(Brazilian Jazz, Bossa Nova, Samba) Walter Wanderley - O Samba E Mais Samba com Walter Wanderley - 2002, APE (image+.cue) lossless
Walter Wanderley - O Samba É Mais Samba com Walter Wanderley
Жанр: Brazilian Jazz, Bossa Nova, Samba
Страна-производитель диска: Brazil
Год издания диска: 2002
Издатель (лейбл): EMI / Odeon 100ANOS
Номер по каталогу: 541557 2
Аудио кодек: APE (*.ape)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 00:29:17
Источник (релизер): barin99
Наличие сканов в содержимом раздачи: да
Треклист:
01. Labareda
02. Você E Eu
03. Volto Já
04. Eu Nao Tenho Onde Morar
05. Deixa Andar
06. Eu E O Rio
07. A Mesma Rosa Amarela
08. Corcovado
09. Só Vou de Mulher
10. Que Sabe Você De Mim
11. A Nega Se Vingou
12. O Poema Da Vida
Жанр: Brazilian Jazz, Bossa Nova, Samba
Страна-производитель диска: Brazil
Год издания диска: 2002
Издатель (лейбл): EMI / Odeon 100ANOS
Номер по каталогу: 541557 2
Аудио кодек: APE (*.ape)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 00:29:17
Источник (релизер): barin99
Наличие сканов в содержимом раздачи: да
Треклист:
01. Labareda
02. Você E Eu
03. Volto Já
04. Eu Nao Tenho Onde Morar
05. Deixa Andar
06. Eu E O Rio
07. A Mesma Rosa Amarela
08. Corcovado
09. Só Vou de Mulher
10. Que Sabe Você De Mim
11. A Nega Se Vingou
12. O Poema Da Vida
Лог создания рипа (EAC Log)
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 1. May 2011, 20:18
Walter Wanderley / O Samba E Mais Samba
Used drive : TSSTcorpDVD+-RW TS-U633A Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
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 | 0:00.00 | 2:34.70 | 0 | 11619
2 | 2:34.70 | 2:09.27 | 11620 | 21321
3 | 4:44.22 | 2:00.70 | 21322 | 30391
4 | 6:45.17 | 2:12.23 | 30392 | 40314
5 | 8:57.40 | 2:18.37 | 40315 | 50701
6 | 11:16.02 | 3:06.50 | 50702 | 64701
7 | 14:22.52 | 3:11.33 | 64702 | 79059
8 | 17:34.10 | 2:06.12 | 79060 | 88521
9 | 19:40.22 | 2:24.53 | 88522 | 99374
10 | 22:05.00 | 2:12.22 | 99375 | 109296
11 | 24:17.22 | 2:44.43 | 109297 | 121639
12 | 27:01.65 | 2:15.57 | 121640 | 131821
Range status and errors
Selected range
Filename C:\_Arc\BARIN99\Walter Wanderley - O Samba E Mais Samba\Walter Wanderley - O Samba E Mais Samba.wav
Peak level 100.0 %
Range quality 99.9 %
Copy CRC 60D8ADC8
Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
Track 10 not present in database
Track 11 not present in database
Track 12 accurately ripped (confidence 1) [1C7DB995]
1 track(s) accurately ripped
11 track(s) not present in the AccurateRip database
Some tracks could not be verified as accurate
End of status report
Содержание индексной карты (.CUE)
REM GENRE "Bossa Nova"
REM DATE 1972
REM DISCID A506DD0C
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Walter Wanderley"
TITLE "O Samba E Mais Samba"
FILE "Walter Wanderley - O Samba E Mais Samba.ape" WAVE
TRACK 01 AUDIO
TITLE "Labareda"
PERFORMER "Walter Wanderley"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Vocк E Eu"
PERFORMER "Walter Wanderley"
INDEX 01 02:34:70
TRACK 03 AUDIO
TITLE "Volto Jб"
PERFORMER "Walter Wanderley"
INDEX 01 04:44:22
TRACK 04 AUDIO
TITLE "Eu Nгo Tenho Onde Morar"
PERFORMER "Walter Wanderley"
INDEX 01 06:45:17
TRACK 05 AUDIO
TITLE "Deixa Andar"
PERFORMER "Walter Wanderley"
INDEX 01 08:57:40
TRACK 06 AUDIO
TITLE "Eu E O Rio"
PERFORMER "Walter Wanderley"
INDEX 01 11:16:02
TRACK 07 AUDIO
TITLE "A Mesma Rosa Amarela"
PERFORMER "Walter Wanderley"
INDEX 01 14:22:52
TRACK 08 AUDIO
TITLE "Corcovado"
PERFORMER "Walter Wanderley"
INDEX 01 17:34:10
TRACK 09 AUDIO
TITLE "Sу Vou de Mulher"
PERFORMER "Walter Wanderley"
INDEX 01 19:40:22
TRACK 10 AUDIO
TITLE "Que Sabe Vocк De Mim"
PERFORMER "Walter Wanderley"
INDEX 01 22:05:00
TRACK 11 AUDIO
TITLE "A Nega Se Vingou"
PERFORMER "Walter Wanderley"
INDEX 01 24:17:22
TRACK 12 AUDIO
TITLE "O Poema Da Vida"
PERFORMER "Walter Wanderley"
INDEX 01 27:01:65
AMG
"Walter Wanderley was a talented and gifted organist with an acute ear for new harmonies. With 46 recorded solo albums in his entire career, both in Brazil and the U.S., he reached number 26 on the Billboard pop charts in September 1966, opening a large pathway of success only menaced by himself and his complex character. Ten years after his death from cancer, with a new fad coming, he was repackaged by the entertainment industry as a mere lounge player, carrying his record sales even further and sending the cost of his out-of-print albums to the stratosphere, but all at the cost of minimizing his significance. It is forgotten that the time lag worked against him and what today is lounge music was then innovative and revolutionary. With