(Bop) Charlie Mariano - A Jazz Portrait Of Charlie Mariano - 1963 (2005), FLAC (tracks+.cue) lossless
Charlie Mariano - A Jazz Portrait Of Charlie Mariano - 1963 (2005)
Жанр: Bop
Страна исполнителя: USA
Дата записи: New York City July 25 & 26, 1963
Год издания оригинала: 1963, Vinyl LP R-286
Год переиздания: 2005
Страна - производитель диска: Spain
Издатель (лейбл): Fresh Sound Records
Номер по каталогу: FSR 1632
Тип: compilation
Аудио кодек: FLAC (*.flac)
Тип рипа: (tracks + .cue)
Корректность рипа: EAC ripped, correct read offset, test and copy
Битрейт аудио: lossless
Наличие сканов в содержимом раздачи: full scans, png, 300 dpi
Продолжительность: 39:33
Источник (релизер): коллекция Л Рендера, мой рип
Трэклист:
1. I Feel Pretty 2:54 (L.Bernstein-S.Sondheim)
2. The Wind 4:15 (Russ Freeman)
3. To Taiho 7:зо (Charlie Mariano)
4. Goodbye 4:30 (Gordon Jenkins)
5. The Shout 2:52 (Charlie Mariano)
6. Portrait Of An Artist 5:25 (Don Sebesky)
7. Deep In A Dream 3:20 (J.V.Heusen-E.DeLange)
8. Pretty Little Nieda 5:39 (Rolf Ericson)
9. The Song Is You 3:05 (J.Kern-O.Hammerstein II)
arranged and соnduсtеd BY DON SEBESKY
Состав:
Personnel on tracks #1, 6 & 9:
Charlie Mariano alto saxophone,
Bernie Glow, Jimmy Sedler, Jimmy Nottingham, Marvin Stamm - trumpets,
Bob Brookmeyer, Wayne Andre, Joe Ciavardone, Paul Faulise - trombones,
Dick Berg, Bob Abernathy, Aubrey Facenda, Dale Clevenger - French Horns,
Don Butterfield - tuba,
Roger Kellaway - piano,
Art Davis - bass
Mel Lewis - drums
Personnel on tracks #2, 4 & 7:
Charlie Mariano - alto saxophone,
Dave Nadien, Gene Orloff, Rauoul Poliakin - violins,
Emanuel Vardi - viola,
George Ricci - cello,
Margaret Ross - harp
Phil Bodner - reeds,
Jim Hall - guitar,
Richard Davis - bass,
Bob Phillips - piano celeste & vibes
Ed Shaughnessy - percussion
Personnel on tracks #3, 5 & 8:
Charlie Mariano - alto saxophone,
Marvin Stamm - trumpet
Jaki Byard - piano,
Richard Davis - bass,
Albert Heath - drums
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Жанр: Bop
Страна исполнителя: USA
Дата записи: New York City July 25 & 26, 1963
Год издания оригинала: 1963, Vinyl LP R-286
Год переиздания: 2005
Страна - производитель диска: Spain
Издатель (лейбл): Fresh Sound Records
Номер по каталогу: FSR 1632
Тип: compilation
Аудио кодек: FLAC (*.flac)
Тип рипа: (tracks + .cue)
Корректность рипа: EAC ripped, correct read offset, test and copy
Битрейт аудио: lossless
Наличие сканов в содержимом раздачи: full scans, png, 300 dpi
Продолжительность: 39:33
Источник (релизер): коллекция Л Рендера, мой рип
Трэклист:
1. I Feel Pretty 2:54 (L.Bernstein-S.Sondheim)
2. The Wind 4:15 (Russ Freeman)
3. To Taiho 7:зо (Charlie Mariano)
4. Goodbye 4:30 (Gordon Jenkins)
5. The Shout 2:52 (Charlie Mariano)
6. Portrait Of An Artist 5:25 (Don Sebesky)
7. Deep In A Dream 3:20 (J.V.Heusen-E.DeLange)
8. Pretty Little Nieda 5:39 (Rolf Ericson)
9. The Song Is You 3:05 (J.Kern-O.Hammerstein II)
arranged and соnduсtеd BY DON SEBESKY
Состав:
Personnel on tracks #1, 6 & 9:
Charlie Mariano alto saxophone,
Bernie Glow, Jimmy Sedler, Jimmy Nottingham, Marvin Stamm - trumpets,
Bob Brookmeyer, Wayne Andre, Joe Ciavardone, Paul Faulise - trombones,
Dick Berg, Bob Abernathy, Aubrey Facenda, Dale Clevenger - French Horns,
Don Butterfield - tuba,
Roger Kellaway - piano,
Art Davis - bass
Mel Lewis - drums
Personnel on tracks #2, 4 & 7:
Charlie Mariano - alto saxophone,
Dave Nadien, Gene Orloff, Rauoul Poliakin - violins,
Emanuel Vardi - viola,
George Ricci - cello,
Margaret Ross - harp
Phil Bodner - reeds,
Jim Hall - guitar,
Richard Davis - bass,
Bob Phillips - piano celeste & vibes
Ed Shaughnessy - percussion
Personnel on tracks #3, 5 & 8:
Charlie Mariano - alto saxophone,
Marvin Stamm - trumpet
Jaki Byard - piano,
Richard Davis - bass,
Albert Heath - drums
Несколько слов на английском
If this album doesn't scare a lot of people I shall be very disappointed in the perception of the record buying public. I suppose I should say more disappointed because I'm at a complete loss to reconcile how the public has allowed someone like Charlie Mariano to go so long unheralded as one of the major talents of his time.
