(Bebop) Don Byas - Autumn Leaves - 1965, FLAC (tracks+.cue), lossless
Don Byas - Autumn Leaves (1965)
PREVIOUSLY UNRELEASED RECORDINGS
Жанр: Bebop
Дата записи: Recorded live at Ronnie Scott's Club, 39 Gerrard Street London, on 9th September 1965
Дата выпуска: 1965
Производитель диска, страна: RSJH Music Limited (Ronnie Scott's Jazz House) JHAS 613
Тип: Live
Аудио кодек: FLAC
Тип рипа: (tracks + .cue)
Битрейт аудио: lossless
Продолжительность: 74:00
Источник: коллекция Л.Рендера
Риппер: Musicgate
Трэклист:
1. Ronnie's Intro - 0.33
2. Autumn Leaves (Kosma, Mercer) - 14.03
3. I Remember Clifford (Golson) - 9.22
4. Bags' Groove (Jackson) - 13.06
5. All The Things You Are (Kern, Hammerstein) - 9.20
6. Ladybird (Dameron) - 10.06
7. Moonlight In Vermont (Suessdorf, Blackburn) - 7.21
8. Walkin' (Carpenter)10.12
Состав:
Don Byas - tenor saxophone.
Stan Tracey - piano.
Rick Laird - bass.
Tony Crombie - drums.
Prepared for CD release by Les Tomkins and Dave Bennett.
Re-mastered by Dave Bennett.
Digital Editing by Paul Adams.
Мои раздачи на треккере - jazz / fusion / prog
Я не сидирую все свои раздачи подолгу, только новые (до 3х первых сидов)
Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш
Я вернусь, если меня попросят в топике или в ПМ
PREVIOUSLY UNRELEASED RECORDINGS
Жанр: Bebop
Дата записи: Recorded live at Ronnie Scott's Club, 39 Gerrard Street London, on 9th September 1965
Дата выпуска: 1965
Производитель диска, страна: RSJH Music Limited (Ronnie Scott's Jazz House) JHAS 613
Тип: Live
Аудио кодек: FLAC
Тип рипа: (tracks + .cue)
Битрейт аудио: lossless
Продолжительность: 74:00
Источник: коллекция Л.Рендера
Риппер: Musicgate
Трэклист:
1. Ronnie's Intro - 0.33
2. Autumn Leaves (Kosma, Mercer) - 14.03
3. I Remember Clifford (Golson) - 9.22
4. Bags' Groove (Jackson) - 13.06
5. All The Things You Are (Kern, Hammerstein) - 9.20
6. Ladybird (Dameron) - 10.06
7. Moonlight In Vermont (Suessdorf, Blackburn) - 7.21
8. Walkin' (Carpenter)10.12
Состав:
Don Byas - tenor saxophone.
Stan Tracey - piano.
Rick Laird - bass.
Tony Crombie - drums.
Prepared for CD release by Les Tomkins and Dave Bennett.
Re-mastered by Dave Bennett.
Digital Editing by Paul Adams.
Мои раздачи на треккере - jazz / fusion / prog
From Booklet
We did not know, in September 1965, as we witnessed the great Don Byas enjoying himself in the company of the excellent Tracey, Laird and Crombie, that one of the titles he played had a poignant truth, and he was, in fact, in the autumn of his illustrious jazz career. These were his first performances in London; he was to die seven years later in Amsterdam at the age of 59.
In a previously unpublished interview, Don expressed his pleasure in being here, after 20 years spent mainly on the Continent. "It's a wonderful place - the people are very, very nice. And it's certainly a new sort of scene for me, altogether different from anything I've seen before. It's completely different from New York, Paris, all the other big cities. In fact, I find that London has quite a lot of character, probably dating back into the years - which is as it should be. There are so few modern cities today that still contain their original character. I definitely feel a sense of that here".
He then paid tribute to his musical associates at Ronnie's: "I'm working with a very swinging group. I mean, Stan Tracey's just fine - everything's going lovely. I certainly wouldn't find any better anywhere in Europe".