all those fans of samba-canção divas feeling personally insulted by those percussive rhythms reminiscent of a Brazilian black tradition that was not dear to the average Brazilian, it has to be stressed that the bossa nova movement, and Wanderley within it, had the role of affirming Brazilian identity in a broader cultural industry which was developed out of the folkloric redoubts. In fact, he also has an upbeat production full of that energy provided by his distinctive staccato stuttering style, immediately reminiscent of authentic Brazilian rhythmic and percussive impetus. He also improvised extended melodic solos without reheated licks, but that was obviously also left out of his most popular albums.
At five, he was already playing the piano. At 12, he attended the Licee of Arts for a year of theory classes, later studying harmony and arranging. Beginning his professional career while still in Recife, a most lively city with a vibrant cultural life, he worked every night either at the piano or at the organ. At 26, in 1958, he moved to São Paulo and immediately became an active player in nightclubs such as the Claridge, the Captain's Bar, and Oásis. Wanderley's first recording was in August 1959 for Odeon, with Carlos Lyra's 'Lobo Bobo.' Backing his wife, Brazilian singer Isaurinha Garcia (with whom he had a daughter, Monica), he recorded for the second time one month later. At that time, he was Garcia's accompanist and arranger. He would record another six LPs accompanying Garcia and another 19 solo albums in Brazil for several labels; he was left out of some of the credits because of his contract with Philips. Wanderley became known on the artistic scene for recording young artists, like Marcos Valle, Tom Jobim, João Donato, and others, until then with no expression out of the little nightclubs in which they performed on a nightly basis. But as the tunes and arrangements were fun to dance to, the albums sold very well. João Gilberto's João Gilberto (later reissued as O Mito in Brazil and as The Legendary João Gilberto in the U.S. in 1990 by World Pacific) from 1961 also had Walter in it. An impatient Wanderley then bent under Gilberto's oppressive, meticulous direction on March 10. That was the third album Gilberto was recording for Odeon and would be the last. Until then, Gilberto had Tom Jobim as pianist and Aluísio de Oliveira as producer. In spite of his frequent discussions with de Oliveira, the producer was the person who mediated Gilberto's hard relationship with Jobim. But de Oliveira had left Odeon the previous September, and Jobim didn't want to be scheduled for that recording. Gilberto, not knowing how to write music, insisted on expressing his musical vision of overall arrangements by singing, and that not only included the tones themselves, but the expression, timbre, and articulation. This drove Wanderley mad, especially with a certain sound effect of a boat's siren for 'O Barquinho' ('Little Boat'), which was never good enough for Gilberto. The next day, Gilberto interrupted the recording of that album, only resuming it five months later with Jobim as musical director. Wanderley went on with his career and life, beginning an association with singer Claudette Soares in 1963, as an arranger and accompanist. His marriage was broken at this period. He also recorded for several renowned Brazilian singers in that time, among them Dóris Monteiro and Geraldo Vandré. It was when Tony Bennett saw Wanderley during a Brazilian tour and was taken by his playing. He urged Wanderley to move to the U.S. and, he himself talked about him to Verve Records producer Creed Taylor, also giving Taylor some of Wanderley's albums. After some insistence, Taylor sent contracts for Wanderley and his trio to record a single. So in 1966, they recorded brothers Marcos and Paulo Sérgio Valle's 'Samba de Verão' ('Summer Samba'). It was an instant success, with radio stations playing it four or five times per hour. In that same year, the LP Rain Forest came out, also selling very well and was certified platinum (one million units sold) in two years. The trio accompanied Astrud Gilberto on her A Certain Smile, a Certain Sadness album, also in 1966. He would record six more solo LPs or singles for Verve until the next year, and ten more in his career in the U.S. He always sold well and had a full performing schedule, in which local presentations at the San Francisco area were interspersed with some tours to Mexico. He never did return to Brazil after moving to the U.S. and he went on with his life until death caught up with him."
