7 сағат бұрын
2 ай бұрын
2 ай бұрын
5 ай бұрын
5 ай бұрын
5 ай бұрын
Пікірлер
@iangillis1271 Күн бұрын
Very nice Julian, cheers
@sirsamfay99 2 күн бұрын
Any new classical cut Duo Art rolls being added your catalogue in the near future Julian ?
@ericalbany 3 күн бұрын
He later said thst they didn't represent his playing. well, I think all of the greats who lasted into the later 20th c. said that. I don't think Rubinstein thought all that well of his youthful playing in general.
@risingchads 3 күн бұрын
It's like Cherkassky late in life about his Duo-Arts made as a teenager - he didn't like them. "Are they inaccurate?" he was asked. "No, they're completely accurate", he replied.
@ericalbany 3 күн бұрын
@@risingchads Rubinstein's "My Young Years" is an interesting read - you could subtitle it "Or, Pianos I played and hated"
@simonpulham2440 2 күн бұрын
Some lovely Duo-Art shading here. Very musical playing - despite his own doubts.
@dogsbody49 3 күн бұрын
Beautiful expression which shows off the capabilities of the Duo Art so well.
@PiotrBarcz 3 күн бұрын
I just realized this piano has the moving tracker bar tracking system! That's so cool. It's a much more effective method frankly than moving the roll and doesn't destroy or badly rewind the roll making it play worse on the second pass.
@PiotrBarcz 3 күн бұрын
I love Armbruster's rolls! They're so sweetly arranged :D
@three.dot.records 7 күн бұрын
Great tune. Thanks for uploading!
@daveroche6522 8 күн бұрын
Right-oh, Jeeves - one of those tunes that pops into your brain for NO reason..... and stays there. Timeless - still epic.
@LinkRammer 11 күн бұрын
Aw naw they gave spunch bob dementia
@whitmerfilms 23 күн бұрын
Do you have more information about where this music fits in "All Aboard"? I can't find any connection between this piece and that musical. Thanks!
@risingchads 21 күн бұрын
Only that old records credit the song to the show, as do modern online recordings, so there is certainly a connection. I'm a piano-roll & record collector, not a musical theatre historian so can't add more.
@saltytriscuit896 28 күн бұрын
>mfw math never existed
@klaatubaradamgtow9956 Ай бұрын
The accompanying credits list Albert Harris on guitar, but to my ears it sounds like Bernard Addison.
@flamindigo Ай бұрын
the machinery was interesting - I'm a little surprised to see that the actual keys aren't moving too.
@risingchads Ай бұрын
The desigm of most European player pianos was to have the keys not move. On this grand the player action is over the keys. Some models pushed the keys from underneath and their keys move.
@PiotrBarcz Ай бұрын
I saw this and I was SO excited! Now watching it I'm even happier, your Weber does such a beautiful job of playing this roll! Thank you for getting it out to the world on a gorgeous instrument, recorded with high quality audio and video, your work will keep this music alive in the best way possible!
@acousticedison Ай бұрын
The piano it self does sound good but I have a feeling the vacuum to the bass is a bit too low since many of what should be melody notes almost don't sound. When I boosted the vacuum to the treble and the bass in the Ampico it really brought out the details more.
@risingchads Ай бұрын
An issue I've quite failed to fix in a many attempts. It's better than it was, but a way to go.
@acousticedison Ай бұрын
@@risingchads I'm sorry you have that issue, but I thought I should mention it since I had similiar problems. The Ampico B has to simple screws that extend though the wood cover and you can adjust the vacuum to more or less in both the Treble and Bass section.. Perhaps you can get someone who knows where that adjustment might be on the Duo Art.
@PiotrBarcz Ай бұрын
@@acousticedison Yeah, there were a couple repeating Milne chords that didn't repeat but otherwise I LOVE how this Weber really is so good at playing expressively.
@PiotrBarcz Ай бұрын
@@risingchads We can strive for perfection and get as close as possible to it :) I know you certainly have gotten closer than most!
@jimnicholson4509 Ай бұрын
Nicely adjusted Aeolian expression box. Jim from Australia.
@anthonyfrew1571 Ай бұрын
The song is beautiful
@perfectblue8443 Ай бұрын
Magnificent
@PiotrBarcz Ай бұрын
Beautiful! Your piano sounds great as always, I hope you start recording with the H1n as the sound recorder again though, so much depth to the sound when you get a good mic on it :D
@Duo-Art Ай бұрын
Nice Roll. Very interesting background information. Thank you for that!
