FESTIVAL 1982 - VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 2000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\u003cbr\u003e\u003cstrong\u003eCheck point Catherine\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e“\u003cspan data-mce-fragment=\"1\"\u003eIn the afternoon we performed in a rather austere theatre in East Berlin. Then I remember we crossed Checkpoint Charlie that evening to play in a club in West Berlin. The atmosphere was completely different. I felt as though we were living in a black and white spy movie.” Nicolas Fiszman recalls that chaotic day of 13 June 1982. Two outstanding guitarists, Philip Catherine and Nicolas Fiszman, who at the time was only seventeen years old, were taken from one side of Berlin to the other in pouring rain to perform to unlikely audiences. At both concerts, they played the same programme of seven pieces written by Philip, with the exception of “Crystal Bells”, composed by Charlie Mariano. The pair were not master and student. Rather, Philip remembers Nicolas like a young brother he might have taken to the beach. After the 1960s, Philip became a major figure on the jazz scene, working with the greatest: Charles Mingus, Chet Baker, Stéphane Grapelli, Dexter Gordon, to name only a few. Nicolas has played with Charles Aznavour, Vanessa Paradis, Francis Cabrel and Eric Serra, and travels the world with Sting.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn that gloomy afternoon, the two guitarists, alone on stage, decided to brighten up the morosity that reigned. The pieces they played bore titles such as “Janet”, “Babel” and “Petit Nicolas”. It is hard to believe that this varied, well-constructed, polyphonic music was not entirely written down on paper. Philip says, “Nothing is written from beginning to end. I compose the themes and some harmonic bridges. Then we have a chord chart … and that’s it.” The foundations are written; inspiration, taste, fantasy and friendship do the rest.\u0026nbsp;We feel as though we are taking a nonchalant walk through Rio or Miami. The concert is punctuated by thunderous applause.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor these brief minutes in that year 1982, the East Berliners were able to fly over their tightly closed borders.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe are privileged to\u0026nbsp;have unearthed\u0026nbsp;this unique concert where two outstanding artists bring together two cultures to create an intense blaze of happiness\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\n\u003cp\u003e|STARTGOLD|Philip Catherine, Guitar\u003cbr\u003e\nNicolas Fiszman, Guitar \u0026amp; Bass\u003cbr\u003e\nWith the kind authorization of the artists|ENDGOLD|\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Volksbühne, Berlin Jazzbühne Festival, Democratic Republic of Germany, 13.VI.1982\u003cbr\u003e STEREO ℗ 1982 DRA\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered from the original analog tapes by ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e33 rpm Lacquer-cuts: Kevin Gray\u003cbr\u003e 180g vinyl pressed at Optimal Media, Germany\u003cbr\u003e New tip-on gatefold printed in Italy\u003cbr\u003e 1st edition limited to 2000 copies, \u003cspan data-mce-fragment=\"1\"\u003ehand numbered\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42871677288610,"sku":"TLR-2204044V","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_5b7a99cb-003f-4738-9e4e-8090b2dc1222.jpg?v=1715898782"},{"product_id":"philip-catherine-nicolas-fiszman-live-at-the-berlin-jazzbuhne-festival-1982-cd","title":"PHILIP CATHERINE \u0026 NICOLAS FISZMAN - LIVE AT THE BERLIN JAZZBÜHNE FESTIVAL 1982 - CD","description":"\u003cstrong\u003eCheck point Catherine\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e“\u003cspan data-mce-fragment=\"1\"\u003eIn the afternoon we performed in a rather austere theatre in East Berlin. Then I remember we crossed Checkpoint Charlie that evening to play in a club in West Berlin. The atmosphere was completely different. I felt as though we were living in a black and white spy movie.” Nicolas Fiszman recalls that chaotic day of 13 June 1982. Two outstanding guitarists, Philip Catherine and Nicolas Fiszman, who at the time was only seventeen years old, were taken from one side of Berlin to the other in pouring rain to perform to unlikely audiences. At both concerts, they played the same programme of seven pieces written by Philip, with the exception of “Crystal Bells”, composed by Charlie Mariano. The pair were not master and student. Rather, Philip remembers Nicolas like a young brother he might have taken to the beach. After the 1960s, Philip became a major figure on the jazz scene, working with the greatest: Charles Mingus, Chet Baker, Stéphane Grapelli, Dexter Gordon, to name only a few. Nicolas has played with Charles Aznavour, Vanessa Paradis, Francis Cabrel and Eric Serra, and travels the world with Sting.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn that gloomy afternoon, the two guitarists, alone on stage, decided to brighten up the morosity that reigned. The pieces they played bore titles such as “Janet”, “Babel” and “Petit Nicolas”. It is hard to believe that this varied, well-constructed, polyphonic music was not entirely written down on paper. Philip says, “Nothing is written from beginning to end. I compose the themes and some harmonic bridges. Then we have a chord chart … and that’s it.” The foundations are written; inspiration, taste, fantasy and friendship do the rest.\u0026nbsp;We feel as though we are taking a nonchalant walk through Rio or Miami. The concert is punctuated by thunderous applause.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor these brief minutes in that year 1982, the East Berliners were able to fly over their tightly closed borders.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe are privileged to\u0026nbsp;have unearthed\u0026nbsp;this unique concert where two outstanding artists bring together two cultures to create an intense blaze of happiness\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Philip Catherine, Guitar\u003cbr\u003e\nNicolas Fiszman, Guitar \u0026amp; Bass\u003cbr\u003e\nWith the kind authorization of the artists|ENDGOLD|\u003c\/p\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Volksbühne, Berlin Jazzbühne Festival, Democratic Republic of Germany, 13.VI.1982\u003cbr\u003e STEREO ℗ 1982 DRA\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2023 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e 1st release\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42873271287970,"sku":"TLR-2204044","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD-3.jpg?v=1715898974"},{"product_id":"philip-catherine-nicolas-fiszman-live-at-the-berlin-jazzbuhne-festival-1982-hd-download","title":"PHILIP CATHERINE \u0026 NICOLAS FISZMAN - LIVE AT THE BERLIN JAZZBÜHNE FESTIVAL 1982 - HD DOWNLOAD","description":"\u003cp\u003e\u003cstrong\u003eCheck point Catherine\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e“\u003cspan data-mce-fragment=\"1\"\u003eIn the afternoon we performed in a rather austere theatre in East Berlin. Then I remember we crossed Checkpoint Charlie that evening to play in a club in West Berlin. The atmosphere was completely different. I felt as though we were living in a black and white spy movie.” Nicolas Fiszman recalls that chaotic day of 13 June 1982. Two outstanding guitarists, Philip Catherine and Nicolas Fiszman, who at the time was only seventeen years old, were taken from one side of Berlin to the other in pouring rain to perform to unlikely audiences. At both concerts, they played the same programme of seven pieces written by Philip, with the exception of “Crystal Bells”, composed by Charlie Mariano. The pair were not master and student. Rather, Philip remembers Nicolas like a young brother he might have taken to the beach. After the 1960s, Philip became a major figure on the jazz scene, working with the greatest: Charles Mingus, Chet Baker, Stéphane Grapelli, Dexter Gordon, to name only a few. Nicolas has played with Charles Aznavour, Vanessa Paradis, Francis Cabrel and Eric Serra, and travels the world with Sting.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn that gloomy afternoon, the two guitarists, alone on stage, decided to brighten up the morosity that reigned. The pieces they played bore titles such as “Janet”, “Babel” and “Petit Nicolas”. It is hard to believe that this varied, well-constructed, polyphonic music was not entirely written down on paper. Philip says, “Nothing is written from beginning to end. I compose the themes and some harmonic bridges. Then we have a chord chart … and that’s it.” The foundations are written; inspiration, taste, fantasy and friendship do the rest.\u0026nbsp;We feel as though we are taking a nonchalant walk through Rio or Miami. The concert is punctuated by thunderous applause.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor these brief minutes in that year 1982, the East Berliners were able to fly over their tightly closed borders.