(Latin Jazz, World Fusion, Flamenco Jazz, ACT Music) Gerardo Nunez & Chano Dominguez - Jazzpana II - 2000, FLAC (image+.cue), lossless
Издатель (лейбл):
Gerardo Nunez & Chano Dominguez / Jazzpana II
Жанр: Latin Jazz, World Fusion, Flamenco Jazz
Страна-производитель диска: Germany
Год издания: 2000
Издатель (лейбл): ACT
Номер по каталогу: ACT 9284-2
Аудиокодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 57:57
Источник (релизер): itr
Наличие сканов в содержимом раздачи: да
Треклист:
1. Calima (Gerardo Nunez) 4:45
2. Un Amor Real (Gerardo Nunez) 3:24
3. La Liebre/Plaza Jazzpana (Pedro Pena/Gerardo Nunez) 5:14
4. Alma de Mujer (Chano Dominguez) 5:18
5. Blues for Pablo (Gil Evans) 6:08
6. Latido Loco (Renaud Garcia-Fons) 4:51
7. Jerez - Chicago (Gerardo Nunez) 4:48
8. Paso por El (Jorge Pardo) 4:09
9. Mister Senor (Chano Dominguez) 3:56
10. Que tambien es de Sevilla (Leon/Clavero/P. Obregón y Beltrán) 2:07
11. Samaruco (Gerardo Nunez) 4:06
12. Para Chick (Chano Dominguez) 3:52
13. Bluesolea (Gerardo Nunez) 5:10
Жанр: Latin Jazz, World Fusion, Flamenco Jazz
Страна-производитель диска: Germany
Год издания: 2000
Издатель (лейбл): ACT
Номер по каталогу: ACT 9284-2
Аудиокодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 57:57
Источник (релизер): itr
Наличие сканов в содержимом раздачи: да
Треклист:
1. Calima (Gerardo Nunez) 4:45
2. Un Amor Real (Gerardo Nunez) 3:24
3. La Liebre/Plaza Jazzpana (Pedro Pena/Gerardo Nunez) 5:14
4. Alma de Mujer (Chano Dominguez) 5:18
5. Blues for Pablo (Gil Evans) 6:08
6. Latido Loco (Renaud Garcia-Fons) 4:51
7. Jerez - Chicago (Gerardo Nunez) 4:48
8. Paso por El (Jorge Pardo) 4:09
9. Mister Senor (Chano Dominguez) 3:56
10. Que tambien es de Sevilla (Leon/Clavero/P. Obregón y Beltrán) 2:07
11. Samaruco (Gerardo Nunez) 4:06
12. Para Chick (Chano Dominguez) 3:52
13. Bluesolea (Gerardo Nunez) 5:10
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 2. April 2013, 8:57
Jazzpaña II / Chano Dominguez - Gerardo Nuñez
Used drive : Optiarc DVD RW AD-7250H Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : No
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 : 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
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TOC of the extracted CD
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1 | 0:00.00 | 4:45.62 | 0 | 21436
2 | 4:45.62 | 3:24.60 | 21437 | 36796
3 | 8:10.47 | 5:14.58 | 36797 | 60404
4 | 13:25.30 | 5:18.55 | 60405 | 84309
5 | 18:44.10 | 6:08.52 | 84310 | 111961
6 | 24:52.62 | 4:51.10 | 111962 | 133796
7 | 29:43.72 | 4:48.63 | 133797 | 155459
8 | 34:32.60 | 4:09.72 | 155460 | 174206
9 | 38:42.57 | 3:56.35 | 174207 | 191941
10 | 42:39.17 | 2:07.68 | 191942 | 201534
11 | 44:47.10 | 4:06.35 | 201535 | 220019
12 | 48:53.45 | 3:52.42 | 220020 | 237461
13 | 52:46.12 | 5:10.68 | 237462 | 260779
Range status and errors
Selected range
Filename C:\Users\Zoli\Music\R_p\Jazzpaña II\Jazzpaña II - Chano Dominguez - Gerardo Nuñez.wav
Peak level 100.0 %
Extraction speed 6.2 X
Range quality 99.9 %
Copy CRC 1426F516
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 2) [59D1C337] (AR v2)
Track 2 accurately ripped (confidence 2) [EADFB988] (AR v2)
Track 3 accurately ripped (confidence 2) [4BC1F133] (AR v2)
Track 4 accurately ripped (confidence 2) [195270E6] (AR v2)
Track 5 accurately ripped (confidence 2) [B79557A2] (AR v2)
Track 6 accurately ripped (confidence 2) [91EF02B4] (AR v2)
Track 7 accurately ripped (confidence 2) [006DF622] (AR v2)
Track 8 accurately ripped (confidence 2) [8883196E] (AR v2)
Track 9 accurately ripped (confidence 2) [5095051C] (AR v2)
Track 10 accurately ripped (confidence 2) [46F4E1F5] (AR v2)
Track 11 accurately ripped (confidence 2) [D52392CC] (AR v2)
