(Contemporary Jazz, Fusion, Post-Bop) Larry Coryell - Montgomery - 2011, FLAC (image+.cue) lossless
Треклист:
Larry Coryell / Montgomery
Жанр: Contemporary Jazz, Fusion, Post-Bop
Страна-производитель диска: Россия (пиратка)
Год издания диска: 2011
Издатель (лейбл): Patuxent Music
Номер по каталогу: CD-216
Страна: USA
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 47:08
Источник (релизер): собственная коллекция
Наличие сканов в содержимом раздачи: да
Треклист:
1. Tales of the Montgomery Bus Boycott (Coryell) 7:07
2. Along Dexter Avenue (Coryell) 7:02
3. Joy at the Jail (Coryell) 6:47
4. Amazing Grace (Trad., arr. Maceo & Coryell) 3:28
5. L'Homage (Coryell) 7:58
6. Beautiful Love (Tobias) 6:50
7. What Are You Doing the Rest of Your Life? (Young/King/Van Alstyne/Gillespie) 7:55
Жанр: Contemporary Jazz, Fusion, Post-Bop
Страна-производитель диска: Россия (пиратка)
Год издания диска: 2011
Издатель (лейбл): Patuxent Music
Номер по каталогу: CD-216
Страна: USA
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 47:08
Источник (релизер): собственная коллекция
Наличие сканов в содержимом раздачи: да
Треклист:
1. Tales of the Montgomery Bus Boycott (Coryell) 7:07
2. Along Dexter Avenue (Coryell) 7:02
3. Joy at the Jail (Coryell) 6:47
4. Amazing Grace (Trad., arr. Maceo & Coryell) 3:28
5. L'Homage (Coryell) 7:58
6. Beautiful Love (Tobias) 6:50
7. What Are You Doing the Rest of Your Life? (Young/King/Van Alstyne/Gillespie) 7:55
Лог создания рипа
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
Отчёт EAC об извлечении, выполненном 29. марта 2011, 22:52
Larry Coryell / Montgomery
Дисковод: ASUS DRW-20B1LT Adapter: 4 ID: 0
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 6
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 : 320 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : D:\Program Files\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -8 --delete-input-file -o "D:\CDImage.flac" -V %s
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 7:06.72 | 0 | 32021
2 | 7:06.72 | 7:02.02 | 32022 | 63673
3 | 14:08.74 | 6:47.57 | 63674 | 94255
4 | 20:56.56 | 3:28.36 | 94256 | 109891
5 | 24:25.17 | 7:58.46 | 109892 | 145787
6 | 32:23.63 | 6:50.23 | 145788 | 176560
7 | 39:14.11 | 7:54.57 | 176561 | 212167
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\Larry Coryell - Montgomery.wav
Пиковый уровень 96.2 %
Качество диапазона 100.0 %
CRC теста 0B0AB34E
CRC копии 0B0AB34E
Копирование... OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 нет в базе данных
Трек 2 нет в базе данных
Трек 3 нет в базе данных
Трек 4 нет в базе данных
Трек 5 нет в базе данных
Трек 6 нет в базе данных
Трек 7 нет в базе данных
Ни одного трека нет в базе AccurateRip
Конец отчёта
Об альбоме
Альбом не имеет никакого отношения к известному гитаристу. Монтгомери - название городка в Алабаме, где в 1955-1956 годах произошли события, существенно повлиявшие на дальнейшую историю межрасовых отношений в США. Вот как описывает каждую композицию альбома сам Лэрри Кориэлл:
"Montgomery" is based on the events in Montgomery, Alabama that took place in 1955 and 1956 as the social upheaval that resulted in American integration began to roll its own particular tide toward righting the tottering ship of race relations in our country.
"Tales of the Montgomery Bus Boycott" starts with a young black, pregnant teenage girl named Claudette Colvin who, in March of 1955, decided not to move to the back of the bus. That composition is about her courage.
"Along Dexter Avenue" is about the bombing of Dr. Martin Luther King's house, which was, I believe, on the same street as the Dexter Avenue Baptist Church. I recall taking an overseas flight through Atlanta International Airport a few years ago and they had a display of King memorabilia in a glass case in the concourse. Inside the case was an inspired letter written by King to his parishoners. I read that letter and cried. "Along Dexter Avenue" is not a blues form per se, but it's some kind of blues. African-Americans wereonly trying to establish the decency and dignity that all human beings deserve, for themselves.
"Joy at the Jail" was composed for what took place in the Mongomery jail where Dr. King was incarcerated, and he soon got over the shock of his arrest because his followers surrounded the jail and he ended up having to go outside to address this huge throng of well-wishers. The piece is written in the bebop style of mainstream jazz from the fifties. John Colliani, Jim Cammack and myself experienced our own vicarious joy when we recorded this tune--especially Cammack's blues/funk phrase played at a rapid, repetitive pace in his solo.
