(Bop) Dizzy Gillespie - The Cool World & Dizzy Goes Hollywood {2 in 1} - 1963, FLAC (tracks+.cue), lossless
Dizzy Gillespie - The Cool World & Dizzy Goes Hollywood {2 in 1}
Жанр: Bop
Дата записи: 1963
Производитель диска, страна: Russia
Тип: Compilation
Аудио кодек: FLAC
Тип рипа: (tracks + .cue)
Битрейт аудио: lossless
Включает: Full artwork
Продолжительность: 1:15:06
Источник: коллекция Л.Рендера
Риппер: Мой рип
Трэклист:
origianl score from THE COOL WORLD
1. THEME FROM - THE COOL WORLD (5'08)
2. THE PUSHERS (2'35)
3. ENTER, PRIEST (4'15)
4. DUKE'S AWAKENING (2'39)
5. DUKE ON THE RUN (5'14)
6. STREET MUSIC (2'32)
7. BONNIE'S BLUES (3'58)
8. CONEY ISLAND (3'44)
9. DUKE'S FANTASY (2'12)
10. COOLIE (3'37)
11. DUKE'S LAST S0LILOQUY (2'05)
Dizzy Goes Hollywood
12. Theme from Exodus - 2'42
13. Moon River - 2'50
14. Caesar and Cleopatra Theme - 3'08
15. Days of Wine and Roses - 2.16
16. Walk on the Wild Side - 7.10
17. More - 2'45
18. Love Theme from Lolita - 2'46
19. Theme from Picnic - 2'24
20. Never on Sunday - 3'04
21. Theme from Lawrence of Arabia - 3.08
22. Carioca - 3:00
Состав:
DIZZY GILLESPIE (T),
with JAMES MOODY (TS, AS, FL),
KENNY BARRON (P),
CHRIS WHITE (B),
RUDY COLLINS (D)
Я не сидирую все свои раздачи подолгу, только новые (до 3х первых сидов)
Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш
Если нет сидов или раздача находится в архиве, пришлите письмо, и я вернусь
Заботьтесь о своем рейтинге - приветствуется конвертация моих раздач в мп3 и выкладывание в соотвтствующем разделе
Жанр: Bop
Дата записи: 1963
Производитель диска, страна: Russia
Тип: Compilation
Аудио кодек: FLAC
Тип рипа: (tracks + .cue)
Битрейт аудио: lossless
Включает: Full artwork
Продолжительность: 1:15:06
Источник: коллекция Л.Рендера
Риппер: Мой рип
Трэклист:
origianl score from THE COOL WORLD
1. THEME FROM - THE COOL WORLD (5'08)
2. THE PUSHERS (2'35)
3. ENTER, PRIEST (4'15)
4. DUKE'S AWAKENING (2'39)
5. DUKE ON THE RUN (5'14)
6. STREET MUSIC (2'32)
7. BONNIE'S BLUES (3'58)
8. CONEY ISLAND (3'44)
9. DUKE'S FANTASY (2'12)
10. COOLIE (3'37)
11. DUKE'S LAST S0LILOQUY (2'05)
Dizzy Goes Hollywood
12. Theme from Exodus - 2'42
13. Moon River - 2'50
14. Caesar and Cleopatra Theme - 3'08
15. Days of Wine and Roses - 2.16
16. Walk on the Wild Side - 7.10
17. More - 2'45
18. Love Theme from Lolita - 2'46
19. Theme from Picnic - 2'24
20. Never on Sunday - 3'04
21. Theme from Lawrence of Arabia - 3.08
22. Carioca - 3:00
Состав:
DIZZY GILLESPIE (T),
with JAMES MOODY (TS, AS, FL),
KENNY BARRON (P),
CHRIS WHITE (B),
RUDY COLLINS (D)
Несколько слов на английском
The Cool World is the first film ever to have been made completely In Harlem. Everything in it is real - without evasion and without euphemism. And so is Mal Waldron's music lor the film as played by Dizzy Gillespie's quintet.
Based on the novel by Warren Miller and the subsequent play by Miller and Robert Rossen, Frederick Wiseman's production of The Cool World - directed by Shirley Clarke - is an unsparing distillation of life in Harlem. In a way, it is an animation of the comprehensive report. Youth in the Ghetto, by HARYOU {Harlem Youth Opportunities Unlimited).
HARYOU subtitled its report, "A Study in the Consequences of Powcrlessness." And that's what The Cool World is ail aboot. Negro youngsters, caught in the vise of prejudice which severely delimils their expectations of vocational opportunities anrf of real freedom in all areas of life, will sometimes react by lashing out at the society which is trying to crush them. In The Cool World, one such youngster is fiffteen - year - old Duke. The film follows him as he tries to achieve manhood in the only ways which seem to him to be open - the acquisition of power as a gang leader and the acquisition of a gun.
