(Flamenco) Manitas de Plata 1st recording, FLAC (tracks), lossless
Manitas de Plata 1st recording
(Он же - Ricardo Ballardo)
Жанр: Flamenco
Аудио кодек: FLAC
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 01:54:18
Трэклист:
01 - Alegrias clasicas [7:57]
02 - Seguiriyas [7:04]
03 - Tarruca [3:44]
04 - Jota [4:39]
05 - Malague±as flamencas [8:55]
06 - Soleares gitanas [6:10]
07 - Granadinas [5:56]
08 - Tarantas [8:27]
09 - Bulerias [3:39]
10 - Saeta [4:05]
11 - Levantes [10:01]
12 - Tarantas y bulerias [5:02]
13 - Moritas Moras [19:16]
14 - Tarantas [5:52]
15 - Sevillanas [1:59]
16 - Fandangos [11:32]
Доп. информация:
Скачано из сети.
Переписано с винилового диска, но качество записи очень хорошее, хруста практически не слышно.
Запись сделана во франции в начале 1960-ых.
"Эта первоначальная коммерческая запись Manitas de Plata была записана в средневековой часовне в Arles, с аудиторией Цыган и друзей, которые оказывали поддержку и давали оценку исполнению. " (с)
Тут более подробное описание записи, но на английском языке. Может быть кто-нибудь сможет перевести на русский (если не затруднит...)? Буду очень признателен...
Лог файл отсутствует.
Результаты Audiochecker
(Что значат некоторые ошибки в тесте, не знаю....) На качестве записи это никак не отражается.
(Он же - Ricardo Ballardo)
Жанр: Flamenco
Аудио кодек: FLAC
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 01:54:18
Трэклист:
01 - Alegrias clasicas [7:57]
02 - Seguiriyas [7:04]
03 - Tarruca [3:44]
04 - Jota [4:39]
05 - Malague±as flamencas [8:55]
06 - Soleares gitanas [6:10]
07 - Granadinas [5:56]
08 - Tarantas [8:27]
09 - Bulerias [3:39]
10 - Saeta [4:05]
11 - Levantes [10:01]
12 - Tarantas y bulerias [5:02]
13 - Moritas Moras [19:16]
14 - Tarantas [5:52]
15 - Sevillanas [1:59]
16 - Fandangos [11:32]
Доп. информация:
Скачано из сети.
Переписано с винилового диска, но качество записи очень хорошее, хруста практически не слышно.
Запись сделана во франции в начале 1960-ых.
"Эта первоначальная коммерческая запись Manitas de Plata была записана в средневековой часовне в Arles, с аудиторией Цыган и друзей, которые оказывали поддержку и давали оценку исполнению. " (с)
Тут более подробное описание записи, но на английском языке. Может быть кто-нибудь сможет перевести на русский (если не затруднит...)? Буду очень признателен...
This torrent is a complete transcription of a legendary and long out-of-print 3LP set released by Connoisseur Society Recordings in the early 1960s. This first-ever commercial recording of Manitas de Plata was recorded live in a medieval chapel in Arles, France over two nights, with an audience of Gypsies and friends to provide support and appreciation.
This is one of the most memorable recordings of flamenco guitar ever made. It is an exceptionally clear and detailed recording for its day, using 1/2" reel-to-reel tape running at 30" per second and four Sony C-37A microphones. The LPs from which these tracks were transcribed are in excellent condition, and the analog rig used to extract the sound from the grooves is near state-of-the-art. As a result, there is virtually no surface noise or tracking distortion, and finer resolution of detail than you may be accustomed to in LP transcriptions.
The torrent includes a text file containing the relevant notes from the booklet that came with the LP boxed set, and scans of the photos in the booklet, including two pictures of Manitas de Plata with an appreciative Pablo Picasso.
If you are burning these recordings to audio CDs, tracks 01-12 fit on one 80-minute CD and tracks 13-16 take up 39 minutes of another.