The nature of Dr. King's task as an innovative leader brought to my mind the "Amazing Grace" song, so we did our own version. The first sixteen bars were arranged by the late Teo Macero, Miles Davis' producer at Columbia records, and I did the rest. I wanted to put that remarkable feeling of experiencing a spiritual epiphany into a different musical context, hence the off-the-wall arrangement.
"L'Homage" is simply my bowing down and touching the feet of the great man, Martin Luther King, Jr. I had seen him speak at the University of Washington when I was a sophomore there in the early sixties. Even at my tender age I knew I was in the presence of an extraordinary human being.
It has been said by my life-teacher, Daisaku Ikeda, that a profound human revolution in a single individual can change the course of history for the better. Dr. King was such a person. I want to encourage all of you who hear this record to spur yourselves to do the same; to do the best with your life.
We played two standards that I feel supported the transcendant theme that was the civil rights movement. The message of "Beautiful Love" speaks for itself. Musically, the composition touches me deeply because this was one of Joe Pass' favorite tunes.
"What Are You Doing the Rest of Your Life" is, as an instrumental, a message to make sure that all of us, as we head down the road of existence, take great care to live our lives with no regret, in spite of whatever obstacles may come our way. This was one beautiful arrangement by our brilliant pianist John Colliani, whose technique is surpassed only by his deep soul. I appreciate, from the bedrock of my existence, John and James for their incredible efforts to make this project a reality.
In closing I want to say to my stellar musicians/colleagues and to you, our listeners, the only words spoken to me by John Coltrane when I met him: "Thank You!"
"Montgomery" is based on the events in Montgomery, Alabama that took place in 1955 and 1956 as the social upheaval that resulted in American integration began to roll its own particular tide toward righting the tottering ship of race relations in our country.
"Tales of the Montgomery Bus Boycott" starts with a young black, pregnant teenage girl named Claudette Colvin who, in March of 1955, decided not to move to the back of the bus. That composition is about her courage.
"Along Dexter Avenue" is about the bombing of Dr. Martin Luther King's house, which was, I believe, on the same street as the Dexter Avenue Baptist Church. I recall taking an overseas flight through Atlanta International Airport a few years ago and they had a display of King memorabilia in a glass case in the concourse. Inside the case was an inspired letter written by King to his parishoners. I read that letter and cried. "Along Dexter Avenue" is not a blues form per se, but it's some kind of blues. African-Americans wereonly trying to establish the decency and dignity that all human beings deserve, for themselves.
"Joy at the Jail" was composed for what took place in the Mongomery jail where Dr. King was incarcerated, and he soon got over the shock of his arrest because his followers surrounded the jail and he ended up having to go outside to address this huge throng of well-wishers. The piece is written in the bebop style of mainstream jazz from the fifties. John Colliani, Jim Cammack and myself experienced our own vicarious joy when we recorded this tune--especially Cammack's blues/funk phrase played at a rapid, repetitive pace in his solo.
The nature of Dr. King's task as an innovative leader brought to my mind the "Amazing Grace" song, so we did our own version. The first sixteen bars were arranged by the late Teo Macero, Miles Davis' producer at Columbia records, and I did the rest. I wanted to put that remarkable feeling of experiencing a spiritual epiphany into a different musical context, hence the off-the-wall arrangement.
"L'Homage" is simply my bowing down and touching the feet of the great man, Martin Luther King, Jr. I had seen him speak at the University of Washington when I was a sophomore there in the early sixties. Even at my tender age I knew I was in the presence of an extraordinary human being.
It has been said by my life-teacher, Daisaku Ikeda, that a profound human revolution in a single individual can change the course of history for the better. Dr. King was such a person. I want to encourage all of you who hear this record to spur yourselves to do the same; to do the best with your life.
We played two standards that I feel supported the transcendant theme that was the civil rights movement. The message of "Beautiful Love" speaks for itself. Musically, the composition touches me deeply because this was one of Joe Pass' favorite tunes.
"What Are You Doing the Rest of Your Life" is, as an instrumental, a message to make sure that all of us, as we head down the road of existence, take great care to live our lives with no regret, in spite of whatever obstacles may come our way. This was one beautiful arrangement by our brilliant pianist John Colliani, whose technique is surpassed only by his deep soul. I appreciate, from the bedrock of my existence, John and James for their incredible efforts to make this project a reality.
In closing I want to say to my stellar musicians/colleagues and to you, our listeners, the only words spoken to me by John Coltrane when I met him: "Thank You!"
Состав
Larry Coryell - Guitar
John Colianni - Piano
Jim Cammack - Bass
John Colianni - Piano
Jim Cammack - Bass