Релиз подготовлен Proper SelfMade Lossless Group
"Always Proper, Ever SelfMade"Bud Shank & Bob Cooper - Blowin' Country - 1958 (1998) Жанр: Hard Bop, West Coast Jazz Страна исполнителя: USA Страна - производитель диска: USA Дата записи: Nov 29, 1956 - Jun 11, 1957 Год издания: Dec 24, 1959 Год переиздания: 1998 Издатель (лейбл): Capitol Records Номер по каталогу: CDP 7243 4 94846 2 7 Тип: Remaster Аудио кодек: FLAC (*.flac) Тип рипа: (tracks + .cue) Битрейт аудио: lossless Наличие сканов в содержимом раздачи: full scans, png, 300 dpi Продолжительность: 54:52 Источник (релизер): коллекция Л Рендера, мой рип Трэклист:
1. Dinah (3:18) (Aket-Young-Lewis)
2. Mutual Admiration Society (3:45) (M. Dubey~H Karr)
3. Steve Allen Theme (4:08) (Steve Allen)
4. I've Grown Accustomed To Her Face (2:42) (A.J. Lemer-F. Loewe)
5. Blowin' Country (6:15) (Bud Shank)
6. Love Nest (3:13) (L. Hirsch-O. Harbach)
7. As Long As There's Music (3:41) (J. Styne-S. Cahn)
8. Just In Time (3:42) (B. Comden-A. Green)
9. Two Lost Souls (3:44) (R. Adler-J. Ross)
10. Thanks For The Memory (4:30) * (R. Rainger-L. Robin)
11. A Romantic Guy, I (3:35) * (Frank Stanton)
12. Sweet Georgia Brown (3:41) (Bernie-Casey-Pinkard)
13. Gyspy In My Soul (3:23) * (C. Boland-M .Jaffe)
14. I Want To Be Happy (2:31)* (V. Youmans-I. Caesar)
15. What'll I Do (2:45) * (Irving Berlin)
* bonus tracks, not part of original LP Produced by Russ Freeman
Recorded in Los Angeles on January 21,1958 and/or February 18/19,1958 (#1-11) and November 29,1956 (#12-15)
Reissue produced by Michael Cuscuna
Mastered by Ron McMaster using 20-bit Super Bit Mapping Состав:
Bud Shank - Alto Saxophone, Tenor Saxophone, Flute
Bob Cooper - Tenor Saxophone, Bass Clarinet, Oboe
Claude Williamson - Piano (1-11)
Howard Roberts - Guitar (12-15)
Don Prell - Bass
Chuck Flores - Drums
Nearly all the instruments used by jazz musicians were in widespread use by the late twenties. When Lionel Hampton popularized the vibes during the mid thirties, the picture appeared complete, for no one during the next fifteen years would successfully introduce a new instrument into general use. Several jazzmen, through their enormous virtuosity, would bring a kind of conditional acceptance to other instruments, but the use of instruments other than the time-honored jazz equipment was regarded, for the most part, as pure novelty. This attitude was to change during the early fifties, as a number of new instruments found favor. It was largely through the efforts and excellent musicianship of two young jazz musicians that this new acceptance came about. This album is the product of those musicians and a forceful example of why they succeeded where others had failed. The productive association of Bud Shank and Bob Cooper began in December of 1949 when Stan Kenton hired both onto his newly formed "Innovations In Modern Music" orchestra. A personal friendship developed immediately, followed shortly by a high regard for each others remarkable musicianship. They had one virtue in common. Both had mastered an unusual number of instruments: Shank, the alto, tenor, baritone, clarinet and flute; Cooper, the tenor, bass clarinet, English horn and oboe. Their extensive use of these instruments (except the alto and tenor) began with their work on the "Innovations" orchestra since, until that time, neither had made a concerted effort to integrate them into jazz. Late in 1951, as the Kenton band prepared to leave Los Angeles on another national tour, a number of Kenton's key men chose to stay behind and establish individual careers. Bud Shank and Bob Cooper were among them. The first year was difficult as studio work was not easy to come by, and such jazz clubs as were then operative were still hiring only "eastern name attractions." Early in 1953, both Shank and Cooper began to make modest headway as their appearances became more frequent and their abilities increasingly obvious. By late summer, the situation began to break. Shank recorded an album with the great Brazilian born guitarist, Laurindo Almeida (WP 1204) that was an immediate success. Both Shank and Cooper joined the already famous Lighthouse AH Stars. That Fall, Shank was signed to a long term contract by World-Pacific Records and Cooper began to record frequently with the Lighthouse group and its several offshoots. In 1954, with only scant representation on records, Shank was named "New Star Alto" by Down Beat magazine as the results of their Annual Critics Poll and Metronome Magazine declared him as the "Arrival Of The year" in the year-end 1954 Metronome Yearbook. Cooper was not so