View allAll Photos Tagged Quadraphonic,
Taken in State College, Pennsylvania. That's my 1979 Caddy Coupe de Ville. It had a Quadraphonic 8 Track Tape sound system and a factory CB radio----LOL!! I was still wearing Dr Scholl's sandals regularly as you can see from the photo. Nikon FM taken June 1986. [For you car guys---it had a 425 4 bbl.]
1973
A 4-channel receiver from Sansui’s first quadraphonic series. The receiver makes use of the dimensions and the weight of 19kg a powerful impression. The performance of 4x30 watts at the time was high. Everything works like 40 years ago.
This receiver cabinet has been painted white to match the furniture immediately after purchase in 1974 for the young female owner. The white color layers I have rebuilt so the QRX can spend his life with me in a white case.
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Ein 4-Kanal Receiver aus Sansui's erster Quadraphonic Serie. Der Receiver macht von den Abmassen und dem Gewicht von 19kg einen mächtigen Eindruck. Auch die Leistung von 4x30 Watt war seinerzeit hoch. Alles funktioniert wie vor 40 Jahren.
Dieses Holzgehäuse wurde gleich nach dem Kauf 1974 für die junge Besitzerin passend zu den Möbeln weiss lackiert. Die weissen Farbschichten habe ich neu aufgebaut, so das der QRX sein weiteres Leben bei mir in weissem Case verbringen darf.
1975
A large Kenwood quadro of the Two-Four series from the early seventies. It is in very good technical and optical condition. I like the elegant wooden cheeks on the left and right side.
25 Watt x4, 60 Watt x2
The function label on the solid aluminum front panel is engraved. No writing imprints may be lost. An impressive device from the golden age of hifi 70s. All functions are checked again and runs like the first day. Unfortunately, there is from the Kenwood series in autonomous design not many more from the series today in daily use.
-
Ein grosser Kenwood quadro der Two-Four Serie aus den frühen Siebzigern. Er ist in technischem und optischem sehr gutem Zustand. Mir gefallen die eleganten Holzwangen an der linken und rechten Seite.
Die Funktionsbeschriftung der massiven Alufrontplatte ist eingraviert. Keine Schriftaufdrucke können im Gebrauch oder bei der Reinigung verloren gehen. Ein imposantes Gerät aus der goldenen HIFI-Zeit der 70er. Alle Funktionen sind erneut gecheckt und er läuft wieder wie am ersten Tag. Leider gibt es von der Kenwood Serie im eigenständigen Design nicht mehr viele aus der Serie heute.
Up every evening 'bout half eight or nine
I give my complete attention to a very good friend of mine
He's quadraphonic, he's a, he's got more channels, a
So hologramic, oh, my TVC 15
I brought my baby home, she, she sat around forlorn
She saw my TVC 15, baby's gone, she
She crawled right in, my, my, she crawled right in my
So hologramic, oh, my TVC 15
Oh, so demonic, oh, my TVC 15
The video I stood there recording fir over seven minutes I think ....was this storm ....it came in with huge gusts of wind as I was closing doors and such, saw the trees swaying from the northwest, whipping back and forth.....glad I had those trees trimmed beforehand.....and I grabbed my iPhone to stand beneath the eave camera held high to allow the deck eyebrow to shield the camera eye. Not huge lightning strikes, nothing loud, but rolling thunder after strobe light flashes in the sky. Love a good storm. This one was reminiscent of the music recorded in the 1950s by Mystic Moods Orchestra, over the very lush sounds of a thunderstorm.. Quadraphonic Sound, I think it was on LP records. Very much mood music. I thought of that music as I filmed. Too bad it is too long to upload to Flickr. But, I will run it again shortly. Meanwhile, outside, beyond my closed doors, the rain pulses against the house, the windows. Darkness is falling. And another warning is up, of Flash Flooding in the area. It will ease into a slow steady rain all night. Perfect way to break a heat spell.
1975
A large Kenwood quadro of the Two-Four series from the early seventies. It is in very good technical and optical condition. I like the elegant wooden cheeks on the left and right side.
25 Watt x4, 60 Watt x2
The function label on the solid aluminum front panel is engraved. No writing imprints may be lost. An impressive device from the golden age of hifi 70s. All functions are checked again and runs like the first day. Unfortunately, there is from the Kenwood series in autonomous design not many more from the series today in daily use.
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Ein grosser Kenwood quadro der Two-Four Serie aus den frühen Siebzigern. Er ist in technischem und optischem sehr gutem Zustand. Mir gefallen die eleganten Holzwangen an der linken und rechten Seite.
Die Funktionsbeschriftung der massiven Alufrontplatte ist eingraviert. Keine Schriftaufdrucke können im Gebrauch oder bei der Reinigung verloren gehen. Ein imposantes Gerät aus der goldenen HIFI-Zeit der 70er. Alle Funktionen sind erneut gecheckt und er läuft wieder wie am ersten Tag. Leider gibt es von der Kenwood Serie im eigenständigen Design nicht mehr viele aus der Serie heute.
1971
Sansui's history-making 4-Channel Synthesizer Decoder QS-1, the ingenious yet inexpensive Sansui instrument that magically transforms two channel stereo into a live four channel sound field. Two power amps needed. It's sounds like the classic receivers QRX-9001, QRX-7500. This unit is in best condition after restauration.
