(Vocal Jazz) [CD] Lorez Alexandria - For Swingers Only - 1963 (2008), FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 17. March 2012, 17:19
Lorez Alexandria / For Swingers Only
Used drive  : MATSHITADVD-RAM UJ-850S   Adapter: 0  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 102
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
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
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TOC of the extracted CD
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        8  | 25:09.74 |  3:54.47 |    113249    |   130845
Track  1
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Track  2
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Track  3
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Track  4
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Track  5
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Track  6
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Track  7
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Track  8
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All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 26936B716D5FA53FA7CEE0D682C87586D4E61A0B6BFDC68B343A7435B735D2B6 ====

REM GENRE Jazz
REM DATE 1963
REM DISCID 5006D008
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 0602517685680
PERFORMER "Lorez Alexandria"
TITLE "For Swingers Only"
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FILE "02 - Little Girl Blue.wav" WAVE
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FILE "03 - All or Nothing at All.wav" WAVE
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FILE "04 - Traveling Down a Lonely Road.wav" WAVE
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FILE "06 - Love Look Away.wav" WAVE
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FILE "08 - That Old Devil Called Love.wav" WAVE
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[CUETools log; Date: 08.02.2016 17:11:29; Version: 2.1.5]
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  7   | (1/1) Accurately ripped
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Originally released in 1963, For Swingers Only is singer Lorez Alexandria's tenth album and her fourth for Argo. While Alexandria is best known to ardent jazz fans, she was one of the great interpretive vocalists of her time, and this set is proof of that. Alexandria was a Chicago native who had established her reputation there. That said, she was successful enough to relocate to Los Angeles in 1960 to lend her voice work to soundtracks, television commercials, and recordings, and to hold a club gig as a headliner. Unlike some of her previous Argo dates, this one was recorded in Chicago at Ter-Mar Recording Studios. Her band for the session included some regulars like guitarist George Eskridge and drummer Phil Thomas. The great Chicago pianist John Young and the amazing reed and woodwind studio player Ronald Wilson were also on the date. Her bass player for the session was Jimmy Garrison from the John Coltrane Quartet. The material is ambitious. Alexandria had cut Hoagy Carmichael's "Baltimore Oriole," before on the Deluxe label, but this version -- with its slippery, slightly Latin rhythm and popping flute -- is more sultry and atmospheric, and carries within it a loneliness that the earlier one doesn't touch. Her reading of Rodgers & Hart's "Little Girl Blue" is, though this may seem blasphemous, every bit the equal of Nina Simone's -- especially with its deeply soulful a cappella opening. The flute adds exponentially as it softly winds through the ends of lines, filling the space between the rhythm section and the singer. The sadness literally drips from her mouth, saturating the listener. These aren't all sad songs, however. The strutting "All or Nothing at All" is a finger-popping swinger with gorgeous work by Garrison, Young, and Wilson. Given that there are only eight cuts on this set, each one counts -- though these are far from one or two-minute selections, and they dig into their grooves and allow Alexandria to stretch out. The beautiful guitar work on "Traveling Down a Lonely Road" gives the listener the feeling that the protagonist doesn't mind so much. It is the first known vocal recording of the song -- it originally appeared as an instrumental in Federico Fellini's La Strada. Eskridge and drummer Thomas, with his subtle breakbeat style in the intro, set up a beautiful transaction for the piano, bass, and lilting flute work. The true highlight of the set is "Mother Earth," a 12/8 blues with Wilson blowing a gritty tenor and Garrison strolling the bassline in full gutbucket mode. Alexandria allows some of that large throaty range of hers out of the box and lets it rip. This is simply among Lorez Alexandria's most stylized, disciplined, soulful, and satisfying recording sessions, and is highly recommended. [While this fine album had been out of print in the United States for decades, Chicago's own Dusty Groove imprint licensed the master from Universal and had it remastered for release on compact disc for the first time in 2008.]