Don Carlos Wesley Byas was born in Muskogee, Oklahoma on October 21st, 1912, where he learned to play violin and clarinet at an early age. I played nothing but classics up until I was ten. Then I heard what was called 'this terrible music' - ragtime, and I became obsessed with it. That was the beginning of my jazz studies. I abandoned the classics completely". He also abandoned the violin and the clarinet. "I didn't like them for jazz instruments. Of course, clarinet has always been a jazz instrument - but there wasn't enough sound in it for me. So I bought me a second-hand alto saxophone and I began to study it. Actually, alto is my instrument - it wasn't till much later that I changed over to tenor".
On alto he played with his idol, Benny Moten and, at 17 in Oklahoma City, with the band of the man who
later became Basie's bassist, Walter Page's Blue Devils. At 20 he led his own college band; at 21 he left for
California
with Bert Johnson and his Sharps and Flats - with which band the tenor change-over took place.
"I was playing first alto, but one day the bandleader was listening while we were rehearsing, and he said: 'Don, have you ever tried to play tenor?' I said: 'No - never'. He said: 'Would you try it -I just want to hear something'. So I just played a couple of choruses on tenor, and he said: 'That's your instrument - that's what you should be playing, man, with the sound you get out that. Your alto sound is bigger than the one he gets out of his tenor!' I told him: 'I have no money to buy an instrument'; so the other guy said: 'Well, if you want to play tenor, let's switch. I'll take your alto - you take my tenor'. I said: 'Crazy - okay' - and from then on I've been playing tenor".
Certainly, the Byas sound has often been described as "big". As he put it: "It sort of goes with what I have to say on my instrument, you see. Because to me there are, shall we say, two extremes - music and noise. There is the dividing line in the middle. Well, in order to play jazz music - in order for it to remain music - it should have as big and beautiful a sound as possible. In the first place, you're working under a handicap as it is, because the masses are not jazz-lovers. So I try to give it to them dressed up as prettily as possible".
However, referring to the element of his performances that is twice represented in my CD selection here, he insisted: "The only actual compromise I've ever made was not in my playing but in the choice of tunes -because they have sort of typed me as a ballad player. I mean, I don't mind that so much - I love a bautiful ballad, and it gives me a chance to exploit my tone. I would have played ballads, that's for sure, but not in such a quantity, I don't think. I don't regard myself as only a ballad player, but I think I can play a nice ballad - so I agree with the public about that.
"I mean, there are not many that can play a good ballad. Yes, it's almost a lost art. I love the way Ben Webster and Coleman Hawkins play ballads". I cited Stan Getz (who also started on alto) as a prime exponent of the ballad. "Yes, but I don't dig the sound he gets - he doesn't have enough sound for me. But he's a marvellous musician, of course - I grant you that".
One of the first friends Don made on arrival in Los Angeles with the Johnson band was Lionel Hampton. He was 23 in 1935 when Lionel recruited him for his very first big band, along with another tenor giant Herschel Evans and trumpetman Buck Clayton, in whose band he later worked. Other employers during Don's twenties included Eddie Barefield, Don Redman, Lucky Millinder, Andy Kirk, Edgar Hayes and Benny Carter. In January 1941, in New York, came the call he had been waiting for - to join the Count Basie band.
"Actually, it came about very strangely. It happened to be a Friday morning, which also happened to be on the 13th, and Basie had a record date to do. The whole band waited in the studio about three hours - but no Lester (Young). Finally, Basie called up the Woodside Hotel, where he lived, and Lester says: 'Well, no, Daddy, I'm sorry. I don't work on Friday the 13th. And Basie said: 'Well, if you don't work on Friday the 13th, then you don't work at all with Basie'. And Lester said: 'I'm sorry Daddy, that's the way it is'. So Basie called me and said: 'Don, would you like to make a record date?' I said: 'Beautiful' - and I stayed four years in the band.
"Those were the happiest years of my life. I really enjoyed my time with Basie's band. It was so necessary for the fulfilment of my career. I needed that whole experience, in order to grow as a player and, as you might say, to find myself".
In the 'forties Don also found himself assimilating the bebop idiom, working with Dizzy Gillespie, and on 52nd Street with his own and other all-star bands. In 1946 he travelled with Don Redman's band to France, where he took up residence.
The French jazz critic Hugues Panassie paid this tribute to Don Byas in 1956: "He is one of the most brilliant saxophone players in the Hawkins manner and an oustanding virtuoso of his instrument. He has the gift of pointing a melody while swinging it, and of lightly paraphrasing it with consumate art".
