(Hard Bop, Jazz-Pop, Soul-Jazz) Wes Montgomery - Tequila - 1966, FLAC (tracks+.cue), lossless

Wes Montgomery - Tequila Жанр: Hard Bop, Jazz-Pop, Soul-Jazz Дата записи: at the Van Gelder Studio, Englewood Cliffs, New Jersey on March 17,21 and May 18, 1966. Дата выпуска: 1966 Производитель диска, страна: PolyGram Records. Inc., USA Printed in West Germany. Made in West Germany. Аудио кодек: FLAC Тип рипа: (tracks + .cue) Битрейт аудио: lossless Включает: Full artwork Продолжительность: 46:42 Источник: коллекция Л.Рендера Риппер: Мой рип Трэклист: 1. TEQUILA 3:18 (Chuck Rio) 2. UTTLE CHILD (DADDY DEAR) 2:26 (Wayne Shanklin) 3. WHAT THE WORLD NEEDS NOW IS LOVE 4:54 (Hal David/Burt Bacharach) 4. THE BIG HURT 4:29 (Wayne Shanklin) 5. BUMPIN'ON SUNSET 4:46 (Wes Montgomery) 6. HOW INSENSITIVE (1NSENSATEZ) 3:45 (Antonio Carlos Jobim/Norman Gimbei/ Vinicius DeMoraes) 7. THE THUMB 4:44 (Wes Montgomery) 8. MIDNIGHT MOOD 5:21 (Joe Zawinul) *9. WIVES AND LOVERS 2:56 (Hal David/Burt Bacharach) *10. BUMPIN' ON SUNSET 3:16 (Wes Montgomery) *11. THE BIG HURT 3:25 (Wayne Shanklin) *12. TEQUILA 2:37 (Chuck Rio) * - Additional tracks on compact disc only. 2-6, 8 - Arranged by Claus Ogerman. Tracks 9,10, 11 and 12 were not included on the original Tequila release (V6 8653). They were issued for the first time in 1971 on the posthumous Wes Montgomery album Just Walkin' (V6 8804). Wives and Looers is an outtake from the March 17,1966 session that produced most of the original album. The other three tracks are alternate takes that are noticeably different from the issued versions, and for that reason, have been included here. Об альбоме: Engineer: Rudy Van Gelder Digitally remastered directly from the original master tapes by Dennis Drake, PolyGram Studios, Usa. http://allmusic.com/cg/amg.dll?p=amg&sql=10:dxfexqegldje http://rateyourmusic.com/release/album/wes_montgomery/tequila/ Состав: Guitar: Wes Montgomery; Conga: Ray Barretto; Bass: Ron Carter; Drums: Grady Tate; Vibes: George Devens Violins: Bernard Eichen; Arnold Eidus; Paul Gershman; Emanuel Green; Juilius Held; Harry Lookofsky; Joe Malin; Gene Orloff Cellos: Abe Kessler; Charles McCracken; George Ricci; Harvey Shapiro Рейтинги и премии: Black Albums # 4, Pop Albums # 51, Jazz Albums # 3 rateyourmusic - 3.60 from 28 ratings Издания: CD Verve 831671-2 1966 Vinyl LP [33 rpm], [Gatefold] Verve V6-8653 CS Verve 831671-4 1999 CD Polygram 547769 1999 CD IMS 8316712 2008 CD Universal Japan 9356   liner notes from the original LP release - BURT KORALL An affable, easy-going, unpretentious musician, Wes Montgomery is a success but he seldom seems to give it any thought. "I'm in the field because I love to play," he once told me. "If 1 hadn't made it, I would still be piaying." There is little that is compulsive about Montgomery's approach to music; it closely resembles his way of life. He is sustained rather than intimidated by his art. Early in his career, he realized that playing improvisatory music is a challenging, life-long adventure — that all the pieces do not fall into place immediately, that much of the excitement of this type of work comes with progressively deeper self-exploration and realization. For Wes Montgomery the act of playing is a joyful reminder of the many currents, other than electric, that are available to a man if he is open to them. Unlike some members of the jazz community, the guitarist has taken time to look up and around. Music is but one of the important aspects of his day-to-day experience; he doesn't want to be narrow. Recently he commented: "What sort of person would 1 be if I'd devoted all my time to the instrument and then gave up music? There are other things going on. you know." "I never planned to be a musician, had no thought of doing that," he said in answer to a query from British jazz critic Max Jones. "Charlie Christian was my inspiration. I heard his 'Solo Flight' (with Benny Goodman in 1943) and something about it made an impression. I should explain that 1 wasn't buying records at the time and wasn't exposed to jazz. I went to dances like any young man, but that was all. But when you hear something that sounds good you want to hear it over, and that happened to me with 'Solo Flight.'" "And when you hear it over and it still sounds good, you want to make something like it. So I thought 'Why not?'