Equipment used for A/D conversion: Lyra Helikon phono cartridge, Linn LP12/Lingo turntable, Linn Ittok tonearm, Audioquest LeoPard tonearm cable, PS Audio PS2 preamplifier, Kimber PBJ interconnect, M-Audio Audiophile USB A/D converter.
Manitas de Plata, "Inspired Guitarrista"
By Vincent Sheean
His real name is Ricardo Ballardo, but this has long since been forgotten. Sobriquets are a Gypsy custom, and most often they are names bestowed by the people rather than invented by the artist. Nowadays Manilas de Plata, "Silver Hands" might as well have no other name. He is a true Spanish Gypsy, now living near Aries, where there has been for many centuries a Gypsy encampment. He plays chiefly in the south of France, where these recordings were made, and has never shown any desire to travel overseas.
Manitas has every technical resource known to the guitar. There are times when it seems hardly conceivable that any ten fingers could evoke such an orchestra of plucked strings.
In years gone by, in the Gypsy cafes of Spain, especially before the revolution and civil war, I listened with appreciation, affection and, sometimes, awe to a number of celebrated flamenco guitarists. But in that kind of music I have never heard the equal of the man with the hands of silver.
The essence of flamenco music is the air of improvisation, even though the general lines of any one piece may have been performed innumerable times. A dancer steps forward into the middle of the circle and does her (or his) bit of bravura; then, when the theme changes, a singer takes up his almost wordless lament; in another theme a different dancer advances to the center; at times the guitarist alone performs while all the rest of the cuadro flamenco-the entire group of performers-clap hands, cry "Ole!" or other encouragements, and interpolate all sorts of remarks generally of an admiring nature.
But when some dancer, singer or guitarist surpasses all others, a greater emphasis is placed upon that artist-more time for solo work, more opportunity for bravura. Such a solo artist, such a diamond among lesser jewels, is the inspired guitarrista Manitas de Plata.
An artist like Manitas, knowing no formal music at all, has played the guitar since childhood and has, through sheer absorption, learned from the instrument everything it has to teach. That is the Gypsy way, that is Manitas' way-he lives in his music as the fish lives in the sea: it is another element, another language, which through his genius we are privileged to hear even when many of its mysteries are beyond easy comprehension.
Recording Manitas de Plata
By E. Alan Silver
I FIRST heard of Manitas de Plata in 1955. My friend and Colleague, Marc Aubort, had just returned from his vacation in southern France. He had attended the Gypsy Festival of Les Saintes Maries de la Mer and with a spring- wound tape recorder had recorded highlights of the affair for his own pleasure. Among them were performances of a young Gypsy guitarist, Manitas de Plata, whose playing had so fascinated Marc that he had spent the rest of his vacation getting acquainted with the guitarist and recording more of his art.
Marc decided to write Manitas for permission to release a record of some of the material he had taped. Letter after letter went out addressed to "Mr. Manitas de Plata, Les Saintes Maries de la Mer, France." All were unanswered. Since he was unable to get in touch with the artist, the matter was dropped.
In the fall of 1961 a Time magazine article reported that Manitas had become the rage of the Riviera, but that he steadfastly refused to record. My interest was again aroused- and then came an astonishing coincidence!
Several weeks after the Times article appeared, I attended an exhibition at New York's Museum of Modern Art and was strongly attracted to some outstanding photographs of Gypsies, bullfighting and water-scene abstractions by a French photographer, Lucien Clergue. While looking at the photographs I heard someone remark in a pleasantly French- accented voice that he had been "so close to the bull that the blood spattered my shirt." I approached the gentleman in sunglasses and inquired if he was the photographer. He was, and I blurted out that I would like to buy some of his photographs. At the same time I asked him if he had ever come across the Gypsy guitarist, Manitas de Plata. Clergue was visibly startled. He told me that Manitas was a close personal friend and asked me if I, too, knew him. No, I said, but I had heard tapes of his playing.