Track 12 accurately ripped (confidence 2) [D9802F5A] (AR v2)
Track 13 accurately ripped (confidence 2) [ECF31D55] (AR v2)
All tracks accurately ripped
End of status report
Содержание индексной карты (.CUE)
REM GENRE Jazz
REM DATE 2000
REM COMMENT Gerardo Nunez, Flamenco-guitar_Chano Dominguez, Piano_Fareed Haque, Guitar_Jorge Pardo, Flute/Saxophones_Perico Sambeat, Saxophones_Carles Benavent, Electric Bass_Renaud Garcia-Fons, Double Bass_Tino Di Geraldo, Percussion/Drums_Cepillo, Cajon_Esperanza Fernandez, Vocal_Las Corraleras, Vocals/Percussion_Colin Towns, Arrangements_Michael Brecker, Saxophone_ YEAR: 2001 ID3G: 8
PERFORMER "Chano Dominguez - Gerardo Nunez"
TITLE "Jazzpana II"
FILE "Jazzpana II - Chano Dominguez - Gerardo Nunez.flac" WAVE
TRACK 01 AUDIO
TITLE "Calima"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Un Amor Real"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 00 04:44:30
INDEX 01 04:45:62
TRACK 03 AUDIO
TITLE "Plaza Jazzpana"
PERFORMER "La Liebre"
INDEX 00 08:10:42
INDEX 01 08:10:47
INDEX 02 09:33:50
TRACK 04 AUDIO
TITLE "Alma de Mujer"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 00 13:23:25
INDEX 01 13:25:30
TRACK 05 AUDIO
TITLE "Blues for Pablo"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 01 18:44:10
TRACK 06 AUDIO
TITLE "Latido Loco"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 01 24:52:62
TRACK 07 AUDIO
TITLE "Jerez - Chicago"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 00 29:41:57
INDEX 01 29:43:72
TRACK 08 AUDIO
TITLE "Paso por El"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 00 34:31:30
INDEX 01 34:32:60
TRACK 09 AUDIO
TITLE "Mister Senor"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 00 38:41:65
INDEX 01 38:42:57
TRACK 10 AUDIO
TITLE "Que tambien es de Sevilla"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 00 42:36:70
INDEX 01 42:39:17
TRACK 11 AUDIO
TITLE "Samaruco"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 01 44:47:10
TRACK 12 AUDIO
TITLE "Para Chick"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 00 48:53:22
INDEX 01 48:53:45
TRACK 13 AUDIO
TITLE "Bluesolea"
PERFORMER "Chano Dominguez - Gerardo Nunez"
INDEX 00 52:43:65
INDEX 01 52:46:12
Об альбоме (сборнике)
http://www.actmusic.com/pdf/9284_2_PFE_JAZZPANA_II.pdf
The flamenco scene in contemporary Spain has undergone tremendous expansion since Paco de Lucia first began injecting certain foreign stylistic elements and instruments into its classical milieu. Many of today's brightest flamenco guitarists and ensembles are farming the neighboring territories of Salsa and African (Ketama), Classical Indian (Amalgama), Moroccan (El Lebrijano), Rock (Pata Negra) and Jazz (Gerardo Nuňez, Juan Manual Caňizares, Rafael Riqueni). Especially the musical encounter with Jazz has precedents that predate Jazzpaňa II by decades - Sketches of Spain (Miles Davis and Gil Evans, 1959-60], Olé [John Coltrane, 1961] and My Spanish Heart [Chick Corea, 1976]. And of course there's Jazzpaňa I, the dual Grammy nomination 1993 release with Michael Brecker, Al Di Meola, Steve Khan and Peter Erskine on the Jazz side and Ramon "El Portugues", Juan Manuel Caňizares, Jorge Pardo and Carles Benavent on the Iberian side, and backed up by the West Deutsche Rundfunk Big Band.Jazzpaňa II assembles an equally stellar ensemble, with a heavier emphasis on the flamenco contingent. This is led by performer/composers Gerardo Nuňez (flamenco guitar) and Chano Dominguez (Grotrian Steinweg piano), and filled out with Esperanza Fernandez (vocals on one track), Jorge Pardo (soprano sax), Carles Benavent (electric bass), Renauld Garcia-Fons (five-string acoustic upright bass), Tino Di Geraldo (drums) and Cepillo (cajon). The Jazz counterpart is headlined by Michael Brecker (tenor sax) and