(Smooth Jazz, Contemporary R&B, Crossover) Boney James (feat. Rick Braun, Vinnie Colaiuta, Mark Stephens, Raheem DeVaughn a.o.) - The Beat - 2013, FLAC (tracks+.cue), lossless
Треклист:
BONEY JAMES THE BEAT
Жанр: Smooth Jazz, Contemporary R&B, Crossover
Страна-производитель диска: USA
Год издания: 2013
Издатель (лейбл): Concord Records
Номер по каталогу: 34249
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 42:07
Источник (релизер): спасибо gandalff09
Наличие сканов в содержимом раздачи: нет
Треклист:
01. Don't You Worry 'Bout A Thing
02. Sunset Boulevard
03. Missing You
04. Batucada (The Beat)
05. Maker Of Love
06. Mari’s Song
07. Powerhouse
08. The Midas (This Is Why)
09. Acalento (Lullaby)
10. You Can Count On Me
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 12. April 2013, 14:30
Boney James / The Beat
Used drive : HL-DT-STCD-RW GCE-8525B Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : Yes
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
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "TOTALTRACKS=%numtracks%" -T "GENRE=%genre%" -T "ALBUMARTIST=%albumartist%" -T "ALBUM ARTIST=%albumartist%" -T "COMMENT=EAC Secure Mode, Test & Copy, AccurateRip, FLAC -8" %source%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 4:56.67 | 0 | 22266
2 | 4:56.67 | 4:07.59 | 22267 | 40850
3 | 9:04.51 | 3:37.46 | 40851 | 57171
4 | 12:42.22 | 4:03.32 | 57172 | 75428
5 | 16:45.54 | 3:48.33 | 75429 | 92561
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7 | 25:02.30 | 4:00.12 | 112680 | 130691
8 | 29:02.42 | 4:03.03 | 130692 | 148919
9 | 33:05.45 | 4:04.21 | 148920 | 167240
10 | 37:09.66 | 4:57.52 | 167241 | 189567
Track 1
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Copy CRC 71596B66
Track not present in AccurateRip database
Copy OK
Track 2
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Copy CRC 57AEEF62
Track not present in AccurateRip database
Copy OK
Track 3
Filename E:\Rip\Boney James - The Beat (2013)[FLAC]\03. Boney James - Missing You.wav
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Extraction speed 5.9 X
Track quality 100.0 %
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Copy CRC CC0BDECB
Track not present in AccurateRip database
Copy OK
Track 4
Filename E:\Rip\Boney James - The Beat (2013)[FLAC]\04. Boney James - Batcuada (The Beat).wav
Peak level 100.0 %
Extraction speed 6.4 X
Track quality 100.0 %
Test CRC 0E357F95
Copy CRC 0E357F95
Track not present in AccurateRip database
Copy OK
Track 5
Filename E:\Rip\Boney James - The Beat (2013)[FLAC]\05. Boney James - Maker Of Love.wav
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Track quality 100.0 %
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Copy CRC 3E22CC95
Track not present in AccurateRip database
Copy OK
Track 6
Filename E:\Rip\Boney James - The Beat (2013)[FLAC]\06. Boney James - Mari's Song.wav
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Copy CRC 2A386E84
Track not present in AccurateRip database
Copy OK
Track 7
Filename E:\Rip\Boney James - The Beat (2013)[FLAC]\07. Boney James - Powerhouse.wav
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Copy CRC C36C5731
Track not present in AccurateRip database
Copy OK
Track 8
Filename E:\Rip\Boney James - The Beat (2013)[FLAC]\08. Boney James - The Midas (This Is Why).wav
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Test CRC E6264A7D
Copy CRC E6264A7D
Track not present in AccurateRip database
Copy OK
Track 9
Filename E:\Rip\Boney James - The Beat (2013)[FLAC]\09. Boney James - Acalento (Lullaby).wav
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Track quality 100.0 %
Test CRC 55AA280F
Copy CRC 55AA280F
Track not present in AccurateRip database
Copy OK
Track 10
Filename E:\Rip\Boney James - The Beat (2013)[FLAC]\10. Boney James - You Can Count On Me.wav
Peak level 100.0 %
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Copy CRC 82591946
Track not present in AccurateRip database
Copy OK
None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
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[43afcc5f] (1/1) Accurately ripped
==== Log checksum F74CA5071B61571CD752712AFE226755AABFDBF19A69EE1273FDC872BD01A5CC ====
Содержание индексной карты (.CUE)
REM GENRE "Smooth Jazz"
REM DATE 2013
REM DISCID 8409DF0A
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Boney James"
