(West Coast Jazz) Shelly Manne and His Men - Yesterdays - 1960, FLAC (tracks+.cue), lossless

Shelly Manne and His Men - YesterdaysЭта же раздача в mp3 (tracks), 320 kbps, сканы в jpg Жанр: West Coast Jazz Дата записи: #1-3 recorded in Zurich (Feb. 22, 1960), #4-5 in Copenhagen (March 2, 1960) Дата выпуска: 1960 Производитель диска, страна: 2003, Pablo, PABCD5318 Тип: LiveАудио кодек: FLAC Тип рипа: (tracks + .cue) Битрейт аудио: lossless Включает: Full artwork Продолжительность: 44:49 Источник: коллекция Л. Рендера Риппер: Мой рипТрэклист: 1. CABU (Roland Alexander) 6:23 2. BAGS' GROOVE 12:54 3. POINCIANA 7:23 4. STRAIGHT NO CHASER 8:08 5. YESTERDAYS 7:59 All selections previously unreleasedСостав: Shelly Manne—drums. Joe Gordon—trumpet. Richie Kamuca—tenor saxophone. Russ Freeman—piano. Monty Budwig—bassСсылки: about artist http://allmusic.com/cg/amg.dll?p=amg&sql=11:3ifrxqy5ld6e~T1 http://rateyourmusic.com/artist/shelly_manne http://en.wikipedia.org/wiki/Shelly_Manne http://www.discogs.com/artist/Shelly+Manneabout albume http://www.allaboutjazz.com/php/article.php?id=990  Несколько слов на английском - David A. OrthmannShelly Manne, who died suddenly of a heart attack on September 26, 1984, left behind an impressive body of recorded work as a leader and sideman. Like Dave Tough, one of his formative influences, Manne was a musician first and drummer second. Evincing an unusually nuanced approach to the trap set, he had no interest in technique for its own sake, instead tailoring his sticking and footwork to the demands of bands of varying sizes and instrumentation—sometimes even working without a bass player. Every stroke was true and had a purpose. Moreover, Manne thought and played in melodic as well as rhythmic terms, often adapting accompaniment to a composition’s melody, and singing along with his own solos.An uncommonly versatile performer who was equally at home in a number of jazz styles (from Art Hodes to Ornette Coleman, as he once proudly declared), Manne had an extraordinary talent for getting to the heart of the music, and making an ensemble swing in a natural, unforced manner. Aside from the selfless nature of his musicianship, Manne’s playing is filled with unusual sounds—such as drumming with his fingers and hands, dropping a coin on a drumhead, damping drums with a hand in order to bend the pitch of strokes, or simply not playing at all. These were not circus tricks, but rather integral parts of his vocabulary that functioned as part of the music.Consisting of previously unreleased tracks from Jazz At The Philharmonic concerts in Europe during February and March of 1960, Yesterdays is another first-rate addition to Manne’s discography. The antithesis of the crowd-pleasing antics that frequently characterized the JATP tours, his superb quintet shuns excess and radiates a joyful enthusiasm. Firmly lodged in the swing-to-bebop stylistic continuum, the band’s excellent musicianship, attention to detail, and willingness to consistently make changes within certain parameters, make the music lively and interesting. There’s a sense of balance between carefully arranged ensemble passages and solos which are usually kept to 3 to 5 choruses; background riffs are often used for color as well as to spur the soloist; the rhythm section is steadfast, responsive, and always finds ways to add something fresh to the presentation; moreover, the band displays a wide dynamic range.While all of the recording’s three primary soloists develop themes logically, each of them makes an impact in a different way. On the title track, pianist Russ Freeman, a cautious—almost polite—bebopper, begins his solo unhurriedly; at first playing lines that fit with bassist Monty Budwig’s pulse on beats 1 and 3 of each measure, then gradually becomes more expansive. Expertly riding Manne and Budwig’s foursquare swing, his melodically inventive themes continue to build in strength as the choruses mount; yet, Freeman doesn’t reach for a rousing climax. Instead, he simply yields to tenor saxophonist Richie Kamuca.Not unlike Freeman, Joe Gordon’s five choruses on Milt Jackson’s “Bag’s Groove” are thoughtful and measured; nonetheless he manages to generate considerable heat. Gordon and Freeman bounce variations of triplet figures off one another on the first chorus; then the trumpeter settles in for some impassioned blues playing for the next two, showing off his fine, full tone, and well-ordered phrasing. When the band accents beats 1,2 and 3 in unison for the next 12 bars, Gordon brings down the volume and becomes a little subdued before rising again with some powerful bebop lines, then eases his way to the finish line.There’s something unrelentingly efficient in the way Richie Kamuca keeps on churning out variations of eighth-note lines during his solo on an up-tempo version of the standard “Poinciana.” The tenor saxophonist is in constant motion, sustaining a four-chorus improvisation almost without interruption, and feeding off of everything