Fareed Haque (electric guitar) and rounded out with Perico Sambeat (alto sax). The opening track "Calima" is from Nuňez' eponymous album [Alula Records 1007/1998] and translates appropriately as "Heat". It immediately sets the stage for what to expect. The silvery elegance of his immaculate guitar intro, properly accented by Cepillo's Peruvian cajon slapbox, spells classical flamenco puro. Benavent's simultaneous e-bass punctuations already suggest something more modern is afoot. This is quickly confirmed when the three saxes enter as a lively and heavily syncopated counter-chorus and the piano makes its appearance. Danilo Perez' piano improv -- part of the original quartet arrangement with John Patitucci on bass and Arto Tuncboyaciyan on percussion -- here gives way to Brecker's roaring tenor solo that brings to mind the hormone-crazed calls of a buck in heat. The phenomenally gifted French bass maestro Renaud Garcia-Fons has previously visited flamenco terrain. There are his collaborations with guitarist Pedro Soler and his own release [Oriental Bass, Enja 9334-2/1997]. He has adapted his seemingly unwieldy instrument, especially con arco, into a kind of singing cello on steroids, and, if thus inspired, with very Andalucian origins. "Un Amor Real" is a workout between him and Nuňez that showcases how well the seemingly impossible – flamenco on double-bass -- can be pulled off if entrusted to the right performers. On "Alma de Mujer", Chano Dominguez' piano intro segues straight into a bouncy Columbiana rhythm into which the saxophones of Sambeat and Pardo dig their jiving teeth. Fareed Haque does the honors on acoustic guitar and Dominguez' chromatic exploits venture where no traditional flamenco chord progressions would dare going. "Jerez - Chicago" celebrates another unlikely juxtaposition. Jerez is not only the Spanish birthplace of Nuňez but practically synonymous with one of the cradles of Gitano flamenco. Chicago is the home of Fareed Haque and of course the birthplace of the eponymous Blues style. Gerardo once again appropriates one of his earlier compositions and, with the help of Haque's Chicago Blues manners and special effects on electric guitar, turns it into a brilliant, surprising, playful and way-pointing amalgam of style. Two strangers meet in a strange place and find themselves having much more fun and in common than not. On "Que tambien es de Sevilla", Dominguez' piano opens with a very night-clubby ballad intro only to have the impassioned and thick Spanish voice of Gipsy vocalist Esperanza Fernandez break into an adapted sevillanas meter. By virtue of its simplicity – piano with female vocals – this track in many ways is the most straight-ahead Jazz number. While Fernandez' flamenco jondo demeanor is anything but, it's shocking how well these two worlds collide, blend and survive mutually strengthened. Rather than experimental, it comes across as natural, gracefully conceived and impressively executed. "Para Chick" is a truly rockin' groove that would find mainstream airplay in a minute if those disc jockeys knew how to find it. Anchored by piano, Jorge Pardo's overblown flute and a steady hand by Tino Di Geraldo on percussion and drums, breakout solos by Gerardo Nunez prove yet again why he's considered one of modern Flamenco's wunderkinder on guitar. The following and last track, "Bluesoléa", underscores this only further. Entirely unaccompanied, he explores the traditional – heavily emotive -- context of a flamenco soleas with higher-order Jazz chords that are utterly alien to the flamenco vocabulary but integrate to perfection. This final composition shows why, in certain circles, Flamenco is referred to as the Blues of the Gypsies. The recording quality (mastered in 24-bit super mapping at Bauer Studios in Ludwigsburg/Germany) is very solid and ahead of regular mainstream fare. Still, from that perspective it isn't hi-falutin audiophile material. Never mind. With music this outside yet involving and plenty of audiophile pressings available to bore the dead, this is for the musically adventurous who long for another artistic benchmark. Jazzpaňa II proudly points to a future where cultural differences will melt away in the fiery furnace of truly global music making without any remaining frontiers. - by Srajan Ebaen, www.enjoythemusic.com
The flamenco scene in contemporary Spain has undergone tremendous expansion since Paco de Lucia first began injecting certain foreign stylistic elements and instruments into its classical milieu. Many of today's brightest flamenco guitarists and ensembles are farming the neighboring territories of Salsa and African (Ketama), Classical Indian (Amalgama), Moroccan (El Lebrijano), Rock (Pata Negra) and Jazz (Gerardo Nuňez, Juan Manual Caňizares, Rafael Riqueni). Especially the musical encounter with Jazz has precedents that predate Jazzpaňa II by decades - Sketches of Spain (Miles Davis and Gil Evans, 1959-60], Olé [John Coltrane, 1961] and My Spanish Heart [Chick Corea, 1976]. And of course there's Jazzpaňa I, the dual Grammy nomination 1993 release with Michael Brecker, Al Di Meola, Steve Khan and Peter Erskine on the Jazz side and Ramon "El Portugues", Juan Manuel Caňizares, Jorge Pardo and Carles Benavent on the Iberian side, and backed up by the West Deutsche Rundfunk Big Band.Jazzpaňa II assembles an equally stellar ensemble, with a heavier emphasis on the flamenco contingent. This is led by performer/composers Gerardo Nuňez (flamenco guitar) and Chano Dominguez (Grotrian Steinweg piano), and filled out with Esperanza Fernandez (vocals on one track), Jorge Pardo (soprano sax), Carles Benavent (electric bass), Renauld Garcia-Fons (five-string acoustic upright bass), Tino Di Geraldo (drums) and Cepillo (cajon). The Jazz counterpart is headlined by Michael Brecker (tenor sax) and Fareed Haque (electric guitar) and rounded out with Perico Sambeat (alto sax). The opening track "Calima" is from Nuňez' eponymous album [Alula Records 1007/1998] and translates appropriately as "Heat". It immediately sets the stage for what to expect. The silvery elegance of his immaculate guitar intro, properly accented by Cepillo's Peruvian cajon slapbox, spells classical flamenco puro. Benavent's simultaneous e-bass punctuations already suggest something more modern is afoot. This is quickly confirmed when the three saxes enter as a lively and heavily syncopated counter-chorus and the piano makes its appearance. Danilo Perez' piano improv -- part of the original quartet arrangement with John Patitucci on bass and Arto Tuncboyaciyan on percussion -- here gives way to Brecker's roaring tenor solo that brings to mind the hormone-crazed calls of a buck in heat. The phenomenally gifted French bass maestro Renaud Garcia-Fons has previously visited flamenco terrain. There are his collaborations with guitarist Pedro Soler and his own release [Oriental Bass, Enja 9334-2/1997]. He has adapted his seemingly unwieldy instrument, especially con arco, into a kind of singing cello on steroids, and, if thus inspired, with very Andalucian origins. "Un Amor Real" is a workout between him and Nuňez that showcases how well the seemingly impossible – flamenco on double-bass -- can be pulled off if entrusted to the right performers. On "Alma de Mujer", Chano Dominguez' piano intro segues straight into a bouncy Columbiana rhythm into which the saxophones of Sambeat and Pardo dig their jiving teeth. Fareed Haque does the honors on acoustic