Das Tornado 2 ist das konsistenteste und zuverlässigste Einstiegs-Drum-Kit auf dem Markt mit einer ganzen Reihe neuer und verbesserter Funktionen und setzt den Standard, von dem andere nur träumen können. EIGENSCHAFTEN Verbesserte 8 Lug Bass Drum und Snare Drum Verbesserte 6 Lug Toms Remo Trommelfell Neue Serie Bass Drum Pedal & Hi-Hat-Ständer Neue Teleskop Bass Drum Spurs Neues Lug- und Abzeichen-Design Inbegriffen 18 x 16 große Trommel 10 x 7 Tom 12 x 8 Tom 14 x 12 Boden Tom 14 x 5 Snare Drum Becken enthalten 14 Hi Hat Cymbal Paar 16 Crash / Ride Becken Hardware enthalten x2 Tom Halter Beckenständer Snare stehen Hi Hat Ständer Trommel-Thron Bass Drum Pedal
The most consistent and reliable entry level drum kit in the market with a whole heap of new and upgraded features, Tornado 2 sets the standard others can only dream of.FEATURESUpgraded 8 Lug Bass Drum and Snare DrumUpgraded 6 Lug TomsRemo drumheadNew Series Bass Drum Pedal & Hi-hat standNew Telescopic Bass Drum SpursNew Lug and Badge designIncluded18 x 16 Bass Drum10 x 7 Tom 12 x 8 Tom14 x 12 Floor Tom14 x 5 Snare DrumCymbals Included14” Hi Hat Cymbal Pair16” Crash/Ride CymbalHardware Includedx2 Tom holdersCymbal standSnare standHi Hat StandDrum ThroneBass Drum Pedal
Sharp-witted paralegal Ellie Greenberg has a dynamite career at a law firm in the Catskill Mountains of New York. Happily divorced, in the middle years of her life and trying to keep all her plates spinning in the air, she decompresses from the demands of her career by joining the jazz scene at a local college. The instant she sees the very-married new soloist, trumpet player Vincent Keyes, she´s speared directly in the heart by Cupid´s arrow. Unfortunately, Ellie has also walked straight into the romantic cross-hairs of ace lawyer Stan Feldman. Ellie tries to gain her footing in the emotional tornado, where the ride is thrilling but ultimately unsustainable. She agonizes over choosing between the two men...or changing her life completely. 1. Language: English. Narrator: Renee Dodd. Audio sample: http://samples.audible.de/bk/acx0/128623/bk_acx0_128623_sample.mp3. Digital audiobook in aax.
(Disky) 30 tracks The Hottest Sounds from the IMPERIAL/LIBERTY Record Company Catalogues. America, that extraordinary melting pot of music and home to a number of musical eccentrics and oddballs, was, by the 1920´s, already producing music, that, in anyone´s terminology, would be called ´Hot´. Hot Jazz came up the Mississippi from New Orleans and permeated it´s way across America, followed by the Bluesmen and the Hillbilly String Bands, all of whom were to make their mark during this very important period of musical experimentation. The 1930´s saw the small Jazz Bands grow into large travelling, Swing Bands, the Bluesmen forming small, Juke Joint, Combos and the String Bands growing into much larger and louder, Western Swing Bands. There was an evergrowing dance public at this time, consequently venues grew larger and the music needed to be louder. Sadly, the advent of the Great Depression resulted in enormous cutbacks in the recording budgets and in the disbanding of innumerable Bands and Combos, due to lack of work. World War Two did not help much either, with a long term ban on shellac usage, but, throughout History, people at war, have always demanded entertainment and consequently, work for Bands/Combos/Singers of all styles increased dramatically. After the War was over, America went back to work with a vengeance and the whole entertainment scene began to grow at a tremendous pace. In all forms of Music, stylists were appearing and attracting their own recording contracts and artists, as opposed to being slaves to the world of sheet music, as artists had mostly been before the war. Independent record companies began to appear catering, once again, to all forms of music in all styles. Probably one of the key points to the success of ´Hot´ music, since the 1920´s was the ´Backbeat´. That crack on the snare drum quite simply had kept millions of people dancing around the world and has continued to do so. After the War, the music became louder again -the ´American Dream´ was rearing its head on the Horizon and the people wanted to loosen their inhibitions just a little more. Electric guitars were introduced fully into Country Music/Western Swing/Jazz/Blues/Dance Band Music/Rhythm ´n´ Blues during and after the War, creating a completely different musical energy level, from which there was no turning back. At the same time, despite segregation in many parts of America, at this time, both White and Black Musicians and Vocalists were listening intently to each others styles and rhythms and began ´borrowing´ ideas for their recording dates and ´Live´ shows. By the turn of the Half Century, the Rock ´n´ Roll melting pot was boiling and Blues/Country/Gospel/Latin/Hillbilly and Jazz fused together was beginning to produce some astounding records for the time. America still, however, needed a Rudolf Valentino style icon to lead it away from the ultra staid ´Pop´ music fare that trumpeted out of the Radio Speakers of Middle Class Homes everyday and dominated the ´Pop´ Charts, almost permanently. Finally, the Icon was found, in a small studio in Memphis, Tennessee, where, on July 5th. 1954, Elvis Presley made his first record ´That´s all right mama/Blue moon of Kentucky´ for the fledgling Sun Record Company. Presley confused everyone, because radio listeners were not sure if he was black or white, so, initially, the record sold to both markets and took off like a tornado through the South creating a whole new era, where Country Boys threw away their fiddles and banjos, bought guitars, grew sideburns, sported ducktails checked out their hip swinging potential in the bedroom mirror and, between them, recorded thousands of gut-wrenching 45´s, desperately attempting to emulate the ´Hillbilly Cat´, as he blazed a path across the USA, laying down some all timeclassics for Sun Records, before moving on to permanent stardom with RCA Victor and a Hotel of Lonely Hearts! Rockabilly, one step on from Hillbilly Boogie, borrowed generously from Blues/Country/Gospel/R ´n´ B and even Bluegrass, to create those echo laden sounds, yet, despite an initial burst of popularity, it only really lasted commercially for about 1 /2 to 2 years. A slew of Independent Labels certainly were responsible for some of the greatest Rockabilly Music ever recorded, but the Majors were not slow to jump into the situation and sign up a strong collection of pulsating teen angst of the time. Imperial Records and, to a marginally lesser extent, Liberty Records were