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe are privileged to\u0026nbsp;have unearthed\u0026nbsp;this unique concert where two outstanding artists bring together two cultures to create an intense blaze of happiness\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Philip Catherine, Guitar\u003cbr\u003e\nNicolas Fiszman, Guitar \u0026amp; Bass\u003cbr\u003e\nWith the kind permission of the artists|ENDGOLD|\u003c\/p\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Volksbühne, Berlin Jazzbühne Festival, Democratic Republic of Germany, 13.VI.1982\u003cbr\u003e STEREO ℗ 1982 DRA\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2023 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e 1st publication\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42906693370018,"sku":"TLR-2204044-HD","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-CATHERINE.jpg?v=1715899051"},{"product_id":"arturo-benedetti-michelangeli-the-london-recordings-vol-1-telechargement-hd","title":"ARTURO BENEDETTI MICHELANGELI - THE LONDON RECORDINGS VOL. 1 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThese recordings were unearthed from the BBC archives. All the restoration work has been done from the original analog tapes. The works presented here are from a historic session in the London studios on June 30, 1959.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor decades, pianists and musicians around the world have revered this recording, which was previously known only on video. It was important to us to finally release it on disc. While searching for the videotape in the BBC archives, we discovered the forgotten analog stereo tape from which we were able to restore this incredibly emotional moment in history.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLondon, April 8, 1982. The public is waiting in front of the Royal Festival Hall and hopes that the immense Arturo Benedetti Michelangeli will play - he who used to cancel his concerts at the last moment when he judged that neither of the two pianos accompanying him were able to render the colors that his mind and fingers had to sculpt. As for the BBC engineers, they wonder if they will be able to put their microphones and their cameras: Sergiu Celibidache has a deep aversion to recording, defending that music is an \"Art of the moment\" and that microphones are incapable of rendering all the harmonic richness and allow to understand his choices of tempi, determined by the acoustic parameters of the moment.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt will take not one but several miracles. They will take place that evening. The extreme demands, the vision of the music, the trust and the understanding that these two legends have shared since the end of the 1960s contribute to this.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe pianist's approach is that of a Prince. He shakes a discreet black handkerchief with both hands. Maestro Celibidache follows suit. Tonight, they perform Maurice Ravel's last orchestral work - his Concerto in G, which the composer planned to perform himself on \"the five continents\" before his frail health persuaded him to give it up.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo succeed in expressing beauty with such obviousness and simplicity is the prerogative of geniuses whose ability to suspend time is felt by the listener. How can one not remember these words of André Malraux when listening to the second movement?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Art has the function of removing something from time, of suggesting the world of truths, with regard to which all human reality is only an appearance... to bring an answer to the questioning that poses to man his share of eternity\"\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nArturo Benedetti Michelangeli, piano\u003cbr\u003e\n*Sergiu Celibidache, direction\u003cbr\u003e\n*London Symphony Orchestra|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded at the Royal Festival Hall (London, UK), 8.IV.1982\u003cbr\u003e STEREO ℗ 1982 BBC\u003cbr\u003e Recorded at BBC Studios on 30.VI.1959\u003cbr\u003e MONO ℗ 1959 BBC\u003cbr\u003e Remastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42922935451810,"sku":"TLRE-MI82-42DI","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-MICHELANGELI.jpg?v=1715926872"},{"product_id":"erroll-garner-the-unreleased-berlin-studio-recording-1967-vinyl","title":"ERROLL GARNER - THE UNRELEASED BERLIN STUDIO RECORDING 1967 - VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 3000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eErroll Garner - A heavenly sense of magic\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eErroll Garner was revered by both his peers, who ranked him among the foremost of the purest, most spontaneous geniuses that jazz has ever given us, and the general public, who intuitively recognized him as one of the magicians of the golden age, along with Duke Ellington, Count Basie and Ella Fitzgerald, whose gifts could transform the suffering and humiliation of Afro-American life into the rhythm and outpouring of joy rather than anger and resentment. Forty-five years after his death, Garner, with his dazzling style that made such a radical break from existing trends, remains an enigma in the history of twentieth-century popular music. He is still unique and cannot be pinned down.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGarner was born in Pittsburgh, Pennsylvania in 1921. It was the birthplace of a slew of major pianists, including Earl Hines, Ahmad Jamal and Billy Strayhorn, each of whom profoundly influenced the aesthetic directions taken by classical jazz. Entirely self-taught and gifted with an extraordinary ear, Garner created a style all of his own very early on, synthesizing the contributions of the masters of stride piano (James P. Johnson, Fats Waller) and of the swing period (Earl Hines, Art Tatum). Yet he remained so attuned to the evolution of modernity that in 1947, hardly had he settled in New York than the king of bebop, Charlie Parker, personally invited him to join in a session. The performance has since become a legend.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eInfluenced by the tradition of the big swing bands and basing his improvisations chiefly on the melody, Garner liked to use the keyboard as if it were an orchestra. He always retained his distance with the intellectualism and formalism of bebop. Concentrating on his own work, he preferred to keep to the sidelines of the turbulent musical changes of the time, finessing his atypical yet timeless art of the trio that culminated with the worldwide success of his live album “Concert by the Sea” in 1955.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOnly a few weeks before this innovative album was recorded, Garner was in a Berlin recording studio at the helm of his new group comprising Ike Isaaks on bass, Jimmy Smith on drums and Jose Mangual on bongos for a brief, inspired session that somehow remained unpublished until today. In a laid-back atmosphere, they play an entrancing yet familiar repertoire of both timeless standards (Autumn Leaves, The Shadow of Your Smile, Blue Moon and These Foolish Things) and two original themes, including his favourite composition, Misty. The pianist is superbly accompanied by a rhythmic section that is elegant, minimalist and effervescent, and delivers the simple quintessence of his poetry almost as if by accident. Garner, his all-time signature an unmatched sense of ease, delivers his fluid, light style rich in new motifs, new phrases and digressions. He displays his gift of constantly reinventing the music in the present moment; the spontaneity is unreserved. The melodies are bewitching, the rhythms unbridled, and the baroque ornamentations flow from his piano as if it were a bottomless cornucopia. Today there is no equivalent to this music, imbued with joie de vivre whose exuberance often resonates with paradoxical modesty and refinement.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese tapes, rescued from oblivion and immortalizing Garner’s supreme talent, make an indispensable addition to every jazz lover’s library.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nErroll Garner, Piano\u003cbr\u003e\nJose Mangual, Bongos\u003cbr\u003e\nIke Isaacs, Bass\u003cbr\u003e\nJimmie Smith, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eat RBB Studio III\u003c\/span\u003e, Berlin, on 2.XI.1967\u003cbr\u003e STEREO ℗ 1967 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by © 2023 THE LOST RECORDINGS from the original analog tapes\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e45 rpm Lacquer-cuts: Kevin Gra\u003c\/span\u003e\u003cbr\u003e 180g vinyl album\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e1st edition, hand-numbered: 3000 copies\u003c\/span\u003e\u003cbr\u003e New Tip-on gatefold printed in Italy\u003cbr\u003e Pressed by Marciac Workshop Pressings, France \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e \u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT ALBUM DOWNLOAD CARD IS INCLUDED WITH THE VINYL\u003c\/span\u003e.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":43092640301218,"sku":"TLR-2304048V","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_b18407f6-14ff-4331-9ae5-96eecf177743.jpg?v=1716214590"},{"product_id":"donald-byrd-dexter-gordon-the-berlin-session-1963-vinyle","title":"DONALD BYRD \u0026 DEXTER GORDON - THE BERLIN STUDIO SESSION 1963 - VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 3000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eDonald Byrd \u0026amp; Dexter Gordon\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eBy 1963, Dexter Gordon and Donald Byrd had become two of the leading lights of the Blue Note label, a gleaming showcase and an experimental laboratory for the evolutions and revolutions taking place in the small world of Afro-American jazz stemming from hard bop. Curiously, however, it was not until the autumn of that year that the two musicians made a recording together.