(Swing) Buddy Rich - The Amazing Buddy Rich Time Being - 1987 (Bluebird #6459-2-RB), FLAC (tracks+.cue), lossless

Recorded August 13, 1971, RCA Studio C, New York City. Engineering by Bob Simpson.
PAUL'S TUNE-APAI-5645
Arranged by Paul Kondziela; features Pat LaBarbera, tenor saxophone
CHELSEA BRIDGE-APAI-5644
Arranged by Phil Wilson; features Jimmy Mosher, alto saxophone
Same, but August 16, 1971
STRAIGHT NO CHASER - APAI-5647
Arranged by John LaBarbera; features Pat LaBarbera and Don Englert, tenor saxophone; Jeff Stout, trumpet
(These selections originally appeared in LSP-4593 "A DIFFERENT DRUMMER")
Same, but BOB DOGAN, piano, replaces PETERSON; omit SPINOZZA, DAUGHERTY, KRAUS, and CAMERO.
Recorded December 6, 7, and 8, 1971, Ronnie Scott's Club, London. Engineering by Bob Auger.
DANCING MEN-APC6-6648
Arranged by John LaBarbera; features Pat LaBarbera, tenor saxophone; Bruce Paulson, trombone
LITTLE TRAIN-APC6-6654
Arranged by Herbie Phillips; features Jeff Stout, trumpet;
Jimmy Mosher, alto saxophone; Bruce Paulson, Tony DiMaggio, trombone; Don Englert, Pat LaBarbera, tenor saxophone TWO BASS HIT-APC6-6658
Arranged by John LaBarbera; features Pat LaBarbera, tenor saxophone; Bob Dogan, piano
TIME BEING-APC6-6655
Arranged by Bill Holman; features Bruce Paulson, trombone;
Jeff Stout, trumpet; Bob Dogan, piano
(These selections originally appeared in LSP 4666 - "RICH IN LONDON")
Same, but RICHARD CENTALONZA, baritone saxophone, replaces CALO; GREG HOPKINS, trumpet, replaces STOUT; ERIC CULVER, ALAN KAPLAN, trombone, replace PAULSON, DIMAGGIO; WILLIAM REICHENBACH, bass trombone, replaces LEYS; GEORGE MCFETRIDGE, piano, replaces PETERSON; add WALT NAMUTH, guitar; JOEL Dl BARTOLO, bass, replaces KONDZIELA.
Recorded August 10, 1972, RCA Studio C, New York City. Engineering by Jim Crotty.
BEST COAST-BPAI-6357
Arranged by John LaBarbera; features Pat LaBarbera,
tenor saxophone; Eric Culver, trombone SPACE SHUTTLE-BPAI-6361 Arranged by John LaBarbera; features Pat LaBarbera,
soprano saxophone
SASSY STRUT-BPAI-6365
Arranged by John LaBarbera;
features Pat LaBarbera, soprano saxophone; Walt Namuth, guitar; Joe Romano, alto saxophone
(These recordings originally appeared in LSP-4082 "STICK IT")