TITLE "The Beat"
FILE "01. Boney James - Don't You Worry 'Bout A Thing.wav" WAVE
TRACK 01 AUDIO
TITLE "Don't You Worry 'Bout A Thing"
PERFORMER "Boney James"
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INDEX 01 00:00:00
FILE "02. Boney James - Sunset Boulevard.wav" WAVE
TRACK 02 AUDIO
TITLE "Sunset Boulevard"
PERFORMER "Boney James"
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INDEX 01 00:00:00
FILE "03. Boney James - Missing You.wav" WAVE
TRACK 03 AUDIO
TITLE "Missing You"
PERFORMER "Boney James"
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INDEX 01 00:00:00
FILE "04. Boney James - Batcuada (The Beat).wav" WAVE
TRACK 04 AUDIO
TITLE "Batcuada (The Beat)"
PERFORMER "Boney James"
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INDEX 01 00:00:00
FILE "05. Boney James - Maker Of Love.wav" WAVE
TRACK 05 AUDIO
TITLE "Maker Of Love"
PERFORMER "Boney James"
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INDEX 01 00:00:00
FILE "06. Boney James - Mari's Song.wav" WAVE
TRACK 06 AUDIO
TITLE "Mari's Song"
PERFORMER "Boney James"
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INDEX 01 00:00:00
FILE "07. Boney James - Powerhouse.wav" WAVE
TRACK 07 AUDIO
TITLE "Powerhouse"
PERFORMER "Boney James"
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INDEX 01 00:00:00
FILE "08. Boney James - The Midas (This Is Why).wav" WAVE
TRACK 08 AUDIO
TITLE "The Midas (This Is Why)"
PERFORMER "Boney James"
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INDEX 01 00:00:00
FILE "09. Boney James - Acalento (Lullaby).wav" WAVE
TRACK 09 AUDIO
TITLE "Acalento (Lullaby)"
PERFORMER "Boney James"
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FILE "10. Boney James - You Can Count On Me.wav" WAVE
TRACK 10 AUDIO
TITLE "You Can Count On Me"
PERFORMER "Boney James"
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Об альбоме
AMG
After a brief sojourn for Verve Forecast with 2011's Contact, Boney James returns home to Concord for The Beat. Aptly titled, this is the recording where the composer and saxophonist weds his love for both R&B and Latin music, weaving them together in his trademark brand of contemporary jazz. Besides James, the other star on this date is all-star percussionist Lenny Castro, whose use of congas, timbales, bongos, and numerous other instruments adds dimension, flavor, and punch to most of these cuts. A cover of Stevie Wonder's "Don't You Worry 'Bout a Thing," is the opener. It's played as a lithe bossa nova. Drummer Vinnie Colauita and Castro exchange accents in all the right places as James uses his soprano to glide through the melody. Another highlight is the cover of the Sergio Mendes classic "Batacuda," with longtime friend and collaborator Rick Braun lending his trumpet. In James' arrangement, this is 21st century jazz funk with the two-horn frontline backed by Rob Bacon's stinging guitar, Alex Al's bassline, Tim Carmon's keyboard washes -- including a second bassline -- and keen interplay between punchy drummer Omari Williams and Castro. Braun's solo is short but very tight. Soul crooner Raheem DeVaughn appears on the slippery meld of old-school soul and laid-back funky jazz on "Maker of Love." Natalie "The Floacist" Stewart offers her rhyming and signing skill to "They Midas (This Is Why)." It simmers with a sexy, nocturnal feel and illustrates modern club jazz at its best. "Sunset Boulevard" wanders into the jazz fields more, with lovely piano work from Brandon Coleman and a low-end strutting bass by Dwayne "Smitty" Smith. "Powerhouse" melds Latin funk to fingerpopping contemporary jazz, while "You Can Count on Me" -- with one of James' most memorable melodies in ages -- weds Brazilian MPB, languid R&B, and emotive smooth jazz, and sends it all out on a high note. His tenor playing here is wide open and sultry. While The Beat is not as uptempo as its title might imply, it more than compensates with the layers of rhythms inherent in its tunes. There are no low points on the set, only grooves galore. (Thom Jurek)
@CriticalJazz
It what could best be described as a devastating loss for Verve, Boney James comes back to Concord records and flips the smooth side of jazz to contemporary jazz with a soulful and soul filled Latin beat. Thus the more that apt title, The Beat.