~ Les Tomkins (From Booklet)
In a previously unpublished interview, Don expressed his pleasure in being here, after 20 years spent mainly on the Continent. "It's a wonderful place - the people are very, very nice. And it's certainly a new sort of scene for me, altogether different from anything I've seen before. It's completely different from New York, Paris, all the other big cities. In fact, I find that London has quite a lot of character, probably dating back into the years - which is as it should be. There are so few modern cities today that still contain their original character. I definitely feel a sense of that here".
He then paid tribute to his musical associates at Ronnie's: "I'm working with a very swinging group. I mean, Stan Tracey's just fine - everything's going lovely. I certainly wouldn't find any better anywhere in Europe".
Don Carlos Wesley Byas was born in Muskogee, Oklahoma on October 21st, 1912, where he learned to play violin and clarinet at an early age. I played nothing but classics up until I was ten. Then I heard what was called 'this terrible music' - ragtime, and I became obsessed with it. That was the beginning of my jazz studies. I abandoned the classics completely". He also abandoned the violin and the clarinet. "I didn't like them for jazz instruments. Of course, clarinet has always been a jazz instrument - but there wasn't enough sound in it for me. So I bought me a second-hand alto saxophone and I began to study it. Actually, alto is my instrument - it wasn't till much later that I changed over to tenor".
On alto he played with his idol, Benny Moten and, at 17 in Oklahoma City, with the band of the man who
later became Basie's bassist, Walter Page's Blue Devils. At 20 he led his own college band; at 21 he left for
California
with Bert Johnson and his Sharps and Flats - with which band the tenor change-over took place.
"I was playing first alto, but one day the bandleader was listening while we were rehearsing, and he said: 'Don, have you ever tried to play tenor?' I said: 'No - never'. He said: 'Would you try it -I just want to hear something'. So I just played a couple of choruses on tenor, and he said: 'That's your instrument - that's what you should be playing, man, with the sound you get out that. Your alto sound is bigger than the one he gets out of his tenor!' I told him: 'I have no money to buy an instrument'; so the other guy said: 'Well, if you want to play tenor, let's switch. I'll take your alto - you take my tenor'. I said: 'Crazy - okay' - and from then on I've been playing tenor".
Certainly, the Byas sound has often been described as "big". As he put it: "It sort of goes with what I have to say on my instrument, you see. Because to me there are, shall we say, two extremes - music and noise. There is the dividing line in the middle. Well, in order to play jazz music - in order for it to remain music - it should have as big and beautiful a sound as possible. In the first place, you're working under a handicap as it is, because the masses are not jazz-lovers. So I try to give it to them dressed up as prettily as possible".
However, referring to the element of his performances that is twice represented in my CD selection here, he insisted: "The only actual compromise I've ever made was not in my playing but in the choice of tunes -because they have sort of typed me as a ballad player. I mean, I don't mind that so much - I love a bautiful ballad, and it gives me a chance to exploit my tone. I would have played ballads, that's for sure, but not in such a quantity, I don't think. I don't regard myself as only a ballad player, but I think I can play a nice ballad - so I agree with the public about that.
"I mean, there are not many that can play a good ballad. Yes, it's almost a lost art. I love the way Ben Webster and Coleman Hawkins play ballads". I cited Stan Getz (who also started on alto) as a prime exponent of the ballad. "Yes, but I don't dig the sound he gets - he doesn't have enough sound for me. But he's a marvellous musician, of course - I grant you that".
One of the first friends Don made on arrival in Los Angeles with the Johnson band was Lionel Hampton. He was 23 in 1935 when Lionel recruited him for his very first big band, along with another tenor giant Herschel Evans and trumpetman Buck Clayton, in whose band he later worked. Other employers during Don's twenties included Eddie Barefield, Don Redman, Lucky Millinder, Andy Kirk, Edgar Hayes and Benny Carter. In January 1941, in New York, came the call he had been waiting for - to join the Count Basie band.