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDexter Gordon had been recognized since the mid-1940s as a major stylist of the tenor saxophone and for having created the perfect synthesis of Lester Young’s laid-back rhythm and Coleman Hawkins’ sensuality by way of the then-flourishing bepob style (the two were the historical fathers of the instrument). Gordon subsequently went through a long purgatory of numerous, chronic addictions, but by the autumn of 1963 he had emerged from the ordeal and was experiencing a creative renaissance. Working with a new generation of musicians, he had regained his enthusiasm, his inspiration and his charisma.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDonald Byrd’s talents were revealed in 1955 when he stood in for Clifford Brown to play with Art Blakey’s Jazz Messengers. Since then, he had been the much sought-after partner of the greatest musicians, including John Coltrane, Sonny Rollins, Thelonius Monk and Jackie McLean. He was considered one of the most gifted young trumpetists of his generation, as well as an original composer. Drawing on his personal universe with its subtle modernity, he strived to renew the language of hard bop using modality and bold orchestral experiments.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite the ten-year age difference between Gordon and Byrd, despite their vastly dissimilar backgrounds, strivings and motivations, it was abundantly clear that both musicians made music rooted in the most genuine tradition. There was no valid reason for them not yet to have made a recording together.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe short Berlin session on 14 November 1963 put the situation right, thanks to the initiative of Herb Geller, an American alto saxophonist and arranger, who had been living in Berlin for several months and who played in the RIAS Big Band (the group supported by Radio in the American Sector). Geller was well-known in the jazz community. His saxophone style was fluid and lyrical, a synthesis of those of Benny Carter and Charlie Parker. He also partnered with Chet Baker, Quincy Jones and Shorty Rogers, and made fine arrangements with the major orchestras of Claude Thornhill and Billy May. He was a respected representative of West Coast jazz, and it would be no exaggeration to say that the carefully-prepared recording session bore the imprint of his aesthetic bent.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWith Geller at the helm, the two special guests performed as part of a septet that featured a smooth mix of experienced American musicians, such as drummer Joe Harris, and talented young European soloists, including trombonist Ake Persson, who had caught the eye of Quincy Jones and Stan Getz, and was also a member of the RIAS Big Band at the time. The band leader demonstrated his orchestration, adding suave, elegant arrangements to a handful of varied compositions – the standards, “Fly Me to the Moon” and “Blue Orchids” – as well as his own “An Air for the Heir” and the original theme “The Dexter Byrd”, thereby ensuring they were both the medium and the showcase of the encounter between the top saxophonist and the top trumpetist.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe session was a fine one in itself. Each musician displayed a sample of his improvisational talents in his own style and in the context. But it went beyond the preliminaries of allowing them the pleasure of getting to know and appreciate each other. There was another happy outcome: Gordon, obviously enchanted by the playing of his young colleague, invited him a few months later to play on their one and only shared record on the Blue Note label: the sparkling One Flight Up.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|Donald Byrd, Trumpet\u003cbr\u003e\nDexter Gordon, Tenor sax\u003cbr\u003e\nHerb Geller, Alto sax\u003cbr\u003e\nAke Persson, Trombone\u003cbr\u003e\nHeinz Kitschenberg, Guitar\u003cbr\u003e\nJürgen Ehlers, Bass\u003cbr\u003e\nJoe Harris, Drums|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eat RBB Studio III\u003c\/span\u003e, Berlin, on 14.X.1963\u003cbr\u003e MONO ℗ 1963 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by © 2023 THE LOST RECORDINGS from the original analog tapes\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e45 rpm Lacquer-cuts: Kevin Gray\u003c\/span\u003e\u003cbr\u003e 180g vinyl album\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e1st edition, hand-numbered: 3000 copies\u003c\/span\u003e\u003cbr\u003e New Tip-on gatefold printed in Italy\u003cbr\u003e Pressed by Marciac Workshop Pressings, France \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e \u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT ALBUM DOWNLOAD CARD IS INCLUDED WITH THE VINYL\u003c\/span\u003e.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":43092874035362,"sku":"TLR-2304049V","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_0fb6c161-90b3-41e4-99ec-1adb44725162.jpg?v=1715898521"},{"product_id":"lucia-di-lammermoor-berlin-1955","title":"MARIA CALLAS - LUCIA DI LAMMERMOOR • BERLIN 1955 - 3-VINYL BOX SET","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e|STARTTITLEGOLD|5000 copies|ENDTITLEGOLD|\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn May 2022, while we were working in the archives of the Rundfunk Berlin-Brandenburg (RBB), we came across the original tapes of this mythical recording made in 1955. It was certainly one of the most significant testimonies of the lyric art of the twentieth century:\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLucia di Lammermoor\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, recorded during the performance of 29 September 1955 at the Städtische Oper Berlin, with a cast that included Di Stefano, Panerai, Karajan and Callas.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite the fact that the first forty seconds of the first tape had deteriorated, when we listened to the minutes of the recording that followed, we heard timbres with a richness and a dynamic that bore no comparison to other recordings that have been known until the present.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt took four months of painstaking work to restore all the brilliance to the orchestra, to the Scala choir and to the legendary voices of this poignant slice of history and of music.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe wanted to be able to release our first vinyl edition of the opera in a limited number of 5,000 on the occasion of the centenary of the birth of Maria Callas.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eKevin Gray made the cutting and the three records were pressed in our very own workshop in the south of France, MWP, to our usual stringent standards.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe are very grateful to the RBB for their trust in us. We would also like to thank the Callas Foundation, which safeguards and promotes Callas’s legacy, and especially Tom Volf, for their help, as well as for the photographs they provided.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFrédéric D'Oria-Nicolas\u003cbr data-mce-fragment=\"1\"\u003eFounder and Director of The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eI have a very personal connection with Callas’s Lucia, for it is the first recording I heard of hers, more precisely the mad scene; hearing Callas’s voice and interpretation was like falling in love at first sight. This live recording is a wonderful example of what it felt like to hear Callas on stage, in a performance that became legendary.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMaria Callas said she “hated” recording for commercial (studio) releases and used to say that only live performances could convey her artistry in its full spectrum. In the later years of her life, she would collect her own pirate recordings and would often listen to performances such as this one. The best account of that comes from Robert Sutherland, her pianist during the last tour of concerts in 1973-74, who recalled the evenings spent at Callas’s apartment at Avenue Georges Mandel:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“We listened to a pirate recording of the Berlin Lucia. She remembered how Karajan angered the soloists by repeating the sextet without warning them. As we listened to the encore she said ‘You can hear how angry I was! And I still had the mad scene to sing! I told him afterwards at dinner that he dare not do that again on me or there would be trouble!’ We listened to the mad scene, an amazing performance. She was visibly impressed. ‘I don’t now how I did it. I just don’t know how - and to think that I wept after that performance because I thought I was so far off my aim.’ I had difficulty in expressing my reaction. Such a combination of controlled technical brilliance and artistic imagination was astounding. I attempted it with, ‘It’s marvellous singing…’ ‘Marvellous? Marvellous?’ She pulled herself up in the sofa. ‘It isn’t marvellous, it’s bloody miraculous!’”