We talked for a while about Clergue's photographs and then returned to the genius of Manitas de Plata. "What were the chances of recording this amazing artist?"
Up to now, Clergue told me, all recording offers-and there had been many-had been refused by Manitas, who feared that he might be cheated. Clergue said he was weary of this excuse and would be willing personally to vouch for a recording contract between Manitas and Connoisseur Society, Inc. He felt it was overwhelmingly important to expose this man's art to the world. In the end, Manitas agreed.
We thought it would be best to bring Manitas to New York to record. The guitarist's response was rather frustrating: He was willing to come if he did not have to travel by boat or plane! In other words, if we wanted to record Manitas de Plata we would have to take our three-quarters of a ton of recording equipment to southern France.
We arrived in the city of Aries. Lucien Clergue's home is there, only a short distance from Montpellier where Manitas lives during the winter. We found that a medieval chapel, adjoining the Jules Cesar hotel, was available, with acoustics about as perfect as one could wish. While our machinery was being assembled and tested, Lucien Clergue held several evenings of flamenco music at his home. In this way engineers and musicians became acquainted, a very important factor in recording music so intimate and spontaneous.
The recording began at 8 P.M. one evening and, except for a brief break to eat, lasted until 4 A.M. Realizing the need for musical communication between artist and responsive listener, we had invited a number of Gypsies and some friends of Clergue's. Clergue's lovely wife provided a French version of "hero sandwiches" and a huge tub of sangria, a famous Gypsy wine punch. Interestingly enough, none of the performing Gypsies touched a drop of this favorite drink until the session was over.
Although we now had enough material, Manitas thought he had more to offer us and we agreed to record again the next night. As before, the session started at 8 P.M., and the inspiration appeared to be limitless. But by 12:30 everyone seemed a bit tired and we asked Manitas if there was anything else he cared to play before we took down the equipment. After a moment of silence Manitas motioned to me to sit in front of him and said he would play one more number, a levantes*. It would contain everything he knew about flamenco. It was perhaps the finest performance of the two nights. Indeed, we were all too moved to greet it with the usual shouts. Then Clergue suggested a saeta* by the singer Jose Reyes. He had saved the suggestion till the end of the session because the saeta is so demanding emotionally. Any singer who puts his entire heart and soul into a saeta is incapable of singing anything else the same night. Reyes sang, and with that unforgettable saeta the sessions ended.
This is one of the most memorable recordings of flamenco guitar ever made. It is an exceptionally clear and detailed recording for its day, using 1/2" reel-to-reel tape running at 30" per second and four Sony C-37A microphones. The LPs from which these tracks were transcribed are in excellent condition, and the analog rig used to extract the sound from the grooves is near state-of-the-art. As a result, there is virtually no surface noise or tracking distortion, and finer resolution of detail than you may be accustomed to in LP transcriptions.
The torrent includes a text file containing the relevant notes from the booklet that came with the LP boxed set, and scans of the photos in the booklet, including two pictures of Manitas de Plata with an appreciative Pablo Picasso.
If you are burning these recordings to audio CDs, tracks 01-12 fit on one 80-minute CD and tracks 13-16 take up 39 minutes of another.
Equipment used for A/D conversion: Lyra Helikon phono cartridge, Linn LP12/Lingo turntable, Linn Ittok tonearm, Audioquest LeoPard tonearm cable, PS Audio PS2 preamplifier, Kimber PBJ interconnect, M-Audio Audiophile USB A/D converter.
Manitas de Plata, "Inspired Guitarrista"
By Vincent Sheean
His real name is Ricardo Ballardo, but this has long since been forgotten. Sobriquets are a Gypsy custom, and most often they are names bestowed by the people rather than invented by the artist. Nowadays Manilas de Plata, "Silver Hands" might as well have no other name. He is a true Spanish Gypsy, now living near Aries, where there has been for many centuries a Gypsy encampment. He plays chiefly in the south of France, where these recordings were made, and has never shown any desire to travel overseas.
