Joel, Billy Mastersound GOLD CD SBM Longbox

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Short, Bobby MFSL Gold CD New Sealed

269,99 EUR

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Product No.:19442
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Bobby Short Life at the Cafe Carly MFSL Gold CD Neu OVP Sealed UDCD 589 mit J-Card

Erscheinungsdatum: 1993
Label: Mobile Fidelity Sound Lab
Import aus: USA
Format: Audio CD
onträger CD
Besonderheiten Limited Edition, Remastered, Special Edition, 24kt. Gold-CD
Jahr 1993
Orig. Release 1974
Zeit 74:02
Plattenfirma MFSL
Herstellungsland USA
Musikrichtung Rock
EAN-Nr. 015775158924
Katalog-Nr. UDCD 589

Tracks

1. Real Live Girl 2:47
2. Miss Brown To You 1:54
3. On The Sunny Side Of The Street 4:00
4. Mister And Missus Fitch 2:01
5. Losing My Mind 4:53
6. Losing My Mind (Reprise) 1:28
7. All Of You 1:42
8. Let's Misbehave 2:39
9. Sorry - Grateful 3:52
10. I Get A Kick Out Of You 2:36
11. New Orleans Hop Scop Blues 3:40
12. Medley 3:18
13. Send In The Clowns 4:04
14. When A Woman Loves A Man 3:19
15. Ill Winds 3:15
16. Miss Otis Regrets 2:47
17. It's Not You 3:06
18. I Happen To Like New York 1:54
19. One For My Baby (And One More For The Road) 4:52
20. As Time Goes On 3:15
21. I've Got The World On A String 3:23
22. Medley 6:19
23. For All We Know 1:53
24. I Like The Likes Of You 1:05

Weitere Infos
Die hier aufgeführte CD gehört zu der Reihe der von MFSL produzierten Gold-CD`s.

Begonnen hat das Ganze im Februar 1987 mit der Veröffentlichung des Jazz Samplers (Katalog-Nr. 501). Die letzte in dieser Serie veröffentlichten CD`s war in September 2003 von John Lennon (Imagine, Katalog-Nr. 759). Mittlerweile gehören die MFSL-Gold CD`s in audiophilen Kreisen zu den weltweit am meisten gesuchtesten CD`s.

Die Ingenieure wollten damals eine ganz besondere Mastering-Technik anwenden, angelehnt an die Entwicklung der schweren Vinyl-LP's, mit denen MFSL seinen Ruhm in Sachen Mastering begründete. Auf dieser Suche nach dem optimalen Remastering der Masterbände für die CD`s haben die Mo-Fi Ingenieure das sogenannte GAIN 2™ System entwickelt und hierdurch zum ersten Mal Wärme und Räumlichkeit auf einer CD wiedergeben können.

In seiner heutigen Anwendung erlaubt das GAIN 2 System bis dato unmögliche Annäherung an den Klang des ursprünglichen Masterbandes. Alle veröffentlichen CD`s waren in Ihrer Stückzahl limitiert, leider gibt es keine genauen Angaben über die Stückzahlen der jeweiligen produzierten Gold-CD's.

Auch die von MFSL verwendeten Lift-Lock-Jewel-Cases waren ein Novum für die Aufbewahrung der CD's. Man musste nur die Hülle aufklappen, und schon kam einen die CD entgegen

Review by William Ruhlmann
After springing for three double-LP songbook albums in three years devoted to Cole Porter, Noël Coward, and George Gershwin, Atlantic Records tracked Bobby Short to his lair for a fourth two-disc collection in December 1973, setting up recording equipment in the tiny confines of the Cafe Carlyle where Short had maintained a permanent residency since 1968. There, over two nights, the tapes picked up a typical selection of standards by Porter, Harold Arlen, Vernon Duke, and other interwar songwriting masters, plus some more recent material, played by Short's piano trio, which also featured Beverly Peer on bass and Richard Sheridan on drums. The singer/pianist's talent lay in mixing his spirited readings of pop standards like "On the Sunny Side of the Street" and "I Get a Kick Out of You" with sophisticated, amusing fare like "Miss Otis Regrets," earthy blues pronouncements like "New Orleans Hop Scop Blues," and the cream of contemporary Broadway. This last was represented by several selections by Broadway's leading songwriter of the early '70s, Stephen Sondheim. Short borrowed "Sorry-Grateful" from Company, "Losing My Mind" from Follies, and "Send in the Clowns" from A Little Night Music. In each case, these were ballads of romantic frustration, and Short treated them reverently, perhaps a bit too reverently. Thankfully, the listener was never far from a change of mood on this album, making for a full evening that mixed uptown with down-home, all delivered by a smiling man in a tuxedo. Given the live setting, however, the editors might have been advised to include more spoken remarks and to refrain from fading the sound out after every track. As it was, most of the time, Live at the Café Carlyle came off as a regular studio album that happened to have applause rather than evoking the spontaneous and seamless feel of a live album. [In 2006, Collectables Records reissued Live at the Café Carlyle as a single-disc CD.)