\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBack at that time, pirate recordings circulated among avid admirers in the form of homemade LP’s, such as those released by the BJR label which is probably the one that Callas was listening to that night with Robert Sutherland. Today, however, we have to commend Frédéric D’Oria-Nicolas and The Lost Recordings for retrieving the original tapes in Berlin and meticulously restoring them to a quality of sound which surpasses any previous release, thus providing us with the most authentic rendition of that historical performance. Therefore it was only natural for the Callas Foundation to be associated with this publication, providing texts and images to illustrate the booklet and honour the memory of Maria Callas through this magnificent edition celebrating her 100th anniversary.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTom Volf\u003cbr data-mce-fragment=\"1\"\u003ePresident of the Maria Callas Foundation\u003c\/span\u003e\u003cbr\u003e \u003c!-- CALLAS: LUCIA DI LAMMERMOOR--\u003e\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Maria Callas, Lucia|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Di Stefano, Edgardo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Rolando Panerai, Enrico|ENDGOLD|\u003cbr\u003e|STARTGOLD|Nicola Zaccaria, Raimondo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Zampieri, Arturo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Luisa Villa, Alisa|ENDGOLD|\u003cbr\u003e|STARTGOLD|Mario Carlin, Normanno|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Coro del Teatro alla Scala, Milan|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|RIAS Symphonie-Orchester|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Herbert von Karajan, Chef d'Orchestre|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cul class=\"tracklist_band_single_product\"\u003e\u003c\/ul\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 29.IX.1955 at the Städtische Oper Berlin, Germany\u003cbr\u003e\u003cbr\u003e MONO © 1955 RBB\u003cbr\u003e Remastered ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1st hand-numbered edition, limited to 5000 copies\u003c\/span\u003e\u003cbr\u003e No vinyl r\u003cspan data-mce-fragment=\"1\"\u003eepress will be done\u003c\/span\u003e\u003cbr\u003e Remastered from original analog tapes\u003cbr\u003e 40 page booklet\u003cbr\u003e facsimile of \u003cspan data-mce-fragment=\"1\"\u003ethe performance program\u003c\/span\u003e\u003cbr\u003e Printed in Italy\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003ePressed at\u003c\/span\u003e Marciac Workshop Pressings, France\u003cbr\u003e 33 rpm \u003cspan data-mce-fragment=\"1\"\u003eLacquer-cuts:\u003c\/span\u003e Kevin Gray\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eElectroplating: Marciac Workshop Pressing\u003c\/span\u003es\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e180g triple-vinyl boxset\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e Photos: © Maria Callas Foundation\u003cbr\u003e Texts: Anna Svenbro, Tom Volf, John Ardoin, Maria Callas, Robert Jacobson.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT DOWNLOAD CARD OF THE ALBUM IS INCLUDED WITH THE BOXSET.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46515763413338,"sku":"TLR-2303047V","price":148.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/WhatsAppImage2023-05-15at19.09.16_36523168-6736-4a42-8764-5af4c5c4e99c.jpg?v=1715893320"},{"product_id":"johanna-martzy-the-unreleased-rare-recordings-telechargement-hd","title":"JOHANNA MARTZY - THE UNRELEASED \u0026 RARE RECORDINGS - HD DOWNLOAD","description":"\u003cstrong\u003eJohanna Martzy - A Sparkling Meteor\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e“God has given you all that you need … You must play as one of the first ten, not as the first fifty violinists”. These were the words of Jenő Hubay, Johanna Martzy’s teacher at the Liszt Academy of Budapest, when she was thirteen years old. She could not guess that she was fated to lead the life of a comet traversing an unremitting succession of light and shadowThe professional career of the young girl took off to a meteoric start. In 1943, she made her first performance in Budapest, playing the Tchaikovsky concerto under the baton of the great Willem Mengelberg. But the Nazi occupation of Nazis of Hungary, still part of the Axis, put a halt to the career of the young Jewish artist. She and her husband were sent to an Austrian internment camp, where they remained until the end of the war.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePerhaps it was the recollection of her teacher’s prediction that made her take up her violin again. In October 1947, she won the first prize of the Geneva Competition. Success was close at hand, and touring commenced: Amsterdam in 1949, New York in 1957 and then 1958, with young Leonard Bernstein conducting. However, personal setbacks began: she had to face permanent machinations concerning alleged questionable political affinities with Regent Mikklos Horthy in Hungary during world war two. In Edinburgh, in 1959, the Czech Philharmonic Orchestra refused to perform with her. As a result of her stormy relationships with record companies, she made few recordings. Musical critics, too, did not spare their harsh words, with some saying that her talent was deceptive. Her career took on a chaotic path, as it alternated between resounding praise and ignorance. Johanna remained proud and steadfast through the turmoil, determined to maintain her authenticity. It was a line from which she never wavered.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Lost Recordings has been fortunate to be able to revive hitherto unpublished studio and concert recordings from Berlin and Amsterdam, made between 1955 and 1965. They testify to the outstanding talent of Martzy, the comet of the musical world. Because these recordings are so old, they required significant restoration to bring the depth and brilliance of her playing back to life.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1955, in the Jesus-Christus church of Berlin, Martzy recorded Handel’s Sonata for Violin and Basso Continuo with pianist Jean Antonietti, as well as Mozart’s Sonata in B Major. Each tempo is rigorous and there are none of the mannerisms so common at the time, expressing her striving to achieve the most colourful musical sounds. Each phrase is a world that is rich in itself.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn 25 November 1961, she performed at the Concertgebouw in Amsterdam, where Willem van Otterloo was conducting the Radio Filharmonisch Orkest, the Dutch radio orchestra. Performing this concerto often exhausted Martzy, even though she was particularly fond of it. The recording here illustrates just how unfounded were the criticisms made of her. So uncompromising was she that no pretence was possible; she lived the work from its interior. Her limpid playing is in luminous harmony with the orchestra, which, at several points, she draws to the highest peaks of music. The emotion is all-encompassing.\u0026nbsp;It was often believed that Martzy dared not play the works of twentieth century composers. But her interpretation of Ravel displays vivacity and a sense of rhythm that pay apposite tribute him. Her vision of his sonata for violin, recorded in January 1965 at the Hilversum studio with pianist Franz-Paul Decker, is both dynamic and intimate. But that same year, her career began to fade. She chose to gradually leave the stage and took refuge in Switzerland. There, she died, unknown to almost all, in 1979 aged fifty-five.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhat injustice! The great Glenn Gould considered that she was the most underestimated of the major violinists of her time. Today, the error is remedied\u003c\/span\u003e. \u003c!-- MARTZY: THE UNRELEASED AND RARE RECORDINGS--\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Johanna Martzy, violin\u003cbr\u003e\nJean Antonietti, piano\u003cbr\u003e\n**Willem von Otterloo, conductor\u003cbr\u003e\n**Radio Filharmonisch Orkest|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e*Registered at the Jesus-Christus Kirche, Berlin, 14.XI.1955\u003cbr\u003e MONO ℗ 1955 RBB\u003cbr\u003e Jean Antonietti, piano\u003cbr\u003e\u003cbr\u003e **Registered at the Concertgebouw, Amsterdam, 25.XI.1961\u003cbr\u003e MONO ℗ 1961 VARA\u003cbr\u003e William van Otterloo, conductor \u0026amp; the Radio Filharmonisch Orkest\u003cbr\u003e\u003cbr\u003e *** Recorded at VARA studio, Hilversum, Netherland, 27.I.1965\u003cbr\u003e MONO ℗ 1965 VARA\u003cbr\u003e Jean Antonietti, piano\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by © 2023 THE LOST RECORDINGS from the tapes original analogs\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46748883779930,"sku":"TLRE-MA55-46DI","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-MARTZY.jpg?v=1715898423"},{"product_id":"erroll-garner-the-unreleased-berlin-studio-recording-1967-telechargement-hd","title":"ERROLL GARNER - THE UNRELEASED BERLIN STUDIO RECORDING 1967 - HD DOWNLOAD","description":"\u003cstrong\u003eErroll Garner - A heavenly sense of magic\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eErroll Garner was revered by both his peers, who ranked him among the foremost of the purest, most spontaneous geniuses that jazz has ever given us, and the general public, who intuitively recognized him as one of the magicians of the golden age, along with Duke Ellington, Count Basie and Ella Fitzgerald, whose gifts could transform the suffering and humiliation of Afro-American life into the rhythm and outpouring of joy rather than anger and resentment. Forty-five years after his death, Garner, with his dazzling style that made such a radical break from existing trends, remains an enigma in the history of twentieth-century popular music. He is still unique and cannot be pinned down.