Download Travi$ Scott - Discography (2009-2014) Torrent. 2009 - BAPE (Travi$ Scott & Jason Eric) 01 Intro.mp3 2.64 MB. Buddy Rich – Big Swing Face: Buddy's follow-up album in 1967 saw the addition of 19-year-old Chuck Findley blowing great jazz trumpet, and the addition of Quinn Davis and Ernie Watts to the saxophone section. Jim Trimble is back on lead and jazz trombone, and the writing of Bill Holman, Bill Potts, Bob Florence, and Don Piestrup take center. In 1968 he debuted as a solo artist with 'Don Sebesky & The Jazz-Rock Syndrome', the subject of this post, an albums intended to merge - as per its title - Jazz and Rock music. This record was soon followed by ' The Distant Galaxy ', a weirder affair that combined exotic and electronic instruments with unusual arrangements; this precious gem.
Buddy Rich - Rich in London (1971) [FLAC] {Mosaic Single}Жанр: Mainstream Jazz, Modern Big Band, Bop
Дата записи: Recorded live at Ronnie Scott's, London, by Granada Mobile
Recording on December 6, 7 & 8, 1971
Дата выпуска: 2006
Mastered in 24-bit by Mark Wilder, Sony Studios
Производитель диска, номер, страна: Mosaic Records MCD-1009
Тип: compilation, live
Download Travi$ Scott - Discography (2009-2014) Torrent. 2009 - BAPE (Travi$ Scott & Jason Eric) 01 Intro.mp3 2.64 MB. Buddy Rich – Big Swing Face: Buddy's follow-up album in 1967 saw the addition of 19-year-old Chuck Findley blowing great jazz trumpet, and the addition of Quinn Davis and Ernie Watts to the saxophone section. Jim Trimble is back on lead and jazz trombone, and the writing of Bill Holman, Bill Potts, Bob Florence, and Don Piestrup take center. In 1968 he debuted as a solo artist with 'Don Sebesky & The Jazz-Rock Syndrome', the subject of this post, an albums intended to merge - as per its title - Jazz and Rock music. This record was soon followed by ' The Distant Galaxy ', a weirder affair that combined exotic and electronic instruments with unusual arrangements; this precious gem.
Buddy Rich - Rich in London (1971) [FLAC] {Mosaic Single}Жанр: Mainstream Jazz, Modern Big Band, Bop
Дата записи: Recorded live at Ronnie Scott's, London, by Granada Mobile
Recording on December 6, 7 & 8, 1971
Дата выпуска: 2006
Mastered in 24-bit by Mark Wilder, Sony Studios
Производитель диска, номер, страна: Mosaic Records MCD-1009
Тип: compilation, live
Аудио кодек: FLAC
Тип рипа: (tracks + .cue)
Битрейт аудио: lossless
Включает: Full artwork
Продолжительность: 1:16:43
Источник: web
Риппер: whackamus
Трэклист:
1. Dancing Men 6:10 (John La Barbera)
2. The Word 5:48 (Don Piestrup)
3. St. Marks Square (A Special Day) 4:03 (John La Barbera)
4. That's Enough 3:00 (Jon Hendricks)
5. Little Train 6:22 (Herbie Phillips)
6. Moment's Notice 3:22* (John Coltrane)
7. In A Mellow Tone 5:39* (Duke Ellington)
8. Milestones 5:20* (Miles Davis)
9. Watson's Walk 7:15* (John La Barbera)
10. Two Bass Hit 4:00 (D. Gillespie-J. Lewis)
11. Theme From 'Love Story' 5:50 (Francis Lai)
12. Time Being 12:37 (Bill Holman)
13. Buddy Rich Speaks 4:45
*bonus tracks, not part of original LP
Состав:
Lin Biviano, Jeff Stout, Wayne Naus, John DeFlon - trumpets
Bruce Paulson, Tony DiMaggio - trombones
John Leys - bass trombone
Brian Crivna - alto sax, flute
Jimmy Mosher - alto sax, soprano sax, flute
Pat La Barbera, Don Englert - tenor sax, soprano sax, flute
Joe Calo - baritone sax, soprano sax, flute
Bob Dogan - piano
Paul Kondziela - bass
Buddy Rich - drums.
On THAT'S ENOUGH
Cathy Rich, Michelle Hendricks and Carlene Hendricks, vocals.
