{"title":"Best Sellers","description":"","products":[{"product_id":"812864019711-jazz-at-the-pawnshop","title":"Jazz At The Pawnshop","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003e\u003cem\u003eJazz At The Pawnshop\u003c\/em\u003e \u003c\/strong\u003ewith Jazz legends \u003cstrong\u003eArne Domnerus \u003c\/strong\u003eand his friends \u003cstrong\u003e- Bengt Hallberg, Lars Erstrand, Georg Riedel and Egil Johansen\u003c\/strong\u003e, recorded at Stampen Jazz Club in Stockholm on December 14-15, 1976, has been regarded as \"\u003cstrong\u003e\u003cem\u003eThe Best Jazz Recording of the Century!\u003c\/em\u003e\"\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp class=\"p1\"\u003eMost audiophiles all over the world should have already been in possession of at least one version of it. The recording's musical artistry and sonic excellence have few peers. With the blessing of the latest DSD mastering technology, this recording has come out in its unprecedented musical glory!\u003c\/p\u003e\r\nIn the liner notes, album producer Jacob Boethius says “\u003cem\u003eWhen recording engineer Gert Palmcrantz was loading his car with equipment outside Europa Film Studios in Stockholm, Sweden on December 6th, 1976, it was only to make one of many recordings. No one really knew then that this was to become a cult recording among audiophiles and one of the most famous and respected jazz recordings ever made. The mere fact that a single jazz recording has been released in so many formats over a very long period of time (30 years) tells us that this recording must really be unique.\u003c\/em\u003e\r\n\r\n\u003cem\u003eThe two recording nights at the Pawnshop jazz club were exceptional indeed. The crowd lifted the musicians to the peak of their abilities, and I sat together with two Nagra recorders and engineer Gert Palmcrantz in the small bar kitchen and listened to the result of a microphone set up of a lifetime, surrounded by five musicians playing in some kind of trance. Total sales of the recording now exceed 500,000 copies, a tremendously good sales figure for classic jazz. And the records still sell at the rate of 3,000 – 4,000 copies per year today, some 40+ years after release\u003c\/em\u003e.”\r\n\u003cp class=\"p1\"\u003eGive yourself a justifiable treat - Get a copy as quickly as you can!\u003c\/p\u003e\r\n\u003cem\u003e\"Their repertoire includes a few break-outs. Paul Desmond's \"Take Five\" underlined in quintuple time is one of them, and the African folk tune \"High Life\" is another. Otherwise, we find ourselves at home with the old ones and the big ones. At home with [Louis] Armstrong in \"Struttin' With Some Barbecue\", with [Coleman] Hawkins in \"Stuffy\", with [Benny] Goodman in \"Limehouse Blues\", with [Charlie] Parker in \"Barbados\", with [Johnny] Hodges in \"Jeep's Blues\". And with all of them in a couple of evergreens like \"Lady Be Good\" and \"How High The Moon\". And a piece like \"I'm Confessin'\" has been played by every single jazz musician with a normal degree of self-respect ever since the partners Doc Dougherty and Ellis Reynolds agreed on it in the 1930s.\u003c\/em\u003e\r\n\r\n\u003cem\u003eWhat is worth saying about the remaining ballads? One this: give a soloist a ballad and he will show his innermost capability. Through his manner of telling a story, conveying an experience, with his very own pauses and subordinate clauses, reservations, and emphasis. ballads are remorseless. 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