"Actually, it came about very strangely. It happened to be a Friday morning, which also happened to be on the 13th, and Basie had a record date to do. The whole band waited in the studio about three hours - but no Lester (Young). Finally, Basie called up the Woodside Hotel, where he lived, and Lester says: 'Well, no, Daddy, I'm sorry. I don't work on Friday the 13th. And Basie said: 'Well, if you don't work on Friday the 13th, then you don't work at all with Basie'. And Lester said: 'I'm sorry Daddy, that's the way it is'. So Basie called me and said: 'Don, would you like to make a record date?' I said: 'Beautiful' - and I stayed four years in the band.
"Those were the happiest years of my life. I really enjoyed my time with Basie's band. It was so necessary for the fulfilment of my career. I needed that whole experience, in order to grow as a player and, as you might say, to find myself".
In the 'forties Don also found himself assimilating the bebop idiom, working with Dizzy Gillespie, and on 52nd Street with his own and other all-star bands. In 1946 he travelled with Don Redman's band to France, where he took up residence.
The French jazz critic Hugues Panassie paid this tribute to Don Byas in 1956: "He is one of the most brilliant saxophone players in the Hawkins manner and an oustanding virtuoso of his instrument. He has the gift of pointing a melody while swinging it, and of lightly paraphrasing it with consumate art".
~ Les Tomkins (From Booklet)
Folder content
01 - Ronnie's intro.flac
02 - Autumn leaves.flac
03 - I remember Clifford.flac
04 - Bag's groove.flac
05 - All the things you are.flac
06 - Ladybird.flac
07 - Moonlight in Vermont.flac
08 - Walkin'.flac
Artwork
Autumn Leaves.log
Autumn Leaves_Noncompliant.CUE
Autumn Leaves_Single Wav.CUE
Don Byas - Autumn Leaves.m3u
info.txt
tau.txt
thumb.jpg
Artwork\Back.png
Artwork\Disc.png
Artwork\front.jpg
Artwork\Front.png
Artwork\In.png
02 - Autumn leaves.flac
03 - I remember Clifford.flac
04 - Bag's groove.flac
05 - All the things you are.flac
06 - Ladybird.flac
07 - Moonlight in Vermont.flac
08 - Walkin'.flac
Artwork
Autumn Leaves.log
Autumn Leaves_Noncompliant.CUE
Autumn Leaves_Single Wav.CUE
Don Byas - Autumn Leaves.m3u
info.txt
tau.txt
thumb.jpg
Artwork\Back.png
Artwork\Disc.png
Artwork\front.jpg
Artwork\Front.png
Artwork\In.png
EAC log
EAC extraction logfile from 23. January 2008, 18:55 for CD
Don Byas / Autumn Leaves
Used drive : PIONEER DVD-RW DVR-112D Adapter: 0 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Used output format : C:\Program Files\FLAC\flac.exe (User Defined Encoder)
320 kBit/s
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -8" %s
Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Installed external ASPI interface
Track 1
Filename D:\music\rip\Don Byas - Autumn Leaves (1965) [FLAC]\01 - Ronnie's intro.wav
Pre-gap length 0:00:02.00
Peak level 79.2 %
Track quality 100.0 %
Test CRC C519C7F0
Copy CRC C519C7F0
Copy OK
Track 2
Filename D:\music\rip\Don Byas - Autumn Leaves (1965) [FLAC]\02 - Autumn leaves.wav
Peak level 91.6 %
Track quality 100.0 %
Test CRC 2AA95737
Copy CRC 2AA95737
Copy OK
Track 3
Filename D:\music\rip\Don Byas - Autumn Leaves (1965) [FLAC]\03 - I remember Clifford.wav
Peak level 65.9 %
Track quality 100.0 %
Test CRC 17B59D40
Copy CRC 17B59D40
Copy OK
Track 4
Filename D:\music\rip\Don Byas - Autumn Leaves (1965) [FLAC]\04 - Bag's groove.wav
Peak level 88.4 %
Track quality 100.0 %
Test CRC C6AD8AD7
Copy CRC C6AD8AD7
Copy OK
Track 5
Filename D:\music\rip\Don Byas - Autumn Leaves (1965) [FLAC]\05 - All the things you are.wav
Peak level 92.7 %
Track quality 100.0 %
Test CRC 2CC536A0
Copy CRC 2CC536A0
Copy OK
Track 6
Filename D:\music\rip\Don Byas - Autumn Leaves (1965) [FLAC]\06 - Ladybird.wav
Peak level 79.6 %
Track quality 100.0 %
Test CRC A402EEA6
Copy CRC A402EEA6
Copy OK
Track 7
Filename D:\music\rip\Don Byas - Autumn Leaves (1965) [FLAC]\07 - Moonlight in Vermont.wav
Peak level 86.7 %
Track quality 100.0 %
Test CRC C89BC5E2
Copy CRC C89BC5E2
Copy OK
Track 8
Filename D:\music\rip\Don Byas - Autumn Leaves (1965) [FLAC]\08 - Walkin'.wav
Peak level 91.1 %
Track quality 100.0 %
Test CRC 75C5C124
Copy CRC 75C5C124
Copy OK
No errors occured
End of status report
auCDtect log
1584641864 5691884 01 - Ronnie's intro.wav
39863256 148775804 02 - Autumn leaves.wav
866404122 99277964 03 - I remember Clifford.wav
