(Bop, Swing) Oscar Peterson - Oscar in Paris: Live at the Salle Pleyel - 1996, FLAC (image+.cue), lossless
Oscar Peterson - Oscar in Paris: Live at the Salle Pleyel
Жанр: Bop, Swing
Год выпуска диска: 1997
Год записи диска: 1996
Производитель диска: USA
Аудио кодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 1:48:22
Трэклист:
Disc One
1. Falling In Love with Love (Richard Rodgers, Lorenz Hart) 9:17
Chappell & Co., Inc. Williamson Music Co. (ASCAP)
2. Nighttime (Oscar Peterson) 8:39
Tomi Music (BMI)
3. Tranquille (Oscar Peterson) 9:30
Tomi Music (BMI)
4. Smudge (Oscar Peterson) 8:47
Tomi Music (BMI)
5. Love Ballade (Oscar Peterson) 10:31
Tomi Music (BMI)
6. Sushi (Oscar Peterson) 8:44
Tomi Music (BMI)
Disc Two
1. Kelly's Blues (Oscar Peterson) 7:08
Tomi Music (BMI)
2. She HAS Gone (Oscar Peterson) 8:08
Tomi Music (BMI)
3. You Look Good To Me (Kleiment Wells, Seymour Lefco) 7:18
Ray Brown Music (BMI)
4. Peace (Oscar Peterson) 8:35
Tomi Music (BMI)
5. Sweet Georgia Brown (Ben Bernie, Maceo Pinkard, Ken Casey) 8:23
Remick Music Corp. (ASCAP)
6. Here's That Rainy Day (Johnny Burke, Jimmy Van Heusen)
Bourne Co. / Music Sales Corp. (ASCAP)
7. We Will Love Again (Oscar Peterson) 10:56
Tomi Music (BMI)
Доп. информация:
OSCAR PETERSON - Piano
Niels-Hedding Orsted Pedersen - Bass
Lorne Lofsky - Guitar
Martin Drew - Drums
Жанр: Bop, Swing
Год выпуска диска: 1997
Год записи диска: 1996
Производитель диска: USA
Аудио кодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 1:48:22
Трэклист:
Disc One
1. Falling In Love with Love (Richard Rodgers, Lorenz Hart) 9:17
Chappell & Co., Inc. Williamson Music Co. (ASCAP)
2. Nighttime (Oscar Peterson) 8:39
Tomi Music (BMI)
3. Tranquille (Oscar Peterson) 9:30
Tomi Music (BMI)
4. Smudge (Oscar Peterson) 8:47
Tomi Music (BMI)
5. Love Ballade (Oscar Peterson) 10:31
Tomi Music (BMI)
6. Sushi (Oscar Peterson) 8:44
Tomi Music (BMI)
Disc Two
1. Kelly's Blues (Oscar Peterson) 7:08
Tomi Music (BMI)
2. She HAS Gone (Oscar Peterson) 8:08
Tomi Music (BMI)
3. You Look Good To Me (Kleiment Wells, Seymour Lefco) 7:18
Ray Brown Music (BMI)
4. Peace (Oscar Peterson) 8:35
Tomi Music (BMI)
5. Sweet Georgia Brown (Ben Bernie, Maceo Pinkard, Ken Casey) 8:23
Remick Music Corp. (ASCAP)
6. Here's That Rainy Day (Johnny Burke, Jimmy Van Heusen)
Bourne Co. / Music Sales Corp. (ASCAP)
7. We Will Love Again (Oscar Peterson) 10:56
Tomi Music (BMI)
Доп. информация:
OSCAR PETERSON - Piano
Niels-Hedding Orsted Pedersen - Bass
Lorne Lofsky - Guitar
Martin Drew - Drums
о диске
The first Salle Pleyel, on the Rue Rochechoart in Paris, was opened by the Pleyel piano firm in 1830 and quickly established itself as one of the leading concert halls in Europe. Its founder, the composer, pianist, publisher, and piano maker Ignace Joseph Pleyel, was an extraordinarily versatile figure in nineteenth-century music, so popular in his own lifetime that even so remote a settlement from Paris as the whaling port of Nantucket in Massachusetts had its own Pleyel Society. His son, the pianist Camille Pleyel, continued the family traditions, and among the most famous pianists he presented at the hall was his friend Frederic Chopin, whose first and last Paris recitals were given there respectively in 1832 and 1848.
