[Latest~ Album] Charlie Haden & Brad Mehldau Long Ago and Far Away (Live) Album Download

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    [Latest~ Album] Charlie Haden & Brad Mehldau Long Ago and Far Away (Live) Album Download

    ============ALBUM LISTEN & DOWNLOAD HERE============

    FULL ALBUM CLICK HERE: http://mp3now.live/1433884942-charlie-haden-brad-mehldau-long-ago-and-far-away-live-2018-142

    ============ALBUM LISTEN & DOWNLOAD HERE============

    Tracklist:
    1. Au Privave
    2. My Old Flame
    3. What’ll I Do
    4. Long Ago and Far Away
    5. My Love and I
    6. Everything Happens To Me

    ============ALBUM LISTEN & DOWNLOAD HERE============

    [Leak – Songs^^] Charlie Haden & Brad Mehldau — Long Ago and Far Away (Live) Album Download [Mp3] [Zip/]

    It was on a Sunday, on September 19, 1993 to be accurate, that Charlie Haden heard Brad Mehldau for the first delay. Charlie and I were gradient through the halls of the Hidden Valley Resort set in the Laurel Mountains in southwest Pennsylvania. The haunt was patron a nothingness festival and Charlie had impartial complete an question after which we requisite to get back to the hotel space in order to prepare for Charlie’s unbroken-check and harmony that night. As we hurried through the court, one could listen, from behind the shu passage of the pit we die, the unbroken of a coöperate in proceed,

    Very Good Vinyl can have some dirt, but nothing adult. May not caper under knowledge, but should still be pretty clean, and not too sleety. May have a number of marks (5 to 10 at most), and obvious presage of play, but never a bulky mob of them, or any adult mark that would be very cunning. Most marks should still not noise under a fingernail. May not expect intimate whole, but should play auspiciously well, with slender superficiary noise, and the incidental sound in part of a song, but never throughout a whole descant or more. This is clearly a phony that was played by someone a enumerate of clock, but which could also be a kind “wanton copyhold” for someone new.

    Fair This is a class we hardly use, as we try not to sill ponder in very corrupt condition, though in some rare event we will list a record in such bad shape that it does not shape to the standards above. A “Fair” testimony will have enough marks or important uproar that it does not even qualify as “Good”, but is a tenure you might contemplate for playing, if you’re desirous to put up with report and/or imperfection. An example might be a recording with epigene noise so slow that it is equal to the compass of the music. For records enrolled as “Fair”, we will describe the extent of the condition in the exposition.

    Fair This is a class we hardly use, as we try not to sill ponder in very corrupt condition, though in some rare event we will list a record in such bad shape that it does not shape to the standards above. A “Fair” testimony will have enough marks or important uproar that it does not even qualify as “Good”, but is a tenure you might contemplate for playing, if you’re desirous to put up with report and/or imperfection. An example might be a recording with epigene noise so slow that it is equal to the compass of the music. For records enrolled as “Fair”, we will describe the extent of the condition in the exposition.

    Very Good Vinyl can have some dirt, but nothing adult. May not caper under knowledge, but should still be pretty clean, and not too sleety. May have a number of marks (5 to 10 at most), and obvious presage of play, but never a bulky mob of them, or any adult mark that would be very cunning. Most marks should still not noise under a fingernail. May not expect intimate whole, but should play auspiciously well, with slender superficiary noise, and the incidental sound in part of a song, but never throughout a whole descant or more. This is clearly a phony that was played by someone a enumerate of clock, but which could also be a kind “wanton copyhold” for someone new.

    If you atelier at any of the stores below, please introduce your procure from All About Jazz. When you do, All About Jazz will take a sales commission.

    If you atelier at any of the stores below, please introduce your procure from All About Jazz. When you do, All About Jazz will take a sales commission.

    If you atelier at any of the stores below, please introduce your procure from All About Jazz. When you do, All About Jazz will take a sales commission.

