(Hard Bop, Post-Bop, Contemporary Jazz) Todd Coolman Trio (Renee Rosnes, Lewis Nash) with guest Joe Henderson - Lexicon (1991) - 1995, FLAC (image+.cue) lossless
Треклист:
Todd Coolman Trio (Renee Rosnes, Lewis Nash) with guest Joe Henderson - Lexicon
Жанр: Hard Bop, Post-Bop, Contemporary Jazz
Страна-производитель диска: USA
Год издания диска: 1995
Издатель (лейбл): Double-Time Records
Номер по каталогу: DTRCD-104
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 01:06:27
Источник (релизер): PCWhizzkid
Наличие сканов в содержимом раздачи: да
Треклист:
1. Lexicon
2. Con Alma
3. Caravan
4. I'm Getting Sentimental Over You
5. All Too Soon
6. Summer Serenade
7. Canción Para Cadiz
8. You Go to My Head
9. One for Walton
Recorded at Sound On Sound, New York, New York on September 14, 1991.
Includes liner notes by Todd Coolman.
Personnel:
Todd Coolman (bass)
Renee Rosnes (piano)
Lewis Nash (drums)
Joe Henderson (tenor sax)
Photographers: John Kuzmich, Jr.; Jamey Aebersold.
http://www.toddcoolman.com/
Жанр: Hard Bop, Post-Bop, Contemporary Jazz
Страна-производитель диска: USA
Год издания диска: 1995
Издатель (лейбл): Double-Time Records
Номер по каталогу: DTRCD-104
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 01:06:27
Источник (релизер): PCWhizzkid
Наличие сканов в содержимом раздачи: да
Треклист:
1. Lexicon
2. Con Alma
3. Caravan
4. I'm Getting Sentimental Over You
5. All Too Soon
6. Summer Serenade
7. Canción Para Cadiz
8. You Go to My Head
9. One for Walton
Recorded at Sound On Sound, New York, New York on September 14, 1991.
Includes liner notes by Todd Coolman.
Personnel:
Todd Coolman (bass)
Renee Rosnes (piano)
Lewis Nash (drums)
Joe Henderson (tenor sax)
Photographers: John Kuzmich, Jr.; Jamey Aebersold.
http://www.toddcoolman.com/
CD
Back
Musicians
Лог создания рипа (EAC Log)
Exact Audio Copy V1.0 beta 1 from 15. November 2010 EAC extraction logfile from 22. April 2011, 13:40 Todd Coolman Trio / Lexicon Used drive : HL-DT-STDVDRAM GH22NS40 Adapter: 2 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No 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 Used output format : User Defined Encoder Selected bitrate : 768 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %j--picture="%i"%j %s -o %d TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 7:24.69 | 0 | 33368 2 | 7:24.69 | 9:54.74 | 33369 | 77992 3 | 17:19.68 | 8:34.56 | 77993 | 116598 4 | 25:54.49 | 4:50.26 | 116599 | 138374 5 | 30:45.00 | 8:07.62 | 138375 | 174961 6 | 38:52.62 | 5:09.65 | 174962 | 198201 7 | 44:02.52 | 10:39.62 | 198202 | 246188 8 | 54:42.39 | 6:16.31 | 246189 | 274419 9 | 60:58.70 | 5:28.28 | 274420 | 299047 Range status and errors Selected range Filename T:\Todd Coolman Trio - Lexicon.wav Peak level 94.9 % Extraction speed 0.1 X Range quality 100.0 % Test CRC 061AFA01 Copy CRC 061AFA01 Copy OK No errors occurred AccurateRip summary Track 1 accurately ripped (confidence 2) [5BAC2646] Track 2 accurately ripped (confidence 2) [24536DD7] Track 3 accurately ripped (confidence 2) [D213996F] Track 4 accurately ripped (confidence 2) [E811F027] Track 5 accurately ripped (confidence 2) [88ED86E2] Track 6 accurately ripped (confidence 2) [0265C370] Track 7 accurately ripped (confidence 2) [F3942B1E] Track 8 accurately ripped (confidence 2) [A5431CAA] Track 9 accurately ripped (confidence 2) [527E6B85] All tracks accurately ripped End of status report ==== Log checksum 012A13AB45F86D67B120E7433013DA0184A1DB01DB5EB661EA9A6B8D7C0E6E94 ====
Содержание индексной карты (.CUE)
REM GENRE Jazz
REM DATE 1991
REM DISCID 770F9309
REM COMMENT "ExactAudioCopy v1.0b1"