Usually, album titles have only the barest relationship to the content, which, I'm happy to say, is not so in this case. A JAZZ PORTRAIT OF CHARLIE MARIANO says it beautifully: a genuine musical portrait of a jazzman, showing his prowess as an instrumentalist and as a composer, and illustrating his sensitivity, his taste, his fire, his love of his work, and his colleagues, his laments, his roots, his vision, his aspiration, his despair, his laughing, and his crying. These are all things that I behold when I listen to this musical portrait. Listen well and you'll hear all this, too, and maybe more.
Charlie now makes his home in a suburb of Tokyo, Japan with his lovely and talented wife, Toshiko, who, at the very moment of this writing, is expecting the arrival of their first born. Charlie and Tosh have been working together since 1959, always in The States, until the end of 1962 when they decided to migrate to Japan, Toshiko's native country, to play and teach. Early this summer Charlie returned to this country to teach in the jazz clinics on the college campuses throughout the nation; it was during this period that this album was recorded. Charlie Mariano, who will reach his fortieth birthday in November of this year, is a young veteran of the music wars. Much of his experience has been with big bands, Kenton from—'53 to '55, and again in '59; in between these stints, a brief time with fellow Bostonian Herb Pomehoy's big band; and very recently as a vital member of Charlie Mingus' ten piece band, which worked and recorded in New York City. One of Mariano's most fruitful musical associations was with the Shelly Manne quintet on the West Coast; this covered the period from '56 through '58. While with Shelly, much of
Charlie's original writing was recorded: things like BLU GNU, THE DART GAME, SLAN, and an extended work, THE GAMBIT. This obviously was a very productive period for Charlie Mariano, and it led Shelly Manne to make this observation about his playing, "I don't know any jazzman who has as good a sense of melodic development in his solos as Charlie. And he's so warm." I'm certain that you'll nod your head in agreement as you listen to this album.
Besides placing Charlie Mariano's immense talent into much clearer focus, this should serve as a springboard for another brilliant young talent, Don Sebesky, who orchestrated and conducted the dates. Don, who is only twenty five, is, like Mariano, an alumnus of the Stan Kenton band, and he has also seen service with the May-nard Ferguson band. Sebesky played trombone on both bands, and for a brief period in 1959 was on the same Kenton crew with Mariano. In discussing this album with Don, he told me that when he was only sixteen, he approached Kenton with an arrangement that he had prepared, and that on that Kenton band in '53 Charlie was playing alto. I asked him if Stan accepted the chart and Don smiled sheepishly and said, "No. I guess it was pretty bad. Charlie was very encouraging though." So, being on the same band with Charlie some six years later, and now the collaboration on this album, have been a great source of gratification to Don, who has always deeply admired Mariano's work. Sebesky now devotes all his time and energy to writing and conducting, and he keeps very busy at both. He continues to be one of the prime contributors to the Maynard Ferguson book, and his work with The Group, that very hip vocal trio, has evoked much favorable comment.
