About this product: 10K, 14K, 18K, 22K Gold and Silver Test Acid Kit Tools 5 Bottles of Testing Acid. This is a new set of 4 bottles of testing acid. Each bottle contains 1/2 fl oz of acid. Sturdy plastic bottles maximize safety and allow the user to easily squeeze out one drop at a time. You receive: One bottle of 10 karat gold testing acid. One bottle of 14 karat gold testing acid. One bottle of 18 karat gold testing acid. One bottle of 22 karat gold testing acid. One bottle of silver testing acid. Due to testing acid being classified as a hazardous material it cannot be shipped by air and can only be shipped to the lower 48 states. Acid Test Stone. This is a new acid testing stone. This stone is used to test 10K, 14K, 18K, 22K and silver. Use this stone with acid solutions. It measures approximately 1 7/8" x 1 1/2" x 1/4" (48 x 37 x 6 mm).
About this product: Beckon birds to shelter with this lovely little lighthouse! Wood with plexiglass window and simulated (non-working) candle. 7 1/4" x 5 1/8" x 11 1/4" high.
About this product: It's about time that we had a truly diverse and inclusive compilation of Jewish music from the first half of the 20th Century and this 3 CD set is exactly that. True to its title, this beautifully illustrated and masterfully annotated package is a wonderful representation of Yiddish culture as it flourished in "Di Goldene Medine" [The Golden Land]; a.k.a. America. The listener will find just about every important artist in the world of Yiddish music; including, but not limited to Naftule Brandwein, Dave Tarras, Mishka Ziganoff, Abe Schwartz, Harry Kandel, Yossele Rosenblatt, Berele Chagy, Mordechay Hershman, David Roitman, Alter Yechiel Karniol, Pierre Pinchik, Isa Kremer, Fraydele Oysher, Ludwig Satz, Jennie Goldstein, Maurice Schwartz, Fyvush Finkel and others of equal ability and reputation. The novelty tracks on these CDs are, by themselves, worth the price of this set: "Cohen on the Telephone" will have you in stiches, as will "Getzel at a Baseball Game." This collection was assembled by Sherry Mayrent, whose introductory essay ought to be required reading for anyone with more than a passing interest in this subject and Hank Sapoznik's record annotations provide a concise, informative and thoughtful background for each track. Audio editing and restoration was performed by Chris King, who has succeeded in removing the objectionable surface noise that often accrues to these original recordings over the years and, more importantly, has done so while allowing the warmth of the original performances to shine through.
I've been following this project since its inception and I can honestly say that the folks who put this together share a deep love and respect for this music. It shows.
About this product: This wonderful five-disc box is an indispensable collection of prewar, prebop jazz that belongs in the company of your finest Louis Armstrong, Duke Ellington, Count Basie, and Benny Goodman sets. Technically, this isn't a true box set--it merely collects five single-disc compilations under one slipcase--but it is infinitely rewarding nonetheless. Disheartened by what he thought were sonically subpar Reinhardt collections, Ted Kendall undertook an ambitious mission to find the best original sources for this classic material and then meticulously remastered them. He wisely opted to leave in some of the surface noise to maintain the clarity and integrity of the music. And what glorious, jubilant music it is! Dating to the very first Quintet of the Hot Club of France sessions in September 1934 (before they'd even established that moniker), the collection includes all the landmark recordings Reinhardt made for Ultraphone, Decca (its English and French labels), and HMV up through the Quintet's 1939 breakup on the eve of World War II. Reinhardt's guitar work is spirited and adventurous throughout--lightning-quick runs, insistent rhythm work, and hybrid "riffs" that seem to split the difference. Nearly all the cuts feature the elegant but vivacious violin work of his most famous foil, Stephane Grappelli, who certainly deserves co-billing on the set. The way the two feed off each other's energy is magical. Despite their well-documented personality clashes, the twosome remains perhaps the most synergistic in jazz history, constantly engaging in their incredible cat-and-mouse games. Often overlooked are the songwriting talents of the two musicians, who contributed several standards to the jazz canon. Though mostly focused on the Quintet recordings, the set detours for such oddities as a pair of solo Reinhardt cuts from 1937 and collaborations with Coleman Hawkins. Simply delightful from beginning to end. --Marc Greilsamer
About this product: Between 1925 and 1929, Louis Armstrong created one of the first great bodies of work in jazz. While he worked regularly as a soloist with big bands, he began his career as a leader with the first all-star studio group in jazz, the Hot Five. The other four musicians were Armstrong's wife, Lil Hardin Armstrong, on piano; Johnny Dodds on clarinet; Kid Ory on trombone; and Johnny St. Cyr on banjo. The music's first great soloist, Armstrong was reshaping jazz by sheer improvisational magic, gradually diminishing the role of the traditional New Orleans ensemble with the clarion brilliance of his trumpet. Possessing an uncanny blend of exuberance and creativity, he combined virtuosic declarations with a talent for the subtlest shifts in phrasing and melodic variation, creating rich emotional statements that could hint at loss in the midst of joy or the promise of better things in the most sorrowful blues. The band expands here, to the Hot Seven and larger ensembles, and it gains soloists who applied Armstrong's lessons to their own instruments--musicians such as pianist Earl Hines and trombonist Jack Teagarden--but all come under the imprint of Armstrong's flowering genius, as both trumpeter and singer.
It's almost impossible to overrate this material. It may be the most influential music in jazz history, establishing standards for originality and sustained invention that have rarely been matched. The JSP set is a superb reissue of Armstrong's essential work. The remastering is by John R.T. Davies, widely acknowledged as the dean of engineers in the field of early jazz, and the resultant sound is simply the best this work has ever enjoyed. There are alternate takes of the later material on Columbia Legacy (including Louis in New York and St. Louis Blues), so collectors will want both. But this recording is superior listening, at a price that also makes it an ideal introduction to one of the few titans of jazz. --Stuart Broomer
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