PERFORMER "Todd Coolman Trio"
TITLE "Lexicon"
FILE "Todd Coolman Trio - Lexicon.flac" WAVE
TRACK 01 AUDIO
TITLE "Lexicon"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Con Alma"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 00 07:23:24
INDEX 01 07:24:69
TRACK 03 AUDIO
TITLE "Caravan"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 00 17:18:23
INDEX 01 17:19:68
TRACK 04 AUDIO
TITLE "I'm Getting Sentimental Over You"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 00 25:53:04
INDEX 01 25:54:49
TRACK 05 AUDIO
TITLE "All Too Soon"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 00 30:43:30
INDEX 01 30:45:00
TRACK 06 AUDIO
TITLE "Summer Serenade"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 00 38:51:17
INDEX 01 38:52:62
TRACK 07 AUDIO
TITLE "Cancion Para Cadiz"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 00 44:01:07
INDEX 01 44:02:52
TRACK 08 AUDIO
TITLE "You Go To My Head"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 00 54:40:69
INDEX 01 54:42:39
TRACK 09 AUDIO
TITLE "One For Walton"
PERFORMER "Todd Coolman Trio"
FLAGS DCP
INDEX 00 60:57:25
INDEX 01 60:58:70
Об исполнителе (группе)
BIOGRAPHY
Instrument: Bass
Upon graduating from the Indiana University School of Music with a Bachelor of Music degree in Doublebass Performance in 1975, I had $30, a bass, a ’66 Volvo and a job offer from the Orquestra Symphonica Nationale de Mexico in Jalapa, Veracruz, Mexico. Naturally, I took the job. Overall, it was a great experience.
After a year I had saved a small nest egg and moved to Chicago (near where I was raised) and began a fledgling career as a free-lance bassist. Ironically, my first job offer was to play electric bass three nights a week with a Brazilian band in a Mexican restaurant! Over the course of the next two years, I gradually became more involved in the Chicago jazz scene and gained a great deal of valuable experience as a member of a “house trio” at a jazz club where a different “big name” would come to town and perform with us. During a nine month period I was in this “jazz university” I performed with some real masters including, Sonny Stitt, Zoot Sims, Buddy DeFranco, Clark Terry, Marian McPartland, and the like. I was 22 years of age and extremely lucky to have been in the right place at the right time.
Many of the aforementioned artists encouraged me to move to New York and become part of arguably the most important jazz scene in the United States. Naively, I took their advice (in retrospect, I probably was not ready) and in the fall of 1978 my wife Darla and our two cats threw all of our stuff into a U Haul truck and moved to the Big Apple.
Since moving to New York, I have been blessed to have performed, toured world-wide and/or recorded with a virtual “who's who” of jazz artists including Horace Silver, Gerry Mulligan, Al Haig, Stan Getz, Benny Golson, Art Farmer, Tommy Flanagan, Lionel Hampton, Benny Goodman, Hal Galper, and numerous others. Today, I actively perform with an impressive array of artists including: James Moody, Ahmad Jamal, Slide Hampton, Jimmy Heath, Frank Wess, and was the last bassist to perform with The Carnegie Hall Jazz Band. I have released two CD's as a leader entitled Tomorrows and Lexicon, the latter featuring pianist Renee Rosnes, drummer Lewis Nash, and special guest artist Joe Henderson for the Double-Time Jazz label.
My most recent performing involvements include concerts and club appearances with The James Moody Quartet, a group I have been associated with for 18 years as well as free lace work in New York City, Europe, and Japan.