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Sansui's Geschichte schreibender 4-Kanal-Synthesizer Decoder QS-1, dem genialen, aber erschwinglichen Sansui Decoder, der zwei-Kanal-Stereo in ein vier-Kanal-Liveklangfeld verwandeln kann. Man benötigt 2 Endstufen. Klingt dann wie die Quadro Receiver QRX-9001, QRX 7500. Dieses Gerät ist nach einer kompletten Restaurierung im besten Zustand.
1973
After the Marantz Model 4400 it is the largest of the 70s quadraphonic receiver series from Marantz. A very massive constructure was the feature of the successful and expensive series. The four channel options are comprehensive, all decoders are on board.
The 4300 works and sounds after a small balance as on the first day.
The receiver is heavy at 22kg with unusually large dimensions. The FM reception is perfect and the amplifier power of 170 watts pc in stereo operation is incredible.
In quadro operation it still drives 64 watts per channel.
I still hope to get an original wood case.
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Nach dem Marantz Model 4400 der grösste Receiver der 70er Quadrofonie Serie von Marantz. Ein äusserst massiver Aufbau war das Merkmal der sehr erfolgreichen und teuren Serie. Die Vierkanal Möglichkeiten sind umfassend, alle Decoder sind an Bord.
Der 4300 arbeitet und klingt nach einem kleinen Abgleich wie am ersten Tag. Der Receiver ist mit 22kg schwer bei ungewöhnlich grossen Abmassen. Der FM-Empfang ist perfekt und die Verstärker-Leistung mit 170 Watt je Kanal im Stereobetrieb ist unglaublich.
Im Quadrobetrieb leistet er noch 64 Watt je Kanal.
Ich hoffe noch ein Original Holzcase zu bekommen.
1974
One of the biggest quadrophonic receivers from Sansui ever made.
Weight 27 kg.
35 watt per channel x4
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Einer der grössten und schönsten Quadrofonie Receiver, die jemals auf den Markt gebracht wurden. Alle Decodersysteme sind an Bord. Feinster Zustand im Echtholzgehäuse.
Working on grids and trying to put clover folding one near the other..
This thing eats a loooot of paper, the sheet was 15 cm wide but the final model is 5.5 cm!
the name comes from a way to record that uses four channels in which speakers are positioned at the four corners of the listening space
1974
A heavy Marantz quadro receiver. It sounds so well in stereo also.
70 watt per channel x2
25 watt per channel x4
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Ein mächtig schwerer Marantz Quadro Receiver. Klingt auch Stereo sehr kräftig und dynamisch.
1974
The Marantz 4230 is created for stereo and 4 channel (Quadraphonic) sources. Marantz called the concept sonorous "Stereo 2 + Quadradial 4". Some quadro decoder systems are on board. For an optional SQ decoder, there is a recess in the base plate, it can simply docked.
The rated output of 2x40 watts or 4x17 watts was always outbid in tests thanks to the Marantz typical transformer dimension. For the good FM reception with the possibility of multipath signal evaluation is a high quality FM front end module responsible.
The versatile enabled receiver 4240 from the legendary first 70 series is true fun and gives an entirely sophisticated impression. It sounds like it's visual impression - great!
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Der Marantz 4230 kann Stereo und 4-Kanal (Quadrofonie) Quellen wiedergeben. Marantz nannte das Konzept die klangvoll „Stereo 2 + Quadradial 4“. Einige Quadro Decodersysteme sind an Bord, für einen optionalen SQ-Decoder gibt es eine Aussparung im Bodenblech; er wird einfach angedockt.
Die Nennleistung von 2x40 Watt oder 4x17 Watt wurde in Tests Dank der Marantz-typischen Trafo-Dimension stets locker überboten. Für den guten FM-Empfang mit Möglichkeit zur Multipath Signal Bewertung ist ein hochwertiges FM Frontend Modul verantwortlich.
Der vielseitig ausgestattete Receiver aus der legendären ersten 70er Baureihe macht Spass und vermittelt einen gänzlich wertigen Eindruck. Er klingt wie sein optischer Eindruck - Klasse!
1979
Sansui's biggest quadro and one of the most powerful quadro's ever made. This unit is in excellent condition und fully serviced. Sounds like a beast. Finest tuning section.
60 watt per channel x4
120 watt per channel x2
-
Sansui's grösster Quadro und einer der mächtigsten Quadro-Receiver, die auf den Markt kamen. Dieses Modell ist im nahe Neuzustand und Top gewartet worden. Die Verstärkerleistung ist brachial und der empfindliche Empfangsteil bestens abgestimmt.
Mike Oldfield / Boxed
Compilation Album
(Features SQ system 4 channel quadraphonic remixed versions of Tubular Bells, Hergest Ridge and Ommadawn)
Recorded: November 1974 – August 1976
sleeve design: photo
Label: Virgin Records / 1976
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/Boxed_(Mike_Oldfield_album)
In the wee hours of the morning. Thanks for visiting, I have a very busy day ahead, so will try to visit your photostreams soon:)
Created with fd's Flickr Toys
1973
A 4-channel receiver from Sansui’s first quadraphonic series. The receiver makes use of the dimensions and the weight of 19kg a powerful impression. The performance of 4x30 watts at the time was high. Everything works like 40 years ago.
This receiver cabinet has been painted white to match the furniture immediately after purchase in 1974 for the young female owner. The white color layers I have rebuilt so the QRX can spend his life with me in a white case.
