Today, Columbia Records/Legacy Recordings released Bruce Springsteen: The Album Collection Vol. 1 1973-1984, a boxed set comprised of remastered editions of the first seven albums recorded and released by Bruce Springsteen for Columbia Records between 1973 and 1984. All of the albums are newly remastered (five for the first time ever on CD) and all seven are making their remastered debut on vinyl. The seven albums are recreations of their original packaging and the set is accompanied by a 60-page book featuring rarely-seen photos, memorabilia and original press clippings from Springsteen’s first decade as a recording artist. Acclaimed engineer Bob Ludwig, working with Springsteen and longtime engineer Toby Scott, has remastered these albums, all newly transferred from the original analogue masters using the Plangent Process playback system.
Recorded and released live on the night at the London Forum, 11 December 2014.
Special priced-down reissue available only for a limited period of time until December 21, 2015. Comes with liner notes. Finally, a non-bootleg issue of one of Miles Davis' greatest electric performances ever. In fact this is the very first of the Miles Davis Quintet's electric gigs – it was also one of the last four performances of this great band. Not just recorded, but performed. The band, consisting of Davis, Wayne Shorter on soprano and tenor, Chick Corea on Fender Rhodes, Dave Holland on both acoustic and electric bass, and Jack DeJohnette on drums. With percussionist Airto Moreira providing color and texture, the band became a sextet.
The title ‘1828’ refers to Schubert’s final and astoundingly productive year, which brought forth the three duets and solo sonata featured on this disc. In Philippe Cassard’s hands, the declamatory dynamism of the D959 A major Sonata’s first-movement exposition takes a back seat, with an emphasis on shapely soft playing that ravishingly comes to roost throughout the movement’s development section. The pianist’s eloquent legato holds attention in the Andantino’s outer sections, yet he downplays the harrowing chromatic climax. He similarly understates the Scherzo’s explosive descending minor scales, yet his delicate, witty arpeggiation of the main theme’s leaping chords delights. While the Rondo gains assurance and momentum as it progresses, I prefer Pollini’s firmer left-hand projection in the explosive central minor episode and the intelligent architecture of his dynamics.
Philip Catherine - the South German Newspaper in Munich just recently wrote that he “plays things that cannot be heard by any other guitarist in the world today”. His partner on the bass, Martin Wind, is one of only a few Germans who made it in New York. Both are aesthetes that love melodic jazz with Swing roots. Without any haste or superficial virtuosity, but instead with complete mutual trust they find the ideal tone, the right timbre for each note, lining up sound and space perfectly. A meeting of generations marked by harmony and respect.