(Jazz) [3LP] [16/44] Louis Armstrong - The Complete Great Chicago Concert (PurePleasure 3 LP-Set mono) - 1956, FLAC (tracks)

Louis Armstrong - The Complete Great Chicago Concert (PurePleasure 3 LP-Set mono) Жанр: Jazz Год выпуска: 1956 Лейбл: PurePleasureRecords 180g 3 x LP box | Catalog: #Columbia 65119 - MONO Mastered by Ray Staff @ AIR-Mastering, Lyndhurst Hall, London Страна-производитель: USA Аудио кодек: FLAC Тип рипа: tracks Формат записи: 24/96 Формат раздачи: 16/44 Продолжительность: 1:52:28 Наличие сканов в содержимом раздачи: да Источник оцифровки: aksmanТреклист: Side A 1. Medley: Flee As A Bird To The Mountain/ Oh, Didn't He Ramble 2. Medley: Memphis Blues/ Frankie And Johnny/ Tiger Rag 3. Do You Know What It Means To Miss New Orleans 4. Basin Street BluesSide B 1. Black And Blue 2. West End Blues 3. On The Sunny Side Of The Street 4. Struttin' With Some Barbecue 5. When It's Sleepy Time Down SouthSide C 1. Medley: Manhattan/ When It's Sleepy Time Down South 2. Indiana 3. The Gypsy 4. The Faithful HussarSide D 1. Rockin' Chair 2. Bucket's Got A Hole In It 3. Perdido 4. Clarinet MarmaladeSide E 1. Mack The Knife 2. Medley: Tenderly/ You'll Never Walk Alone 3. Stompin' At The Savoy 4. MargieSide F 1. Big Mama's Back In Town 2. That's My Desire 3. Ko Ko Mo (I Love You So) 4. When The Saints Go Marching In 5. The Star Spangled BannerСостав: Louis Armstrong, trumpet and vocal Edmond Hall, clarinet, vocal on “Buckets Got A Hole In It” Trummy Young, trombone, vocal on “Rockin’ Chair” & “Margie” Billy Kyle, piano Dale Jones, bass Barrett Deems, drums Velma Middleton, vocal on “Big Mama’s Back In Town, “That’s My Desire” & “Ko Ko Mo (I Love You So)”Recorded live in Chicago at Medina Temple on June 1, 1956. Produced by George AvakianТехнические Данные RCM Hannl 'limited' with "Rotating Brush" Music Hall MMF 9.1 Turntable Tonearm: Pro-Ject 9cc evo with Pure Silver Wires Cartridge: Nagaoka MP-500 Brocksieper Phonomax (Tube Phono PreAmp) E-MU 0404 external USB 2.0 Audiointerface Interconnections : Silent Wire NF5 WaveLab 6 recording software iZotope RX Advanced 2.00 for resampling and ditheringVacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal > analyze (no clipping, no DC Bias offset) > converted to 16/44.1 with iZotope RX Advanced 2.00 (CD-format only) > split into individual Tracks > FLAC encoded (Vers. 1.21)No silence been removed, please burn gapless to match original tracklayout.  Спектр  АЧХ и Уровень записи  Dynamic Range analyzisAnalyzed folder: D:\*******\Louis Armstrong - The Complete Great Chicago Concert 1956 [flac] {PurePleasure 3 LP-Set; mono; CD-format}\ ---------------------------------------------------------------------------------------------- DR Peak RMS Filename ----------------------------------------------------------------------------------------------DR15 -2.52 dB -22.40 dB A1 - Medley (Flee As a Bird to the Mountain; Oh, Didn't He Ramble).wav DR14 -0.84 dB -17.49 dB A2 - Medley (Memphis Blue; Frankie and Johnny; Tiger Rag).wav DR14 -4.09 dB -21.45 dB A3 - Do You Know What it Means to Miss New Orleans.wav DR13 -2.65 dB -19.04 dB A4 - Basin Street Blues.wav DR15 -2.70 dB -20.94 dB B1 - Black and Blue.wav DR14 -0.72 dB -21.40 dB B2 - West End Blues.wav DR12 -3.16 dB -18.86 dB B3 - On the Suny Side of the Street.wav DR14 -2.38 dB -18.76 dB B4 - Struttin' With Some Barbecue.wav DR13 -3.25 dB -22.17 dB B5 - When It's Sleepy Time Down South.wav DR15 -2.01 dB -20.88 dB C1 - Medley (Manhattan; When it's Söeepy Time Down South).wav DR13 -2.95 dB -19.03 dB C2 - Indiana.wav DR13 -4.43 dB -21.17 dB C3 - The Gypsy.wav DR14 -1.30 dB -18.26 dB C4 - The Faithful Hussar.wav DR15 -2.19 dB -21.03 dB D1 - Rockin' Chair.wav DR13 -1.52 dB -17.30 dB D2 - Bucket's Got a Hole in it.wav DR13 -1.97 dB -19.95 dB D3 - Perdido.wav DR14 -2.18 dB -18.42 dB D4 - Clarinet Marmalade.wav DR14 -0.71 dB -19.90 dB E1 - Mack the Knife.wav DR16 -2.21 dB -22.13 dB E2 - Medley (Tenderly; You'll Never Walk Alone).wav DR13 -1.16 dB -17.21 dB E3 - Stompin' at the Savoy.wav DR14 -3.59 dB -21.31 dB E4 - Margie.wav DR15 -0.78 dB -18.88 dB F1 - Big Mama's Back in Town.wav DR15 -2.38 dB -22.25 dB F2 - That's My Desire.wav DR13 -1.64 dB -18.43 dB F3 - Ko Ko Mo (I Love You So).wav DR13 -2.79 dB -19.61 dB F4 - When the Saints Go Marching In.wav DR15 -1.47 dB -20.52 dB F5 - The Star Spangled Banner.wav ----------------------------------------------------------------------------------------------Number of files: 26 Official DR value: DR14==============================================================================================  Информация о виниле:Originally out on a double LP, this is a definitive set of the Louis Armstrong All-Stars of 1956. The music and many of the solos will be familiar to longtime Armstrong fans, but whether it be "Struttin' with Some Barbecue," "Basin Street," or his then-new hit, "Mack the Knife," the spirit and enthusiasm of this music is irresistible. This is his best live set in the '50s. - Scott Yanow/AMG ”There has never been (nor will there ever be again) a musician so beloved all over the world as Louis Armstrong. Artistically, he was not only the single most influential fount and inspiration for every pop-music instrumentalist and singer of his time and thereafter, but he was quite easily the greatest entertainer ever to step on the stage, musical or theatrical. And where Louis was concerned, there was no separation; he was as theatrical as he was musical. This album doc uments just one of his countless concert appearances. It is unique and typical at the same time, for the evening began with a review of “50 years of Jazz” (which also paralled Armstrong’s life, for he and jazz were both born at the turn of the century – Louis in 1901, as a baptismal certificate discovered after his deathhas established, not 1900, as he had always believed), followed by a standard-issue Armstrong All Stars program. Although his choice of selections would change slightly from one night to another, and then more so from one year to the next, certain elements remained constant. No matter how often a composition was repeated (he opened every show “Sleepy time Down South”, almost invariably followed by “Indiana”), Louis Armstrong gave his all every performance – no matter how many or few in the audience, and no matter if the decades of nearly non-stop touring had left him exausted on a particular night.