@emiliogimenezzapiola6302 Ай бұрын
Great version. Thanks.😊
@Wolfganger Ай бұрын
Bro I literally just rediscovered this, I’d completely *forgotten* about it, it really *brings back memories* from a couple of years ago…
@The-Dreamtaker 21 күн бұрын
h
@The_Shadowtaker 18 күн бұрын
h
@The_Shadowtaker 18 күн бұрын
@@The-Dreamtaker🤯
@Wolfganger 18 күн бұрын
@@The-Dreamtakerpluh
@Wolfganger 18 күн бұрын
@@The_Shadowtakerskibidi
@MarshallArtz007 Ай бұрын
The E Minor Prelude (BWV 555) from “Eight Little Preludes and Fugues” for Organ, attributed to J.S. Bach, but possibly composed by one of his students, Johann Ludwig Krebs. 😎🎹
@PiotrBarcz Ай бұрын
The Weber sounds great as ever!
@iangillis1271 Ай бұрын
A nice Bach transcription always appreciated! Thank you Julian
@robdeland Ай бұрын
Lovely - thank you, Julian!
@PiotrBarcz Ай бұрын
Such a lovely sounding piano! Is this one of your restorations as well?
@risingchads Ай бұрын
No - piano by East Coast Piano Rebuilding, Ampico by Craig Brogher
@PiotrBarcz Ай бұрын
@@risingchads Ah I see. Well the work is immaculate I'm sure! It sounds beautiful :)
@danielthoman7324 Ай бұрын
Very gay!
@Minalkra Ай бұрын
Good on ya.
@KawhackitaRag 2 ай бұрын
He also made an audio recording of this in 1923 (for Victor or Columbia, I *think*) but sadly this was never issued. I have no idea if the master for this record still exists. It's great we have the roll, and thanks for making a great version of it on your fine piano!
@KawhackitaRag 2 ай бұрын
One might question, from our modern standpoint, where are Jelly Roll Morton and Earl Hines in this assessment of jazz piano styles of the 1920s (and James P Johnson!). It wasn't even just mere racism which caused their important piano styles to be left out: although some of JPJ's records sold better and turn up more frequently today, Morton's and Hines' solo recordings sold poorly and were poorly distributed, and are REALLY hard to find today in their original form (not reissues). Ask serious 78 RPM record collectors. That in no way diminishes their actual genius. But if it was impossible for Elizalde, in England (OR the Philippines) to get ahold of a copy of one of Morton's solo Gennett records from 1923 (or equally rare, the Paramounts), or Hines' super rare and poorly-distributed QRS records he made in 1928, then it would have been difficult for him, especially as a foreigner, to make any very good assessment of their playing or influence, without hearing more than the occasional half-chorus in a more widely-distributed (UK-distributed) band record. (Surely he heard Morton somewhat on his (better distributed) Red Hot Peppers band records on Victor; and Hines on his OKeh records with Louis Armstrong etc.) I think Hines and his band were already broadcasting on radio in 1928, and making records, so perhaps he heard some of Hines' records with his big band from the late 20s / early 30s, and realized his importance. Since we live in this wealth of access to practically every existent old recording (if it hasn't been reissued on LP, CD, or digital download; hopefully it will be; if it isn't yet on KZbin or the Internet Archive, hopefully it will be), and during an age which (since the 1930s/40s) both Morton and Hines have been venerated and placed in their proper places in the jazz pantheon (and their originally rare recordings reissued many times, and Morton's even rarer piano rolls (several of which STILL haven't been found in 70+ years of searching by collectors) recorded a few times on LP and CD (and reissued as recuts), now we can more properly hear these brilliant artists, and also from interviews with other artists, more properly judge their great influence on other pianists of the day (most of said interviews weren't available in print in 1932, either).