fortunate-no such positive proclamations were made on his behalf. But he was, nevertheless, gaining ground. His popularity at the Lighthouse was immediate; studio work was beginning to open up for him; and Bob Cooper had climbed into the top five on the jazz polls. That year, Contemporary Records, who had the Lighthouse All Stars under contract, recorded that group featuring Shank and Cooper playing flute and oboe. When released, the album was a sensation both critically and saleswise. Largely, as the results of that album, Shank in 1956, swept all polls taking first place as America's number one flautist. Until that time, the flute had not been regarded as an important jazz instrument. Shank's enormous control of the instrument and the imagination with which he used it, had literally forced the flute into a position of prominence. And Cooper's work on the oboe established him as The jazz Oboist; a position that he clearly holds to this day. In 1957, World-Pacific released "Flute 'n Oboe" (WP 1226), this time adding strings for the flute-oboe combination and Shank and Cooper came up with another hit. Now with "Blowin' Country," World-Pacific presents Bud Shank and Bob Cooper employing nearly all the instrumental combinations at their command. "Love Nest" utilizes Shank's alto and Cooper's tenor, "Mutual Admiration Society," "Blowin Country" and "Dinah" present them both playing tenor; the famous flute-oboe combination is demonstrated on "Sweet Georgia Brown" and the opening ensemble of "Steve Allen Theme." On "Two Lost Souls," this sound is varied as Shank continues on flute while Cooper switches to bass clarinet. Then on "Just In Time" the situation is reversed as Cooper returns to the oboe and Shank plays alto again with Cooper returning to tenor after the opening chorus. "As Long As There's Music" and "I've Grown Accustomed To Her Face" has Shank back on flute and Cooper on tenor. To the unsympathetic ear, the use of so many instruments might seem to have been motivated for novelty's sake, but for Shank and Cooper, who've spent the better part of their lives playing these instruments, it is anything but novel. Their mastery of these many instruments is such that they can, without undue debate, simply select the instruments that will provide whatever coloration as seems fitting. Their choice of combinations here was dictated by nothing more than the manner in which they felt each piece of material could most effectively be handled. Here are two exceptionally well trained musicians fully aware of their capacity, and eager to utilize all the equipment at their disposal.
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Exact Audio Copy V0.99 prebeta 5 from 4. May 2009 EAC extraction logfile from 10. March 2011, 22:53 Bud Shank & Bob Cooper / Blowin' Country 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 | 0:00.00 | 3:21.07 | 0 | 15081 2 | 3:21.07 | 3:48.68 | 15082 | 32249 3 | 7:10.00 | 4:11.70 | 32250 | 51144 4 | 11:21.70 | 2:45.40 | 51145 | 63559 5 | 14:07.35 | 6:18.17 | 63560 | 91926 6 | 20:25.52 | 3:17.20 | 91927 | 106721 7 | 23:42.72 | 3:45.03 | 106722 | 123599 8 | 27:28.00 | 3:45.12 | 123600 | 140486 9 | 31:13.12 | 3:47.43 | 140487 | 157554 10 | 35:00.55 | 4:33.22 | 157555 | 178051 11 | 39:34.02 | 3:38.53 | 178052 | 194454 12 | 43:12.55 | 3:44.62 | 194455 | 211316 13 | 46:57.42 | 3:26.15 | 211317 | 226781 14 | 50:23.57 | 2:34.53 | 226782 | 238384 15 | 52:58.35 | 2:46.00 | 238385 | 250834 Track 1 Filename C:\Musicgate's rips\Bud Shank & Bob Cooper - Blowin' Country - 1958 (1998)\01 - Dinah.wav Pre-gap length 0:00:02.00 Peak level 93.3 % Track quality 100.0 % Test CRC A706A9F0 Copy CRC A706A9F0 Accurately ripped (confidence 2) [324A81F9] Copy OK Track 2 Filename C:\Musicgate's rips\Bud Shank & Bob Cooper - Blowin' Country - 1958 (1998)\02 - Mutual Admiration Society.wav Peak level 98.8 % Track quality 100.0 % Test CRC CBEFE1AB Copy CRC CBEFE1AB Accurately ripped (confidence 2) [E537C802] Copy OK Track 3 Filename C:\Musicgate's rips\Bud Shank & Bob Cooper - Blowin' Country - 1958 (1998)\03 - Steve Allen Theme.wav Peak level 98.8 % Track quality 100.0 % Test CRC 4521812C Copy CRC 4521812C Accurately ripped (confidence 2) [6D8171EC] Copy OK Track 4 Filename C:\Musicgate's rips\Bud Shank & Bob Cooper - Blowin' Country - 1958 (1998)\04 - I've Grown Accustomed To Her Face.wav Peak level 67.7 % Track quality 100.0 % Test CRC CDB939CE Copy CRC CDB939CE Accurately ripped (confidence 2) [839FC5AE] Copy OK Track 5 Filename C:\Musicgate's rips\Bud Shank & Bob Cooper - 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