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A classical re-issue by popular demand!

Music and Arts

CD-1145(1) WALTER GIESEKING PLAYS BEETHOVEN CONCERTOS. Piano Concerto No. 1 in C, Op. 15, Philharmonia Orchestra; Rafael Kubelik from Columbia (UK) 78s LX 1230/2, CAX 10333/40 Rec. EMI Studio No. 1, Abbey Rd., London, 13 Oct. 1948. Piano Concerto No. 5 in E-flat, Op. 73, "Emperor" Grosses Funkorchester, Artur Rother Rec. Saal No. 1, Haus des Rundfunks (Reichsender Berlin), 23 Jan. 1945. The only complete recording of a classical work in stereo surviving from WWII! Total time: 67:40. Restoration (2004): Aaron Z. Snyder "Emperor" previously released by Music & Arts on CD Nos. 637 (1990) & 815 (1994). This edition originally released in 2004. [AAD] UPC# 017685-11452-6.

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"The performance by Gieseking is rugged, even magisterial in the best sense, brilliant almost in the extreme, and M&A's 2004 remastered sound is a miracle to ears..."
-Roger Dettmer, Classical CD Review

Music and Arts

CD-1251(3) BLUES AND THE EMPIRICAL TRUTH: New Blues compositions and arrangements by Allen Lowe, featuring jazz greats Roswell Rudd, Marc Ribot, Matthew Shipp, and Lewis Porter. Extensive notes by Lowe, with a booklet essay by Francis Davis. 3 CDs, 76:39, 77:42 and 79:03 [DDD, 2011]

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BUZZ: Though Allen Lowe has gigged only sporadically over the last fifteen years - especially since relocating from New Haven, Connecticut to Portland, Maine, a dogpatch whose live music scene is as cliquish as it is marginal, at least as Lowe describes it - he's hardly been "away" from music during that time. Along with switching from tenor to alto, teaching himself guitar, and periodically recording new compositions, he's channeled his energy into compiling, and writing exhaustive companion texts to, the 9-CD American Pop: An Audio History - From Minstrel to Mojo: On Record 1893-1946; the 36-CD That Devilin' Tune: A Jazz History 1895-1950; and the still-in-progress 36-CD Really the Blues: A Blues History 1893-1959 - monumental anthologies that stretch the terms "pop," "jazz," and "blues" to the breaking point and end where they do only because of copyright laws. Ironically, this magnificent obsession of Lowe's has won him the sort of favorable notice that has so far eluded him as a music-maker; in The Believer, for example, Greil Marcus devoted an entire "Real Life Rock Top Ten" to Really the Blues?, describing it as "a forest to get lost in, tree by tree or even leaf by leaf." So while Blues and the Empirical Truth reflects Lowe's urge to reassert himself as a player and composer in a big way, it also grew out of his immersion in vintage and obscure blues and country recordings in his capacity as a kind of bootstrap digital historian.

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