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The Gauss Speaker Company, later known as Cetec Gauss, was a Sun Valley loudspeaker company. They were approved by Fender Musical Instruments Corporation [ 1 ] and found widespread use among rock musicians of the 1960s through the 1990s [cite?] .
As the concert went on, things livened up. The Goodman band and quartet took over the stage and performed the numbers that had made them famous. Some later trio and quartet numbers were well received, and the vocal by Martha Tilton on "Loch Lomond" provoked five curtain calls and cries for an encore. The encore forced Goodman to make his only ...
The Adagio and Rondo Concertante (Adagio e Rondo concertante) in F major for piano quartet, D 487, was composed by Franz Schubert in 1816. A "brilliant" work designed as a display piece for the piano soloist, it is not only one of the few works the composer wrote in this style, but it is his first complete composition for piano and string ensemble, preceding the "Trout" Quintet" by three years.
Further Out Than the Edge is the debut studio album by South London jazz band Speakers Corner Quartet, released on June 2, 2023, by OTIH Records. [5] [3] [6] The album features guest appearances from Coby Sey, Kelsey Lu, Tirzah, Confucius MC, Joe Armon-Jones, Léa Sen, Kae Tempest, Sampha, Leilah, James Massiah, Tawiah, Lafawndah, Trustfall, Shabaka Hutchings, and Mica Levi.
The actual sessions had taken place in June 1953, December 1954, and January 1955, and (as Prestige Records had yet to enter the 12-inch LP era) were first released on two 10-inch albums, entitled Modern Jazz Quartet (PRLP 160, 1953, whose second side contained "The Queen's Fancy", "Delauney's Dilemma", "Autumn In New York" and "But Not For Me") and The Modern Jazz Quartet, Vol. 2 (PRLP 170 ...
Dream Weaver is the third album by jazz saxophonist Charles Lloyd, his first released on the Atlantic label, and the first recordings by the Charles Lloyd Quartet featuring Keith Jarrett, Cecil McBee and Jack DeJohnette.
The Modern Jazz Quartet later made a full album based on this theme, The Comedy (1962). [2] The title track was released on a 45-rpm 7-inch EP with the track being split across the two sides. The mono version of the album has a good recorded sound quality as one would expect from an important 1956 jazz release.
Three NAP 250 amplifiers, fed by a 3-way Naim electronic crossover, would typically be used, one for each pair of the doubled-up treble, midrange and bass units. [9] From its introduction in 1984, the monaural NAP 135 can be used in a "6-pack" configuration.