guitar and Dominguez' chromatic exploits venture where no traditional flamenco chord progressions would dare going. "Jerez - Chicago" celebrates another unlikely juxtaposition. Jerez is not only the Spanish birthplace of Nuňez but practically synonymous with one of the cradles of Gitano flamenco. Chicago is the home of Fareed Haque and of course the birthplace of the eponymous Blues style. Gerardo once again appropriates one of his earlier compositions and, with the help of Haque's Chicago Blues manners and special effects on electric guitar, turns it into a brilliant, surprising, playful and way-pointing amalgam of style. Two strangers meet in a strange place and find themselves having much more fun and in common than not. On "Que tambien es de Sevilla", Dominguez' piano opens with a very night-clubby ballad intro only to have the impassioned and thick Spanish voice of Gipsy vocalist Esperanza Fernandez break into an adapted sevillanas meter. By virtue of its simplicity – piano with female vocals – this track in many ways is the most straight-ahead Jazz number. While Fernandez' flamenco jondo demeanor is anything but, it's shocking how well these two worlds collide, blend and survive mutually strengthened. Rather than experimental, it comes across as natural, gracefully conceived and impressively executed. "Para Chick" is a truly rockin' groove that would find mainstream airplay in a minute if those disc jockeys knew how to find it. Anchored by piano, Jorge Pardo's overblown flute and a steady hand by Tino Di Geraldo on percussion and drums, breakout solos by Gerardo Nunez prove yet again why he's considered one of modern Flamenco's wunderkinder on guitar. The following and last track, "Bluesoléa", underscores this only further. Entirely unaccompanied, he explores the traditional – heavily emotive -- context of a flamenco soleas with higher-order Jazz chords that are utterly alien to the flamenco vocabulary but integrate to perfection. This final composition shows why, in certain circles, Flamenco is referred to as the Blues of the Gypsies. The recording quality (mastered in 24-bit super mapping at Bauer Studios in Ludwigsburg/Germany) is very solid and ahead of regular mainstream fare. Still, from that perspective it isn't hi-falutin audiophile material. Never mind. With music this outside yet involving and plenty of audiophile pressings available to bore the dead, this is for the musically adventurous who long for another artistic benchmark. Jazzpaňa II proudly points to a future where cultural differences will melt away in the fiery furnace of truly global music making without any remaining frontiers. - by Srajan Ebaen, www.enjoythemusic.com
Состав
Gerardo Nunez (Accoustic Guitar) - 1-3,6,7,11,13
Chano Dominguez (Piano) - 1,4,5,9,10,12
Jorge Pardo (Soprano Saxophone) - 1,4-6,8,12
Fareed Haque (Electric Guitar) - 1,4,5,7,9
Perico Sambeat (Alto Saxophone) - 1,3-5,9,12
Carles Benavent (Bass Guitar) - 1,3-6,8,12
Tino Di Geraldo (Drums, Palmas) - 1,3-9,12
Cepillo (Cajon) - 1,3,11
Michael Brecker (Tenor Saxophone) - 1,5,9
Colin Towns (Conductor) - 1,4,5
Renaud Garcia-Fons (Double Bass) - 2,6
Las Corraleras (Percussion, Vocal) - 3
Patxi Vrchegvi (Trumpet) - 6
Esperanza Fernandez (Vocals) - 10
Chano Dominguez (Piano) - 1,4,5,9,10,12
Jorge Pardo (Soprano Saxophone) - 1,4-6,8,12
Fareed Haque (Electric Guitar) - 1,4,5,7,9
Perico Sambeat (Alto Saxophone) - 1,3-5,9,12
Carles Benavent (Bass Guitar) - 1,3-6,8,12
Tino Di Geraldo (Drums, Palmas) - 1,3-9,12
Cepillo (Cajon) - 1,3,11
Michael Brecker (Tenor Saxophone) - 1,5,9
Colin Towns (Conductor) - 1,4,5
Renaud Garcia-Fons (Double Bass) - 2,6
Las Corraleras (Percussion, Vocal) - 3
Patxi Vrchegvi (Trumpet) - 6
Esperanza Fernandez (Vocals) - 10