2091456715 138808028 04 - Bag's groove.wav
2915585109 98889884 05 - All the things you are.wav
2585199030 106969004 06 - Ladybird.wav
2365121720 77799500 07 - Moonlight in Vermont.wav
1838767827 108450764 08 - Walkin'.wav
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [01 - Ronnie's intro.wav]
------------------------------------------------------------
This track looks like CDDA with probability 100%
------------------------------------------------------------
Processing file: [02 - Autumn leaves.wav]
------------------------------------------------------------
This track looks like CDDA with probability 62%
------------------------------------------------------------
Processing file: [03 - I remember Clifford.wav]
------------------------------------------------------------
This track looks like CDDA with probability 94%
------------------------------------------------------------
Processing file: [04 - Bag's groove.wav]
------------------------------------------------------------
This track looks like CDDA with probability 100%
------------------------------------------------------------
Processing file: [05 - All the things you are.wav]
------------------------------------------------------------
This track looks like CDDA with probability 100%
------------------------------------------------------------
Processing file: [06 - Ladybird.wav]
------------------------------------------------------------
This track looks like CDDA with probability 100%
------------------------------------------------------------
Processing file: [07 - Moonlight in Vermont.wav]
------------------------------------------------------------
This track looks like CDDA with probability 76%
------------------------------------------------------------
Processing file: [08 - Walkin'.wav]
------------------------------------------------------------
This track looks like CDDA with probability 42%
------------------------------------------------------------
Final Conclusion:
------------------------------------------------------------
These tracks looks like CDDA with probability 100%
39863256 148775804 02 - Autumn leaves.wav
866404122 99277964 03 - I remember Clifford.wav
2091456715 138808028 04 - Bag's groove.wav
2915585109 98889884 05 - All the things you are.wav
2585199030 106969004 06 - Ladybird.wav
2365121720 77799500 07 - Moonlight in Vermont.wav
1838767827 108450764 08 - Walkin'.wav
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [01 - Ronnie's intro.wav]
------------------------------------------------------------
This track looks like CDDA with probability 100%
------------------------------------------------------------
Processing file: [02 - Autumn leaves.wav]
------------------------------------------------------------
This track looks like CDDA with probability 62%
------------------------------------------------------------
Processing file: [03 - I remember Clifford.wav]
------------------------------------------------------------
This track looks like CDDA with probability 94%
------------------------------------------------------------
Processing file: [04 - Bag's groove.wav]
------------------------------------------------------------
This track looks like CDDA with probability 100%
------------------------------------------------------------
Processing file: [05 - All the things you are.wav]
------------------------------------------------------------
This track looks like CDDA with probability 100%
------------------------------------------------------------
Processing file: [06 - Ladybird.wav]
------------------------------------------------------------
This track looks like CDDA with probability 100%
------------------------------------------------------------
Processing file: [07 - Moonlight in Vermont.wav]
------------------------------------------------------------
This track looks like CDDA with probability 76%
------------------------------------------------------------
Processing file: [08 - Walkin'.wav]
------------------------------------------------------------
This track looks like CDDA with probability 42%
------------------------------------------------------------
Final Conclusion:
------------------------------------------------------------
These tracks looks like CDDA with probability 100%
Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш
Я вернусь, если меня попросят в топике или в ПМ