In our own century, the Salle Pleyel was rebuilt on a grander scale, and reopened at 252 Rue du Faubourg St. Honore in 1927, where it remains to this day. It continued the great tradition of its predecessor, with concerts by all the leading pianists of the age, and has been described by many musicians, including French classical and jazz pianist Jacques Loussier, as one of the two or three best concert halls in the world for its mixture of excellent acoustics and warm atmosphere. However, in the years since World War II, the Salle Pleyel has also established itself as the principal venue in France for presenting international jazz concerts. One of the first, in November 1947, was the post-war reunion of Stephane Grappelli and Django Reinhardt with the "return home" of their Quintet of the Hot Club of France, and within a few years there had been epoch-making concerts there by Dizzy Gillespie, Gerry Mulligan, Charlie Parker, Miles Davis, and Sidney Bechet. In many cases the Salle Pleyel was the venue in which such musicians first played for French audiences, and it established a fervent enthusiasm among its public for jazz musicians from across the Atlantic.
Oscar Peterson's June 1996 recital is a marvelous example of both aspects of the Salle Pleyel tradition, being a display of both masterly pianism and international jazz cooperation, with a quartet containing two Canadians, one Dane, and one Englishman. Peterson himself is no stranger to the Salle Pleyel, having made many appearances there over the years, with highlights including a virtuoso duo recital and recording with guitarist Joe Pass in March 1975. The roar from the audience that greets Oscar's arrival on stage in the opening Falling In Love with Love shows that his many Parisian friends were out in force, and demonstrates the very special atmosphere of this hall among the regular venues on the touring jazz circuit.
The program is typical of many a latter-day Peterson performance, with several of Oscar's original compositions intertwined with evergreen standards. Hearing the vigor with which the quartet romps into Sweet Georgia Brown, it comes as something of a surprise to realize that Oscar first recorded this piece in March 1949. Almost half a century has slipped past since then, but Oscar's performance is still fresh and vital, and that piece, as the climax of the concert, leaves his audience clamoring for more.
Throughout the evening, Oscar's piano work displays his mastery of the idiom, from flowing solos, with his trademark of repetitive phrases worried into subtle variations across a whole chorus (like his central solo in the opening piece), to the lyrical, impressionistic opening piano on Love Ballade, which harks back to the long French solo tradition at the Salle Pleyel. Recent illness has forced a modification of Peterson's technique, but his mature soloing here, especially on the doubled-up tempo in Tranquille or the locked chord phrases in Kelly's Blues, is as accomplished as anything he has done in his long career.
It was in 1971 that Niels-Henning Orsted Pedersen made his recording debut with Oscar Peterson, and the rapport with which the two men now work is born of twenty-five years' worth of collaboration. Among the top flight of today's bassists, Pedersen is one of the most lyrical soloists, but he also has a sense of linear form and melodic development which, coupled with his remarkable technique, makes him sound as if he is soloing with the freedom of a saxophonist or brass player. Here, his lyricism is perfectly displayed on "Love Ballade," while he pulls out all the stops for a breathtaking melodic solo on the encore, Here's That Rainy Day. The interplay between his playing and Peterson's is nowhere better represented than on the old 1930s song You Look Good to Me. First recorded by Fats Waller in October 1938, and rapidly followed up with a cover version by Chick Bullock before being consigned to obscurity for many years, the song never quite gets its catchy melody stated in full by the Peterson Quartet. Instead, Oscar substitutes a neat little riff for his first chorus, launching Niels-Henning into the melody for a few measures before the bassist's own melodic instincts take over in a tour-de-force solo.
Martin Drew's partnership with Oscar Peterson is also a product of the 1970s, beginning just three years later than that of Niels-Henning. Once upon a time, there was a rumor going around that Europeans, and the English in particular, weren't really able to play jazz properly, and that they were notably deficient in the rhythm section department. Happily, in a long international career, Martin Drew has proved this to be untrue, and from the opening "Falling in Love" he shows just why he's been a favorite accompanist of Oscar Peterson's for so long. He begins with a solo on sticks, backs up the arrival of Pedersen and Lofsky, and as soon as the piano comes in is suddenly providing the most deft and subtle of brushed accompaniments, before seeing the number out in a sequence of eight-measure exchanges. With playing of this caliber, it's obvious why Martin has been the favored drummer to accompany so many American musicians on visits to Europe, from Ella Fitzgerald and Nina Simone to Milt Jackson and Freddie Hubbard, and above all why he was chosen as drummer for that paragon of English jazz, Ronnie Scott, as a member of the late saxophonist and clubowner's quartet for twenty years.