Manitas has every technical resource known to the guitar. There are times when it seems hardly conceivable that any ten fingers could evoke such an orchestra of plucked strings.
In years gone by, in the Gypsy cafes of Spain, especially before the revolution and civil war, I listened with appreciation, affection and, sometimes, awe to a number of celebrated flamenco guitarists. But in that kind of music I have never heard the equal of the man with the hands of silver.
The essence of flamenco music is the air of improvisation, even though the general lines of any one piece may have been performed innumerable times. A dancer steps forward into the middle of the circle and does her (or his) bit of bravura; then, when the theme changes, a singer takes up his almost wordless lament; in another theme a different dancer advances to the center; at times the guitarist alone performs while all the rest of the cuadro flamenco-the entire group of performers-clap hands, cry "Ole!" or other encouragements, and interpolate all sorts of remarks generally of an admiring nature.
But when some dancer, singer or guitarist surpasses all others, a greater emphasis is placed upon that artist-more time for solo work, more opportunity for bravura. Such a solo artist, such a diamond among lesser jewels, is the inspired guitarrista Manitas de Plata.
An artist like Manitas, knowing no formal music at all, has played the guitar since childhood and has, through sheer absorption, learned from the instrument everything it has to teach. That is the Gypsy way, that is Manitas' way-he lives in his music as the fish lives in the sea: it is another element, another language, which through his genius we are privileged to hear even when many of its mysteries are beyond easy comprehension.
Recording Manitas de Plata
By E. Alan Silver
I FIRST heard of Manitas de Plata in 1955. My friend and Colleague, Marc Aubort, had just returned from his vacation in southern France. He had attended the Gypsy Festival of Les Saintes Maries de la Mer and with a spring- wound tape recorder had recorded highlights of the affair for his own pleasure. Among them were performances of a young Gypsy guitarist, Manitas de Plata, whose playing had so fascinated Marc that he had spent the rest of his vacation getting acquainted with the guitarist and recording more of his art.
Marc decided to write Manitas for permission to release a record of some of the material he had taped. Letter after letter went out addressed to "Mr. Manitas de Plata, Les Saintes Maries de la Mer, France." All were unanswered. Since he was unable to get in touch with the artist, the matter was dropped.
In the fall of 1961 a Time magazine article reported that Manitas had become the rage of the Riviera, but that he steadfastly refused to record. My interest was again aroused- and then came an astonishing coincidence!
Several weeks after the Times article appeared, I attended an exhibition at New York's Museum of Modern Art and was strongly attracted to some outstanding photographs of Gypsies, bullfighting and water-scene abstractions by a French photographer, Lucien Clergue. While looking at the photographs I heard someone remark in a pleasantly French- accented voice that he had been "so close to the bull that the blood spattered my shirt." I approached the gentleman in sunglasses and inquired if he was the photographer. He was, and I blurted out that I would like to buy some of his photographs. At the same time I asked him if he had ever come across the Gypsy guitarist, Manitas de Plata. Clergue was visibly startled. He told me that Manitas was a close personal friend and asked me if I, too, knew him. No, I said, but I had heard tapes of his playing.
We talked for a while about Clergue's photographs and then returned to the genius of Manitas de Plata. "What were the chances of recording this amazing artist?"
Up to now, Clergue told me, all recording offers-and there had been many-had been refused by Manitas, who feared that he might be cheated. Clergue said he was weary of this excuse and would be willing personally to vouch for a recording contract between Manitas and Connoisseur Society, Inc. He felt it was overwhelmingly important to expose this man's art to the world. In the end, Manitas agreed.
We thought it would be best to bring Manitas to New York to record. The guitarist's response was rather frustrating: He was willing to come if he did not have to travel by boat or plane! In other words, if we wanted to record Manitas de Plata we would have to take our three-quarters of a ton of recording equipment to southern France.