... I had nothing but time, so 1 bought a guitar and started teaching myself." Montomgery, 18, with a good, steady job as a welder in Indianapolis, his home town, bought "the whole works" — a new Gibson guitar, an amplifier and a box of picks. With Christian as his model, he practiced every night at home after work. Because he insisted on playing with the amplifier on, his musical evenings began to bother the neighbors. Following a barrage of complaints, young Mrs. Montgomery asked her husband to turn off the juice; he responded by playing more quietly, using his thumb as a plectrum. Montgomery never went back to using picks. Only when he came out on the scene did he realize that very few guitarists work without them. After becoming thoroughly familiar with Christian's style and memorizing all his recorded solos, Montgomery found there was much more to playing. "It was obvious — I had to find myself," he said. "1 began working hard and experimenting with techniques, seeking out the ones that felt good and were most expressive of my thoughts. My explorations continued for quite a while. My technique improved, developing out of particular playing situations. More and more of me passed through my amplifier to those who took time to listen." Very few people were aware of Montgomery from the time he turned to music in 1943 until late in 1959. He left town only once, in 1948, to join Lionel Hampton, remaining on the road with this orchestra for two years. He matured at his own pace, away from the pressure of the big cities, staying on in Indianapolis to be close to his wife and six children, even after musicians had begun to talk about him. Only mildly affected by guitarists other than Christian, Montgomery developed by working out his problems himself. "Don't get me wrong! I'm not against teachers" he explained. "Nor do I feel it's wrong to do things according to the book. My method holds for me. I developed without outside help because it was right for me." A young musician, according to Montgomery, should be encouraged by teachers, or musicians he admires, to explore for himself, to try all kinds of music and to play things his own way. He insists, however, that teachers cannot provide the creative impulse. "It must come from within. Take my case. What I do might not be right technically, but the music comes out all the same. Why? Because I had to play and tell my story." Montgomery's arrival on the national scene, as the 1950s came to a close, was widely heralded. The chroniclers of the day to day history of jazz found in his playing much that struck deeply and resounded in their minds. Not a reflection of his first idol, as are most of the guitarists of his generation, Montgomery had something original to offer. "... his playing." New York Times critic John S. Wilson wrote, "does not have the loping flow that has been common since Christian. Instead it has a fierce jabbing intensity that has much in common with the attack of such present-day saxophonists as John Coltrane and Sonny Rollins... he has changed the guitar from an instrument producing a relatively delicate sound... to a remarkably strong, full-throated ensemble and solo voice. The technical aspect of playing, though initially very important to Montgomery, long ago became subservient to feeling. To project his thoughts, positively and strongly, through the amplifier is his continuing concern. The manner in which he does this might well be considered "conventional" by the young Turks of jazz. Montgomery seeks no new freedom; he finds sufficient challenge in creating living improvisations within a framework. Over a half decade has run past us since the emergence of Wes Montgomery. Quietly and without any big talk, he has continued to work steadily and record with his own groups; to develop as a cogent improvisor, regardless of tempo or type of material, and to win support for a good cause — his own. In this his latest Verve offering, he engages in a flirtation with some material from the world of pop music, performs a touching piece by Cannonball Adderley pianist Joe Zawinul and two of his own originals. He is assisted throughout by bassist Ron Carter, drummer Grady Tate and percussionist George Devens. On a few tracks, nine violins and two cell! provide a functional cushion of sound behind the guitarist who. as always, makes it interesting for the listener     CD scan       Back scan       EAC log Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 20. May 2009, 20:22 Wes Montgomery / Tequila Used drive : PIONEER DVD-RW DVR-112D Adapter: 0 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 48 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 : Yes 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 | 0:00.33 | 3:22.37 | 33 | 15219 2 | 3:22.70 | 2:30.13 | 15220 | 26482 3 | 5:53.08 | 4:58.00 | 26483 | 48832 4 | 10:51.08 | 4:32.37 | 48833 | 69269 5 | 15:23.45 | 4:49.38 | 69270 | 90982 6 | 20:13.08 | 3:49.12 | 90983 | 108169 7 | 24:02.20 | 4:48.13 | 108170 | 129782 8 | 28:50.33 | 5:24.50 | 129783 | 154132 9 | 34:15.08 | 2:59.62 | 154133 | 167619 10 | 37:14.70 | 3:20.48 | 167620 | 182667 11 | 40:35.43 | 3:28.65 | 182668 | 198332 12 | 44:04.33 | 2:38.00 | 198333 | 210182 Track 1 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\01 - Tequila.wav Pre-gap length 0:00:02.44 Peak level 91.7 % Track quality 100.0 % Test CRC ACE8CDEE Copy CRC ACE8CDEE Accurately ripped (confidence 2) [34BD0629] Copy OK Track 2 