-
Ein 4-Kanal Receiver aus Sansui's erster Quadraphonic Serie. Der Receiver macht von den Abmassen und dem Gewicht von 19kg einen mächtigen Eindruck. Auch die Leistung von 4x30 Watt war seinerzeit hoch. Alles funktioniert wie vor 40 Jahren.
Dieses Holzgehäuse wurde gleich nach dem Kauf 1974 für die junge Besitzerin passend zu den Möbeln weiss lackiert. Die weissen Farbschichten habe ich neu aufgebaut, so das der QRX sein weiteres Leben bei mir weissem Case verbringen darf.
Up every evening 'bout
Half eight or nine
I give my complete attention
To a very good friend of mine
He's quadraphonic, he's a
He's got more channels
So hologramic, oh my TVC one five
I brought my baby home, she, she sat around forlorn
She saw my TVC one five, baby's gone, she
She crawled right in, oh my, she crawled right in my
So hologramic, oh my TVC one five
Oh, so demonic, oh my TVC one five
Up every evening 'bout
Half eight or nine
I give my complete attention
To a very good friend of mine
He's quadraphonic, he's a
He's got more channels
So hologramic, oh my TVC one five
I brought my baby home, she, she sat around forlorn
She saw my TVC one five, baby's gone, she
She crawled right in, oh my, she crawled right in my
So hologramic, oh my TVC one five
Oh, so demonic, oh my TVC one five
1975
A large Kenwood quadro of the Two-Four series from the early seventies. It is in very good technical and optical condition. I like the elegant wooden cheeks on the left and right side.
25 Watt x4, 60 Watt x2
The function label on the solid aluminum front panel is engraved. No writing imprints may be lost. An impressive device from the golden age of hifi 70s. All functions are checked again and runs like the first day. Unfortunately, there is from the Kenwood series in autonomous design not many more from the series today in daily use.
-
Ein grosser Kenwood Quadro der Two-Four Serie aus den frühen Siebzigern. Er ist in technischem und optischem sehr gutem Zustand. Mir gefallen die eleganten Holzwangen an der linken und rechten Seite.
Die Funktionsbeschriftung der massiven Alufrontplatte ist eingraviert. Keine Schriftaufdrucke können im Gebrauch oder bei der Reinigung verloren gehen. Ein imposantes Gerät aus der goldenen HIFI-Zeit der 70er. Alle Funktionen sind erneut gecheckt und er läuft wieder wie am ersten Tag. Leider gibt es von der Kenwood Serie im eigenständigen Design nicht mehr viele aus der Serie heute.
1974
A heavy Marantz quadro receiver. It sounds so well in stereo also.
70 watt per channel x2
25 watt per channel x4
-
Ein mächtig schwerer Marantz Quadro Receiver. Klingt auch Stereo sehr kräftig und dynamisch.
1971
Sansui's history-making 4-Channel Synthesizer Decoder QS-1, the ingenious yet inexpensive Sansui instrument that magically transforms two channel stereo into a live four channel sound field. Two power amps needed. It's sounds like the classic receivers QRX-9001, QRX-7500. This unit is in best condition after restauration.
-
Sansui's Geschichte schreibender 4-Kanal-Synthesizer Decoder QS-1, dem genialen, aber erschwinglichen Sansui Decoder, der zwei-Kanal-Stereo in ein vier-Kanal-Liveklangfeld verwandeln kann. Man benötigt 2 Endstufen. Klingt dann wie die Quadro Receiver QRX-9001, QRX 7500. Dieses Gerät ist nach einer kompletten Restaurierung im besten Zustand.
1974
One of the biggest quadrophonic receivers from Sansui ever made.
Weight 27 kg.
35 watt per channel x4
-
Einer der grössten und schönsten Quadrofonie Receiver, die jemals auf den Markt gebracht wurden. Alle Decodersysteme sind an Bord. Feinster Zustand im Echtholzgehäuse.
1975
The big quadrophonic receiver Sansui QRX-7001 in the rare european-version with black aplications
35 watt per channel x4
60 watt per channel x2
-
Thanks to Uli from Schwerte
.
Ein ganz grosser Sansui Quadro-Klassiker in der raren Europa-Version mit schwarzen Applikationen. Wunderschöner Zustand mit Echtholzgehäuse. Massivste Bauweise trifft High-End-HiFi.
A Kleinian Group fractal created using the Fractal Science Kit fractal generator. See www.fractalsciencekit.com/ for details.
The method used to produce this image is based on information in the book "Indra's Pearls - The Vision of Felix Klein" by David Mumford, Caroline Series, and David Wright. For additional details, see David Wright's "Indra's Pearls" site klein.math.okstate.edu/IndrasPearls/.
Command Records (originally Command Performance Records) was a record label founded by Enoch Light in 1959 and later associated with ABC-Paramount Records.
The company focused on producing records targeted at audiophiles. When ABC Records issued quadraphonic records in the 1970s, they were issued on the Command label.
So much going on all around Black Rock at the moment. The above heavy duty yellow machine is my worst nightmare. When I’m standing taking photos it sounds like a dentists drill on quadraphonic sound as gathers up all the pebbles and stones and grinds them down to fine grit.
The orange machine is taking the harbour wall down in preparation for building long-term sea defences.