Also worthy of comment is the playing of Marvin Stamm, whose work here on the quintet tracks promises much. Marvin recently departed the Kenton band where he held down the jazz chair, which he assumed immediately upon his graduation from North Texas State Teachers College, one of the most respected schools of higher musical learning. Stamm, like Mariano, is spending the summer months teaching in the college clinics. I have been advised that we may soon expect another in the series of JAZZ PORTRAITS, that of Marvin Stamm, about whom everyone, especially the people at Regina, are very excited.
Now, about the music: it has always been my policy not to offer a capsule review of each of the tracks in an album. Instead, I should like to offer some random observations about what I believe are highlights. The quintet and the big brass band settings are certainly not new to Charlie Mariano; however, it should be stated that this is the first time that Charlie has ever recorded with strings. All I can say is that I hope it will not be the last time, because his lyricism lends itself more than admirably to such a setting.
TO ТАIHO, a modal original by Mariano, captures the feeling of the Near East, as I'm certain Charlie intended, and it displays how gratifying jazz can be. Oh how he cries as though he were echoing the lament of centuries of unabated suffering. Then, in an instant, I conjure up images of ancient Hebrews beating their breasts at the wailing walls, wailing in abject misery. How wonderful it is that music, when properly conceived and performed, can paint pictures for the mind's eye. Marvin Stamm's playing, both solo and unison, must have delighted Charlie, as he seems to have captured the very feeling of the moment, a somewhat rare occurrence. The rhythm section, Jaki Byard, Richard Davis, and Albert Heath are as one, but still, each with his own identity. The insistent bass line, the time signature changes to 5/8, the overall rapport make this track unique, and which should be listened to every time you begin to wonder what is happening in jazz.
Of the striking arrangements, my favorite on the album is THE WIND. Don Sebesky's writing makes it almost possible to see the wind, let alone hear it. This track is an eloquent argument for the use of strings in jazz. Personally, I'm delighted to find this composition included here, because it has long been one of my favorite tunes. I'm certain that Charlie means it as an expression of his esteem for Russ Freeman, the West Coast pianist who composed it, and with whom Charlie worked as a member of the Shelly Manne group.
I FEEL PRETTY, taken as a brisk waltz, is a graphic illustration of Mariano's staccato attack. Don Sebesky's big brass hand arrangement is a perfect accompaniment for what I find to be Charlies most exciting solo flight on the album, a soaring flight that, in spite of the punctuated style, never loses the respect that a thematic vehicle such as this demands.
There is so much that could be said about this album, but until the record companies consider using larger jackets, I shall be obliged to hold my enthusiasm in check. I must mention Jim Hall's masterful playing is something that we have all come to expect from him. Phil Bodner, whose complete mastery of all the reed instruments makes him a one man section, and as such, he is an invaluable asset. Mel Lewis' consistently fine musicianship ana his fiery propulsion to the big band tracks is more than worthy of comment Charlie's gospel-tinged THE SHOUT, the Sebesky title tune of the album, and Rolf Ericson's delightful jazz waltz, PRETTY LITTLE NIEDA, coupled with the standards, make for above average programming, something of a novelty in a business that has become mired in anonymity. Regina Records should feel very proud of this contribution, and I repeat if this album doesn't scare a lot of people there is definitely something wrong with the music business.
—MORT FEGA
WEVD, NEW YORK CITY, AUGUST 26, 1963
Usually, album titles have only the barest relationship to the content, which, I'm happy to say, is not so in this case. A JAZZ PORTRAIT OF CHARLIE MARIANO says it beautifully: a genuine musical portrait of a jazzman, showing his prowess as an instrumentalist and as a composer, and illustrating his sensitivity, his taste, his fire, his love of his work, and his colleagues, his laments, his roots, his vision, his aspiration, his despair, his laughing, and his crying. These are all things that I behold when I listen to this musical portrait. Listen well and you'll hear all this, too, and maybe more.
