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(Afro-Cuban Jazz, Bop) Dizzy Gillespie Quintet - Pleyel Jazz Concert 1953 - 1996, WavPack (image+.cue) lossless

Dizzy Gillespie Quintet - Pleyel Jazz Concert 1953
Жанр: Afro-Cuban Jazz, Bop
Страна-производитель диска: Франция
Год издания диска: 1996 (rec. 1953)
Издатель (лейбл): Original Vogue Masters/BMG France
Номер по каталогу: 74321409392
Аудио кодек: WavPack (*.wv)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 77:44
Источник (релизер): bINkI (hqshare)
Наличие сканов в содержимом раздачи: да
Треклист:
01. Intro
02. The Champ (Gillespie)
03. Good Bait (Dameron)
04. Swing Low... Sweet Cadillac (Trad arr Gillespie)
05. Oh Lady Be Good (Gershwin)
06. Mon Homme (Yvain)
07. (I've Got) The Bluest Blue (Gillespie)
08. Birk's Works (Gillespie)
09. Ooh-Shoo-Bee-Doo-Bee (Carroll-Graham-Gillespie)
10. They Can't Take That Away from Me (Gershwin)
11. Embraceable You (Gershwin)
12. Play Fiddle Play (Deutsch-Altman-Lawrence)
13. I Can't Get Started (Gershwin-Duke)
14. Tin Tin Deo (Fuller-Pozo)
15. On the Sunny Side of the Street (Fields-McHugh)
16. School Days (Edwards-Cobb)
Состав:
Dizzy Gillespie - trumpet, vocals, conga
Bill Graham - alto saxophone, baritone saxophone
Wade Legge - piano
Lou Hackney - bass
Al Jones - drums
Joe Carroll - vocals
Sarah Vaughan - vocals (#11)
Recorded at Salle Pleyel, Paris on February 9, 1953.
 
Лог создания рипа
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 16. December 2009, 21:55
Dizzy Gillespie / Dizzy Gillespie Quintet - Pleyel Jazz Concert 1953
Used drive : HL-DT-STDVD-RAM GH22NP20 Adapter: 1 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.33 | 1:30.37 | 33 | 6819
2 | 1:30.70 | 9:21.50 | 6820 | 48944
3 | 10:52.45 | 9:49.38 | 48945 | 93157
4 | 20:42.08 | 4:09.60 | 93158 | 111892
5 | 24:51.68 | 3:49.65 | 111893 | 129132
6 | 28:41.58 | 2:53.25 | 129133 | 142132
7 | 31:35.08 | 3:51.47 | 142133 | 159504
8 | 35:26.55 | 9:35.43 | 159505 | 202672
9 | 45:02.23 | 3:28.35 | 202673 | 218307
10 | 48:30.58 | 4:20.72 | 218308 | 237879
11 | 52:51.55 | 3:15.50 | 237880 | 252554
12 | 56:07.30 | 4:28.63 | 252555 | 272717
13 | 60:36.18 | 3:05.42 | 272718 | 286634
14 | 63:41.60 | 4:11.10 | 286635 | 305469
15 | 67:52.70 | 2:46.63 | 305470 | 317982
16 | 70:39.58 | 7:04.50 | 317983 | 349832
Range status and errors
Selected range
Filename F:\R\Dizzy\Dizzy Gillespie - Dizzy Gillespie Quintet - Pleyel Jazz Concert 1953.wav
Peak level 100.0 %
Range quality 100.0 %
Test CRC 57DBD9B6
Copy CRC 57DBD9B6
Copy OK
No errors occurred
End of status report
 
Review by Eugene Chadbourne
Dizzy Gillespie albums are sometimes criticized for being silly, never for lacking stamina. Pleyel Jazz Concert 1953 is no exception to this rule, though it would certainly be understandable if it were. The live recording, issued and repackaged at least three times since the late '90s, dates from a period when Gillespie was in Paris and as busy as God, as musicians like to say in reference to the deity, not the European noise music band. If datebooks kept by people nicknamed Dizzy are to be trusted, the bebop kingpin had during a previous 48-hour period cut albums for two different competing firms, one involving a string orchestra. About ten collections have been published involving this material. Meanwhile, his rhythm section cut an album on the same day of the Pleyel Concert Hall event, also reissued at least three times and representing the sole effort by pianist Wade Legge as a leader. This rhythm unit with Legge occupying the piano bench is one of the main reasons the Gillespie sides from 1952 through 1954 pack such a punch. Drummer Al Jones and bassist Lou Hackney are, when combined with Legge, the type of bustling, bristling rhythm section that listeners squint to hear properly on historic broadcasts and surreptitious live tapings of this genre. The increased recording clarity from the French period makes it easier to hear what is going on: the group's long openings of "The Champ" and "Good Bait," close to ten minutes each, are marvelous examples of bebop extemporization. The choruses present more variations than alibis at an interrogation, the trumpeter playing as if he were providing his own front-line foil.
Quickly Gillespie gets down to entertaining, stroking the congas and freeing vocalist Joe Carroll from the chains of good taste, grinding the clutch on "Swing Low, Sweet Cadillac" -- a number that sounds as if it were perceived when the leader was suffering from a fever. Despite some blues choruses tossed off as if attempting to evict freeloaders, things don't really pick up until the tempo of "Birk's Works" hits a metronome marking usually covered with black tape for reasons of public safety. Along the way the boss delivers a present to his loving French audience, a cover version of "Bon Homme." The program's balance happily tilts more toward inspired jamming than going through the motions implied by a frayed set list. Sarah Vaughan dropping by for a few vocals is hardly something to complain about, her "Embraceable You" an acceptable substitute for an out-of-body experience and apparently an inspiration for Carroll's outdoing himself on "Oh, Lady Be Good." Baritone man Bill Graham, no relation to the San Francisco concert promoter, has fun with the bottom end on "Tin Tin Deo," an expanding feeling of freedom exploding from a surprising use of space.
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