Finally, it is important not to overlook the importance to this quartet of guitarist Lome Lofsky. Born in Toronto, and a protege of Peterson's (who produced Lome's first album), Lofsky has been a frequent member of Oscar's touring groups, with memorable appearances in Europe at halls in Vienna and Munich. His touring work combines with a distinguished career at York University, his alma mater. He fits perfectly in the role established by Herb Ellis, Barney Kessel, and the long string of other guitarists who have worked in Peterson's groups, but he has also helped to form Oscar's current style by subtly supporting the pianist's dazzling right hand runs with appropriate chording. When he emerges into the limelight, as he does most effectively here on Smudge, it is to contrast the complexity of the piano solos with a straightforward simplicity of his own.
The two CDs of this set are in exactly the sequence of the concert, and as we are privileged to eavesdrop on the event, we can share an international jazz collaboration of the highest order at the European venue that has, above all others, made such collaborations its own.
— Alyn Shipton
Jazz Critic for the London Times and presenter
of jazz programs for BBC Radio
In our own century, the Salle Pleyel was rebuilt on a grander scale, and reopened at 252 Rue du Faubourg St. Honore in 1927, where it remains to this day. It continued the great tradition of its predecessor, with concerts by all the leading pianists of the age, and has been described by many musicians, including French classical and jazz pianist Jacques Loussier, as one of the two or three best concert halls in the world for its mixture of excellent acoustics and warm atmosphere. However, in the years since World War II, the Salle Pleyel has also established itself as the principal venue in France for presenting international jazz concerts. One of the first, in November 1947, was the post-war reunion of Stephane Grappelli and Django Reinhardt with the "return home" of their Quintet of the Hot Club of France, and within a few years there had been epoch-making concerts there by Dizzy Gillespie, Gerry Mulligan, Charlie Parker, Miles Davis, and Sidney Bechet. In many cases the Salle Pleyel was the venue in which such musicians first played for French audiences, and it established a fervent enthusiasm among its public for jazz musicians from across the Atlantic.
Oscar Peterson's June 1996 recital is a marvelous example of both aspects of the Salle Pleyel tradition, being a display of both masterly pianism and international jazz cooperation, with a quartet containing two Canadians, one Dane, and one Englishman. Peterson himself is no stranger to the Salle Pleyel, having made many appearances there over the years, with highlights including a virtuoso duo recital and recording with guitarist Joe Pass in March 1975. The roar from the audience that greets Oscar's arrival on stage in the opening Falling In Love with Love shows that his many Parisian friends were out in force, and demonstrates the very special atmosphere of this hall among the regular venues on the touring jazz circuit.
The program is typical of many a latter-day Peterson performance, with several of Oscar's original compositions intertwined with evergreen standards. Hearing the vigor with which the quartet romps into Sweet Georgia Brown, it comes as something of a surprise to realize that Oscar first recorded this piece in March 1949. Almost half a century has slipped past since then, but Oscar's performance is still fresh and vital, and that piece, as the climax of the concert, leaves his audience clamoring for more.
Throughout the evening, Oscar's piano work displays his mastery of the idiom, from flowing solos, with his trademark of repetitive phrases worried into subtle variations across a whole chorus (like his central solo in the opening piece), to the lyrical, impressionistic opening piano on Love Ballade, which harks back to the long French solo tradition at the Salle Pleyel. Recent illness has forced a modification of Peterson's technique, but his mature soloing here, especially on the doubled-up tempo in Tranquille or the locked chord phrases in Kelly's Blues, is as accomplished as anything he has done in his long career.