Whether or not Buddy Rich was "the world's greatest drummer," as Ronnie Scott announces on this disc, is open to question. There is no "greatest." But nobody would argue against the statement that he was up there with the very best ever. Even though there had been bad blood between them, his one-time Tommy Dorsey mate Frank Sinatra helped fund his first big band. Buddy was universally respected even by those who did not particularly like him.
I found it hard to dislike somebody who went so deliberately out of his way to put his worst foot forward when I interviewed him during the 1986 Grande Parade du Jazz in Nice. His first line was: "I really don't give a damn about stupid critics.'' Tan and in good shape, he was lying besides the rooftop pool of the Hyatt Hotel. His chest was covered with gray hair, and I noticed the scars from several bypass operations. The scowl on his face made it impossible to dismiss the statement as ironic Ratpack rap. He continued: "The only critic I ever listen to is me. When I play bad, I'll be the first to tell you - or when I play good. And it has nothing to do with arrogance. It has only to do with knowing how much I'm capable of and to deny that fact makes me a liar. False humility is the worst thing in the world.''
False humility was a long way away. He turned to his friend reclining on the mat beside him, flashed an incredibly open and genuine smile and then turned back to me with ascowl for the press: "I would say that about 75% of the world is mediocrity - whether it's food or style or music. A mediocre world. And the other 25% have an elitist attitude. That's the part of the world I belong to. You have to know your own worth. I like to say that my band consists of fifteen Ferraris in a world of Pintos."
It would, however, be inaccurate to say this band is like a purring motor. It roars...steams...smokes. It is everything you have ever wanted to hear from a big band but have been afraid to ask for. Come to think of it, it can even purr. And no matter how slow or fast it moves, you always feel like you're riding at exactly the right speed.
I was playing with Maynard Ferguson about ten years before this album was recorded. Maynard's band was more like a pink Cadillac - we could fly
down the pike but you couldn't exactly call the vehicle chic. We played opposite Buddy in Birdland for a week. The last set of the last night, he sat in with us. He caught every accent and change of dynamics and tempo as though he designed the bloody machine. It wasn't drumming, it was alchemy. He turned the pink paint to pure goldplate.
Now that I think about it, Buddy and Maynard were rather alike. They both put swing before anything, both had inordinate energy and both kept big jazz bands alive during those dark years when, according to certain "stupid" critics, rock was the only contemporary sound.
In 1986 by the rooftop hotel pool in Nice, I asked Buddy if he'd made any concessions to changing style. He answered in his usual quick-witted, flashy, opinionated and intelligent manner: "We don't have style. We have class. How many notes are there in a scale...?" It was a test, he waited for the answer.
"In the West, twelve." I appeared to have passed.
"Right. These same twelve notes have been played forever. All you have to do is put them in different areas and concepts. That's music. Not style. I don't know what style is. I just take care of my business and get what I want and I don't have any thoughts about it. I know what I want."
"Then other people don't know what they want?"
"I didn't say that," he snapped: "I said I know what / want. That's why this band is a success. I have the people in my band who I consider worthy to be in it. I'm talking about complete players. That means they have the right personality, the right attitude and their concept is right for the music I want to hear."
"Which is?"
"Swing. Swing is not an old-fashioned word to me. Swing is what music is all about. I don't care what label they put on it, if it doesn't have a pulse it doesn't have anything. And I'm not talking about a rock pulse. That's not a pulse, it's a heart attack. With me, it's always my way or no way at all."
Anybody feel like a swing down Rich Way in fifteen Ferraris?
- Mike Zwerin

REM DATE 1987
REM DISCID 9E0E140A
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Buddy Rich"
TITLE "The Amazing Buddy Rich Time Being"
FILE "01 - Paul's Tune.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Paul's Tune"
    PERFORMER "Buddy Rich"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Chelsea Bridge"
    PERFORMER "Buddy Rich"
    INDEX 00 06:15:25
FILE "02 - Chelsea Bridge.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "Straight No Chaser"
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    INDEX 00 05:04:25
FILE "03 - Straight No Chaser.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Dancing Men"
    PERFORMER "Buddy Rich"
    INDEX 00 04:13:25
FILE "04 - Dancing Men.wav" WAVE
    INDEX 01 00:00:00
FILE "05 - Little Train.wav" WAVE
  TRACK 05 AUDIO
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    PERFORMER "Buddy Rich"
    INDEX 01 00:00:00
  TRACK 06 AUDIO
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    INDEX 00 06:26:60
FILE "06 - Two Bass Hit.wav" WAVE
    INDEX 01 00:00:00
FILE "07 - Time Being.wav" WAVE
  TRACK 07 AUDIO
    TITLE "Time Being"
    PERFORMER "Buddy Rich"
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "Best Coast"
    PERFORMER "Buddy Rich"
    INDEX 00 13:03:50
FILE "08 - Best Coast.wav" WAVE
    INDEX 01 00:00:00
  TRACK 09 AUDIO
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    PERFORMER "Buddy Rich"
    INDEX 00 04:00:13
FILE "09 - Space Shuttle.wav" WAVE
    INDEX 01 00:00:00
  TRACK 10 AUDIO
    TITLE "Sassy Strut"
    PERFORMER "Buddy Rich"
    INDEX 00 04:14:50
FILE "10 - Sassy Strut.wav" WAVE
    INDEX 01 00:00:00

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 1. December 2009, 16:26
Buddy Rich / The Amazing Buddy Rich Time Being
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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                              : Installed external ASPI interface
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 320 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
TOC of the extracted CD
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    ---------------------------------------------------------
        1  |  0:00.00 |  6:17.00 |         0    |    28274
        2  |  6:17.00 |  5:06.00 |     28275    |    51224
        3  | 11:23.00 |  4:14.00 |     51225    |    70274
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        6  | 28:33.48 |  4:00.00 |    128523    |   146522
        7  | 32:33.48 | 13:05.27 |    146523    |   205424
        8  | 45:39.00 |  4:01.00 |    205425    |   223499
        9  | 49:40.00 |  4:17.00 |    223500    |   242774
       10  | 53:57.00 |  6:07.13 |    242775    |   270312
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Track 10
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