In the course of Duke's raw, desperate odyssey, we also see other youngsters like him as well as Priest, a man from the ghetto who has "graduated" to become a full - time hood. But even Priest's power is circumscribed because he is vulnerable to the white hierarchy of the underworld which eventually kills him. A poignant subtheme is Duke's relationship with LuAnne, a lost girl of the ghetto who - until Duke takes her to Coney island - has never seen the sea. The picture's triple climax is a gang rumble, led by Duke; the murder of Priest by gangsters from downtown,and the Brutalizing arrest of Duke by the police.
'The picture," Mal Waldron emphasizes, "is very strong because it has so much truth in it. And so, in the music I wrote, I wanted to be as straight as Shirley Clarke and the actors had been. I tried to get into the score the desolation of these youngsters and their desperate bravado."
As this album demonstrates, Mal Waldron succeeded, and the interpretation of the score by Dizzy Gillespie further heightens the tensions and the self - destructive release from tensions which characterize life in the ghetto.
Rarely on records has dizzy Gillespie himself been as penetratingly expressive - from the reflective, intense lyricism of Bonnie's Blues to the pungent thrust of Duke's Awakening and the gathering anxiety of Duke on the Run. One of the most evocative sections of the score - and of the quintet's playing of it - is Coney Island. To Duke and LuAnne, that stretch of sand and the limitless ocean is in stark contrast to the overcrowded, hypertensive scene of their normal prison uptown. And the music reflects the initial strangeness and then the temporary immersion of Duke and LuAnne in this oasis of calm, Each track, for that matter, is a lean, pursuasive vignette of particular elements in The Cool World - and through Ihe music, one can feel the accelerating need of young Duke to find a place for himself Also clear is the essential innocence of LuAnne (for all her sexual sophistication). And the brooding, ominous undercurrent is one of compressed frustration which finally explodes in Ihe death of Priest and the waste of Duke, Newsweek said of the film' "This is not a series of squalid 35mm. picture postcards, but a work of art informed by knowing compassion " The same can be said of Mal Waldron's score and the playing of Dizzy Gillespie, James Moody, tenor saxophone and flute; Kenny Barron, piano, Chris White, bass; and Rudy Collins, drums
NAT HENTOFF
"Sensational!" . . . A Strong and Stinging Picture!" - Bosley Crowther, N.Y. Times
"A Loud, Long, Powerful Cry of Outrage!" - Judith Christ, N.Y. Herald - Tribune
"Authentic, Engrossing and Overpowering!" - - Jesse Walker, N.Y. Amsterdam News
"A shocker - !" - Time
"The Cool World is as shocking as the truth: It is the truth." - James Farmer, National Director, CORE
"It is the face of a black boy as beautiful as he is condemned." - Bayard Rustin, Deputy Director, The March on Washington for Jobs and Freedom
"The jangle, bite and movement of city life is there .. ." - Variety
This was a period when Gillespie was overshadowed by Miles Davis, in no small part because Davis consistently assembled more innovative bands. But this edition of Gillespie's quintet was one of the finest bands of its day. Like their leader, its members oozed musicianship and personality. The vocal effects that Moody was then beginning to incorporate (his throaty chuckles on Duke on the Ron, for example) are in the same spirit as Gillespie's speechlike blats, and Barron's up - tempo solos, in particular, demonstrate what a polished improviser he was even when barely out of his teens. Rudy Collins enlivens Coolie with his zesty rim shots, and he and Chris White provide a stirring example of rhythm - section teamwork with their slightly out - of - phase delineation of the beat on Coney Island ù one of several numbers on which the bassist's enthusiasm for, and insight into, Waldron's music is abundantly evident.
The Cool World was no one - shot; Moody, Barron, and White all remember Gillespie calling numbers from the album on the bandstand long after the recording date. The same is true of the tunes from Dizzy Goes Hollywood, about which little needs to be said, other than that Gillespie and the arranger Billy Byers cleverly transform Walk on the Wild Side into Bobby Timmons and teach Lawrence of Arabia to snap his fingers. As with The Cool World, the brevity of most of the performances was probably a bid for airplay, and Gillespie no doubt figured that it wouldn't hurt his chances any to offer casual listeners tunes with which they were familiar. But brevity is itself no vice (Gillespie's classic bop sides of the Forties weren't any longer), and the leader and his sidemen play these tunes (Theme from Picnic, especially) with irresistible elan. And though it may seem a tad incongruous to pair this album with a score of a movie by a director who resolutely refused to go Hollywood, the link is Gillespie's sly eloquence. Every last note of his from this period is worth hearing, especially his music with this great band.
As White puts it, "Every night, I worked with him during those years was thrilling. Of course, him being who he was, there was a certain level of competence he wouldn't let himself or us fall below. But there were nights when he would scare you, he was so good. I would go home still shaking my head in wonder at what he played."