It was in 1971 that Niels-Henning Orsted Pedersen made his recording debut with Oscar Peterson, and the rapport with which the two men now work is born of twenty-five years' worth of collaboration. Among the top flight of today's bassists, Pedersen is one of the most lyrical soloists, but he also has a sense of linear form and melodic development which, coupled with his remarkable technique, makes him sound as if he is soloing with the freedom of a saxophonist or brass player. Here, his lyricism is perfectly displayed on "Love Ballade," while he pulls out all the stops for a breathtaking melodic solo on the encore, Here's That Rainy Day. The interplay between his playing and Peterson's is nowhere better represented than on the old 1930s song You Look Good to Me. First recorded by Fats Waller in October 1938, and rapidly followed up with a cover version by Chick Bullock before being consigned to obscurity for many years, the song never quite gets its catchy melody stated in full by the Peterson Quartet. Instead, Oscar substitutes a neat little riff for his first chorus, launching Niels-Henning into the melody for a few measures before the bassist's own melodic instincts take over in a tour-de-force solo.
Martin Drew's partnership with Oscar Peterson is also a product of the 1970s, beginning just three years later than that of Niels-Henning. Once upon a time, there was a rumor going around that Europeans, and the English in particular, weren't really able to play jazz properly, and that they were notably deficient in the rhythm section department. Happily, in a long international career, Martin Drew has proved this to be untrue, and from the opening "Falling in Love" he shows just why he's been a favorite accompanist of Oscar Peterson's for so long. He begins with a solo on sticks, backs up the arrival of Pedersen and Lofsky, and as soon as the piano comes in is suddenly providing the most deft and subtle of brushed accompaniments, before seeing the number out in a sequence of eight-measure exchanges. With playing of this caliber, it's obvious why Martin has been the favored drummer to accompany so many American musicians on visits to Europe, from Ella Fitzgerald and Nina Simone to Milt Jackson and Freddie Hubbard, and above all why he was chosen as drummer for that paragon of English jazz, Ronnie Scott, as a member of the late saxophonist and clubowner's quartet for twenty years.
Finally, it is important not to overlook the importance to this quartet of guitarist Lome Lofsky. Born in Toronto, and a protege of Peterson's (who produced Lome's first album), Lofsky has been a frequent member of Oscar's touring groups, with memorable appearances in Europe at halls in Vienna and Munich. His touring work combines with a distinguished career at York University, his alma mater. He fits perfectly in the role established by Herb Ellis, Barney Kessel, and the long string of other guitarists who have worked in Peterson's groups, but he has also helped to form Oscar's current style by subtly supporting the pianist's dazzling right hand runs with appropriate chording. When he emerges into the limelight, as he does most effectively here on Smudge, it is to contrast the complexity of the piano solos with a straightforward simplicity of his own.
The two CDs of this set are in exactly the sequence of the concert, and as we are privileged to eavesdrop on the event, we can share an international jazz collaboration of the highest order at the European venue that has, above all others, made such collaborations its own.
— Alyn Shipton
Jazz Critic for the London Times and presenter
of jazz programs for BBC Radio
EAC log CD1
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
Отчёт EAC об извлечении, выполненном 16. мая 2009, 16:18
Oscar Peterson / Oscar in Paris: Live at the Salle Pleyel
Дисковод: _NEC DVD_RW ND-3500AG Adapter: 1 ID: 0
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 48
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 1024 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files\FLAC\flac.exe
Дополнительные параметры : -8 -V %s -o %d
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 9:28.05 | 0 | 42604
2 | 9:28.05 | 8:51.35 | 42605 | 82464
3 | 18:19.40 | 9:43.55 | 82465 | 126244
4 | 28:03.20 | 8:58.25 | 126245 | 166619
5 | 37:01.45 | 10:41.40 | 166620 | 214734
6 | 47:43.10 | 8:53.05 | 214735 | 254714
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\Downloads\my music\0EAC\Oscar Peterson - Oscar in Paris Live at the Salle Pleyel.wav
Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC копии E94CA46E
Копирование... OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 точное извлечение (доверие 10) [3596F013]
Трек 2 точное извлечение (доверие 10) [3B839CA7]
Трек 3 точное извлечение (доверие 9) [25606EAC]
Трек 4 точное извлечение (доверие 10) [974634B8]
Трек 5 точное извлечение (доверие 10) [14505AAF]
Трек 6 точное извлечение (доверие 10) [9EA09F6D]
Все треки извлечены точно
Конец отчёта
Отчёт EAC об извлечении, выполненном 16. мая 2009, 16:18
Oscar Peterson / Oscar in Paris: Live at the Salle Pleyel
Дисковод: _NEC DVD_RW ND-3500AG Adapter: 1 ID: 0
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 48
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 1024 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files\FLAC\flac.exe
Дополнительные параметры : -8 -V %s -o %d
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 9:28.05 | 0 | 42604
2 | 9:28.05 | 8:51.35 | 42605 | 82464
3 | 18:19.40 | 9:43.55 | 82465 | 126244
4 | 28:03.20 | 8:58.25 | 126245 | 166619
5 | 37:01.45 | 10:41.40 | 166620 | 214734
6 | 47:43.10 | 8:53.05 | 214735 | 254714
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\Downloads\my music\0EAC\Oscar Peterson - Oscar in Paris Live at the Salle Pleyel.wav
Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC копии E94CA46E
Копирование... OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 точное извлечение (доверие 10) [3596F013]
Трек 2 точное извлечение (доверие 10) [3B839CA7]
Трек 3 точное извлечение (доверие 9) [25606EAC]
Трек 4 точное извлечение (доверие 10) [974634B8]
Трек 5 точное извлечение (доверие 10) [14505AAF]
Трек 6 точное извлечение (доверие 10) [9EA09F6D]
Все треки извлечены точно
Конец отчёта
EAC log CD2
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
Отчёт EAC об извлечении, выполненном 16. мая 2009, 17:02
Oscar Peterson / Oscar in Paris: Live at the Salle Pleyel (CD 2)
Дисковод: _NEC DVD_RW ND-3500AG Adapter: 1 ID: 0
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 48
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 1024 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files\FLAC\flac.exe
Дополнительные параметры : -8 -V %s -o %d
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 7:17.02 | 0 | 32776
2 | 7:17.02 | 8:21.28 | 32777 | 70379
3 | 15:38.30 | 7:27.17 | 70380 | 103921
4 | 23:05.47 | 8:50.00 | 103922 | 143671
5 | 31:55.47 | 8:39.63 | 143672 | 182659
6 | 40:35.35 | 11:11.05 | 182660 | 232989
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\Downloads\my music\0EAC\Oscar Peterson - Oscar in Paris Live at the Salle Pleyel\CD 2\Oscar Peterson - Oscar in Paris Live at the Salle Pleyel (CD 2).wav
Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC копии 977EFCA5
Копирование... OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 точное извлечение (доверие 10) [825F2993]
Трек 2 точное извлечение (доверие 10) [ACE09DE4]
Трек 3 точное извлечение (доверие 10) [CB80FD4C]
Трек 4 точное извлечение (доверие 10) [8085ED64]
Трек 5 точное извлечение (доверие 9) [B56C710F]
Трек 6 точное извлечение (доверие 9) [56EC3980]
Все треки извлечены точно
Конец отчёта
Отчёт EAC об извлечении, выполненном 16. мая 2009, 17:02
Oscar Peterson / Oscar in Paris: Live at the Salle Pleyel (CD 2)
Дисковод: _NEC DVD_RW ND-3500AG Adapter: 1 ID: 0
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 48
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 1024 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files\FLAC\flac.exe
Дополнительные параметры : -8 -V %s -o %d
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 7:17.02 | 0 | 32776
2 | 7:17.02 | 8:21.28 | 32777 | 70379
3 | 15:38.30 | 7:27.17 | 70380 | 103921
4 | 23:05.47 | 8:50.00 | 103922 | 143671
5 | 31:55.47 | 8:39.63 | 143672 | 182659
6 | 40:35.35 | 11:11.05 | 182660 | 232989
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\Downloads\my music\0EAC\Oscar Peterson - Oscar in Paris Live at the Salle Pleyel\CD 2\Oscar Peterson - Oscar in Paris Live at the Salle Pleyel (CD 2).wav
Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC копии 977EFCA5
Копирование... OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 точное извлечение (доверие 10) [825F2993]
Трек 2 точное извлечение (доверие 10) [ACE09DE4]
Трек 3 точное извлечение (доверие 10) [CB80FD4C]
Трек 4 точное извлечение (доверие 10) [8085ED64]
Трек 5 точное извлечение (доверие 9) [B56C710F]
Трек 6 точное извлечение (доверие 9) [56EC3980]
Все треки извлечены точно
Конец отчёта
Any questions - [email protected]
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