The difference between smooth and contemporary jazz? The smoother side of jazz is for the mid to late forty something crowd that can't deal with it. Contemporary instrumental jazz is a hybrid of sounds that are up to date, innovative and about as far from easy listening on steroids as you can get.
Enter Boney James and The Beat...
True enough that James made a name and a substantial living walking the smooth jazz tightrope that swallowed up some amazing talent and turned then into musical footnotes which is being kind. Boney James has survived everything from a serious car crash that almost ended his career to a rebirth with a new label that is a champion of diversity. The end result is a unique and infectious hybrid of a smoother contemporary style that borders on R&B with an infectious Latin vibe tossed in for tons of flavor. The Beat is arguably James finest work to date. For an artist that made his name on the smoother side of jazz, James takes a walk on the wild side. How so? James does an off the charts mash up of contemporary jazz, R&B, Latin and smoldering underneath is a world music vibe that is the glue that binds this release together.
From the Stevie Wonder classic, "Don't You Worry 'Bout A Thing" to the Latin tip of a Sergio Mendes influence on the title track "The Beat" which features long time friend and co-music conspirator Rick Braun this release has an ebb and flow that rivals most straight ahead records and labels specifically known for this approach. There is the elegant sophistication of Mari's Song to a more foot to the floor approach of groove infused "Sunset Boulevard." Joining James are vocalist Raheem De Vaugn and spoken word artist The Floacist.
Not being a critic fond of what are normally predictable to the point of being lame vocals and spoken word pieces tossed in for dramatic effect, Boney James who also happened to produce this gem hit all the marks necessary and gives all music fans in general a little piece of the pie. Not normally a fan of the smoother side of jazz no matter how it may be "fixed in the mix" I gotta give James his props. The vibe is real, the groove infectious and the end result speaks for itself.
The difference between smooth and contemporary jazz? The smoother side of jazz is for the mid to late forty something crowd that can't deal with it. Contemporary instrumental jazz is a hybrid of sounds that are up to date, innovative and about as far from easy listening on steroids as you can get.
Enter Boney James and The Beat...
True enough that James made a name and a substantial living walking the smooth jazz tightrope that swallowed up some amazing talent and turned then into musical footnotes which is being kind. Boney James has survived everything from a serious car crash that almost ended his career to a rebirth with a new label that is a champion of diversity. The end result is a unique and infectious hybrid of a smoother contemporary style that borders on R&B with an infectious Latin vibe tossed in for tons of flavor. The Beat is arguably James finest work to date. For an artist that made his name on the smoother side of jazz, James takes a walk on the wild side. How so? James does an off the charts mash up of contemporary jazz, R&B, Latin and smoldering underneath is a world music vibe that is the glue that binds this release together.
From the Stevie Wonder classic, "Don't You Worry 'Bout A Thing" to the Latin tip of a Sergio Mendes influence on the title track "The Beat" which features long time friend and co-music conspirator Rick Braun this release has an ebb and flow that rivals most straight ahead records and labels specifically known for this approach. There is the elegant sophistication of Mari's Song to a more foot to the floor approach of groove infused "Sunset Boulevard." Joining James are vocalist Raheem De Vaugn and spoken word artist The Floacist.
Not being a critic fond of what are normally predictable to the point of being lame vocals and spoken word pieces tossed in for dramatic effect, Boney James who also happened to produce this gem hit all the marks necessary and gives all music fans in general a little piece of the pie. Not normally a fan of the smoother side of jazz no matter how it may be "fixed in the mix" I gotta give James his props. The vibe is real, the groove infectious and the end result speaks for itself.
audaud.com
As a musical student, James Oppenheim, a.k.a. Boney James made a couple of key transitions. The first was a switch from clarinet to saxophone at the age of ten. The second was developing a passion for soul music. Following in the footsteps of sax men like Grover Washington Jr. his jazz style reflected an r&b translation. Unfairly classified as “smooth jazz”, James has developed an urban groove that combines aspects of funk, jazz and soulful blues. Also skilled as a keyboardist, he has toured with Morris Day, The Isley Brothers, Bobby Caldwell, Randy Crawford and Teena Marie.
In 1992, he began to record as a band leader with his debut, Trust. Subsequent Certified Gold Records followed, and his 2006 effort, Shine, cracked the Billboard Pop Chart. A plethora of artists (Faith Evans, George Benson and Al Jarreau to name a few) have appeared on his albums. He has received three Grammy nominations, and has returned to the studio for his tenth solo project.