Arranged by John La Barbera (1, 3,4,9 & 11), Don Piestrup (2, 6), Herbie Phillips (5,8), Oliver Nelson (7), Mike Gibbs (10) and Bill Homan (12).
#1-5 and 10-13 originally issued on RICH IN LONDON (RCA LSP4666).
#6-9 originally issued on VERY ALIVE AT RONNIE SCOTT'S (English RCA DPS-2031).
IT was AROUND 7:00 PM ON Monday EVENING and Bob Auger, one of England's finest mixers, had just checked out the microphones on the bandstand at Ronnie Scott's Club. Everything was working fine so Bob, John La Barbera and I sat down in the control room (Ronnie Scott graciously lent us his office) and discussed Buddy's live recording, which was to take place Monday night through Thursday night.
As I walked out of the control room that Monday, I was delighted. The club was packed, there was not an empty seat, and there were many fans standing. This happened every show!
Buddy's band was unbelievable. Never had they performed with such energy and drive. Each set was a total experience.
No wonder during the engagement people came down four and five different nights. (There were two people who saw every set, every night. And practically every top drummer and musician in London was there, some attended more than once.)
The most difficult decisions John, Buddy and I had to make about this recording were choosing the selections that were to go on the album, especially those selections that were recorded more than once during the sessions.
A major portion of the credit must go to John La Barbera, one of the most gifted young arrangers on the scene today. John composed and arranged St. Marks Square (A Special Day), Theme from 'Love Story' and Dancing Men which kicks off the album. Listen to Time Being arranged and composed by Bill Holman and Little Train by Herbie Phillips. Both of these charts were so difficult that only Buddy's present band could perform them — and so they did, each night, without any difficulty. Don Piestrup's The Word and Mike Gibb's arrangement of the jazz classic Two Bass Hit round out the album instrumentally.
There is one added feature. Buddy's daughter Cathy was with him in London. During the London stay Jon Hendricks wrote a tune called That's Enough, which Buddy liked. During the engagement Buddy had John La Barbera write an arrangement for Cathy. She is backed by John Hendricks' daughters, Michelle and Carlene. Buddy actually rehearsed the arrangement during the live session with the audience in attendance.
To my knowledge Buddy Rich has recorded more live albums than any other artist, and I am thoroughly convinced that Buddy Rich and his band perform best in front of a live audience.
The sound that Bob Auger attained on this album is superior to any you've heard on most live recordings and rivals the controlled sound achieved in studio work. This album has to go down as one of the best live recordings ever made. I am extremely proud to be a part of the experience. Enough said, records speak louder than words.
Pete Spargo
ADDENDUM
THE TELEGRAM SAID, 'FLY TO LONDON. STOP. RECORDING IS ON. STOP.' I had been hanging around New York for weeks waiting for the NY and London offices to give us the green light to record the band and finally it was going to happen. We had recorded our first RCA LP (Different Drummer) and it was selling like crazy and grabbing a whole new audience, so it was logical to keep up the pace, especially with a live recording. Buddy was fantastic no matter where he recorded but in front of a live audience, in the right setting, he was unbelievable. The band was tight from weeks of travel and London was the payback for all those one-nighters. Ronnie Scott's club was a joy to play because the gigs were always sold out to enthusiastic audiences and we were so well treated by Ronnie and staff. Since there was very little change in the personnel (read: only a couple of guys had been fired and replaced) the sections were extremely tight and the charts were well rehearsed but not enough so that Buddy was tired of them. He had a voracious appetite for new music and discarded material as fast as he got it. I learned early on from my brother Pat to get new things to him just before a recording so they would be fresh to him and I'd be sure to get them on the record. We had been playing Bill Holman's Time Being over the previous few weeks and it was quickly becoming a popular finale to our shows, replacing West Side Story Medley. It had been in the book for a while but he never called it. Buddy is on record as saying that this was the first band he felt could do it justice and so it was a keeper for this album. Listen to the triplet foundation and variations he lays down on his solo. It is absolutely astounding and something he'd never done before on this chart. Don Piestrup's chart on Moment's Notice and Herbie Phillips' arrangement of Milestones were natural set openers, and Herbie's three-speed blues, Little Train, was shaping up to close some of those sets. Regardless, with Buddy, you never knew because he never planned sets and picked tunes seconds before the count off.