At five, he was already playing the piano. At 12, he attended the Licee of Arts for a year of theory classes, later studying harmony and arranging. Beginning his professional career while still in Recife, a most lively city with a vibrant cultural life, he worked every night either at the piano or at the organ. At 26, in 1958, he moved to São Paulo and immediately became an active player in nightclubs such as the Claridge, the Captain's Bar, and Oásis. Wanderley's first recording was in August 1959 for Odeon, with Carlos Lyra's 'Lobo Bobo.' Backing his wife, Brazilian singer Isaurinha Garcia (with whom he had a daughter, Monica), he recorded for the second time one month later. At that time, he was Garcia's accompanist and arranger. He would record another six LPs accompanying Garcia and another 19 solo albums in Brazil for several labels; he was left out of some of the credits because of his contract with Philips. Wanderley became known on the artistic scene for recording young artists, like Marcos Valle, Tom Jobim, João Donato, and others, until then with no expression out of the little nightclubs in which they performed on a nightly basis. But as the tunes and arrangements were fun to dance to, the albums sold very well. João Gilberto's João Gilberto (later reissued as O Mito in Brazil and as The Legendary João Gilberto in the U.S. in 1990 by World Pacific) from 1961 also had Walter in it. An impatient Wanderley then bent under Gilberto's oppressive, meticulous direction on March 10. That was the third album Gilberto was recording for Odeon and would be the last. Until then, Gilberto had Tom Jobim as pianist and Aluísio de Oliveira as producer. In spite of his frequent discussions with de Oliveira, the producer was the person who mediated Gilberto's hard relationship with Jobim. But de Oliveira had left Odeon the previous September, and Jobim didn't want to be scheduled for that recording. Gilberto, not knowing how to write music, insisted on expressing his musical vision of overall arrangements by singing, and that not only included the tones themselves, but the expression, timbre, and articulation. This drove Wanderley mad, especially with a certain sound effect of a boat's siren for 'O Barquinho' ('Little Boat'), which was never good enough for Gilberto. The next day, Gilberto interrupted the recording of that album, only resuming it five months later with Jobim as musical director. Wanderley went on with his career and life, beginning an association with singer Claudette Soares in 1963, as an arranger and accompanist. His marriage was broken at this period. He also recorded for several renowned Brazilian singers in that time, among them Dóris Monteiro and Geraldo Vandré. It was when Tony Bennett saw Wanderley during a Brazilian tour and was taken by his playing. He urged Wanderley to move to the U.S. and, he himself talked about him to Verve Records producer Creed Taylor, also giving Taylor some of Wanderley's albums. After some insistence, Taylor sent contracts for Wanderley and his trio to record a single. So in 1966, they recorded brothers Marcos and Paulo Sérgio Valle's 'Samba de Verão' ('Summer Samba'). It was an instant success, with radio stations playing it four or five times per hour. In that same year, the LP Rain Forest came out, also selling very well and was certified platinum (one million units sold) in two years. The trio accompanied Astrud Gilberto on her A Certain Smile, a Certain Sadness album, also in 1966. He would record six more solo LPs or singles for Verve until the next year, and ten more in his career in the U.S. He always sold well and had a full performing schedule, in which local presentations at the San Francisco area were interspersed with some tours to Mexico. He never did return to Brazil after moving to the U.S. and he went on with his life until death caught up with him."