In addition to my (thankfully) busy performing schedule, I am also a jazz educator. I am Director of Jazz Studies at Purchase College (SUNY). I am “tweaking” the Jazz Studies Program and am pleased to see it developing to one of the finest programs in the nation. For over twenty years I have remained active as a clinician and lecturer at universities throughout the world. I have written two books, The Bass Tradition and The Bottom Line, published by Aebersold Jazz Aids. I have earned a Ph.D. in Music and Performing Arts Professions from New York University (1997). I am frequently involved as a writing and research consultant for jazz history and CD liner note projects. I won the 1998 Grammy Award for “Best Album Notes” for my lengthy contribution to the Miles Davis boxed set entitled “Miles Davis Quintet 1965-1968.”
Instrument: Bass
Upon graduating from the Indiana University School of Music with a Bachelor of Music degree in Doublebass Performance in 1975, I had $30, a bass, a ’66 Volvo and a job offer from the Orquestra Symphonica Nationale de Mexico in Jalapa, Veracruz, Mexico. Naturally, I took the job. Overall, it was a great experience.
After a year I had saved a small nest egg and moved to Chicago (near where I was raised) and began a fledgling career as a free-lance bassist. Ironically, my first job offer was to play electric bass three nights a week with a Brazilian band in a Mexican restaurant! Over the course of the next two years, I gradually became more involved in the Chicago jazz scene and gained a great deal of valuable experience as a member of a “house trio” at a jazz club where a different “big name” would come to town and perform with us. During a nine month period I was in this “jazz university” I performed with some real masters including, Sonny Stitt, Zoot Sims, Buddy DeFranco, Clark Terry, Marian McPartland, and the like. I was 22 years of age and extremely lucky to have been in the right place at the right time.
Many of the aforementioned artists encouraged me to move to New York and become part of arguably the most important jazz scene in the United States. Naively, I took their advice (in retrospect, I probably was not ready) and in the fall of 1978 my wife Darla and our two cats threw all of our stuff into a U Haul truck and moved to the Big Apple.
Since moving to New York, I have been blessed to have performed, toured world-wide and/or recorded with a virtual “who's who” of jazz artists including Horace Silver, Gerry Mulligan, Al Haig, Stan Getz, Benny Golson, Art Farmer, Tommy Flanagan, Lionel Hampton, Benny Goodman, Hal Galper, and numerous others. Today, I actively perform with an impressive array of artists including: James Moody, Ahmad Jamal, Slide Hampton, Jimmy Heath, Frank Wess, and was the last bassist to perform with The Carnegie Hall Jazz Band. I have released two CD's as a leader entitled Tomorrows and Lexicon, the latter featuring pianist Renee Rosnes, drummer Lewis Nash, and special guest artist Joe Henderson for the Double-Time Jazz label.
My most recent performing involvements include concerts and club appearances with The James Moody Quartet, a group I have been associated with for 18 years as well as free lace work in New York City, Europe, and Japan.
In addition to my (thankfully) busy performing schedule, I am also a jazz educator. I am Director of Jazz Studies at Purchase College (SUNY). I am “tweaking” the Jazz Studies Program and am pleased to see it developing to one of the finest programs in the nation. For over twenty years I have remained active as a clinician and lecturer at universities throughout the world. I have written two books, The Bass Tradition and The Bottom Line, published by Aebersold Jazz Aids. I have earned a Ph.D. in Music and Performing Arts Professions from New York University (1997). I am frequently involved as a writing and research consultant for jazz history and CD liner note projects. I won the 1998 Grammy Award for “Best Album Notes” for my lengthy contribution to the Miles Davis boxed set entitled “Miles Davis Quintet 1965-1968.”
Об альбоме (сборнике)
Allmusic:
Bassist Todd Coolman makes his second recording as a leader with this Double Time CD. Accompanied by pianist Renee Rosnes and drummer Lewis Nash, Coolman explores a mix of established jazz standards and newer works. The interplay within the trio is marvelous throughout "Con Alma." Coolman takes the spotlight in the bittersweet Duke Ellington ballad "All Too Soon," while the Latin setting of Benny Carter's "Summer Serenade" features Rosnes' hip solo, followed by a Coolman improvisation backed by Nash's hand drumming. Tenor saxophonist Joe Henderson is added for three tracks, including Rosnes' turbulent "Lexicon"; a brisk, exotic take of "Caravan"; and the leader's "Canción Para Cadiz." ~ Ken Dryden
------
JazzTimes (4/96, pp.83-84) - "...While fully capable of virtuosic flights...the busy New York bassist makes his greatest impression with a solid swinging pulse and rich plummy sound that allow the music to dance and indeed lift the bandstand..."