Sony micro tv, Sansui tuner amplifier, Akai quadraphonic cartridge, Sony DR-11 headphones, Akai reel to reel, Akai fully automatic turntable, Akai solid state amplifier, (below) Pioneer HPM 700, Advent Legacy III speakers
Mike Oldfield / Boxed
Compilation Album
(Features SQ system 4 channel quadraphonic remixed versions of Tubular Bells, Hergest Ridge and Ommadawn)
Recorded: November 1974 – August 1976
sleeve design: The cover adapts the theme of two M. C. Escher's engravings: "Gallery" and "Other World"
Label: Virgin Records / 1976
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/Boxed_(Mike_Oldfield_album)
Up every evening 'bout half eight or nine
I give my complete attention to a very good friend of mine
He's quadraphonic, he's a, he's got more channels, a
So hologramic, oh, my TVC 15
I brought my baby home, she, she sat around forlorn
She saw my TVC 15, baby's gone, she
She crawled right in, my, my, she crawled right in my
So hologramic, oh, my TVC 15
Oh, so demonic, oh, my TVC 15
1975
A large Kenwood quadro of the Two-Four series from the early seventies. It is in very good technical and optical condition. I like the elegant wooden cheeks on the left and right side.
25 Watt x4, 60 Watt x2
The function label on the solid aluminum front panel is engraved. No writing imprints may be lost. An impressive device from the golden age of hifi 70s. All functions are checked again and runs like the first day. Unfortunately, there is from the Kenwood series in autonomous design not many more from the series today in daily use.
-
Ein grosser Kenwood quadro der Two-Four Serie aus den frühen Siebzigern. Er ist in technischem und optischem sehr gutem Zustand. Mir gefallen die eleganten Holzwangen an der linken und rechten Seite.
Die Funktionsbeschriftung der massiven Alufrontplatte ist eingraviert. Keine Schriftaufdrucke können im Gebrauch oder bei der Reinigung verloren gehen. Ein imposantes Gerät aus der goldenen HIFI-Zeit der 70er. Alle Funktionen sind erneut gecheckt und er läuft wieder wie am ersten Tag. Leider gibt es von der Kenwood Serie im eigenständigen Design nicht mehr viele aus der Serie heute.
I have a couple of these Realistic Quatravox units from the 1970s. They convert two-channel stereo into four-channel for a surround sound effect. When these units were out quadraphonic sound was the latest fad, Radio Shack marketed these as a low cost alternative to get into four-channel sound. They require no external power, just a simple circuit with switches and resistors.
I have a couple of these Realistic Quatravox units from the 1970s from Radio Shack around the house. They convert two-channel stereo into four-channel for a surround sound effect. When these units were out quadraphonic sound was the latest fad, Radio Shack marketed these as a low cost alternative to get into four-channel sound.
Granted, it does not produce true quadraphonic sound but the effect has a good sound for such a simple unit. They require no external power, just a circuit with switches and resistors, and does not require four-channel recorded material.
Ad from April, 1947 for pioneering FM station WIZZ (FM) in Wilkes-Barre PA. The station first signed on in December, 1946 and continued until 1951 when it left the air due to financial troubles.
The founder of the former WIZZ (FM) was granted a construction permit in 1955 to rebuild the station with new call letters, WYZZ (FM), which came on the air in 1959. It was a family owned and operated station with studios in the family's home, airing a Classical and Beautiful Music format. They used the latest technology in FM broadcasting - stereo added in 1962 then quadraphonic FM and FM Dolby in the 1970s. It continued that way until 1985, when the station was sold to Susquehanna Broadcasting.
Up every evening 'bout half eight or nine
I give my complete attention to a very good friend of mine
He's quadraphonic, he's a, he's got more channels, a
So hologramic, oh, my TVC 15
I brought my baby home, she, she sat around forlorn
She saw my TVC 15, baby's gone, she
She crawled right in, my, my, she crawled right in my
So hologramic, oh, my TVC 15
Oh, so demonic, oh, my TVC 15
1979
Sansui's biggest quadro and one of the most powerful quadro's ever made. This unit is in excellent condition und fully serviced. Sounds like a beast. Finest tuning section.
60 watt per channel x4
120 watt per channel x2
-
Sansui's grösster Quadro und einer der mächtigsten Quadro-Receiver, die auf den Markt kamen. Dieses Modell ist im nahe Neuzustand und Top gewartet worden. Die Verstärkerleistung ist brachial und der empfindliche Empfangsteil bestens abgestimmt.
I’ve been interested in this since the 70s and now with SoundCloud and Bandcamp more new material is available
please visit
for more details
Specifications
Year 1973
Form : Solid-state 4ch control Integrated Amplifier
Circuit system
Power amplifier part
Perfect complimentary whole page hardwired-connection OCL circuitry
Power amplifier part
Music power (IHF)
120W (4ohms)
98W (8ohms)
Effective output (IHF)
42W/42W (4ohms)
35W/35W (8ohms)
Power Band Width
5Hz - 50kHz-3dB
Frequency characteristic
5Hz-100kHz+0 -3 dB
Distortion (at the time of an effective output) 0.2% or less
Cross modulation distortion (60Hz:7kHz=4:1) 0.2% or less (at the time of an effective output)
SN ratio (IHF) 110dB or more
Dumping factor 50 (at the time of an 8-ohm load intensity)
Input sensitivity/impedance 1V/50kohm
Input sensitivity/impedance
Phono : 2mV / 30kohm, 50kohm, 100kohm
Tuner, AUX : 100mV /, 80kohm
Tapes monitor Rec Out : 100mV / 10kohm
Playback : 100mV / 60kohm
Rec/Play(DIN) : 100mV / 60kohm, 50mV / 80kohm
An Output voltage/impedance Output power : 1V/200 ohm
Maximum output voltage : 3V
Phono maximum permissible input 100mV (1kHz)
Frequency characteristicDeflection of less than ±0.5dB from a Phono : RIAA standard curve
Tuner, AUX : 5Hz - 60kHz, and +0 -3 dB
Tone control
Bass :50Hz, ±16dB
Turnover frequency : 150Hz, 500Hz
Treble : 20kHz, ±14dB
Turnover frequency : 2kHz, 6kHz
Loudness control 100Hz : +10dB (Volume −30dB)
An Output-power voltage
/Output load impedance 600mV / 10 kohm
Maximum output voltage 2.5V
Frequency characteristic 10Hz-20kHz+0 -3 dB
The semiconductor used Transistor : 37 pieces
Diode : Seven pieces
Power source AC 100V, 50/60Hz
Power consumption At the time of an Output power : 70W
Dimensions
Width 410x height 140x depth of 300mm
Weight 10.3kg
source : audio-database.com
1971
Sansui's history-making 4-Channel Synthesizer Decoder QS-1, the ingenious yet inexpensive Sansui instrument that magically transforms two channel stereo into a live four channel sound field. Two power amps needed. It's sounds like the classic receivers QRX-9001, QRX-7500. This unit is in best condition after restauration.