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\02 - Little Child(Daddy Dear).wav Pre-gap length 0:00:03.49 Peak level 41.3 % Track quality 100.0 % Test CRC 0FA8E41B Copy CRC 0FA8E41B Accurately ripped (confidence 2) [83D025A0] Copy OK Track 3 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\03 - What The World Needs Now Is Love.wav Pre-gap length 0:00:03.50 Peak level 90.2 % Track quality 100.0 % Test CRC A416DA9B Copy CRC A416DA9B Accurately ripped (confidence 2) [02BA69C0] Copy OK Track 4 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\04 - The Big Hurt.wav Pre-gap length 0:00:03.50 Peak level 75.9 % Track quality 100.0 % Test CRC 8BE33C9F Copy CRC 8BE33C9F Accurately ripped (confidence 2) [1C955869] Copy OK Track 5 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\05 - Bumpin' On Sunset.wav Pre-gap length 0:00:03.00 Peak level 62.1 % Track quality 100.0 % Test CRC 5D2D1C20 Copy CRC 5D2D1C20 Accurately ripped (confidence 2) [2702587F] Copy OK Track 6 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\06 - How Insensitive(Insensatez).wav Pre-gap length 0:00:03.50 Peak level 53.9 % Track quality 100.0 % Test CRC 497B006F Copy CRC 497B006F Accurately ripped (confidence 2) [24894D67] Copy OK Track 7 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\07 - The Thumb.wav Pre-gap length 0:00:03.49 Peak level 81.5 % Track quality 100.0 % Test CRC C405545A Copy CRC C405545A Accurately ripped (confidence 2) [AEBD32B8] Copy OK Track 8 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\08 - Midnight Mood.wav Pre-gap length 0:00:02.66 Peak level 79.7 % Track quality 100.0 % Test CRC B2B99528 Copy CRC B2B99528 Accurately ripped (confidence 2) [4B4047FB] Copy OK Track 9 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\09 - Wives And Lovers.wav Pre-gap length 0:00:03.33 Peak level 83.8 % Track quality 100.0 % Test CRC 0DC904E5 Copy CRC 0DC904E5 Accurately ripped (confidence 2) [A4C81B34] Copy OK Track 10 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\10 - Bumpin' On Sunset (CD bonus).wav Pre-gap length 0:00:03.16 Peak level 72.2 % Track quality 100.0 % Test CRC A13770B3 Copy CRC A13770B3 Accurately ripped (confidence 2) [7762A2D9] Copy OK Track 11 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\11 - The Big Hurt (CD bonus).wav Pre-gap length 0:00:03.13 Peak level 68.7 % Track quality 99.9 % Test CRC 34C1F43B Copy CRC 34C1F43B Accurately ripped (confidence 2) [7B98F386] Copy OK Track 12 Filename D:\music\rip\Wes Montgomery - Tequila (1966) {PolyGram}\12 - Tequila (CD bonus).wav Pre-gap length 0:00:03.33 Peak level 85.6 % Track quality 100.0 % Test CRC F4AC8E7E Copy CRC F4AC8E7E Accurately ripped (confidence 2) [DA2A3167] Copy OK All tracks accurately ripped No errors occurred End of status report     auCDtect log 556037348 35719868 01 - Tequila.wav 3829657900 26490620 02 - Little Child(Daddy Dear).wav 2900404162 52567244 03 - What The World Needs Now Is Love.wav 4003880474 48067868 04 - The Big Hurt.wav 3912567351 51069020 05 - Bumpin' On Sunset.wav 3863037528 40423868 06 - How Insensitive(Insensatez).wav 342541701 50833820 07 - The Thumb.wav 667711144 57271244 08 - Midnight Mood.wav 2074490342 31721468 09 - Wives And Lovers.wav 1640597096 35392940 10 - Bumpin' On Sunset (CD bonus).wav 1537071745 36844124 11 - The Big Hurt (CD bonus).wav 3917742687 27871244 12 - Tequila (CD bonus).wav auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved. ------------------------------------------------------------ Processing file: [01 - Tequila.wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [02 - Little Child(Daddy Dear).wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [03 - What The World Needs Now Is Love.wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [04 - The Big Hurt.wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [05 - Bumpin' On Sunset.wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [06 - How Insensitive(Insensatez).wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [07 - The Thumb.wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [08 - Midnight Mood.wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [09 - Wives And Lovers.wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [10 - Bumpin' On Sunset (CD bonus).wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [11 - The Big Hurt (CD bonus).wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [12 - Tequila (CD bonus).wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Final Conclusion: ------------------------------------------------------------ These tracks looks like CDDA with probability 100% Я не сидирую все свои раздачи подолгу, только новые (до 3х первых сидов) Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш Если нет сидов или раздача находится в архиве, пришлите письмо, и я вернусь Заботьтесь о своем рейтинге - приветствуется конвертация моих раздач в мп3 и выкладывание в соотвтствующем разделе