Bassist Todd Coolman makes his second recording as a leader with this Double Time CD. Accompanied by pianist Renee Rosnes and drummer Lewis Nash, Coolman explores a mix of established jazz standards and newer works. The interplay within the trio is marvelous throughout "Con Alma." Coolman takes the spotlight in the bittersweet Duke Ellington ballad "All Too Soon," while the Latin setting of Benny Carter's "Summer Serenade" features Rosnes' hip solo, followed by a Coolman improvisation backed by Nash's hand drumming. Tenor saxophonist Joe Henderson is added for three tracks, including Rosnes' turbulent "Lexicon"; a brisk, exotic take of "Caravan"; and the leader's "Canción Para Cadiz." ~ Ken Dryden
------
JazzTimes (4/96, pp.83-84) - "...While fully capable of virtuosic flights...the busy New York bassist makes his greatest impression with a solid swinging pulse and rich plummy sound that allow the music to dance and indeed lift the bandstand..."
Double-Time Records
A lexicon is defined as a word list or vocabulary pertaining to a specific subject. The recorded music contained herein is a sort of lexicon which draws upon the vocabulary of the jazz tradition. Because this recording date was not exactly planned (it came about as a result of a series of coincidences) the musicians involved had to refer to the same musical lexicon in order to communicate successfully with one another and ultimately with you, the listener. I think the music will support this thesis. One interesting note is that this recording occurred just two weeks after Joe Henderson recorded “Lush Life” for Verve. “Lush Life” has often been mentioned as Joe’s “comeback” album. If this recording is any additional evidence, it seems that Joe’s “comeback” is warranted and long overdue. A brief summary of the compositions follows:
Lexicon * (7:26) by Renee Rosnes- This piece is a multi-metered variant of a basic 12 bar blues. It evokes memories of the music recorded some years ago by McCoy Tyner on his outstanding Blue Note release “The Real McCoy”. Interestingly, Joe Henderson was on that recording also. The band “sizzles”.
Con Alma (9:52) by Dizzy Gillespie- Loosely translated, con alma means “with soul”. This version reveals two facets of the jazz soul, one being the dreamy jazz waltz and the other being a driving and ever intense 4/4 swing. If I may say so, lyricism pervades throughout. Listen to the marvelous manner in which Lewis Nash inspires and compliments the soloists. He is a rare treasure, in any and all musical contexts. God bless him.
Caravan * (8:32) by Juan Tizol- This classic made famous by the Duke Ellington Orchestra is a suitable means by which Joe Henderson reveals his “snake charmer” tendencies.
I'm Getting Sentimental Over You (4:47) by George Bassman, words by Ned Washington - This piece served as Tommy Dorsey’s theme song during the World War II era. When I hear it, it recalls the memory of some of my predecessors who have always served as great inspirations to me, including: Jimmy Blanton, Oscar Pettiford, Sam Jones (touching, Homes!!!!!), Red Mitchell, and countless others.
All Too Soon (8:04) by Duke Ellington - This beautiful, seldom played standard was taught to me by the legendary pianist Al Haig. I had the honor of being his bassist for two years at One Fifth Avenue in New York City in the early 1980’s. Thanks Al, for teaching me this tune and many other invaluable musical lessons. Say hi to Bird next time you see him.
Summer Serenade (5:07) by Benny Carter- Benny “The King” Carter has written literally hundreds of compositions and lyrics, many of which are deserving of much wider recognition. Benny- please forgive the brisk tempo here- it just sort of happened!!!!!
Cancion Para Cadiz * (10:38) by Todd Coolman- This piece was inspired by an impromptu performance I heard in the south of Spain some years ago. I was invited to hear two young Spanish brothers (ages 10 and 12) play Flamenco guitar while their father sang traditional Andaluzian songs. The depth of musical expression that I experienced that night is something rarely heard and is equally unforgettable.
You Go To My Head (6:14) by J. Fred Coots- The venerable standard is performed here in a fairly “straight ahead” piano trio format. I have always found this tune to be a challenging vehicle for improvisation.