We arrived in the city of Aries. Lucien Clergue's home is there, only a short distance from Montpellier where Manitas lives during the winter. We found that a medieval chapel, adjoining the Jules Cesar hotel, was available, with acoustics about as perfect as one could wish. While our machinery was being assembled and tested, Lucien Clergue held several evenings of flamenco music at his home. In this way engineers and musicians became acquainted, a very important factor in recording music so intimate and spontaneous.
The recording began at 8 P.M. one evening and, except for a brief break to eat, lasted until 4 A.M. Realizing the need for musical communication between artist and responsive listener, we had invited a number of Gypsies and some friends of Clergue's. Clergue's lovely wife provided a French version of "hero sandwiches" and a huge tub of sangria, a famous Gypsy wine punch. Interestingly enough, none of the performing Gypsies touched a drop of this favorite drink until the session was over.
Although we now had enough material, Manitas thought he had more to offer us and we agreed to record again the next night. As before, the session started at 8 P.M., and the inspiration appeared to be limitless. But by 12:30 everyone seemed a bit tired and we asked Manitas if there was anything else he cared to play before we took down the equipment. After a moment of silence Manitas motioned to me to sit in front of him and said he would play one more number, a levantes*. It would contain everything he knew about flamenco. It was perhaps the finest performance of the two nights. Indeed, we were all too moved to greet it with the usual shouts. Then Clergue suggested a saeta* by the singer Jose Reyes. He had saved the suggestion till the end of the session because the saeta is so demanding emotionally. Any singer who puts his entire heart and soul into a saeta is incapable of singing anything else the same night. Reyes sang, and with that unforgettable saeta the sessions ended.
[свернуть]
Результаты Audiochecker
(Что значат некоторые ошибки в тесте, не знаю....) На качестве записи это никак не отражается.
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Started at: суббота, 01. 11. 2008. - 21:55.12
16 files found
01 -===- E:\Manitas de Plata 1st recording\Manitas de Plata 01 Alegrias clasicas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
02 -===- E:\Manitas de Plata 1st recording\Mani
-----------------------------------------------------------
Started at: суббота, 01. 11. 2008. - 21:58.29
16 files found
01 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 01 Alegrias clasicas.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
02 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 02 Seguiriyas.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
03 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 03 Farruca.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
04 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 04 Jota.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
05 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 05 Malaguenas flamencas.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
06 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 06 Soleares gitanas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
07 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 07 Granadinas.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
08 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 08 Tarantas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
09 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 09 Bulerias.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
10 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 10 Saeta.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
11 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 11 Levantes.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
12 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 12 Tarantas y bulerias.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
13 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 13 Moritas moras.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
14 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 14 Tarantas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
15 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 15 Sevillanas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
16 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 16 Fandangos.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
Finished at: суббота, 01. 11. 2008. - 22:12.54 (operation time: 0:14.24)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Started at: суббота, 01. 11. 2008. - 21:55.12
16 files found
01 -===- E:\Manitas de Plata 1st recording\Manitas de Plata 01 Alegrias clasicas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
02 -===- E:\Manitas de Plata 1st recording\Mani
-----------------------------------------------------------
Started at: суббота, 01. 11. 2008. - 21:58.29
16 files found
01 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 01 Alegrias clasicas.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
02 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 02 Seguiriyas.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
03 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 03 Farruca.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
04 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 04 Jota.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
05 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 05 Malaguenas flamencas.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
06 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 06 Soleares gitanas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
07 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 07 Granadinas.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
08 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 08 Tarantas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
09 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 09 Bulerias.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
10 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 10 Saeta.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
11 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 11 Levantes.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
12 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 12 Tarantas y bulerias.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
13 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 13 Moritas moras.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
14 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 14 Tarantas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
15 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 15 Sevillanas.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
16 -===- F:\Manitas de Plata 1st recording\Manitas de Plata 16 Fandangos.flac
Error while extracting! Check your rights, free some space if needed and ensure the file is valid.
Finished at: суббота, 01. 11. 2008. - 22:12.54 (operation time: 0:14.24)
[свернуть]
Any questions - projazzclub@gmail.com
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
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