The Beat can be classified as soulful jazz. Ten cuts feature the saxophone talent and musical arrangement skills of James. The opening track is a lush rendition of Stevie Wonder’s “Don’t You Worry ‘Bout A Thing”. The Latin style and free-flowing rhythm are captured faithfully. James is very expressive on soprano saxophone and the addition of keyboards enhances the texture. Switching to tenor saxophone, “Sunset Boulevard” has a cohesive, smoldering resonance. The rhythm section (including drummer Omari Williams and percussionist Lenny Castro) anchors the emotional sax lines. Rob Bacon joins with a distorted guitar solo. James’ compositions have a fluid r&b feel. On “Missing You” Abi Mancha sings understated counter-vocalese to the sax lead.
The up-tempo material resonates. “Batucada (The Beat)” has a funky groove and is powered by dual sax and trumpet (Rick Braun). The duo trades licks and raises the roof. A steady hook underscores “Powerhouse” which weaves atmospheric keyboard with harmonic alto saxophone. These subtle touches bring to mind the underappreciated early 70’s contemporary jazz period. But there is a decidedly modern approach. Vocalist The Floacist adds a hip-hop flavor on “The Midas (This Is Why)” None of the vocal performances overshadow the music, or the focal point of the album, James’s saxophone. In most instances, additional touches enhance the layered effect of the mix. Slower tracks, including (“Mari’s Song” and“Acalento (Lullaby)” reflect melodic interpretation, and are very accessible.
Please ignore the inevitable “smooth jazz” label. The Beat is a generous portion of soul jazz.
In 1992, he began to record as a band leader with his debut, Trust. Subsequent Certified Gold Records followed, and his 2006 effort, Shine, cracked the Billboard Pop Chart. A plethora of artists (Faith Evans, George Benson and Al Jarreau to name a few) have appeared on his albums. He has received three Grammy nominations, and has returned to the studio for his tenth solo project.
The Beat can be classified as soulful jazz. Ten cuts feature the saxophone talent and musical arrangement skills of James. The opening track is a lush rendition of Stevie Wonder’s “Don’t You Worry ‘Bout A Thing”. The Latin style and free-flowing rhythm are captured faithfully. James is very expressive on soprano saxophone and the addition of keyboards enhances the texture. Switching to tenor saxophone, “Sunset Boulevard” has a cohesive, smoldering resonance. The rhythm section (including drummer Omari Williams and percussionist Lenny Castro) anchors the emotional sax lines. Rob Bacon joins with a distorted guitar solo. James’ compositions have a fluid r&b feel. On “Missing You” Abi Mancha sings understated counter-vocalese to the sax lead.
The up-tempo material resonates. “Batucada (The Beat)” has a funky groove and is powered by dual sax and trumpet (Rick Braun). The duo trades licks and raises the roof. A steady hook underscores “Powerhouse” which weaves atmospheric keyboard with harmonic alto saxophone. These subtle touches bring to mind the underappreciated early 70’s contemporary jazz period. But there is a decidedly modern approach. Vocalist The Floacist adds a hip-hop flavor on “The Midas (This Is Why)” None of the vocal performances overshadow the music, or the focal point of the album, James’s saxophone. In most instances, additional touches enhance the layered effect of the mix. Slower tracks, including (“Mari’s Song” and“Acalento (Lullaby)” reflect melodic interpretation, and are very accessible.
Please ignore the inevitable “smooth jazz” label. The Beat is a generous portion of soul jazz.
Состав
Boney James – tenor saxophone, alto saxophone, soprano sax, flute, keyboards
Brandon Coleman – keyboards
Jarius Mozee – keyboards, guitar
Tim Carmon – piano, keyboards
Phil Davis – keyboards
Mark Stephens – keyboards
Rick Braun – trumpet
Rob Bacon – guitar
Dwayne “Smitty” Smith – bass
Alex Al – bass
Vinnie Colaiuta – drums
Omari Williams – drums
Lenny Castro – percussion
Raheem DeVaughn – vocals
The Floacist – vocals
Abi Mancha – vocals
Brandon Coleman – keyboards
Jarius Mozee – keyboards, guitar
Tim Carmon – piano, keyboards
Phil Davis – keyboards
Mark Stephens – keyboards
Rick Braun – trumpet
Rob Bacon – guitar
Dwayne “Smitty” Smith – bass
Alex Al – bass
Vinnie Colaiuta – drums
Omari Williams – drums
Lenny Castro – percussion
Raheem DeVaughn – vocals
The Floacist – vocals
Abi Mancha – vocals