One For Walton (5:28) by Renee Rosnes- This second of two Rosnes originals on this recording is a musical tribute to one of the finest pianist/composers of the modern era, Cedar Walton. Renee has obviously assimilated Cedar’s eloquence and clarity of expression as both pianist and composer. She is simply one of my all-time favorite musical collaborators, bar none.
A few parting thoughts: The twentieth century philosopher Ludwig Wittgenstein has often illustrated the shortcomings of both written and spoken language. When I try to think of ways to express my gratitude for the extraordinary contributions of Joe, Renee, and Lewis, I am aware that Wittgenstein was right. It is my sincere wish that the musical language (lexicon, if you will) contained in this recording somehow transcends the written and spoken word. I am blessed to have the opportunity to attempt this on a daily basis through jazz and my many gifted and dedicated musical associates.
Todd Coolman
New York City, 1995
Lexicon * (7:26) by Renee Rosnes- This piece is a multi-metered variant of a basic 12 bar blues. It evokes memories of the music recorded some years ago by McCoy Tyner on his outstanding Blue Note release “The Real McCoy”. Interestingly, Joe Henderson was on that recording also. The band “sizzles”.
Con Alma (9:52) by Dizzy Gillespie- Loosely translated, con alma means “with soul”. This version reveals two facets of the jazz soul, one being the dreamy jazz waltz and the other being a driving and ever intense 4/4 swing. If I may say so, lyricism pervades throughout. Listen to the marvelous manner in which Lewis Nash inspires and compliments the soloists. He is a rare treasure, in any and all musical contexts. God bless him.
Caravan * (8:32) by Juan Tizol- This classic made famous by the Duke Ellington Orchestra is a suitable means by which Joe Henderson reveals his “snake charmer” tendencies.
I'm Getting Sentimental Over You (4:47) by George Bassman, words by Ned Washington - This piece served as Tommy Dorsey’s theme song during the World War II era. When I hear it, it recalls the memory of some of my predecessors who have always served as great inspirations to me, including: Jimmy Blanton, Oscar Pettiford, Sam Jones (touching, Homes!!!!!), Red Mitchell, and countless others.
All Too Soon (8:04) by Duke Ellington - This beautiful, seldom played standard was taught to me by the legendary pianist Al Haig. I had the honor of being his bassist for two years at One Fifth Avenue in New York City in the early 1980’s. Thanks Al, for teaching me this tune and many other invaluable musical lessons. Say hi to Bird next time you see him.
Summer Serenade (5:07) by Benny Carter- Benny “The King” Carter has written literally hundreds of compositions and lyrics, many of which are deserving of much wider recognition. Benny- please forgive the brisk tempo here- it just sort of happened!!!!!
Cancion Para Cadiz * (10:38) by Todd Coolman- This piece was inspired by an impromptu performance I heard in the south of Spain some years ago. I was invited to hear two young Spanish brothers (ages 10 and 12) play Flamenco guitar while their father sang traditional Andaluzian songs. The depth of musical expression that I experienced that night is something rarely heard and is equally unforgettable.
You Go To My Head (6:14) by J. Fred Coots- The venerable standard is performed here in a fairly “straight ahead” piano trio format. I have always found this tune to be a challenging vehicle for improvisation.
One For Walton (5:28) by Renee Rosnes- This second of two Rosnes originals on this recording is a musical tribute to one of the finest pianist/composers of the modern era, Cedar Walton. Renee has obviously assimilated Cedar’s eloquence and clarity of expression as both pianist and composer. She is simply one of my all-time favorite musical collaborators, bar none.
A few parting thoughts: The twentieth century philosopher Ludwig Wittgenstein has often illustrated the shortcomings of both written and spoken language. When I try to think of ways to express my gratitude for the extraordinary contributions of Joe, Renee, and Lewis, I am aware that Wittgenstein was right. It is my sincere wish that the musical language (lexicon, if you will) contained in this recording somehow transcends the written and spoken word. I am blessed to have the opportunity to attempt this on a daily basis through jazz and my many gifted and dedicated musical associates.
Todd Coolman
New York City, 1995