Francis Davis December 1995
Francis Davis is the author of The History of the Blues (Hyperion, New York, 1995), Bebop and Nothingness (Schirmer/MacMillan, New York, 1996), and a forthcoming biography of John Coltrane (Knopf).
Based on the novel by Warren Miller and the subsequent play by Miller and Robert Rossen, Frederick Wiseman's production of The Cool World - directed by Shirley Clarke - is an unsparing distillation of life in Harlem. In a way, it is an animation of the comprehensive report. Youth in the Ghetto, by HARYOU {Harlem Youth Opportunities Unlimited).
HARYOU subtitled its report, "A Study in the Consequences of Powcrlessness." And that's what The Cool World is ail aboot. Negro youngsters, caught in the vise of prejudice which severely delimils their expectations of vocational opportunities anrf of real freedom in all areas of life, will sometimes react by lashing out at the society which is trying to crush them. In The Cool World, one such youngster is fiffteen - year - old Duke. The film follows him as he tries to achieve manhood in the only ways which seem to him to be open - the acquisition of power as a gang leader and the acquisition of a gun.
In the course of Duke's raw, desperate odyssey, we also see other youngsters like him as well as Priest, a man from the ghetto who has "graduated" to become a full - time hood. But even Priest's power is circumscribed because he is vulnerable to the white hierarchy of the underworld which eventually kills him. A poignant subtheme is Duke's relationship with LuAnne, a lost girl of the ghetto who - until Duke takes her to Coney island - has never seen the sea. The picture's triple climax is a gang rumble, led by Duke; the murder of Priest by gangsters from downtown,and the Brutalizing arrest of Duke by the police.
'The picture," Mal Waldron emphasizes, "is very strong because it has so much truth in it. And so, in the music I wrote, I wanted to be as straight as Shirley Clarke and the actors had been. I tried to get into the score the desolation of these youngsters and their desperate bravado."
As this album demonstrates, Mal Waldron succeeded, and the interpretation of the score by Dizzy Gillespie further heightens the tensions and the self - destructive release from tensions which characterize life in the ghetto.
Rarely on records has dizzy Gillespie himself been as penetratingly expressive - from the reflective, intense lyricism of Bonnie's Blues to the pungent thrust of Duke's Awakening and the gathering anxiety of Duke on the Run. One of the most evocative sections of the score - and of the quintet's playing of it - is Coney Island. To Duke and LuAnne, that stretch of sand and the limitless ocean is in stark contrast to the overcrowded, hypertensive scene of their normal prison uptown. And the music reflects the initial strangeness and then the temporary immersion of Duke and LuAnne in this oasis of calm, Each track, for that matter, is a lean, pursuasive vignette of particular elements in The Cool World - and through Ihe music, one can feel the accelerating need of young Duke to find a place for himself Also clear is the essential innocence of LuAnne (for all her sexual sophistication). And the brooding, ominous undercurrent is one of compressed frustration which finally explodes in Ihe death of Priest and the waste of Duke, Newsweek said of the film' "This is not a series of squalid 35mm. picture postcards, but a work of art informed by knowing compassion " The same can be said of Mal Waldron's score and the playing of Dizzy Gillespie, James Moody, tenor saxophone and flute; Kenny Barron, piano, Chris White, bass; and Rudy Collins, drums
NAT HENTOFF
"Sensational!" . . . A Strong and Stinging Picture!" - Bosley Crowther, N.Y. Times
"A Loud, Long, Powerful Cry of Outrage!" - Judith Christ, N.Y. Herald - Tribune
"Authentic, Engrossing and Overpowering!" - - Jesse Walker, N.Y. Amsterdam News
"A shocker - !" - Time
"The Cool World is as shocking as the truth: It is the truth." - James Farmer, National Director, CORE
"It is the face of a black boy as beautiful as he is condemned." - Bayard Rustin, Deputy Director, The March on Washington for Jobs and Freedom
"The jangle, bite and movement of city life is there .. ." - Variety
This was a period when Gillespie was overshadowed by Miles Davis, in no small part because Davis consistently assembled more innovative bands. But this edition of Gillespie's quintet was one of the finest bands of its day. Like their leader, its members oozed musicianship and personality. The vocal effects that Moody was then beginning to incorporate (his throaty chuckles on Duke on the Ron, for example) are in the same spirit as Gillespie's speechlike blats, and Barron's up - tempo solos, in particular, demonstrate what a polished improviser he was even when barely out of his teens. Rudy Collins enlivens Coolie with his zesty rim shots, and he and Chris White provide a stirring example of rhythm - section teamwork with their slightly out - of - phase delineation of the beat on Coney Island ù one of several numbers on which the bassist's enthusiasm for, and insight into, Waldron's music is abundantly evident.
