(Early Jazz, Jive, Vocal Jazz) [CD] The Spirits of Rhythm - The Chronological Classics: 1933-1945 - 1998, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 1. March 2014, 9:34
The Spirits of Rhythm / 1933-1945
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Read offset correction                      : 667
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
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
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TOC of the extracted CD
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        2  |  2:59.59 |  2:34.43 |     13484    |    25076
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       25  | 68:43.52 |  2:41.53 |    309277    |   321404
       26  | 71:25.30 |  3:09.13 |    321405    |   335592
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Track  6
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Track  8
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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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Track 23
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Track 24
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Track 25
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Track 26
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All tracks accurately ripped
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==== Log checksum 74AA924CF878F2495DAF7BD628D5EA01EB110FD55C6F2A62D6B1B40B02457815 ====

REM GENRE Jazz
REM DATE 1998
REM DISCID 76117A1A
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "The Spirits of Rhythm"
TITLE "1933-1945"
FILE "01 - I Got Rhythm.wav" WAVE
  TRACK 01 AUDIO
    TITLE "I Got Rhythm"
    PERFORMER "The Spirits of Rhythm"
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    INDEX 01 00:00:00
FILE "02 - Nobody's Sweetheart.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Nobody's Sweetheart"
    PERFORMER "The Spirits of Rhythm"
    INDEX 01 00:00:00
FILE "03 - I Got Rhythm.wav" WAVE
  TRACK 03 AUDIO
    TITLE "I Got Rhythm"
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    INDEX 01 00:00:00
FILE "04 - I've Got the World on a String.wav" WAVE
  TRACK 04 AUDIO
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    PERFORMER "The Spirits of Rhythm"
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FILE "05 - Rhythm.wav" WAVE
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FILE "06 - I'll Be Ready When the Great Day Comes.wav" WAVE
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FILE "07 - My Old Man.wav" WAVE
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    INDEX 01 00:00:00
FILE "08 - 'Way Down Yonder in New Orleans.wav" WAVE
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FILE "09 - I've Got the World on a String.wav" WAVE
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    INDEX 01 00:00:00
FILE "10 - From Monday On.wav" WAVE
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FILE "11 - As Long as I Live.wav" WAVE
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FILE "12 - Junk Man.wav" WAVE
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FILE "13 - Dr. Watson and Mr. Holmes.wav" WAVE
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FILE "14 - That's What I Hate About You.wav" WAVE
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FILE "15 - Shoutin' in the Amen Corner.wav" WAVE
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    INDEX 01 00:00:00
FILE "16 - It's a Long, Long Way from Tipperary.wav" WAVE
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FILE "17 - I Woke Up with a Teardrop in My Eye.wav" WAVE
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FILE "18 - From Monday On.wav" WAVE
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    INDEX 01 00:00:00
FILE "19 - Walkin' This Town.wav" WAVE
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FILE "20 - We've Got the Blues.wav" WAVE
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    INDEX 01 00:00:00
FILE "21 - Honeysuckle Rose.wav" WAVE
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FILE "22 - Scattin' the Blues.wav" WAVE
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FILE "23 - Suspicious Blues.wav" WAVE
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FILE "24 - She Ain't No Saint.wav" WAVE
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FILE "25 - Last Call Blues.wav" WAVE
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FILE "26 - Coquette (Chicken Croquette).wav" WAVE
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The Spirits of Rhythm were to the 1930s what the Cats & the Fiddle were to the 1940s. Both groups relied upon well-organized, carefully harmonized scat singing and a flurry of adroitly picked tiples and guitar. What the Spirits had going for them was the great Leo "Scat" Watson (1898-1950), drummer, tiple tickler, and one of the most interesting scat singers of all time. Teddy Bunn was their guitarist, and may be heard playing and singing throughout the entire CD. The recordings made in 1933 are exceptionally fine. Two delightful versions of "I Got Rhythm" are matched with "Rhythm," an original by Wilbur Daniels. "I've Got the World on a String" cuts off abruptly during a reprise of the vocal chorus, as they ran out of room on the recording platter. The session of December 6, 1933, introduces bassist Wilson Myers. "I'll Be Ready When the Great Day Comes" is something like a spiritual with humorous overtones: "Didn't the good book say that Cain slew Abel? Hit him in the head with the leg of a table!" Johnny Mercer's "My Old Man" belongs in a special category of cruel songs poking fun at fathers. This picturesque ditty predicts that the parent in question will end up in a garbage can: "Put a bottle of gin there and he'll get in there." The first seven tracks are so satisfying that it's a bit of a jolt when Red McKenzie is featured as lead vocalist on the session of September 11, 1934. Whose idea was it to foist this character onto the Spirits? His wobbly chortling sounds a bit incongruous with such hip backing. The expert picking and scatting come as a relief, after which McKenzie's reprise sounds foolish. He should have confined himself to his famous paper and comb, which would have sounded wonderfully weird with this band. As it is, he sounds about as hip as, say, Nelson Eddy. Three days later, the Spirits were back without McKenzie but with the addition of percussionist and vocalist Virgil Scroggins. "Junk Man" is good fun, and Watson sings a snatch of the old vaudeville number "Horses, Horses," a riff he'd quoted on tiple during a solo on "I Got Rhythm" the previous year. Mercer's lightweight Sherlock Holmes routine is peculiar enough for entertainment purposes, but "That's What I Hate About You" is too closely modeled after a record made several years earlier by Jack Teagarden and Fats Waller. Waller fans who are aware of the original might actually resent the close cover. Now the chronology leaps ahead seven years. Ella Logan's piping vocal with the Spirits on "Tipperary" and "From Monday On" are cute enough, but the two instrumentals from the same session allow us to concentrate on the presence of bassist Wellman Braud and the fine drumming of Watson. "We've Got the Blues" contains a premonition of "Caldonia," and we learn that cement is the reason her head is so hard. The final six sides to appear under this band's name involved only Watson and Bunn from the original group. This 1945 ensemble contains no tiples whatsoever. Leonard Feather is sitting in on piano, Ulysses Livingstone operates a second guitar, and Red Callender is the bassist, while Georgie Vann sings the blues and plays the drums. Here we get a fine dose of Watson's fully developed singing style. No doubt Waller would have approved of "Honey-Sock-Me-on-the-Nose." Watson's throaty interjections on "She Ain't No Saint" sound slightly deranged. Irving Berlin's "Coquette" becomes a smorgasbord centering on "Chicken Croquette." Watson was working with Slim Gaillard during these years, and this last number sounds a lot like something Slim would have dished up.