Charlie now makes his home in a suburb of Tokyo, Japan with his lovely and talented wife, Toshiko, who, at the very moment of this writing, is expecting the arrival of their first born. Charlie and Tosh have been working together since 1959, always in The States, until the end of 1962 when they decided to migrate to Japan, Toshiko's native country, to play and teach. Early this summer Charlie returned to this country to teach in the jazz clinics on the college campuses throughout the nation; it was during this period that this album was recorded. Charlie Mariano, who will reach his fortieth birthday in November of this year, is a young veteran of the music wars. Much of his experience has been with big bands, Kenton from—'53 to '55, and again in '59; in between these stints, a brief time with fellow Bostonian Herb Pomehoy's big band; and very recently as a vital member of Charlie Mingus' ten piece band, which worked and recorded in New York City. One of Mariano's most fruitful musical associations was with the Shelly Manne quintet on the West Coast; this covered the period from '56 through '58. While with Shelly, much of
Charlie's original writing was recorded: things like BLU GNU, THE DART GAME, SLAN, and an extended work, THE GAMBIT. This obviously was a very productive period for Charlie Mariano, and it led Shelly Manne to make this observation about his playing, "I don't know any jazzman who has as good a sense of melodic development in his solos as Charlie. And he's so warm." I'm certain that you'll nod your head in agreement as you listen to this album.
Besides placing Charlie Mariano's immense talent into much clearer focus, this should serve as a springboard for another brilliant young talent, Don Sebesky, who orchestrated and conducted the dates. Don, who is only twenty five, is, like Mariano, an alumnus of the Stan Kenton band, and he has also seen service with the May-nard Ferguson band. Sebesky played trombone on both bands, and for a brief period in 1959 was on the same Kenton crew with Mariano. In discussing this album with Don, he told me that when he was only sixteen, he approached Kenton with an arrangement that he had prepared, and that on that Kenton band in '53 Charlie was playing alto. I asked him if Stan accepted the chart and Don smiled sheepishly and said, "No. I guess it was pretty bad. Charlie was very encouraging though." So, being on the same band with Charlie some six years later, and now the collaboration on this album, have been a great source of gratification to Don, who has always deeply admired Mariano's work. Sebesky now devotes all his time and energy to writing and conducting, and he keeps very busy at both. He continues to be one of the prime contributors to the Maynard Ferguson book, and his work with The Group, that very hip vocal trio, has evoked much favorable comment.
Also worthy of comment is the playing of Marvin Stamm, whose work here on the quintet tracks promises much. Marvin recently departed the Kenton band where he held down the jazz chair, which he assumed immediately upon his graduation from North Texas State Teachers College, one of the most respected schools of higher musical learning. Stamm, like Mariano, is spending the summer months teaching in the college clinics. I have been advised that we may soon expect another in the series of JAZZ PORTRAITS, that of Marvin Stamm, about whom everyone, especially the people at Regina, are very excited.
Now, about the music: it has always been my policy not to offer a capsule review of each of the tracks in an album. Instead, I should like to offer some random observations about what I believe are highlights. The quintet and the big brass band settings are certainly not new to Charlie Mariano; however, it should be stated that this is the first time that Charlie has ever recorded with strings. All I can say is that I hope it will not be the last time, because his lyricism lends itself more than admirably to such a setting.
TO ТАIHO, a modal original by Mariano, captures the feeling of the Near East, as I'm certain Charlie intended, and it displays how gratifying jazz can be. Oh how he cries as though he were echoing the lament of centuries of unabated suffering. Then, in an instant, I conjure up images of ancient Hebrews beating their breasts at the wailing walls, wailing in abject misery. How wonderful it is that music, when properly conceived and performed, can paint pictures for the mind's eye. Marvin Stamm's playing, both solo and unison, must have delighted Charlie, as he seems to have captured the very feeling of the moment, a somewhat rare occurrence. The rhythm section, Jaki Byard, Richard Davis, and Albert Heath are as one, but still, each with his own identity. The insistent bass line, the time signature changes to 5/8, the overall rapport make this track unique, and which should be listened to every time you begin to wonder what is happening in jazz.
Of the striking arrangements, my favorite on the album is THE WIND. Don Sebesky's writing makes it almost possible to see the wind, let alone hear it. This track is an eloquent argument for the use of strings in jazz. Personally, I'm delighted to find this composition included here, because it has long been one of my favorite tunes. I'm certain that Charlie means it as an expression of his esteem for Russ Freeman, the West Coast pianist who composed it, and with whom Charlie worked as a member of the Shelly Manne group.
I FEEL PRETTY, taken as a brisk waltz, is a graphic illustration of Mariano's staccato attack. Don Sebesky's big brass hand arrangement is a perfect accompaniment for what I find to be Charlies most exciting solo flight on the album, a soaring flight that, in spite of the punctuated style, never loses the respect that a thematic vehicle such as this demands.