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGarner was born in Pittsburgh, Pennsylvania in 1921. It was the birthplace of a slew of major pianists, including Earl Hines, Ahmad Jamal and Billy Strayhorn, each of whom profoundly influenced the aesthetic directions taken by classical jazz. Entirely self-taught and gifted with an extraordinary ear, Garner created a style all of his own very early on, synthesizing the contributions of the masters of stride piano (James P. Johnson, Fats Waller) and of the swing period (Earl Hines, Art Tatum). Yet he remained so attuned to the evolution of modernity that in 1947, hardly had he settled in New York than the king of bebop, Charlie Parker, personally invited him to join in a session. The performance has since become a legend.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eInfluenced by the tradition of the big swing bands and basing his improvisations chiefly on the melody, Garner liked to use the keyboard as if it were an orchestra. He always retained his distance with the intellectualism and formalism of bebop. Concentrating on his own work, he preferred to keep to the sidelines of the turbulent musical changes of the time, finessing his atypical yet timeless art of the trio that culminated with the worldwide success of his live album “Concert by the Sea” in 1955.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOnly a few weeks before this innovative album was recorded, Garner was in a Berlin recording studio at the helm of his new group comprising Ike Isaaks on bass, Jimmy Smith on drums and Jose Mangual on bongos for a brief, inspired session that somehow remained unpublished until today. In a laid-back atmosphere, they play an entrancing yet familiar repertoire of both timeless standards (Autumn Leaves, The Shadow of Your Smile, Blue Moon and These Foolish Things) and two original themes, including his favourite composition, Misty. The pianist is superbly accompanied by a rhythmic section that is elegant, minimalist and effervescent, and delivers the simple quintessence of his poetry almost as if by accident. Garner, his all-time signature an unmatched sense of ease, delivers his fluid, light style rich in new motifs, new phrases and digressions. He displays his gift of constantly reinventing the music in the present moment; the spontaneity is unreserved. The melodies are bewitching, the rhythms unbridled, and the baroque ornamentations flow from his piano as if it were a bottomless cornucopia. Today there is no equivalent to this music, imbued with joie de vivre whose exuberance often resonates with paradoxical modesty and refinement.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese tapes, rescued from oblivion and immortalizing Garner’s supreme talent, make an indispensable addition to every jazz lover’s library\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nErroll Garner, Piano\u003cbr\u003e\nJose Mangual, Bongos\u003cbr\u003e\nIke Isaacs, Bass\u003cbr\u003e\nJimmie Smith, Drums|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eat RBB Studio III\u003c\/span\u003e, Berlin, on 2.XI.1967\u003cbr\u003e STEREO ℗ 1967 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by © 2023 THE LOST RECORDINGS from the original analog tapes\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46749777232218,"sku":"TLR-GA67-48DI","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-GARNER.jpg?v=1716297469"},{"product_id":"donald-byrd-dexter-gordon-the-berlin-studio-session-1963-telechargement-hd","title":"DONALD BYRD \u0026 DEXTER GORDON - THE BERLIN STUDIO SESSION 1963 - HD DOWNLOAD","description":"\u003cp\u003e\u003cstrong\u003eDonald Byrd \u0026amp; Dexter Gordon\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eBy 1963, Dexter Gordon and Donald Byrd had become two of the leading lights of the Blue Note label, a gleaming showcase and an experimental laboratory for the evolutions and revolutions taking place in the small world of Afro-American jazz stemming from hard bop. Curiously, however, it was not until the autumn of that year that the two musicians made a recording together.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDexter Gordon had been recognized since the mid-1940s as a major stylist of the tenor saxophone and for having created the perfect synthesis of Lester Young’s laid-back rhythm and Coleman Hawkins’ sensuality by way of the then-flourishing bepob style (the two were the historical fathers of the instrument). Gordon subsequently went through a long purgatory of numerous, chronic addictions, but by the autumn of 1963 he had emerged from the ordeal and was experiencing a creative renaissance. Working with a new generation of musicians, he had regained his enthusiasm, his inspiration and his charisma.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDonald Byrd’s talents were revealed in 1955 when he stood in for Clifford Brown to play with Art Blakey’s Jazz Messengers. Since then, he had been the much sought-after partner of the greatest musicians, including John Coltrane, Sonny Rollins, Thelonius Monk and Jackie McLean. He was considered one of the most gifted young trumpetists of his generation, as well as an original composer. Drawing on his personal universe with its subtle modernity, he strived to renew the language of hard bop using modality and bold orchestral experiments.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite the ten-year age difference between Gordon and Byrd, despite their vastly dissimilar backgrounds, strivings and motivations, it was abundantly clear that both musicians made music rooted in the most genuine tradition. There was no valid reason for them not yet to have made a recording together.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe short Berlin session on 14 November 1963 put the situation right, thanks to the initiative of Herb Geller, an American alto saxophonist and arranger, who had been living in Berlin for several months and who played in the RIAS Big Band (the group supported by Radio in the American Sector). Geller was well-known in the jazz community. His saxophone style was fluid and lyrical, a synthesis of those of Benny Carter and Charlie Parker. He also partnered with Chet Baker, Quincy Jones and Shorty Rogers, and made fine arrangements with the major orchestras of Claude Thornhill and Billy May. He was a respected representative of West Coast jazz, and it would be no exaggeration to say that the carefully-prepared recording session bore the imprint of his aesthetic bent.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWith Geller at the helm, the two special guests performed as part of a septet that featured a smooth mix of experienced American musicians, such as drummer Joe Harris, and talented young European soloists, including trombonist Ake Persson, who had caught the eye of Quincy Jones and Stan Getz, and was also a member of the RIAS Big Band at the time. The band leader demonstrated his orchestration, adding suave, elegant arrangements to a handful of varied compositions – the standards, “Fly Me to the Moon” and “Blue Orchids” – as well as his own “An Air for the Heir” and the original theme “The Dexter Byrd”, thereby ensuring they were both the medium and the showcase of the encounter between the top saxophonist and the top trumpetist.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe session was a fine one in itself. Each musician displayed a sample of his improvisational talents in his own style and in the context. But it went beyond the preliminaries of allowing them the pleasure of getting to know and appreciate each other. There was another happy outcome: Gordon, obviously enchanted by the playing of his young colleague, invited him a few months later to play on their one and only shared record on the Blue Note label: the sparkling One Flight Up. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Donald Byrd, Trumpet\u003cbr\u003e Dexter Gordon, Tenor sax\u003cbr\u003e Herb Geller, Alto sax\u003cbr\u003e Ake Persson, Trombone\u003cbr\u003e Heinz Kitschenberg, Guitar\u003cbr\u003e Jürgen Ehlers, Bass\u003cbr\u003e Joe Harris, Drums|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRecorded\u0026nbsp;\u003cspan data-mce-fragment=\"1\"\u003eat RBB Studio III, Berlin, 14.X.1963\u003c\/span\u003e\u003cbr\u003e MONO ℗ 1963 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by © 2023 THE LOST RECORDINGS from the original analog tapes\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46749796761946,"sku":"TLR-BY63-49DI","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-GORDON.jpg?v=1715898566"},{"product_id":"maria-callas-lucia-di-lammermoor-berlin-1955-telechargement-hd","title":"MARIA CALLAS - LUCIA DI LAMMERMOOR • BERLIN 1955 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eIn May 2022, while working in the RBB archives, we discovered the original tapes of this legendary 1955 recording - undoubtedly one of the most important operatic testimonies of the 20th century:\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLucia di Lammermoor\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, recorded in concert on September 29, 1955 at the Städtische Oper Berlin, featuring Di Stefano, Panerai, von Karajan and Callas.