(Hard Bop, Bop) Lucky Thompson - Lucky Start 1944-1946 (Jazz Archives 181) - 2001, FLAC (tracks+.cue), lossless

Lucky Thompson - Lucky Start 1944-1946 (Jazz Archives 181, 2001) Жанр: Hard Bop, Bop Дата записи: Dec 26, 1944-Sep 13, 1946 Дата выпуска: Jul 10, 2001 Производитель диска, номер, страна: EPM, 15601, Jazz Archives 181, France Тип: Compilation Аудио кодек: FLAC Тип рипа: (tracks + .cue) Битрейт аудио: lossless Включает: Full artwork Продолжительность: 62:00 Источник: коллекция Л Рендера Риппер: Мой рип Трэклист: 1. My Gal Is Gone (Page ) - 3:14 2. You'd Be Frantic Too (Page ) - 3:14 3. Gee Baby, Ain't I Good to You (Razaf, Redman ) - 2:40 4. The Lady in Bed (Feather ) - 2:58 5. It Ain't Like That (Page ) - 3:01 6. Test Pilot (Garner, Smith, Thompson ) - 3:28 7. Taps Miller (Basie, Clayton, Russell ) - 5:10 8. High Tide (Green, Rutherford ) - 5:43 9. How High the Moon (Hamilton, Lewis ) - 2:50 10. I Surrender Dear (Barris, Clifford ) - 2:18 11. 'Round About Midnight (Hanighen, Monk, Williams ) - 2:53 12. Yardbird Suite (Parker ) - 2:40 13. Ornithology (Harris, Parker ) - 2:58 14. A Night in Tunisia (Gillespie, Paparelli ) - 3:05 15. Dodo's Bounce (Marmarosa ) - 2:40 16. Dodo's Lament (Marmarosa ) - 2:51 17. Slam's Mishap (Thompson ) - 2:30 18. Shuffle That Riff (Thompson ) - 2:32 19. Smooth Sailing (Thompson ) - 2:40 20. Commercial Eyes (Thompson ) - 2:36 Состав: (1-2) Hot Lips Page (tp, vo), Lucky Thompson (ts solo), Lem Johnson (ts), Ace Harris (p), John Simmons (b), Big Sid Catlett (dm). New York City, O8/03/1944. (3-5) Hot Lips Page (tp, vo), Vic Dickenson (tb), Lucky Thompson (ts), Hank Jones (p), Sam Allen (g), Carl «Flat Top» Wilson (b), Jesse Price (dm). NYC, 30/11/1944. (6) Lucky Thompson (ts) & Stuff Smith (vln, vo), Bobby Pratt (tb), Erroll Garner (p), George Wettling (dm). NYC, 26/12/1944. Count Basie & His Orchestra : (7) Harry Edison, Al Killian, Ed Lewis, Joe Newman (tp), Ted Donnelly, Eli Robinson, Louis Taylor, Dicky Wells (tb), Earl Warren, Jimmy Powell (as), Buddy Tate (ts, 1 st solo), Lucky Thompson (ts), Rudy Rutherford (bs, cl), Count Basie (p), Freddie Green (g), Rodney Richardson (b), Joe Marshall (dm). NYC, 11/01/1945. (8) Same, but Buck Clayton, Karl George (tp), J. J. Johnson (tb), Shadow Wilson (dm) replace Newman, Taylor and Marshall; Taps Miler (vo). NYC, 14/05/1945. (9-10) Dodo Marmarosa Quartet: Lucky Thompson (ts), Dodo Marmarosa (p), Ray Brown (b), Jackie Mills (dm). Los Angeles, 11/01/1946. (11) Tempo Jazzmen : Dizzy Gillespie (tp), Lucky Thompson (ts), Al Haig (p), Ray Brown (b), Stan Levey (dm), Milt Jackson (vib). Glendale, CA. 06/02/1946. (12-14) Charlie Parker Septet: Miles Davis (tp), Charlie Parker (as), Lucky Thompson (ts), Dodo Marmarosa (p), Arvin Garrison (g), Vic McMillan (b), Roy Porter (dm). Hollywood, 28/03/1946. (15-20) Lucky Thompson Quartet: Lucky Thompson (ts), Dodo Marmarosa (p), Red Callender (b), Jackie Mills (dm). Hollywood, 13/09/1946.   ~ Linear Notes The originality of "Lucky" Thompson's music only really becomes apparent after examining what he produced in the mid-50s which leads us back to the richness of his earlier work. For, although he was already well-known in the 40s and all the personal aspects of his playing were already in place, he was just one among many young players drawing on Hawkin's style. Nicknamed "Lucky" he cannot be said to be one of the most "unlucky" of saxophonists yet he never got the recognition he deserved, in spite of being admired by many of the