-
Sansui's Geschichte schreibender 4-Kanal-Synthesizer Decoder QS-1, dem genialen, aber erschwinglichen Sansui Decoder, der zwei-Kanal-Stereo in ein vier-Kanal-Liveklangfeld verwandeln kann. Man benötigt 2 Endstufen. Klingt dann wie die Quadro Receiver QRX-9001, QRX 7500. Dieses Gerät ist nach einer kompletten Restaurierung im besten Zustand.
please visit
for more details
Sansui QS 4 Channel Amplifier QA 7000
www.youtube.com/user/sakamatra1
Year 1973 − 74
Specifications
Four-channel Integrated Amplifier.
The new synthesizer functionality / decoder functionality by the newly developed 2-4 translation encoder are carried.
All schemes, such as 4ch source not only by a regular matrix but the formation of 4ch and SQ scheme of 2ch and a discrete, are supported.
The pure complimentary OCL circuitry is adopted as a power part.
The three-step hardwired-connection equalizer circuitry is adopted, and it has become 270mV of maximum permissible inputs.
The BTL interconnection of 40W+40W is possible.
Synthesizer Section
Synthesizer / decoder
Sansui QS matrix circuit Regular
90 degree phase shifter
QS circuit Bariomatorikkusu
Music Power 108W (4Ω)
Effective output 15W × 4 (8Ω)
Total harmonic distortion 0.1%
Input sensitivity Phono: 2.5mV/50kΩ
Miscellaneous
External dimensions 440 × 140 × 322
Weight 14kg
(audio database)
1975
The big quadrophonic receiver Sansui QRX-7001 in the rare european-version with black aplications
35 watt per channel x4
60 watt per channel x2
-
Thanks to Uli from Schwerte
.
Ein ganz grosser Sansui Quadro-Klassiker in der raren Europa-Version mit schwarzen Applikationen. Wunderschöner Zustand mit Echtholzgehäuse. Massivste Bauweise trifft High-End-HiFi.
La Loteria Canta Pedro Brull www.youtube.com/watch?v=ZzpPDPuy6Xk
LOUIS BAUZO www.harborconservatory.org/ m_faculty.html
Harbor Latin Big Band Louis Bauzo www.youtube.com/watch?v=oiRyzGj5q54
LOUIS BAUZO (Latin percussion / department head)
Louis Bauzo has been a professional musician for over thirty years. A former member of the Tito Puente Orchestra, he has performed and/ or recorded with Dizzy Gillespie, Machito, Mario Bauzo, Eddie Palmieri, Mongo Santamaria, Johnny Pacheco, Larry Harlow, Celia Cruz, Cachao and Paul Simon, among others. Director of the Harbor Conservatory’s Latin Percussion Department, Mr. Bauzo is also the musical director and conductor of the Harbor Big Band, as well as the Co-Founder/Curator of the RAICES Latin Music Collection. Mr. Bauzo is a recognized authority on Afro-Caribbean folklore, and has studied in Africa, Puerto Rico, Cuba, and the Juilliard School of Music. He is the director of the Afro-Caribbean folkloric dance and drumming troupes “Carambu” and “Patakin”. In 2000, Mr. Bauzo was honored as an Urban Folk Hero with his induction into City Lore’s People's Hall of Fame in recognition of his effort in creating a home for Latin music
Harlow, Larry
Larry Harlow was born Lawrence Ira Kahn in Brooklyn, New York on 20 March 1939, into a musical family of Jewish-American descent. The young Harlow, affectionately known as El Judio Maravilloso (The Marvellous Jew), excelled at an early age at various instruments. The music and culture of New York’s Latino community led him to Cuba where he began an intense study of Afro-Cuban music.
Harlow is a noted salsa bandleader and multi-instrumentalist, although he primarily plays piano.
Harlow was among the pioneers in the early days of the Fania label. For Fania records he has produced over 106 CD’s for various artists and over 50 CD’s as his own. Among his most popular albums were “Abran Paso” and “Tributo a Arsenio Rodriguez” with Ismael Miranda as the lead singer.