There is so much that could be said about this album, but until the record companies consider using larger jackets, I shall be obliged to hold my enthusiasm in check. I must mention Jim Hall's masterful playing is something that we have all come to expect from him. Phil Bodner, whose complete mastery of all the reed instruments makes him a one man section, and as such, he is an invaluable asset. Mel Lewis' consistently fine musicianship ana his fiery propulsion to the big band tracks is more than worthy of comment Charlie's gospel-tinged THE SHOUT, the Sebesky title tune of the album, and Rolf Ericson's delightful jazz waltz, PRETTY LITTLE NIEDA, coupled with the standards, make for above average programming, something of a novelty in a business that has become mired in anonymity. Regina Records should feel very proud of this contribution, and I repeat if this album doesn't scare a lot of people there is definitely something wrong with the music business.
—MORT FEGA
WEVD, NEW YORK CITY, AUGUST 26, 1963
Содержание индексной карты (.CUE):
REM GENRE Jazz
REM DATE 1963
REM DISCID 78094509
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Charlie Mariano"
TITLE "A Jazz Portrait Of Charlie Mariano"
FILE "01 - I Feel Pretty.wav" WAVE
TRACK 01 AUDIO
TITLE "I Feel Pretty"
PERFORMER "Charlie Mariano"
PREGAP 00:00:33
INDEX 01 00:00:00
FILE "02 - The Wind.wav" WAVE
TRACK 02 AUDIO
TITLE "The Wind"
PERFORMER "Charlie Mariano"
INDEX 01 00:00:00
FILE "03 - To Taiho.wav" WAVE
TRACK 03 AUDIO
TITLE "To Taiho"
PERFORMER "Charlie Mariano"
INDEX 01 00:00:00
FILE "04 - Goodbye.wav" WAVE
TRACK 04 AUDIO
TITLE "Goodbye"
PERFORMER "Charlie Mariano"
INDEX 01 00:00:00
TRACK 05 AUDIO
TITLE "The Shout"
PERFORMER "Charlie Mariano"
INDEX 00 04:27:47
FILE "05 - The Shout.wav" WAVE
INDEX 01 00:00:00
TRACK 06 AUDIO
TITLE "Portrait Of An Artist"
PERFORMER "Charlie Mariano"
INDEX 00 02:50:08
FILE "06 - Portrait Of An Artist.wav" WAVE
INDEX 01 00:00:00
TRACK 07 AUDIO
TITLE "Deep In A Dream"
PERFORMER "Charlie Mariano"
INDEX 00 05:22:22
FILE "07 - Deep In A Dream.wav" WAVE
INDEX 01 00:00:00
TRACK 08 AUDIO
TITLE "Pretty Little Nieda"
PERFORMER "Charlie Mariano"
INDEX 00 03:16:65
FILE "08 - Pretty Little Nieda.wav" WAVE
INDEX 01 00:00:00
TRACK 09 AUDIO
TITLE "The Song Is You"
PERFORMER "Charlie Mariano"
INDEX 00 05:34:53
FILE "09 - The Song Is You.wav" WAVE
INDEX 01 00:00:00
Лог создания рипа
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 10. March 2011, 23:52
Charlie Mariano / A Jazz Portrait Of Charlie Mariano
Used drive : HL-DT-STDVDRAM GSA-T50N Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 667
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
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
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.33 | 2:58.15 | 33 | 13397
2 | 2:58.48 | 4:14.67 | 13398 | 32514
3 | 7:13.40 | 7:30.43 | 32515 | 66307
4 | 14:44.08 | 4:29.27 | 66308 | 86509
5 | 19:13.35 | 2:52.43 | 86510 | 99452
6 | 22:06.03 | 5:24.32 | 99453 | 123784
7 | 27:30.35 | 3:19.25 | 123785 | 138734
8 | 30:49.60 | 5:37.70 | 138735 | 164079
9 | 36:27.55 | 3:05.53 | 164080 | 178007
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 6
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Track 7
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Track 8
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Track 9
Filename C:\Musicgate's rips\Charlie Mariano - A Jazz Portrait Of Charlie Mariano - 1963 (2005)\09 - The Song Is You.wav
Pre-gap length 0:00:03.17
Peak level 92.8 %
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Copy CRC CB68FD8D
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None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
Лог проверки качества
Если нет сидов или раздача находится в архиве, просите в ПМ, чтобы я вернулся - за старыми раздачами не слежу
приветствуется конвертация моих раздач в мп3 и выкладывание в соответствующем разделе