@KawhackitaRag 2 ай бұрын
This is such a brilliant recording! While I don't agree with every one of Elizalde's (or Mr. Stone's) assessments of the music or the quality of it, the performances are amazing. "Out of the East" is almost a note-for-note copy of Max Kortlander's QRS roll he made of it (which itself has huge doses of the piano style of Kortlander's friend Pete Wendling, who made a big splash in England in 1913 when he appeared for two consecutive months at the London Hippodrome, a record for a solo popular pianist there at that time). "I Can't Give You Anything But Love" is about as obvious a tribute / homage to Arthur Schutt as anything ever recorded by anyone else. Using this style and approach to represent the entire 'present' of jazz piano in 1932, was not only flattering to Schutt but also accurate: most other pianists of the times by the late 1920s (especially about 1926-1934) swung to his idioms and rhythms, or at least applied that style judiciously and mixed it in with their own original styles. I rather think part of the influence was not just how well his style dovetailed (rhythmically, harmonically, and in terms of piano textures and chord voicings) with the 'modern jazz' ethos of many horn players of that time, but also how widely-distributed his hundreds of records were (especially those made with Red Nichols, Miff Mole etc). Even James P. Johnson, a genius, wrote "You've Got to Be Modernistic" as a commentary on how jazz was getting by the 1930 and what was then (at least harmonically) fashionable. The last performance "Nobody's Sweetheart" is equally amazing. Elizalde sounds (to me) almost like the entire Mills Blue Rhythm band here, but especially their pianist Edgar Hayes (who in turn was probably at least somewhat influenced by Earl Hines). So I suppose that Elizalde considered the Hines / Hayes approaches to piano, the most 'up to date' in 1933, and surely it was (Art Tatum was barely even on records by this time; the same goes for Teddy Wilson). Thanks for sharing!
@risingchads 2 ай бұрын
It's a sign of precision that Elizalde plays a transcription of a piano roll for the 'piano roll years'! It's interesting to hear a 'history' of this created in 1932. Pretty well no pressent history would examine and separate these earlier styles with this precision, or these examples as we are now fed other earlier material. Which shows how history is revised over time as attitudes, knowledge and interests change. History rarely reflects the time it discusses as precisely as it examines and explains the time when it's written.
@davisatdavis1 2 ай бұрын
Are you sure this is Hofmann? This is the exact playing in another video saying Paderewski played it. I have suspicions for both, but I have a much easier time believing this is Paderewski because of the rubato. He tends to delay many beats so much and so abruptly that it comes out as a swing rhythm. I've not noticed any discussion on this, so I'd especially like to hear from critics to try to disprove this.
@risingchads 2 ай бұрын
I have an original which names Hofmann, and the Charles Davis Smith catalog agrees. The roll looks like Hofmann too, with very clean chords with hands playing together, neither of which can be said for Paderewski rolls.
@sarthesariest 2 ай бұрын
feels like some hurt the poor lullaby and now its leafing mad
@johnleifert3205 2 ай бұрын
Yes, Maurice Elwin - I thought immediately it was him singing! I didn't catch the woman's voice, but she was good, too - and I thought someone would identify her...
@johnleifert3205 2 ай бұрын
Really splendid vocal work from Mr. Browne, and wonderful piano work. This one has somehow eluded me, but thank you so much for sharing!
@SoyBioIogia 2 ай бұрын
That two-piano accompaniment is something else!!!! Gorgeous.
@Ziegler-boothBlogspot 2 ай бұрын
A delightful recording. Olive Groves and Maurice Elwin are two favourites of mine.
@the-z5e 2 ай бұрын
Goodnight, Spongebob.
@willy_wombat 2 ай бұрын
It´s great you take the time to give names and context in the description. ❤
@spencersmith2798 2 ай бұрын
One of my very favorite Rodgers & Hart songs…wonderful…love Sam Browne!
@angryman5599 2 ай бұрын
holy freak
@alternateunreleasedshellac505 2 ай бұрын
This is a clean transfer, if a bit boxy.
@PiotrBarcz 2 ай бұрын
I'm pretty much convinced at this point that this is a Frank Milne impersonation of Alpert's style. The roll is just too staccato and clean to be Alpert's arrangement, her rolls were much less tampered with.
@MikeThomas78 2 ай бұрын
Bert Bown is the vocalist.
@MikeThomas78 2 ай бұрын
Vocalist is reeedsman Bert Bown.
@gavinmillar7519 2 ай бұрын
Love it!
@gavinmillar7519 2 ай бұрын
Great relaxing rhythm 👌
@jorybennett5932 2 ай бұрын
I've been searching for this for ages. Thanks for sharing.
@sarahhutchison7658 2 ай бұрын
I love this 😊
@PiotrBarcz 2 ай бұрын
Beautiful! Your piano never disappoints!