Harlow started studying piano at the age of five. He grew up with his younger brother Andy in a mixed Jewish and Puerto Rican neighbourhood. Harlow attended the Music and Art High School in Manhattan, where he was classically trained in piano, organ, oboe, English horn, flute, bass, harmony and composition. He converted to jazz and became an accomplished jazz pianist.
Hearing Latin music emanating from record stores in New York’s Spanish Harlem captured Harlow’s imagination: he started researching the music, seeking-out Latin musicians and performing in young street bands. While majoring in music at Brooklyn College, he spent his first Christmas vacation in Havana, where he began a love affair with Cuban music and culture. He returned to Cuba for nearly three years to study and research the island’s music.
Back in New York City, Harlow started working with established Latin bands. He decided to found his own and after an eight-month hunt for the right musicians, his first Orchestra Harlow made its debut at New York’s Chez Jos’ Club.
Shorty afterwards he became one of the earliest to sign with the new Fania Records label and released Heavy Smokin’. At that time, Orchestra Harlow’s two trumpet/two trombone horn section featured acclaimed Cuban trumpeter Alfredo “Chocolate” Armenteros and lead trombonist Mark Weinstein, who co-arranged the album with Harlow. Heavy Smokin’ lead vocalist Felo Brito was replaced by Monguito on the follow-up album Bajandote - Gettin’ Off.
Harlow first saw the young Ismael Miranda perform with his brother Andy’s group. In July 1967, Harlow hired Miranda as his new lead singer, marking the starting-point of a highly successful five year period in the history of his band. Miranda’s album debut with Orchestra Harlow was El Exigente with a psychedelic sleeve design befitting the flower power era then at its height. Harlow used a light show in his act at the time. Orchestra Harlow Presenta A Ismael Miranda showcased the 18-year-old vocalist, and included the hit “La Contraria” written, along with two other songs, by Bobby Valentin, who played bass and shared arranger credits.
Harlow’s first gold disc winner Me And My Monkey - ‘Mi Mono y Yo’ featured a Latinized version of John Lennon and Paul McCartney’s “Everybody’s Got Something To Hide Except Me And My Monkey”, though the remainder was typical fare, including the hits “El Malecon” and “Mi Madre”, both co-written by Harlow and Miranda. A succession of hit albums followed, including Electric Harlow, the title denoting Harlow’s use of electric piano on the record; Abran Paso!, with the hit title track composed by Miranda; the notable Tribute To Arsenio Rodriguez in homage to the great Afro-Cuban musical innovator who died at the end of 1970; and La Oportunidad, featuring Miranda’s hit compositions “Señor Sereno” and “Las Mujeres Son”.
Eventually, Miranda departed to pursue a solo career while Harlow took time out to score and produce 1973’s highly regarded Hommy - A Latin Opera (based on the Who’s Tommy) written by Genaro “Heny” Alvarez. Both the studio album and stage presentation at New York’s Carnegie Hall, on 29 March 1973, featured a galaxy of Fania names, including Celia Cruz, Justo Betancourt, Cheo Feliciano, Adalberto Santiago, Pete “El Conde” Rodriguez and Heny Alvarez as the narrator.
Between 1971 and 1978 Harlow became a prolific producer for the Fania family of labels, working on recordings by Mark “Markolino” Dimond; the brilliant Brujeria, and Beethoven’s V, as well as Roberto Roena y Su Apollo Sound, La Conquistadora, Orchestra Dicup, Justo Betancourt, including his 1972 classic Pa Bravo Yo with the title track written by Ismael Miranda, Frankie Dante And Orquesta Flamboyan, Santos Colon, Latin Tempo, Sonora Ponceña, Lebron Brothers, Wuelfo, La Terrifica, Rafi Val Y La Diferente, Bronco, Junior Gonzalez, Tito Gomez and Latin Fever (an all-female group).
He also worked on his own, producing four albums on the Fania stablemate Vaya Records: 1972’s gold disc winner Sorpresa La Flauta, which included the smash hit “La Loteria”, and the less successful La Musica Brava, El Campesino and Latin Fever.
Harlow continued with 1974’s Salsa, regarded by some as a key album of the burgeoning 1970’s salsa boom, which featured elements presaging the charanga revival of the latter half of the 70s. The two-disc Live In Quad was the first and possibly the only salsa album recorded in quadraphonic stereo, with Justo Betancourt guesting as co-lead vocalist. The recording was not only brilliant technically but provided equally brilliant music, as this track, entitled Tumba y Bongo shows.
Gonzalez made two more albums with Harlow: El Judio Maravilloso (1974), with charanga touches provided by Felix “Pupi” Legarreta’s violin, and El Jardinero Del Amor, with the 1976 Harlow/Miranda reunion Con Mi Viejo Amigo sandwiched in-between. Revered veteran Cuban singer/former big band leader Marcelino Guerra contributed chorus vocals to Harlow’s albums between 1971, starting with Tribute To Arsenio Rodriguez, and 1974, with the exception of Live In Quad.
Gonzalez departed and released a string of solo albums, including: Tiempos Buenos/Good Times (1977), Mi Estilio/My Style and Naturalmente Jr. Gonzalez on Fania; Gracias on 7th Galaxy; Sabor Y Sentimiento on Caballo; M as Romantico Que Nadie on Mercury; Lo Pasado Pasado on EMI/Capitol; En Su Tiempo ... Siempre on Sony; Mis Raices on J&N/EMI. Additionally, Gonzalez was amongst various prominent vocalists on Tito Puente‘s first two tribute albums to Beny Moré, (1978 and 1979); and he was one of the lead singers in the Jose Mangual Jr. produced Salsa Ritmo Caliente and Salsa Ritmo Caliente, Vol. 2, backed by the cream of New York’s salsa session musicians.