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlthough we note that the first few bars of Tape No. 1 have deteriorated, the minutes that follow reveal a richness of timbre and dynamics incomparable with the editions known to date.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFour months of painstaking work were necessary to restore the full brilliance of the orchestra, the La Scala Chorus and the legendary voices of this moving piece of history and music.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe were delighted to be able to present our first vinyl edition, limited to 5,000 copies, to mark the centenary of Maria Callas' birth.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe would like to thank the RBB for its confidence, and the Maria Callas Endowment Fund and Mr. Tom Volf for their support and the photos accompanying the booklet.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-align: right; display: block;\"\u003eFrédéric D'Oria-Nicolas\u003cbr data-mce-fragment=\"1\"\u003eFounder and Director of The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMaria Callas declared that she \"hated\" studios, and that only concert recordings could convey the full extent of her talent. During the last years of her life, she collected her own concert recordings (often pirate recordings) and listened to them. The best account comes from Robert Sutherland - her pianist, during Callas' last tour in 1973-74. This is how he recalls evenings spent in Maria Callas's Paris apartment on Avenue Georges Mandel:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"We listened to a pirate recording of Berlin's\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLucia\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e. She remembered how Karajan had enraged the soloists by drinking the sextet during the performance, without warning them. As we listened to the second version they had given, she said: \"You can hear how angry I was! And I still had the air of madness to sing! At the dinner afterwards, I told Karajan that he'd never do it again, or he'd be in trouble!\" Then came the aria in question - a prodigious interpretation. She was clearly impressed herself. \"I don't know how I did it. I just don't know how - and to think I cried after my performance because I thought I was so far from my ideal.\" I struggled to find the right words: such a combination of technical mastery and artistic imagination was simply genius. I tried myself with a \"That's wonderful...\" \"Wonderful? Wonderful?\" she retorted, straightening up on the sofa - \"It's not wonderful, it's simply miraculous!\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn those days, pirate recordings circulated among passionate admirers in the form of more or less hand-crafted LPs, such as those issued by the BJR label, which is probably the one Callas was listening to that evening with Robert Sutherland. Today, however, we must congratulate Frédéric D'Oria-Nicolas and The Lost Recordings for having tracked down the original tapes in Berlin and meticulously restored them to a sound quality that surpasses all previous versions, giving us the most authentic interpretation of this piece of history. It is therefore only natural that the Maria Callas Endowment Fund should be associated with this publication, providing texts and images to illustrate the booklet and honor the memory of Maria Callas through this magnificent edition celebrating her 100th birthday.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-align: right; display: block;\"\u003eTom Volf\u003cbr data-mce-fragment=\"1\"\u003ePresident of the Maria Callas Endowment Fund\u003c\/span\u003e\u003c\/span\u003e\u003c!-- CALLAS: LUCIA DI LAMMERMOOR--\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cp class=\"subdescription\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e|STARTGOLD|Maria Callas, Lucia|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Di Stefano, Edgardo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Rolando Panerai, Enrico|ENDGOLD|\u003cbr\u003e|STARTGOLD|Nicola Zaccaria, Raimondo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Zampieri, Arturo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Luisa Villa, Alisa|ENDGOLD|\u003cbr\u003e|STARTGOLD|Mario Carlin, Normanno|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Coro del Teatro alla Scala, Milan|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|RIAS Symphonie-Orchester|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Herbert von Karajan, Chef d'Orchestre|ENDGOLD|\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 29.IX.1955 at Städtische Oper Berlin, Germany\u003cbr\u003e\u003cbr\u003e MONO © 1955 RBB\u003cbr\u003e Remastered ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e\u003cbr\u003eRemastered from the original analog tapes\u003cbr\u003e Booklet in English 80 pages\u003cbr\u003e Photos: © Maria Callas Foundation\u003cbr\u003e Texts: Anna Svenbro, Tom Volf, John Ardoin, Maria Callas, Robert Jacobson.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46844169159002,"sku":"TLR-2303047HD","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-CALLAS2.jpg?v=1715897337"},{"product_id":"maria-callas-lucia-di-lammermoor-berlin-1955-uhqcd","title":"MARIA CALLAS - LUCIA DI LAMMERMOOR • BERLIN 1955 - UHQCD BOX","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn May 2022, while working in the RBB archives, we discovered the original tapes of this legendary 1955 recording - undoubtedly one of the most important operatic testimonies of the 20th century:\u0026nbsp;\u003ci data-mce-fragment=\"1\"\u003eLucia di Lammermoor\u003c\/i\u003e, recorded in concert on September 29, 1955 at the Städtische Oper Berlin, featuring Di Stefano, Panerai, von Karajan and Callas.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlthough we note that the first few bars of Tape No. 1 have deteriorated, the minutes that follow reveal a richness of timbre and dynamics incomparable with the editions known to date.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFour months of painstaking work were necessary to restore the full brilliance of the orchestra, the La Scala Chorus and the legendary voices of this moving piece of history and music.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWe were delighted to be able to present our first vinyl edition, limited to 5,000 copies, to mark the centenary of Maria Callas' birth.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWe would like to thank the RBB for its confidence, and the Maria Callas Endowment Fund and Mr. Tom Volf for their support and the photos accompanying the booklet.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-align: right; display: block;\"\u003eFrédéric D'Oria-Nicolas\u003cbr data-mce-fragment=\"1\"\u003eFounder and Director of The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMaria Callas declared that she \"hated\" studios, and that only concert recordings could convey the full extent of her talent. During the last years of her life, she collected her own concert recordings (often pirate recordings) and listened to them. The best account comes from Robert Sutherland - her pianist, during Callas' last tour in 1973-74. This is how he recalls evenings spent in Maria Callas's Paris apartment on Avenue Georges Mandel:\u003cbr data-mce-fragment=\"1\"\u003e\"We listened to a pirate recording of Berlin's\u0026nbsp;\u003ci data-mce-fragment=\"1\"\u003eLucia\u003c\/i\u003e. She remembered how Karajan had enraged the soloists by drinking the sextet during the performance, without warning them. As we listened to the second version they had given, she said: \"You can hear how angry I was! And I still had the air of madness to sing! At the dinner afterwards, I told Karajan that he'd never do it again, or he'd be in trouble!\" Then came the aria in question - a prodigious interpretation. She was clearly impressed herself. \"I don't know how I did it. I just don't know how - and to think I cried after my performance because I thought I was so far from my ideal.\" I struggled to find the right words: such a combination of technical mastery and artistic imagination was simply genius. I tried myself with a \"That's wonderful...\" \"Wonderful? Wonderful?\" she retorted, straightening up on the sofa - \"It's not wonderful, it's simply miraculous!\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn those days, pirate recordings circulated among passionate admirers in the form of more or less hand-crafted LPs, such as those issued by the BJR label, which is probably the one Callas was listening to that evening with Robert Sutherland. Today, however, we must congratulate Frédéric D'Oria-Nicolas and The Lost Recordings for having tracked down the original tapes in Berlin and meticulously restored them to a sound quality that surpasses all previous versions, giving us the most authentic interpretation of this piece of history. It is therefore only natural that the Maria Callas Endowment Fund should be associated with this publication, providing texts and images to illustrate the booklet and honor the memory of Maria Callas through this magnificent edition celebrating her 100th birthday.