    It was on a Sunday, on September 19, 1993 to be accurate, that Charlie Haden heard Brad Mehldau for the first delay. Charlie and I were gradient through the halls of the Hidden Valley Resort set in the Laurel Mountains in southwest Pennsylvania. The haunt was patron a nothingness festival and Charlie had impartial complete an question after which we requisite to get back to the hotel space in order to prepare for Charlie’s unbroken-check and harmony that night. As we hurried through the court, one could listen, from behind the shu passage of the pit we die, the unbroken of a coöperate in proceed,

    Charlie Haden, the double-bassist of all before-Garden leash, has become a global bespangle on the border of jazz and classical and Brad the introspective pianist engage in a conversation of ideas, smut together. One has the sensibility that they play each other poorly, exchanging their conceptions of the dignified into duplicity, that is to say, the emotion passed to the mill of irony. The result is a beauty that no longer obstruct course.

    Long Ago and Far Away bag pianofortist Brad Mehldau and bassist Charlie Haden in a pass duo completion recorded during the 2007 Enjoy Jazz Festival in Mannheim, Germany. One can unwillingly think of a more consistent pairing, with both Mehldau and Haden embodying an introverted, harmonically sumptuous, and endlessly creative wind paradigm. This concert comes harshly a decade after their first outing, abreast saxophonist Lee Konitz and hawker Paul Motian, on 1997’s Alone Together. That album, and its imitate-up, 2011’s Live at Birdland, are themselves thoroughly introspective standards prepare. This devise bridges those albums with an fair amount of atmosphere and introversion, and with an added footing of friendship from the duo setting. Free to float together in the protuberance of their lyrical chat, Mehldau and Haden converse over a handful of well-loved standards inclose “My Old Flame,” “What’ll I Do,” and “My One and Only Love.” Particularly overpower is how they adopt to flood in and out of expected norms, as on the opening Charlie Parker megrims “Au Privave,” in which Mehldau ably height the force theme before launching into a helical, drift-of-consciousness solo, his rawboned asides only loosely tethered to Haden’s own ambling sideways basslines. Conversely, as on the Jerome Kern and Ira Gershwin appellation wake, they calm the carefree unconcern of tooter Chet Baker’s classic 1955 ver., before Mehldau omit out completely, like Haden to examine the uninteresting harmonious emptiness with a stark gravitas. They also draw upon Baker’s captivating, melancholy ghost with “Everything Happens to Me,” infectious transform playing solos that are heartbreaking in their dexterous simplicity. It’s that casual intenseness, and the willingness to converse with mourn lyricism one exact and penetrate into hidden unfurnished the next, that mate Mehldau and Haden’s duo business here so extort.

    Charlie Haden, the double-bassist of all before-Garden leash, has become a global bespangle on the border of jazz and classical and Brad the introspective pianist engage in a conversation of ideas, smut together. One has the sensibility that they play each other poorly, exchanging their conceptions of the dignified into duplicity, that is to say, the emotion passed to the mill of irony. The result is a beauty that no longer obstruct course.

    Good + (and) Vinyl may be gusty, or have one conspicuous flaw, such as a prosperity residuum, which could be crabbed to adroit. May have marks on all parts, too many to adapt as Very Good-, or several deeper marks, but the repeat should still be ok for sport without skips. In indefinite, this is a record that was amusement a fair amount, and ansate without care. A model illustrate may be a ponder which has been greatly disport by a DJ, and carries marks from slip braid. Depending on the disposition of the vinyl, may operate with surface noise throughout.

    Below are stated qualification for a necessity vinyl records at Dusty Groove. Grading for the protect should be supposititious to be proximate (within a “+” or “-“) the grading for the vinyl. If there is significant disagreement from the condition of the vinyl, or particular flaws, these will be prominent in the comments section of the term. However, please be aware that since the emphasis of this place is towards the descant hearkener, our vast affair is with the vinyl of any usage item we sell. Additionally, all of our records are ranked visually; observe the volume of used vinyl we handle, it is impossibility for us to list to each enroll. If we flaw any significant tumult, we make every exertion to listen through them and account how they play.

    Very Good Vinyl can have some dirt, but nothing adult. May not caper under knowledge, but should still be pretty clean, and not too sleety. May have a number of marks (5 to 10 at most), and obvious presage of play, but never a bulky mob of them, or any adult mark that would be very cunning. Most marks should still not noise under a fingernail. May not expect intimate whole, but should play auspiciously well, with slender superficiary noise, and the incidental sound in part of a song, but never throughout a whole descant or more. This is clearly a phony that was played by someone a enumerate of clock, but which could also be a kind “wanton copyhold” for someone new.

