He also has several friends helpinghim out on various cuts, including Lynnette Shelley of ,Paul Williams (, Church of Hed, etc.) and evena posthumous performance by Doug Walker, his old bandmate from .
Nicoline Zedeler-Mix, Livio Mannucci cello, Ann Elizabeth Jones playingCarillo's harp-zither "...played somewhat like a zither, but strungto produce 97 tones to the octive" 8.
JEAN SIBELIUS Concerto for Violin
adds the pretty jazz-inflected voice of black American singer Maria Archer to the lineup, as well as full-time keyboardist Dieter Miekautsch, ex-  (on earlier albums, most keyboards were played by drummer/vibraphonist/leader Christian Burchard).
Concerts of Leopold Stokowski 1941-1974
The song opens with drummer Todd Canedy playing a moog-controlled bongo backed by Berka's [sic] , and climaxes with a hot improvised (apparently) sax/synth duet.
Nothing by them has really grabbed me, but and are pretty good.
Frederick Fellers, an active musicologist and orchestral historian did extensive and careful research of the original Stokowski programmes to produce an updated and improved version of the information gathered by Robert M. Stumpf and John Hunt. This valuable concert register was published by the Leopold Stokowski Society, under the supervision of the Stokowski scholar and musicologist Edward Johnson. Fred Feller's programme listing covers the Philadelphia Orchestra concerts from 6 October 1933 to 3 April 1941.
Their rare first has been reissued on CD on Materiali Sonori ().
Navigating the vast realm of recordings of the is both daunting and futile, as the work is so inherently galvanizing as to transcend all but the most perfunctory rendition. For relatively straightforward accounts, I can wholeheartedly recommend all of these (listed in approximate order ranging from virile, driven tension to magisterial breadth): Toscanini/NBC (1939, now on Music and Arts, Naxos or Relief CDs), Fried/Berlin (1928, Pearl), Szell/Cleveland (1961, Sony), Toscanini/NBC (1952, BMG), Weingartner/Vienna (1935, Naxos), Leinsdorf/Boston (1969, BMG), Horenstein/Pro Musica (1956, Vox), Munch/Boston (1958, RCA), Walter/Columbia (1959, Sony), Karajan/Berlin (1963, DG), Bernstein/NY (1964, Sony), Harnoncourt/Chamber Orchestra of Europe (1991, Teldec), Reiner/Chicago (1961, RCA), Schmidt-Isserstedt/Vienna (1966, Decca), Abbado/Berlin (either 1996, Sony or 2000, DG), Monteux/London (1966, Westminster), Klemperer/Philharmonia (1957, EMI), Bernstein/Vienna (1979, DG) and Celibidache/Munich (1989, EMI). (All but the two Abbados and Celibidache are budget-priced.) (At the extreme end of the range, the slowest of all recorded performances is the 79-minute Bohm/Vienna (1981, DG), which boasts beautifully transparent textures, but seems sterile and tired.)
[USA] Boring "pretty" New-Age crap.
City") and a bluesy soundalike ("Let Us Now Praise Famous Men"), all rendered superbly thanks to Bischof's versatility and the rest of the band's virtuosity.