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-align: right; display: block;\"\u003eTom Volf\u003cbr data-mce-fragment=\"1\"\u003ePresident of the Maria Callas Endowment Fund\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e|STARTGOLD|Maria Callas, Lucia|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Di Stefano, Edgardo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Rolando Panerai, Enrico|ENDGOLD|\u003cbr\u003e|STARTGOLD|Nicola Zaccaria, Raimondo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Zampieri, Arturo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Luisa Villa, Alisa|ENDGOLD|\u003cbr\u003e|STARTGOLD|Mario Carlin, Normanno|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Coro del Teatro alla Scala, Milan|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|RIAS Symphonie-Orchester|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Herbert von Karajan, Chef d'Orchestre|ENDGOLD|\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 29.IX.1955 at the Städtische Oper Berlin, Germany\u003cbr\u003e\u003cbr\u003e MONO © 1955 RBB\u003cbr\u003e Remastered ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e1st edition Double Book UHQCD\u003cbr\u003e Remastered from the original analog tapes\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eBooklet 80 pages\u003c\/span\u003e\u003cbr\u003e Pressed in Japan\u003cbr\u003e\u003cbr\u003e Photos: © Maria Callas Foundation\u003cbr\u003e Texts: Anna Svenbro, Tom Volf, John Ardoin, Maria Callas, Robert Jacobson.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46844282569050,"sku":"TLR-2303047","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD_FRONT_BACK_1-logo_d1d74fae-d745-422c-8417-8fb3abaa3a35.jpg?v=1730830571"},{"product_id":"ella-fitzgerald-live-in-east-berlin-1967-double-vinyle","title":"ELLA FITZGERALD - LIVE IN EAST BERLIN 1967 - DOUBLE VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 3000 Copies\u0026nbsp;|ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“Ella Fitzgerald – As in the good old days at the Savoy!”\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt all began with a coincidence and complicity between Ronald Trisch, the head of the East German music agency, and Horst Lippmann, the West Berlin representative of major American artists. In January 1967, Ella Fitzgerald toured Europe with Duke Ellington and his orchestra. After a concert in West Berlin, January 25 was a day off. They jumped at the chance to organize a somewhat adventurous \"detour\" for Ella to East Berlin. At 11 p.m. on Wednesday evening, 3,000 people flocked to the Friedrichstadt Palace. This appearance in East Berlin would be the only one of her career. No big orchestra behind her, but the 3 exceptional musicians of the Jimmy Jones Trio to accompany her.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis was a perilous affair. Karlheinz Drechsel, one of the organizers, and father of Ulf Drechsel, our correspondent in Germany, describes in his\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eMemoirs\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, an excessively nervous Ella when, after crossing Check Point Charlie, she finds herself backstage. Unusual anxieties haunt her thoughts\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor almost an hour and a half, she treated the audience to some twenty tracks from the other side of the wall, alternating timeless standards with the hits of the moment, from the Beatles to Nancy Sinatra...\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLate into the night, before climbing back into her car, heading for West Berlin, exhausted but drunk with happiness, she confessed to Karlheinz Drechsel: \"It was like the good old days at the Savoy\u003c\/span\u003e! \". \u003cbr\u003e\u003cbr\u003e\u003c!-- FITZGERALD: LIVE IN EAST BERLIN 1967--\u003e\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp\u003e|STARTGOLD|Ella Fitzgerald, Vocals|ENDGOLD|\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cp\u003e|STARTGOLD|Jimmy Jones, Piano|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Bob Cranshaw Bass|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Sam Woodyard, Drums|ENDGOLD|\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp class=\"subdescription\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRef.: TLR-2304050V \u003cbr\u003eRecorded\u0026nbsp;at Fredrichstadt-Palast, East Berlin, German Democratic Republic, on 25.1.1967\u003cbr\u003e STEREO ℗ 1967 DRA, *MONO ℗ 1967 Private Collection\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003ePressed by Simon Garcia, Marciac\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e 33 rpm Lacquer-cuts: Kevin Gray\u003cbr\u003e 180g 2-vinyl album\u003cbr\u003e 1st numbered edition, 3000 copies\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":47266684010842,"sku":"TLR-2304050V","price":48.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Fitzgerald67-MockupFront.jpg?v=1715885009"},{"product_id":"ella-fitzgerald-live-in-east-berln-1967-uhqcd","title":"ELLA FITZGERALD - LIVE IN EAST BERLIN 1967 - DOUBLE UHQCD","description":"\u003cp\u003e\u003cstrong\u003e“Ella Fitzgerald – As in the good old days at the Savoy!”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt all began with a coincidence and complicity between Ronald Trisch, the head of the East German music agency, and Horst Lippmann, the West Berlin representative of major American artists.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn January 1967, Ella Fitzgerald was on a European tour with Duke Ellington and his orchestra. After a concert in West Berlin, January 25 was a day off. They jumped at the chance to organize a somewhat adventurous \"detour\" for Ella to East Berlin. At 11 p.m. on Wednesday evening, 3,000 people flocked to the Friedrichstadt Palace. This appearance in East Berlin would be the only one of her career...\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis was a perilous affair. Karlheinz Drechsel, one of the organizers, and father of Ulf Drechsel, our correspondent in Germany, describes in his\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eMemoirs\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, an excessively nervous Ella when, after crossing Check Point Charlie, she finds herself backstage.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor almost an hour and a half, she treated the audience to some twenty tracks from the other side of the wall, alternating timeless standards with the hits of the moment, from the Beatles to Nancy Sinatra...\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLate that night, before getting back into her car, heading for West Berlin, exhausted but drunk with happiness, she confesses to Karlheinz Drechsel: \"It was just like the good old days at the Savoy\u003c\/span\u003e!\"\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e|STARTGOLD|Ella Fitzgerald, Vocals|ENDGOLD|\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e|STARTGOLD|Jimmy Jones, Piano|ENDGOLD|\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e|STARTGOLD|Bob Cranshaw Bass|ENDGOLD|\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e|STARTGOLD|Sam Woodyard, Drums|ENDGOLD|\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRef.: TLR-2304050 \u003cbr\u003eRecorded\u0026nbsp;at Fredrichstadt-Palast, East Berlin, German Democratic Republic, on 25.1.1967\u003cbr\u003e STEREO ℗ 1967 DRA, *MONO ℗ 1967 Private Collection\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2023 THE LOST RECORDINGS from the original analogue tapes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e1st edition Double Book UHQCD\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":47267897999706,"sku":"TLR-2304050","price":26.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD_FRONT_BACK_1-LogoHQCD-CARRE-5.jpg?v=1730830626"},{"product_id":"ella-fitzgerald-live-in-east-berlin-1967-telechargement-hd","title":"ELLA FITZGERALD - LIVE IN EAST BERLIN 1967 - HD DOWNLOAD","description":"\u003cp\u003e\u003cstrong\u003e“Ella Fitzgerald – As in the good old days at the Savoy!”\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt all began with a coincidence and complicity between Ronald Trisch, the head of the East German music agency, and Horst Lippmann, the West Berlin representative of major American artists. In January 1967, Ella Fitzgerald toured Europe with Duke Ellington and his orchestra. After a concert in West Berlin, January 25 was a day off. They jumped at the chance to organize a somewhat adventurous \"detour\" for Ella to East Berlin. At 11 p.m. on Wednesday evening, 3,000 people flocked to the Friedrichstadt Palace. This appearance in East Berlin would be the only one of her career.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis was a perilous affair. Karlheinz Drechsel, one of the organizers, and father of Ulf Drechsel, our correspondent in Germany, describes in his\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eMemoirs\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, an excessively nervous Ella when, after crossing Check Point Charlie, she finds herself backstage.\u0026nbsp;\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor almost an hour and a half, she treated the audience to some twenty tracks from the other side of the wall, alternating timeless standards with the hits of the moment, from the Beatles to Nancy Sinatra...