The Cool World was no one - shot; Moody, Barron, and White all remember Gillespie calling numbers from the album on the bandstand long after the recording date. The same is true of the tunes from Dizzy Goes Hollywood, about which little needs to be said, other than that Gillespie and the arranger Billy Byers cleverly transform Walk on the Wild Side into Bobby Timmons and teach Lawrence of Arabia to snap his fingers. As with The Cool World, the brevity of most of the performances was probably a bid for airplay, and Gillespie no doubt figured that it wouldn't hurt his chances any to offer casual listeners tunes with which they were familiar. But brevity is itself no vice (Gillespie's classic bop sides of the Forties weren't any longer), and the leader and his sidemen play these tunes (Theme from Picnic, especially) with irresistible elan. And though it may seem a tad incongruous to pair this album with a score of a movie by a director who resolutely refused to go Hollywood, the link is Gillespie's sly eloquence. Every last note of his from this period is worth hearing, especially his music with this great band.
As White puts it, "Every night, I worked with him during those years was thrilling. Of course, him being who he was, there was a certain level of competence he wouldn't let himself or us fall below. But there were nights when he would scare you, he was so good. I would go home still shaking my head in wonder at what he played."
Francis Davis December 1995
Francis Davis is the author of The History of the Blues (Hyperion, New York, 1995), Bebop and Nothingness (Schirmer/MacMillan, New York, 1996), and a forthcoming biography of John Coltrane (Knopf).
CD scan
EAC log
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 22. June 2009, 12:45
Dizzy Gillespie / The Cool World & Dizzy Goes Hollywood
Used drive : HL-DT-STDVD-RAM GH22NP20 Adapter: 0 ID: 0
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 : Installed external ASPI interface
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 320 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 5:17.27 | 0 | 23801
2 | 5:17.27 | 2:34.05 | 23802 | 35356
3 | 7:51.32 | 4:10.70 | 35357 | 54176
4 | 12:02.27 | 2:42.68 | 54177 | 66394
5 | 14:45.20 | 5:15.47 | 66395 | 90066
6 | 20:00.67 | 2:35.35 | 90067 | 101726
7 | 22:36.27 | 4:00.50 | 101727 | 119776
8 | 26:37.02 | 3:44.58 | 119777 | 136634
9 | 30:21.60 | 2:16.22 | 136635 | 146856
10 | 32:38.07 | 3:39.30 | 146857 | 163311
11 | 36:17.37 | 3:07.25 | 163312 | 177361
12 | 39:24.62 | 2:44.53 | 177362 | 189714
13 | 42:09.40 | 2:52.70 | 189715 | 202684
14 | 45:02.35 | 3:10.25 | 202685 | 216959
15 | 48:12.60 | 2:19.22 | 216960 | 227406
16 | 50:32.07 | 7:12.45 | 227407 | 259851
17 | 57:44.52 | 2:47.33 | 259852 | 272409
18 | 60:32.10 | 2:49.37 | 272410 | 285121
19 | 63:21.47 | 2:27.00 | 285122 | 296146
20 | 65:48.47 | 3:06.55 | 296147 | 310151
21 | 68:55.27 | 3:10.60 | 310152 | 324461
22 | 72:06.12 | 3:00.00 | 324462 | 337961
Track 1
Filename D:\music\rip\Dizzy Gillespie - The Cool World & Dizzy Goes Hollywood (1963) {2 in 1, Russia}\01 - Theme from The Cool World.wav
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Track 2
Filename D:\music\rip\Dizzy Gillespie - The Cool World & Dizzy Goes Hollywood (1963) {2 in 1, Russia}\02 - The Pushers.wav
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Track 3
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Track 4
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Track 5
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Track 6
Filename D:\music\rip\Dizzy Gillespie - The Cool World & Dizzy Goes Hollywood (1963) {2 in 1, Russia}\06 - Street Music.wav
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Track 7
Filename D:\music\rip\Dizzy Gillespie - The Cool World & Dizzy Goes Hollywood (1963) {2 in 1, Russia}\07 - Bonnie's Blues.wav
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Track 8
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Track 9
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Track 10
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Track 11
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Track 12
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Track 13
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Track 14
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Track 15
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Track 16
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Track 17
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Track 18
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Track 19
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Track 20
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Track 21
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Track 22
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End of status report
Tau
Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш
Если нет сидов или раздача находится в архиве, пришлите письмо, и я вернусь
Заботьтесь о своем рейтинге - приветствуется конвертация моих раздач в мп3 и выкладывание в соотвтствующем разделе
Any questions - projazzclub@gmail.com
This album is available on our DC++ hub: dchub://hub.pro-jazz.com:7777
This album is available on our DC++ hub: dchub://hub.pro-jazz.com:7777