Meanwhile Harlow’s 1977 salsa suite La Raza Latina, an ambitious “history of Latin music in musical genre” with Rubén Blades, was nominated for a Grammy Award. He replaced Gonzalez with the magnificent voice of albino sonero Nestor Sanchez, which was showcased in 1978’s El Albino Divino (Sanchez’s nickname), with Legarreta again guesting on violin, and Rumbambola. “If Nestor Sanchez takes a chord progression his voice would be his instrument and he improvises. He’d play jazz,” said Harlow in New York Latino, 1993.
In 1979, Harlow teamed-up with Dominican Fausto Rey for the lacklustre La Responsabilidad with Sanchez in the chorus; Sanchez returned to lead vocals on El Dulce Aroma Del Exito in 1980. That year, Harlow reunited with Gonzalez for Our Latin Feeling/Nuestro Sentimiento Latino. Harlow’s one-off release on Coco Records in 1981, Asi Soy Yo, featured Gary Carrion on lead vocals with Sanchez on background vocals. His final album on Fania, Yo Soy Latino was also Sanchez’s last with the bandleader.
Thereafter, reflecting the wane of New York salsa during the 80s, Harlow’s output became sparse. Señor Salsa, with lead singer Ray Perez, was an undistinguished album on Tropical Budda. In 1984 he produced La Verdad, the United States solo debut of vocalist/composer Israel “Kantor” Sardinas. Salsa Brothers/The Miami Sessions (1988), the first on Songo Records, was made in Miami with Andy, who had relocated there in 1977. The album marked the re-emergence on record of piano wizard Mark “Markolino” Dimond, who soloed on one track and co-arranged with Andy. Mi Tiempo Llego/My Time Is Now, again with Ray Perez, on Cache was a misjudged comeback attempt.
Harlow was a founder member of the Fania All Stars and performed on all their albums up to 1976 (plus 1979’s Habana Jam, recorded in Cuba), he also appeared with them in the movies Our Latin Thing (Nuestra Cosa), Live In Africa and Salsa. In 1994, he teamed up with Ray Barretto, Adalberto Santiago and cuatro guitar virtuoso Yomo Toro to found the Latin Legend Band, with the aim of both educating Latino and American youth about Latin music heritage and pioneering new ideas in the music, resulting in Larry Harlow’s Latin Legends Band 1998 and songs Palo Duro.
Harlow holds a BA degree in music from Brooklyn College and has an Master’s degree in philosophy from the New School of Social Research in New York City.
1975
The big quadrophonic receiver Sansui QRX-7001 in the rare european-version with black aplications
35 watt per channel x4
60 watt per channel x2
-
Thanks to Uli from Schwerte
.
Ein ganz grosser Sansui Quadro-Klassiker in der raren Europa-Version mit schwarzen Applikationen. Wunderschöner Zustand mit Echtholzgehäuse. Massivste Bauweise trifft High-End-HiFi.
1975
The big quadrophonic receiver Sansui QRX-7001 in the rare european-version with black aplications
35 watt per channel x4
60 watt per channel x2
-
Thanks to Uli from Schwerte
.
Ein ganz grosser Sansui Quadro-Klassiker in der raren Europa-Version mit schwarzen Applikationen. Wunderschöner Zustand mit Echtholzgehäuse. Massivste Bauweise trifft High-End-HiFi.
I lived in Nashville, TN, from 1971-73. My first job out of college was at a Kodak film processing center on West End Avenue, ruining our customers precious pictures by hanging their undeveloped Instamatic film in total darkness for 8 hours a day. Most of the film I hung on the automated developing thing fell into the developing bath and had to be fished out later; or it would stick to other people's film throughout the entire process. The people I worked for were incredibly laid back about my almost daily fuckups. I have no idea why I wasn't fired on the spot after my first day, but they all seemed to like me or something.
I decided working in total darkness wasn't my future, so that fall I applied for a job waiting tables at Friday's Restaurant on Elliston Place. I lied about my restaurant experience - none - and after a day as a busboy they started me with a full section of tables.
Friday's back then bore no resemblance to the horrible chain that you see everywhere today. In 1971 there were only three Fridays - the original in New York City, a second in Memphis, and the one in Nashville. Liquor by the drink had just been legalized in Tennessee when I arrived, and Friday's was the first place to capitalize on the new "singles bar" scene. Business was brisk.
A guy named Walter Harwood, another of the nighttime wait staff, saw instantly that I didn't know what the fuck I was doing and took me under his wing. He taught me everything I needed to know so I wouldn't get canned after my first month. I got to know the other waiters on both shifts, and we'd hang out together on our days off, smoking weed and cruising the bar scene. Before our shift we'd meet at the Elliston Place Soda Shop down the street for burgers and milkshakes.
I made a shitload of money at Friday's over the next ten months and saved all of it since I was paying only $40 a month rent - I slept on a guy's couch - and eating only at the Soda Shop (cheap) or Friday's (free). I left town for the summer, flew to London and stayed with friends off and on for six weeks, and returned to Nashville penniless.
