Stepping out from her full-scale band, and doing it in a big way, Ani Difranco is presented here live from Carnegie Hall in a solo performance from 2002. Detailed song introductions and anecdotal musings elevate this show into a masterful performance - politically relevant and sonically scintillating. Even in Carnegie Hall, Ani's performance is characterized by its intimacy.
On January 21st and 22nd of 2016, world-renowned platinum-selling and Grammy nominated Blues-rock singer-songwriter and guitarist Joe Bonamassa performed two unique all-acoustic shows at the iconic Carnegie Hall in New York City. Both performances were filmed and made into Joe Bonamassa Live At Carnegie Hall – An Acoustic Evening. An evening of extraordinary music with new arrangements of favorite songs as well as brand new, never-before-heard songs…
tan Getz made his Carnegie Hall debut in 1949 as part of a superstar bill that included the Woody Herman Orchestra, Nat "King" Cole, and Harry Belafonte. (Getz played in the saxophone section of the band, often referred to as Woody Herman's Second Herd.) He was already a Carnegie Hall regular when he joined forces with Brazilian guitarist and whispering vocalist João Gilberto for the live followup to their groundbreaking Getz/Gilberto album released just seven months before their October 1964 concert. Gilberto had made his debut two years previously as part of the now famous Bossa Nova at Carnegie Hall concert—in which Getz also starred—that sparked the explosion of bossa nova in the US.
Berman’s first teacher was his mother, herself a pupil of Isabella Vengerova, but at an early age he had lessons from Savshinsky of the Leningrad Conservatory. Berman first played in public at the age of four, and at the age of seven he took part in a concert at the Bolshoi Theatre in Moscow, subsequently being asked to record Mozart’s Fantasy in D minor K. 397, and a composition of his own…
Though it was advertised as a live recording, the original LP release of the recital included a number of unacknowledged edits to correct errors and imperfections in Horowitz's playing. While Horowitz, himself, said in later years that his greatest performances were never note perfect, he apparently couldn't resist having the recording doctored. Those edits have always been the subject of controversy, especially since every aspect of the performance seemed engraved on the memories of those present at the historical concert. Sony Classical's new edition of the live recording returrns for the first time to the original, unexpurgated source to restore the pure spontaneity and brillance of Horowitz's playing - mistake and all - on that memorable afternoon.