(Bop, Hard Bop) The Prestige Jazz Quartet - The Prestige Jazz Quartet (w/ Teddy Charles, Mal Waldron, Addison Farmer, Jerry Segal) - 1957, FLAC (tracks+.cue), lossless

The Prestige Jazz Quartet - The Prestige Jazz Quartet Жанр: Bop, Hard Bop Страна-производитель диска: США Год издания: 2000 Издатель (лейбл): Prestige/Original Jazz Classics/Fantasy Номер по каталогу: OJCCD-1937-2 (P-7108) Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Битрейт аудио: lossless Продолжительность: 37:37 Источник (релизер): weejie Наличие сканов в содержимом раздачи: да Треклист: 01. Take Three Parts Jazz (Charles) - 14:23 02. Meta-Waltz (Waldron) - 5:28 03. Dear Elaine (Waldron) - 8:53 04. Friday the 13th (Monk) - 8:53 Состав: Teddy Charles - vibes Mal Waldron - piano Addison Farmer - bass Jerry Segal - drums Recorded at Van Gelder Studio, Hackensack, NJ on June 22, 1957.   Лог создания рипа EAC extraction logfile from 30. January 2008, 13:06 for CD Charles - Waldron - Segal - Farmer / The Prestige Jazz Quartet Used drive : HL-DT-STCDRW/DVD GCC4482 Adapter: 1 ID: 0 Read mode : Secure with NO C2, accurate stream, disable cache Read offset correction : 6 Overread into Lead-In and Lead-Out : No Used output format : C:\Eac\Codecs\flac.exe (User Defined Encoder) 320 kBit/s Additional command line options : -8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T "comment=EAC Flac 1.1.2 -8" %s Other options : Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Installed external ASPI interface Track 1 Filename C:\Documents and Settings\pjq\01 - Take Three Parts Jazz.wav Pre-gap length 0:00:02.00 Peak level 100.0 % Track quality 100.0 % Test CRC 6E3249D2 Copy CRC 6E3249D2 Copy OK Track 2 Filename C:\Documents and Settings\pjq\02 - Meta-Waltz.wav Pre-gap length 0:00:01.84 Peak level 100.0 % Track quality 100.0 % Test CRC F521A953 Copy CRC F521A953 Copy OK Track 3 Filename C:\Documents and Settings\pjq\03 - Dear Elaine.wav Pre-gap length 0:00:03.44 Peak level 73.5 % Track quality 100.0 % Test CRC 8100AD6C Copy CRC 8100AD6C Copy OK Track 4 Filename C:\Documents and Settings\pjq\04 - Friday The 13th.wav Pre-gap length 0:00:02.57 Peak level 100.0 % Track quality 100.0 % Test CRC D4FD1A08 Copy CRC D4FD1A08 Copy OK No errors occured End of status report     Содержание индексной карты (.CUE) REM GENRE Jazz REM DATE 1957 REM DISCID 3508D204 REM COMMENT "ExactAudioCopy v0.95b4" PERFORMER "Charles - Waldron - Segal - Farmer" TITLE "The Prestige Jazz Quartet" FILE "01 - Take Three Parts Jazz.wav" WAVE TRACK 01 AUDIO TITLE "Take Three Parts Jazz" PERFORMER "Charles - Waldron - Segal - Farmer" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Meta-Waltz" PERFORMER "Charles - Waldron - Segal - Farmer" INDEX 00 14:21:32 FILE "02 - Meta-Waltz.wav" WAVE INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "Dear Elaine" PERFORMER "Charles - Waldron - Segal - Farmer" INDEX 00 05:25:37 FILE "03 - Dear Elaine.wav" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "Friday The 13th" PERFORMER "Charles - Waldron - Segal - Farmer" INDEX 00 08:50:57 FILE "04 - Friday The 13th.wav" WAVE INDEX 01 00:00:00     Отчет CUETools [CUETools log; Date: 18.11.2012 23:13:00; Version: 2.1.4] [CTDB TOCID: y96U5rWFftCt4q0ld1gMm7tAeRw-] found. Track | CTDB Status 1 | (1/1) Accurately ripped 2 | (1/1) Accurately ripped 3 | (1/1) Accurately ripped 4 | (1/1) Accurately ripped [AccurateRip ID: 0006e971-001ae466-3508d204] found. Track [ CRC | V2 ] Status 01 [bf6a4c17|33a347be] (2+0/4) Accurately ripped 02 [a92b445c|1f688371] (2+0/4) Accurately ripped 03 [084e0f71|d2aef0d2] (2+0/4) Accurately ripped 04 [b74f8e52|b166ddd8] (2+0/4) Accurately ripped Offsetted by -659: 01 [61334bec] (2/4) Accurately ripped 02 [23155d41] (2/4) Accurately ripped 03 [5dc1868e] (2/4) Accurately ripped 04 [1862d268] (0/4) No match (V2 was not tested) Track Peak [ CRC32 ] [W/O NULL] [ LOG ] -- 100,0 [7B9AA19B] [DE3A8413] 01 100,0 [6E3249D2] [E3DE2E32] CRC32 02 100,0 [F521A953] [A446614D] CRC32 03 73,5 [8100AD6C] [743A9CBF] CRC32 04 100,0 [D4FD1A08] [42BCC900] CRC32     Review by Derek Taylor With post-bop and free now serving as the primary currencies of innovation the term ‘modernist’ has somewhat dated connotations in today’s jazz speak. Back in the 1950s however the radical advancements of Be-Bop had largely gained acceptability amongst all but the most resolute moldy fig members of the jazz intelligentsia. Modernist players and composers were searching for new directions and fresh soil to plant their roots in. Musicians like Teddy Charles, Mal Waldron, Jimmy Giuffre and John Lewis looked toward Classical and folk forms for inspiration. The Prestige Jazz Quartet was a direct outgrowth of these explorations. Solely a studio aggregation they were initially something of a replacement for the recently absconded Modern Jazz Quartet. While similar in instrumentation their music was decidedly different, delving to more recent innovations in classical and conservatory forms instead of lionizing earlier ones. Debuting as the back-up band for saxophonist (and later producer) Teo Macero, they cut this captivating session several months later. The album is largely dominated by the opening multi-sectional piece, three parts interlocking into a suite-like whole. Each part can stand-alone or together as evidenced by other versions of the first two: “Route 4” and “Lyriste” recorded by other groups on other albums. Another fascinating reading of “Route 4” is available on Coltrane’s Dakar with an unusual two baritone, tenor frontline. “Lyriste” is also afforded an unorthodox run through on the recently reissued Curtis Fuller & Hampton Hawes With French Horns date. Moving from the fast paced first section, through a meditative middle to a fast tempoed close a wealth of melodic and harmonic ideas are unveiled. Waldron’s geometric “Meta-Waltz” advances the modernist sentiments, whereas his “Dear Elaine,” a dreamy ballad dedicated to his wife, redirects the group onto less probing terrain. Closing out with the appropriately threadbare “Friday the 13th” the four men are allowed generous room to improvise. Charles malleted planks sound particularly luminous and invest the group with a warm glow. The Prestige Jazz Quartet was relatively short-lived as a regular recording entity, soon morphing into the more dynamic sounding Teddy Charles New Directions Quartet. But even with their truncated longevity this date and the earlier debut with Macero are both well worth considering. Perhaps not ‘modernist’ by today’s terminology, they more than likely bent a few ears when they were waxed.