that’s going on around him. During this incessant, albeit calculated burst of energy, he displays a heightened awareness of where the pulse is, without feeling the need to always begin and end sequences on top of the beat. He flies over a Gordon riff that sounds like an abbreviated version of one of his phrases, and when Freeman lays out for the last two choruses, Kamuca isn’t thrown by Manne’s choppy, ground-shifting hits to the bass and snare drums.In addition to his customary reliable accompaniment, Manne serves as a catalyst for some of the record’s most exciting moments. Toward the end of “Bags' Groove,” he executes a continuous buzz roll over Budwig and Freeman’s laid-back, 12-measure promenade. Beginning at just a whisper and gradually working up to a roar, Manne creates an incredible amount of tension, setting the stage for a shout chorus by the whole band that explodes like a bomb.Manne, the anti-virtuoso, shapes a short, rubato introduction out of portions from the melody of Thelonious Monk’s “Straight, No Chaser.” Interspersing clusters of strokes (particularly the opening five-note phrase) to different combinations of drums (and a partially opened hi-hat cymbal) with brief silences, he brilliantly captures the spirit of the composition, and sounds nothing like a traditional, go for broke drum soloist. Almost before you can grasp the logic of what he’s doing it’s over. The band enters to play the melody in its original, fully recognizable form, and Manne reverts to his normal, crisply swinging ways.  EAC log Exact Audio Copy V0.99 prebeta 4 from 23. January 2008EAC extraction logfile from 26. October 2009, 16:15Shelly Manne and His Men / YesterdaysUsed drive : HL-DT-STDVD-RAM GH22NP20 Adapter: 0 ID: 0Read mode : SecureUtilize accurate stream : YesDefeat audio cache : YesMake use of C2 pointers : NoRead offset correction : 102Overread into Lead-In and Lead-Out : NoFill up missing offset samples with silence : YesDelete leading and trailing silent blocks : NoNull samples used in CRC calculations : YesUsed interface : Installed external ASPI interfaceGap handling : Appended to previous trackUsed output format : User Defined EncoderSelected bitrate : 320 kBit/sQuality : HighAdd ID3 tag : NoCommand line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exeAdditional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %sTOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 6:38.30 | 0 | 29879 2 | 6:38.30 | 13:33.43 | 29880 | 90897 3 | 20:11.73 | 7:48.05 | 90898 | 126002 4 | 28:00.03 | 8:28.35 | 126003 | 164137 5 | 36:28.38 | 8:21.02 | 164138 | 201714Track 1 Filename D:\music\Musicgate's rips\Shelly Manne and His Men - Yesterdays (1960) {2003, Pablo}\01 - Cabu.wav Pre-gap length 0:00:02.00 Peak level 100.0 % Track quality 100.0 % Test CRC 849871F5 Copy CRC 849871F5 Accurately ripped (confidence 1) [343A9865] Copy OKTrack 2 Filename D:\music\Musicgate's rips\Shelly Manne and His Men - Yesterdays (1960) {2003, Pablo}\02 - Bag's Groove.wav Peak level 100.0 % Track quality 99.9 % Test CRC F87F5BDA Copy CRC F87F5BDA Accurately ripped (confidence 1) [D3FEE7FB] Copy OKTrack 3 Filename D:\music\Musicgate's rips\Shelly Manne and His Men - Yesterdays (1960) {2003, Pablo}\03 - Poinciana.wav Peak level 100.0 % Track quality 100.0 % Test CRC E4EEC939 Copy CRC E4EEC939 Accurately ripped (confidence 1) [5CBF79AA] Copy OKTrack 4 Filename D:\music\Musicgate's rips\Shelly Manne and His Men - Yesterdays (1960) {2003, Pablo}\04 - Straight, No Chaser.wav Pre-gap length 0:00:02.30 Peak level 100.0 % Track quality 100.0 % Test CRC 6E7412E7 Copy CRC 6E7412E7 Accurately ripped (confidence 1) [2B83407C] Copy OKTrack 5 Filename D:\music\Musicgate's rips\Shelly Manne and His Men - Yesterdays (1960) {2003, Pablo}\05 - Yesterdays.wav Peak level 100.0 % Track quality 100.0 % Test CRC 9FD8304D Copy CRC 9FD8304D Accurately ripped (confidence 1) [5B3A5E4F] Copy OKAll tracks accurately rippedNo errors occurredEnd of status report  Tau analizer screenshoot  Содержание индексной карты (.CUE) REM GENRE JazzREM DATE 1960REM DISCID 2A0A8105REM COMMENT "ExactAudioCopy v0.99pb4"PERFORMER "Shelly Manne and His Men"TITLE "Yesterdays"FILE "01 - Cabu.wav" WAVE TRACK 01 AUDIO TITLE "Cabu" PERFORMER "Shelly Manne and His Men" INDEX 01 00:00:00FILE "02 - Bag's Groove.wav" WAVE TRACK 02 AUDIO TITLE "Bag's Groove" PERFORMER "Shelly Manne and His Men" INDEX 01 00:00:00FILE "03 - Poinciana.wav" WAVE TRACK 03 AUDIO TITLE "Poinciana" PERFORMER "Shelly Manne and His Men" INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "Straight, No Chaser" PERFORMER "Shelly Manne and His Men" INDEX 00 07:45:57FILE "04 - Straight, No Chaser.wav" WAVE INDEX 01 00:00:00FILE "05 - Yesterdays.wav" WAVE TRACK 05 AUDIO TITLE "Yesterdays" PERFORMER "Shelly Manne and His Men" INDEX 01 00:00:00 Я не сидирую все свои раздачи подолгу, только новые (до 3х первых сидов) Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш Если нет сидов или раздача находится в архиве, пришлите письмо, и я вернусь