Walter let me stay with him for awhile on my return, telling me that this new bar was about to open up on Division Street near Vanderbilt University and that he was in tight with the future manager. Still under construction, the place was going to be huge. One of the owners was this young rich guy who'd been one of the original investors in Friday's, and I knew he liked me ok. The other owner, though, was Tex Ritter, one of the great singin' cowboys who'd made his mark on Hollywood back in the 40s; and, along with Hopalong Cassidy, the Lone Ranger, and Roy Rogers, Tex was definitely one of my early tv heroes.
While the new bar - to be called the Cumberland Valley Jockey Club (or "Jock's") - was being built, Walter and I waited tables at another of the restaurants Tex owned, right across the parking lot. We were the ONLY waiters there too, working double shifts. We did our jobs well, but it was fucking easy after the utter chaos we were trained to endure at Friday's.
One day at lunch Tex Ritter came in to meet me and Walter, and I waited on his table. He was not tall, but he had an enormous gut. Smoked a meerschaum pipe, which I thought was oddly out of character. The other owner had warned me in advance that Tex didn't like hippies, and Tex kind of glowered at me throughout the meal.
He grew to like me, though. The two owners came in for lunch together often after that day, and I always waited on them. Tex actually asked to sit in my section. That was unbelievably cool. When he came to the table I'd greet him with, "Hello, Mr. Ritter!" and he'd look at me, smile, and say, "Hello, young feller!"
Jock's opened in the fall and was hugely successful. A lot of music people would come in, since Jock's was situated very close to the recording studios. Guitar legend Chet Atkins would come in. Dobie Gray, who was enjoying a huge hit with "Drift Away", was a regular who would hang out with us at the bar. Lots of people from Quadraphonic Studios - Norbert Putnam, David Briggs, Jerry Kennedy - were there every day. Waylon Jennings would sit with Shel Silverstein nearly every day at Happy Hour.
That December I finagled a week off to fly down to Charleston to visit with my family for Christmas. Before I left I bought an lp of Tex's "Greatest Hits" and asked him if he'd mind signing it for my sister Ruthie's Christmas present from me. He said he'd be delighted. He asked me what her name was, and I told him that her middle name was "Tisdale" and that she'd call herself "Dale" when we played cowboys and Indians as children. He thought that was hilarious, so he signed it just as you see it above. Film buffs will recognize his quote as the opening lyrics to the "Theme From High Noon", which Tex sang in the film.
Ruthie loved her gift and displayed it in her home in Washington, DC, for years. When she died in 2007 I inherited this from her estate. One of the many treasures Ruthie left for me to care for.
PAUL McCARTNEY: THE ESSENTIAL RARITIES 2 CD
New compilation of Paul rarities 1970-1979! 35 tracks - outtakes, alternate mixes, rough mixes,
live performances and more! Great compilation of rare tracks!
DISC ONE:
1. MAYBE I’M AMAZED (Multitrack Remix)
2. ANOTHER DAY (Stereo Remix)
3. UNCLE ALBERT / ADMIRAL HALSEY (Extended Version)
4. UNCLE ALBERT JAM (Studio Outtake)
5. EAT AT HOME (Live Version 1972)
6. SMILE AWAY (Live Version 1972)
7. GIVE IRELAND BACK TO THE IRISH (ICA Rehearsal)
8. MARY HAD A LITTLE LAMB (Early Take)
9. HI, HI, HI (Stereo Remix)
10. SEASIDE WOMAN (Rough Mix)
11. THE MESS (Studio Outtake)
12. MY LOVE (Basic Tracks)
13. LIVE AND LET DIE (Quadraphonic Mix)
14. HELEN WHEELS (Extended Version)
15. JET (Rough Mix)
16. BAND ON THE RUN (Single Edit Version)
17. JUNIOR’S FARM (Ernie Winfrey Mix)
18. SALLY G (Ernie Winfrey Mix)
19. SEND ME THE HEART (Ernie Winfrey Mix)
20. VENUS AND MARS (Studio Outtake)
DISC TWO:
1. ROCK SHOW (New Version)
2. LETTING GO (Extended Version)
3. LISTEN TO WHAT THE MAN SAID (Extended Remix)
4. SILLY LOVE SONGS (Extended Remix)
5. LET’EM IN (Extended Remix)
6. MULL OF KINTYRE (Unedited Full Version)
7. GIRL SCHOOL (Studio Outtake)
8. WATERSPOUT (Rough Mix)
9. WITH A LITTLE LUCK (Edited Version)
10. I’VE HAD ENOUGH (Early Take)
11. LONDON TOWN (Remix)
12. GOODNIGHT TONIGHT (Extended Version)
13. NO WORDS (Live In Glasgow 1979)
14. BAND ON THE RUN (Live In Glasgow 1979)
15. COMING UP (Live In Glasgow 1979)
YPhenomenon Quadraphonic at Sensory Topology-Bodily Perception of Taiwan Contemporary Art, Guangdong Museum of Art, GuangZhou, 2010, China.
Bolero, Sheherazade, Scheherazade, Rhapsodie Espagnole, Rapsodie, La Valse, Daphnis et Chloe, Tzigane, Valses Nobles et Sentimentales, Ma Mere l'Oye, Le Tombeau de Couperin, Pavane pour une infante defunte, Alborada del Gracioso, Menuet Antique, Une Barque sur l'Ocean, Konzert fur die linke Hand, Left, Klavierkonzert G-Dur, Piano Concerto G Major, Marcel Galiegue, Michel Garcin-Marrou, Andre Sennedat, Jean-Claude Malgoire, Choeurs Theatre Nat. Opera Paris, Jean Laforge, EMI Electrola C 191-02 583/87Q