\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLate into the night, before climbing back into her car, heading for West Berlin, exhausted but drunk with happiness, she confessed to Karlheinz Drechsel: \"It was like the good old days at the Savoy\u003c\/span\u003e! \". \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e|STARTGOLD|Ella Fitzgerald, Vocals|ENDGOLD|\u003cbr\u003e|STARTGOLD|Jimmy Jones, Piano|ENDGOLD|\u003cbr\u003e|STARTGOLD|Bob Cranshaw Bass|ENDGOLD|\u003cbr\u003e|STARTGOLD|Sam Woodyard, Drums|ENDGOLD|\u003c\/div\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003eRef.: TLR-2304050\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cp class=\"subdescription\"\u003eRecorded\u0026nbsp;at Fredrichstadt-Palast, East Berlin, German Democratic Republic, on 25.1.1967\u003cbr\u003e STEREO ℗ 1967 DRA, *MONO ℗ 1967 Private Collection\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2023 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":47688109359450,"sku":"TLRE-EF67-50DI","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-FITZGERALD.jpg?v=1715887928"},{"product_id":"karl-bohm","title":"KARL BÖHM - THE UNRELEASED BERLIN RECORDINGS 1962 - DOUBLE VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 2000 Copies\u0026nbsp;|ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDr. Karl Böhm\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e Böhm was 68 years old when, on 29 October 1962, he took up the baton in the legendary Saal 1 (studio number one) of the broadcasting corporation on Kaiserdamm Strasse in Berlin to conduct the Radio-Symphonie-Orchester. The programme comprised Symphony No. 4 by Johannes Brahms and \u003ci\u003eTod und Verklärung\u003c\/i\u003e (“Death and Transfiguration”), a tone poem by Richard Strauss. For decades, Böhm had finely worked each melodic line, each harmony, each tempo.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIn order to give the most faithful rendition of the warmth of this outstanding performance that has come to light after more than sixty years, we have been able to reap the benefits of the talent of the original Berlin sound engineers together with several weeks of restoration work by our own teams. We have opted to cut the first and second movements on two different sides to optimise the rendering of the sound.\u003cbr\u003e\u003cbr\u003eAs critic Marcel Prawy wrote, “ The words used to describe major conductors are well-known. Their conducting is fascinating, extraordinary, pure genius. Karl Böhm simply conducts with authenticity”. There could be no more glowing compliment. Musician and broadcaster Clément Rochefort, talking of this “adventure into sound and metaphysics”, says of \u003ci\u003eTod und Verklärung\u003c\/i\u003e, recorded that day in October 1962, that the Radio-Symphonie-Orchester had a supremely masterful guide at its helm: Karl Böhm.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Karl Böhm, conductor|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Radio Symphonie Orchester Berlin|ENDGOLD|\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Saal 1, RBB, Berlin, 29.IX.1962-01.X.1962\u003cbr\u003e STEREO ℗ 1962 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS\u003cbr\u003e from the original analog tapes\u003cbr\u003e\u003cbr\u003e Ref.: TLR-2403051V\u003cbr\u003e 33 rpm Lacquer-cuts: Kevin Gray \u003cbr\u003e Double vinyl album 180g\u003cbr\u003e Electroplating: United-Kingdom\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e1st edition, hand numbered: 2000 copies\u003cbr\u003e New Tip-on gatefold printed in Italy\u003cbr\u003e Pressed by Simon Garcia, Marciac, France\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e \u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*A 16-bit album download card is included with the vinyl.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":47725126156634,"sku":"TLR-2403051V","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Bohm-LP-Fred.jpg?v=1715888663"},{"product_id":"the-unreleased-swiss-recordings","title":"SAMSON FRANÇOIS - THE UNRELEASED SWISS RECORDINGS - DOUBLE VINYLE","description":"\u003cp\u003e|STARTTITLEGOLD|2000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMagnetic Samson François\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e Samson François inevitably ranks alongside Sofronitzky, Horowitz and Cortot. The latter also mentioned it in these terms: “I only manage to make it play by creating images”. We find these evocations in multiple and fascinating colors in each of these new recordings captured in Switzerland, in different locations, for a program entirely dedicated to his favorite universe: romantic music.\u003cbr\u003e\u003cbr\u003e From the first notes of Schumann's \u003ci\u003ePapillons\u003c\/i\u003e , recorded in the RTS studios in Geneva in 1961, we understand why the very natural interpretation of Samson François operates the synthesis between the two theories of music, that of Rameau who does not see in she only rhythm and order, and that of Jean-Jacques Rousseau, for whom it is the purest expression of feeling. Samson manages to draw out the most concentrated essences to give us one of the most captivating readings of this early work inspired by a masked ball. Mendelssohn's two \u003ci\u003eWordless Romances\u003c\/i\u003e which follow, immortalized on the same date, are fashioned from the same material. And we wonder after having been hypnotized by this sonority with infinite sustain, the delicate carving of the articulations of the accompaniment, the ideal legato, this rubato of incredible elegance which is grafted onto an ideal pulsation: y Is there a more captivating reading of these miniatures than these?\u003cbr\u003e\u003cbr\u003e Samson François floats on his keyboard and on the music, “I would have liked to make a pact with the devil, but he didn't want me” he was quoted in an article in Diapason magazine in 2020. Excessive, unpredictable, seductive , vulnerable...in a word, magnetic, as revealed by this unprecedented discovery which pays homage to the man who, incontestably, is one of the greatest pianist poets of the 20th century.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Samson François, Piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|**Edmond Appia, Conductor|ENDGOLD|\u003cbr\u003e|STARTGOLD|**Suisse Romande Orchestra|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded on the 31.I.1961 at the RTS Studio, Geneva\u003cbr\u003e* Recorded on the ?.?.1949 at the RTS Studio, Geneva\u003cbr\u003e** Recorded on the 28.III.1962, unknown place\u003cbr\u003e*** Date and place unknown\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRef.: TLR-2403052V\u003cbr\u003e33rpm Lacquer-cuts: Kevin Gray\u003cbr\u003ePhoto: 1959 © ClaudePoirier\/Roger-Viollet\u003cbr\u003e1st edition, hand-numbered: 2000 copies\u003cbr\u003eTip-on gatefold printed in Italy\u003cbr\u003ePressed by Simon Garcia, Marciac, France\u003c\/p\u003e\n\u003cp\u003eMONO ℗ 1949, 1961, 1962 RTS\u0026nbsp;\u003cbr\u003eRemastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":48193512505690,"sku":"TLR-2403052V","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MOCKUP_2LP_FRONT-72dpi_fbe83868-0cb0-4399-ba4b-8ba339eaef99.jpg?v=1715960538"},{"product_id":"oscar-peterson-trio-live-in-bremen-1961-double-vinyle","title":"OSCAR PETERSON TRIO - LIVE IN BREMEN 1961 - DOUBLE VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 3000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAn\u0026nbsp;Alchemist at The Glocke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eThe Glocke was one of Herbert von Karajan's favourite halls in Europe. An unusual place, located in the Hanseatic city of Bremen. It was designed on an octagonal plan in 1737 and despite several fires, , it has retained\u0026nbsp;some of the finest acoustics on the continent.\u003c\/p\u003e\n\u003cp\u003eOn that evening in April 1961, before an audience of 1,400, the imposing figure of Oscar Peterson sat down at his piano with his two acolytes. There was Ray Brown, known to his admirers as “the handsome bassist”, and Ed Thigpen, one of the most sought-after drummers on the New York scene.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eThe Lost Recordings retrieved the tapes of this landmark concert from the archives of the Bremen Radio, and many long weeks were spent on their restoration. Oscar Peterson is an alchemist of genius, and in a certain sense, his very own Pygmalion who sees his transformations through to end. Already a master of swing, Peterson surpassed himself in every way. He broadened his repertoire and constantly reinvented himself, all the while remaining faithful to his innermost self. His legacy, the magical lustre he brought to jazz, is priceless.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e|STARTGOLD|Oscar Peterson, piano\u003cbr\u003e Ray Brown, bass\u003cbr\u003e Ed Thigpen, drums|ENDGOLD|\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003eRecorded on 20.IV.1961, Glocke, Bremen, Germany\u003cbr\u003e MONO ℗ 1961 RADIO BREMEN\u003cbr\u003e Remastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e\n\u003cp\u003e45rpm Lacquer-cuts: Kevin Gray\u003cbr\u003e 180g 2-vinyl album\u003cbr\u003eElectroplating: United Kingdom\u003cbr\u003e 1st edition, hand-numbered: 3000 copies\u003cbr\u003e New Tip-on gatefold printed in Italy\u003cbr\u003e Pressed by Simon Garcia, Marciac, France\u003c\/p\u003e\n\u003cp\u003e*A 16-bit album download card is included with the vinyl.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":49464001888602,"sku":"TLR-2404053V-PETERSLP","price":48.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/PETERSONFONDGRIS1.jpg?v=1725871698"}],"url":"https:\/\/thelostrecordings.store\/en\/collections\/soldes.oembed?page=4","provider":"The Lost Recordings","version":"1.0","type":"link"}