greats (Miles Davis, Dizzy Gillespie, Milt Jackson etc.) To have a better understanding of his development and the apparent clarity of his early style we have to look at his more mature years in the mid-50s. Born in Detroit in 1924 (as were Teddy Edwards, Warden Gray, Yusef Lateef and Sonny Stitt) he started out singing with a vocal group but, by 1943 (right in the middle of the recording ban) he had been hired as a saxophonist by Lionel Hampton, a stint that lasted six months and helped his career to take off. He hung around the clubs on 52nd Street where he met Hot Lips Page who invited him to record and Erroll Garner and Stuff Smith who accompanied him on his first record in December 1944. Then he played in Bill Eckstine's big band before joining Count Basie in November 1944, replacing Illinois Jacquet who had been filling in after Lester Young had left. He stayed with the band until 1945, just long enough to make a name for himself for, very early on, Thompson stood out as a saxophonist. His tone was still similar to that of Hawkins but tempered by less use of staccato, his phrasing lighter and generally in a higher pitch. During the sessions with Hot Lips Page, especially on those in November 1944, the richness of his style is evident in the obbligatos with which he backs the trumpeter. Within the context of the blues, Thompson uses his particularly sweet tone, a sweetness, however, that differs from that of Lester Young) to weave elegant patterns, together with his flowing phrasing and eloquent vibrato, plus a literally stupefying use of silences. The small band formula seems to have suited him: Hot Lips Page appreciated the contrast between the soft tones of the sax and his own harsh voice [Gee Baby Ain't I Good To You). The trumpeter had impeccable taste and many critics (including Michel Boujut) have pointed out that he was much more in the orthodox Armstrong line, his good judgement revealing itself in his choice of partners. Between the two sessions in March and November 1944 on which Thompson played, Page had called on Don Byas, Ike Quebec and Ben Webster. As we have said, Thompson was close to Coleman Hawkins "a la Don Byas" (Histoires du Saxophone, Ed. Climat, republished 1995). Hawkins disciples (as were many tenors in the early 40s), both men were also influenced by Lester Young—perhaps via Basie? Both were in on the birth of bebop (each working at one point with Gillespie) and both were still attached to their roots although among the first modern saxophonists. During the famous 1946 Dial session, alongside Charlie Parker, Thompson had to work hard to keep up with Bird's inventive harmonies but, after all, not even Warden Gray or Dexter Gordon could reach such a creative level and Thompson certainly does not disgrace himself. In 1947 Thompson was elected "Esquire New Star" by the Esquire magazine in recognition of his talent and hard work in the Los Angeles area between 1946 and 1947. He recorded with numerous singers who liked the "vocal" aspect of his playing, often in a bluesy register, almost an early form of rhythm and blues (e.g. the small group that Thompson got together in December 1945 to accompany Dinah Washington on record, with Milt Jackson on vibes and Charles Mingus on bass). Two 1946 sessions alongside pianist Dodo Marmarosa, the first recorded under the latter's name, reveal all the skills of the saxophonist. These recordings are not very well known but they immediately situate Thompson in the modern era (mainstream jazz musician, flying the Hag of bebop). This is not really surprising because of the Parker-Gillespie episode which was probably due mainly to the recommendation of Milt Jackson. Jackson and Thompson had close ties as they both came from Detroit but they also had a great musical relationship as is evident on the records they made in the 50s where their modem approach still retains traces of the blues. This is probably why the contribution each made to the development of modern jazz, already perceptible in the 40s, has never really been acknowledged (other than by their peers such as Gillespie, John Lewis and a few others). In Dodo Marmarosa, Thompson found himself confronted with the best. Although the pianist's name does not automatically come to mind when thinking of great bebop pianists, in our opinion he is one of the greats and it was not by chance that he invited Thompson to accompany him on this session that, according to George Hoffer ("The Recorded Flights of Dodo", Down Seat, 29.12.66) was one of the pianist's best ever. Lucky and Dodo even mounted their own regular band, with an excellent rhythm section including Ray Brown on bass and Jackie Mills on drums. This group, with Red Calender replacing Ray Brown, cut six other sides, including four compositions by Thompson and two by Marmarosa, Dodo's Bounce and Dodo's Lament, the latter immediately announcing the somewhat enigmatic, even strange, tone. Thompson's big, warm, comfortable sound on that day was closer to Hawkins, perhaps in an attempt to balance the more cutting edge of his partner—or maybe it is simply a result of the microphone and recording equipment used. It is often difficult to tell. However, the answer to this question and to many others we have raised most likely lies in his more mature recordings from the 50s, which not only throw light on his earlier work but also on the probable future of jazz (Thompson on soprano, but not only on soprano, might be seen as a precursor of Coltrane). It is Thompson's originality that makes him so difficult to define. Like Benny Golson, yet in a completely ditferent manner, he led the way with a new form of lyricism, a unique sound, reminding us that the ability to invent has always been the hallmark of a great musician (Stan Getz, Don Byas...) something that is not always captured on record but that we, the listeners, instinctively feel. Adapted from the French by Joyce Waterhouse     Cue REM GENRE Swing REM DATE 2001 REM DISCID 1E0E9114 REM COMMENT "ExactAudioCopy v0.99pb4" PERFORMER "Lucky Thompson" TITLE "Lucky Start 1944-1946" FILE "01 - My Gal is Gone.wav" WAVE TRACK 01 AUDIO TITLE "My Gal is Gone" PERFORMER "Lucky Thompson" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "You'd be Frantic too" PERFORMER "Lucky Thompson" INDEX 00 03:11:52 FILE "02 - You'd be Frantic too.wav" WAVE INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "Gee Baby ain't I Good" PERFORMER "Lucky Thompson" INDEX 00 03:11:52 FILE "03 - Gee Baby ain't I Good.wav" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "The Lady in Bed" PERFORMER "Lucky Thompson" INDEX 00 02:37:72 FILE "04 - The Lady in Bed.wav" WAVE INDEX 01 00:00:00 TRACK 05 AUDIO TITLE "It ain't Like That" PERFORMER "Lucky Thompson" INDEX 00 02:56:05 FILE "05 - It ain't Like That.wav" WAVE INDEX 01 00:00:00 TRACK 06 AUDIO TITLE "Test Pilots" PERFORMER "Lucky Thompson" INDEX 00 02:58:65 FILE "06 - Test Pilots.wav" WAVE INDEX 01 00:00:00 TRACK 07 AUDIO TITLE "Taps Miller" PERFORMER "Lucky Thompson" INDEX 00 03:25:32 FILE "07 - Taps Miller.wav" WAVE INDEX 01 00:00:00 TRACK 08 AUDIO TITLE "High Tide" PERFORMER "Lucky Thompson" INDEX 00 05:07:52 FILE "08 - High Tide.wav" WAVE INDEX 01 00:00:00 TRACK 09 AUDIO TITLE "How High the Moon" PERFORMER "Lucky Thompson" INDEX 00 05:40:65 FILE "09 - How High the Moon.wav" WAVE INDEX 01 00:00:00 TRACK 10 AUDIO TITLE "I Surrender Dear" PERFORMER "Lucky Thompson" INDEX 00 02:48:18 FILE "10 - I Surrender Dear.wav" WAVE INDEX 01 00:00:00 TRACK 11 AUDIO TITLE "'Round About Midnight" PERFORMER "Lucky Thompson" INDEX 00 02:15:53 FILE "11 - 'Round About Midnight.wav" WAVE INDEX 01 00:00:00 TRACK 12 AUDIO TITLE "Yardbird Suite" PERFORMER "Lucky Thompson" INDEX 00 02:50:42 FILE "12 - Yardbird Suite.wav" WAVE INDEX 01 00:00:00 TRACK 13 AUDIO TITLE "Ornithology" PERFORMER "Lucky Thompson" INDEX 00 02:37:32 FILE "13 - Ornithology.wav" WAVE INDEX 01 00:00:00 TRACK 14 AUDIO TITLE "A Night in Tunisia" PERFORMER "Lucky Thompson" INDEX 00 02:56:05 FILE "14 - A Night in Tunisia.wav" WAVE INDEX 01 00:00:00 TRACK 15 AUDIO TITLE "Dodo's Bounce" PERFORMER "Lucky Thompson" INDEX 00 03:02:50 FILE "15 - Dodo's Bounce.wav" WAVE INDEX 01 00:00:00 TRACK 16 AUDIO TITLE "Dodo's Lament" PERFORMER "Lucky Thompson" INDEX 00 02:38:20 FILE "16 - Dodo's Lament.wav" WAVE INDEX 01 00:00:00 TRACK 17 AUDIO TITLE "Slam's Mishap" PERFORMER "Lucky Thompson" INDEX 00 02:48:65 FILE "17 - Slam's Mishap.wav" WAVE INDEX 01 00:00:00 TRACK 18 AUDIO TITLE "Shuffle That Riff" PERFORMER "Lucky Thompson" INDEX 00 02:27:72 FILE "18 - Shuffle That Riff.wav" WAVE INDEX 01 00:00:00 TRACK 19 AUDIO TITLE "Smooth Sailing" PERFORMER "Lucky Thompson" INDEX 00 02:30:25 FILE "19 - Smooth Sailing.wav" WAVE INDEX 01 00:00:00 TRACK 20 AUDIO TITLE "Commercial Eyes" PERFORMER "Lucky Thompson" INDEX 00 02:37:65 FILE "20 - Commercial Eyes.wav" WAVE INDEX 01 00:00:00     EAC log Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 8. March 2010, 16:23 Lucky Thompson / Lucky Start 1944-1946 Used drive : HL-DT-STDVD-RAM GH22NP20 Adapter: 0 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 102 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 : Installed external ASPI interface Gap handling : Appended to previous track Used output format : User Defined Encoder Selected bitrate : 320 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 3:14.20 | 0 | 14569 2 | 3:14.20 | 3:14.20 | 14570 | 29139 3 | 6:28.40 | 2:40.40 | 29140 | 41179 4 | 9:09.05 | 2:58.47 | 41180 | 54576 5 | 12:07.52 | 3:01.33 | 54577 | 68184 6 | 15:09.10 | 3:28.00 | 68185 | 83784 7 | 18:37.10 | 5:10.20 | 83785 | 107054 8 | 23:47.30 | 5:43.32 | 107055 | 132811 9 | 29:30.62 | 2:50.60 | 132812 | 145621 10 | 32:21.47 | 2:18.20 | 145622 | 155991 11 | 34:39.67 | 2:53.10 | 155992 | 168976 12 | 37:33.02 | 2:40.00 | 168977 | 180976 13 | 40:13.02 | 2:58.48 | 180977 | 194374 14 | 43:11.50 | 3:05.17 | 194375 | 208266 15 | 46:16.67 | 2:40.63 | 208267 | 220329 16 | 48:57.55 | 2:51.30 | 220330 | 233184 17 | 51:49.10 | 2:30.40 | 233185 | 244474 18 | 54:19.50 | 2:32.67 | 244475 | 255941 19 | 56:52.42 | 2:40.33 | 255942 | 267974 20 | 59:33.00 | 2:36.60 | 267975 | 279734 Track 1 Filename D:\music\Musicgate's rips\Lucky Thompson - 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если нет сидов или раздача находится в архиве, пришлите письмо, и я вернусь Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш. Заботьтесь о своем рейтинге - конвертируйте в мп3 и выкладывайте в соответствующем разделе