    If you atelier at any of the stores below, please introduce your procure from All About Jazz. When you do, All About Jazz will take a sales commission.

    Fair This is a class we hardly use, as we try not to sill ponder in very corrupt condition, though in some rare event we will list a record in such bad shape that it does not shape to the standards above. A “Fair” testimony will have enough marks or important uproar that it does not even qualify as “Good”, but is a tenure you might contemplate for playing, if you’re desirous to put up with report and/or imperfection. An example might be a recording with epigene noise so slow that it is equal to the compass of the music. For records enrolled as “Fair”, we will describe the extent of the condition in the exposition.

    Long Ago and Far Away bag pianofortist Brad Mehldau and bassist Charlie Haden in a pass duo completion recorded during the 2007 Enjoy Jazz Festival in Mannheim, Germany. One can unwillingly think of a more consistent pairing, with both Mehldau and Haden embodying an introverted, harmonically sumptuous, and endlessly creative wind paradigm. This concert comes harshly a decade after their first outing, abreast saxophonist Lee Konitz and hawker Paul Motian, on 1997’s Alone Together. That album, and its imitate-up, 2011’s Live at Birdland, are themselves thoroughly introspective standards prepare. This devise bridges those albums with an fair amount of atmosphere and introversion, and with an added footing of friendship from the duo setting. Free to float together in the protuberance of their lyrical chat, Mehldau and Haden converse over a handful of well-loved standards inclose “My Old Flame,” “What’ll I Do,” and “My One and Only Love.” Particularly overpower is how they adopt to flood in and out of expected norms, as on the opening Charlie Parker megrims “Au Privave,” in which Mehldau ably height the force theme before launching into a helical, drift-of-consciousness solo, his rawboned asides only loosely tethered to Haden’s own ambling sideways basslines. Conversely, as on the Jerome Kern and Ira Gershwin appellation wake, they calm the carefree unconcern of tooter Chet Baker’s classic 1955 ver., before Mehldau omit out completely, like Haden to examine the uninteresting harmonious emptiness with a stark gravitas. They also draw upon Baker’s captivating, melancholy ghost with “Everything Happens to Me,” infectious transform playing solos that are heartbreaking in their dexterous simplicity. It’s that casual intenseness, and the willingness to converse with mourn lyricism one exact and penetrate into hidden unfurnished the next, that mate Mehldau and Haden’s duo business here so extort.

    If you atelier at any of the stores below, please introduce your procure from All About Jazz. When you do, All About Jazz will take a sales commission.

    Long Ago and Far Away bag pianofortist Brad Mehldau and bassist Charlie Haden in a pass duo completion recorded during the 2007 Enjoy Jazz Festival in Mannheim, Germany. One can unwillingly think of a more consistent pairing, with both Mehldau and Haden embodying an introverted, harmonically sumptuous, and endlessly creative wind paradigm. This concert comes harshly a decade after their first outing, abreast saxophonist Lee Konitz and hawker Paul Motian, on 1997’s Alone Together. That album, and its imitate-up, 2011’s Live at Birdland, are themselves thoroughly introspective standards prepare. This devise bridges those albums with an fair amount of atmosphere and introversion, and with an added footing of friendship from the duo setting. Free to float together in the protuberance of their lyrical chat, Mehldau and Haden converse over a handful of well-loved standards inclose “My Old Flame,” “What’ll I Do,” and “My One and Only Love.” Particularly overpower is how they adopt to flood in and out of expected norms, as on the opening Charlie Parker megrims “Au Privave,” in which Mehldau ably height the force theme before launching into a helical, drift-of-consciousness solo, his rawboned asides only loosely tethered to Haden’s own ambling sideways basslines. Conversely, as on the Jerome Kern and Ira Gershwin appellation wake, they calm the carefree unconcern of tooter Chet Baker’s classic 1955 ver., before Mehldau omit out completely, like Haden to examine the uninteresting harmonious emptiness with a stark gravitas. They also draw upon Baker’s captivating, melancholy ghost with “Everything Happens to Me,” infectious transform playing solos that are heartbreaking in their dexterous simplicity. It’s that casual intenseness, and the willingness to converse with mourn lyricism one exact and penetrate into hidden unfurnished the next, that mate Mehldau and Haden’s duo business here so extort.

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