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Релиз подготовлен Proper SelfMade Lossless Group "Always Proper, Ever SelfMade" Paul Desmond - Desmond Blue - 1961 (2002) Paul Desmond на треккере (Lossless Jazz)Жанр: Mainstream, Cool jazz Страна исполнителя: USA Страна - производитель диска: EU Дата и место записи: Webster Hall, New York City, June 19, 1961 - March 15, 1962 Год издания: 1961 Год переиздания: 2002 Издатель (лейбл): Bluebird Номер по каталогу: 09026 63898 2 Тип: CD, Album, Redition, Remaster Аудио кодек: FLAC (*.flac) Тип рипа: (tracks + .cue) Битрейт аудио: lossless Наличие сканов в содержимом раздачи: full scans, png, 300 dpi Продолжительность: 1:06:21 Источник (релизер): коллекция Завита, мой рип Трэклист: 1. My Funny Valentine (Richard Rodgers-Lorenz Hart) 3:49 2. Desmond Blue (Paul Desmond) 3:38 3. Then I'll Be Tired Of You (e.y. Harburg-Arthur Schwartz) 4:03 4. I've Got You Under My Skin (Cote Porter) 4:31 5. Late Lament (Paul Desmond) 4:07 6. I Should Care (Axel Stordahl-Paul Weston-Samtny Cohn) 3:49 7. Like Someone In Love (Johnny Burke-Jiтту Van Неusеп) 4:10 8. Ill Wind (You're Blowin' Me No Good) (Harold Arlen-Ted Koehler) 3:48 9. Body and Soul (Johnny Green-Edward Heyman-Frank Eyton-Robert B. Sour) 4:51 BONUS TRACKS 10. Autumn Leaves (Johnny Mercer-Jacques Prevert-Joseph Kozma) 5:42 11. Imagination (Johnny Виrkе-Jimmy Van Heusen) 4:02 12 Advise and Consent (Jerry Fielding) 2:00 PREVIOUSLY UNRELEASED ALTERNATE TAKES 13. Autumn Leaves 5:37 14. Autumn Leaves 3:38 15. Imagination 4:51 16. Advise and Consent 2:01 Paul Desmond, alto saxophone
Arranged and conducted by Bob Prince TRACK l: George Marge, Robert Doty, woodwinds; Albert Richman, French horn; Charles Libove, Arnold Eidus, Anahid Ajemian, Alvin Rudnitsky, George Ockner, Harry Glickman, Marvin Morgenstern, Emanuel Green, Alfred Breuning, violin; Harry Zaratzian, Alfred Brown, viola; Alan Shulman, Harvey Shapiro, cello; Eugene Bianco, harp; Jim Hall, guitar; Gene Cherico, bass; Connie Kay, drums. Recorded September 14, 1961. tracks 2, 3, 8, AND 9: Romeo Penque, Stan Webb, woodwinds; Albert Richman, French horn; Alvin Rudnitsky, Maurice Wilk, Harry Glickman, George Ockner, Emanuel Green, Anahid Ajemian, Alfred Breuning, Philip Ramone, Charles Libove, violin; Harold Coletta, viola; Seymour Barab, Alan Shulman, cello; Gloria Agostini, harp; Milt Hinton, bass; Bobby Thomas, drums. Recorded October 2, 1961. TRACK 4: Jim Hall, guitar: George Duvivier, boss; Connie Kay, drums; Unidentified strings Recorded June 19, 1961. tracks 5-7: Рhil Bodner, Romeo Penque, woodwinds; Albert Richman, French horn; Anahid Ajemian, Matthew Raimondi, Leo Kahn, Paul Winter, Alvin Rudnitsky, Charles Libove, Philip Ramone, Aaron Rosand, Emanuel Green, violin; Julius Shaier, Burt Fisch, viola; Alan Shulman, Charles McCracken, cello; Gloria Agostini, harp; Jim Hall, guitar; Milt Hinton, bass; Bobby Thomas, drums. Recorded September 28, 1961. On these tracks, the strings and Paul Desmond were recorded separately. tracks 10-16: Romeo Penque, Phil Bodner, woodwinds; Tony Miranda, French horn; Marvin Morgenstern, Bernard Eichenbaum, Charles Libove, Alvin Rudnitsky, Alexander Cores, Berl Senofsky, Leo Kruczek, Maurice Wilk, violin; Alfred V. Brown, Harold Colleta, viola; Charles McCracken, H. Shapiro, Seymour Barab, cello; Gloria Agostini, harp; Milt Hinton, bass; Osie Johnson, drums. Recorded March 15, 1962. The solo on track 12, Advise and Consent (take 8), was recorded at an overdub session on March 19, 1962; all parts of тrack 16, Advise and Consent (take 4), were recorded on March 15, 1962. tracks 1-9: original 1962 RCA Victor LP issue Desmond Blue, LSP-2438. tracks Ю-12: original 1987 Bluebird CD issue Late Lament, 5778-2-RB. TRACKS 13-16: PREVIOUSLY UNRELEASED All trackes were mastered from the original session 1/2" 3-track tape. Although complete tracks were all finished in one day, except for take 8 of Advise and Consent, most, if not all, of these recordings contain overdubs. In some cases, Desmond and the rhythm section recorded one pass, and the strings recorded on another: in others, only Desmond nvenfublied. Jim Hall's guitar was typically reeorded in the center of the stereo image. Not always, however: on track 4, I've Got You Under My Skin, the guitar is decidedly left of center. Efforts to center the guitar resulted in an unacceptable artificial mono effect, hence it was left as it was recorded, and as issued on the original LP. — B. F. REM GENRE Jazz Exact Audio Copy V1.0 beta 3 from 29. August 2011 Для того, чтобы скачать .torrent Вам необходимо зарегистрироваться |
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