I'd recently put a few new charts in the book among which were Dancing Men, Watson's Walk, St. Marks Square and Love Story. The latter was a producer call because of its potential to grab audiences outside of the jazz crowd. With the possibility of a UK recording and being a Sherlock Holmes fan, I found inspiration for some of my new material and titles from the Conan Doyle stories. When I first brought the chart to him and he heard the title Dancing Men, he gave me a strange look. I explained the title's connection to the Holmes' stories and our upcoming trip and from then on he started playing it every night with an energy that was typically -Buddy. There had never been anything quite like it in the book before and I was dumbfounded to see him nail it cold after one run through. His straight eighth beats, unlike anything he'd played before, became more and more complex as time went on. Eventually it became the opener and I don't think the trumpet section has ever forgiven me.
I arrived in London and went directly to the Dorchester Hotel where Buddy and Marie loved to stay in those years. In my mind everything was done, so I thought I could relax a bit, visit old friends and see a little of the city during the day, but Buddy had other plans. He immediately started laying out ideas for some new charts and rehearsal schedules for the week. He asked about my progress on the Walk on the Wild Side Suite he had requested, and I had to do a little bit of a verbal dance in response. 'Have it at the rehearsal tomorrow afternoon,' he announced. (As it came to pass, he would have to wait 15 years for that one.) 'Oh, and by the way, Cathy and Jon Hendricks' daughters, Michelle and Carlene, have worked up a three-part vocal thing. It's called That's Enough and I want to put it on the album, so do a chart on it after you hear it at the rehearsal tomorrow.' There went my days and nights.
Opening night came and we took over Ronnie's tiny office for our control room. We barely had room for anything except the equipment and the pints of beer that kept arriving. Brian Auger, our engineer, had just come away from recording Frank Zappa's 200 Motels. It's very telling about that previous gig that he found recording the world's greatest and most temperamental drummer, live in a packed nightclub, with a closet for a recording booth, mixing live on the fly to an eight-track machine, a relatively sane environment in which to work. We had three nights of recording to pull it off; and with Buddy, it had better be right. The routine was simple; Brian worked the faders and kept the tape rolling while I yelled out solos, full ensemble hits, solis, etc., to him about four bars ahead of the band.
I'm sure all the bandleaders in town were cursing Buddy because every drummer, or anyone who even owned a pair of sticks, was there for the week's performances. One drummer was there every night, every set. At around $30.00 a show in today's money, that's quite a fan. The crowd was literally a Who's Who of the European music and entertainment scene. Some of them may have been there to be seen, but in the end it was Buddy who grabbed the spotlight.
Before and after each set, Buddy and Ronnie Scott would verbally spar with each other to the delight of the crowd. There was a mutual love between them and the putdowns and jokes at each other's expense were hilarious. They both called on their tried-and-true vaudeville licks to best each other and it was obvious that they were having a ball. That bit of microphone banter added the right touch of show business before Buddy hit the stage and put the hammer down.
I'm amazed how well this recording holds up after 35 years and I know you'll agree when you hear Ronnie say, 'now ladies and gentlemen, we'd like you to welcome to the bandstand, the fantastic band led by the world's greatest drummer. Ladies and gentlemen Buddy Rich and his orchestra.'
John La Barbera
2006
1365845433 64037948 02 - The Word.wav
1225189356 43425020 03 - St. Marks Square (A Special Day).wav
845094072 35839820 04 - That's Enough.wav
1433844888 68203340 05 - Little Train.wav
12254477 36265532 06 - Moment's Notice.wav
780390337 61530716 07 - In A Mellow Tone.wav
3358199356 57675788 08 - Milestones.wav
2538747045 79076636 09 - Watson's Walk.wav
2647730915 43166300 10 - Two Bass Hit.wav
4057614037 62429180 11 - Theme From Love Story.wav
2445882425 138852716 12 - Time Being.wav
1833324043 50732684 13 - Buddy Rich Speaks.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.
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Processing file: [01 - Dancing Men.wav]
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Processing file: [08 - Milestones.wav]
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За своими раздачами не слежу, и старые топики не читаю - если нет сидов или раздача находится в архиве, пришлите письмо, и я вернусь
Предлагаю скачавшим максимально долго оставаться на раздаче - весь рейтинг будет ваш.
Заботьтесь о своем рейтинге - конвертируйте в мп3 и выкладывайте в соответствующем разделе
Houston, TX Hip-Hop/Rap 222,205 Downloads
Mixtapes(2) Albums(1)Cached
Videos(33) AboutAbout Travis Scott
Travis Scott is the stage name of Jacques Webster, a Houston-born hip-hop artist and producer affiliated with Kanye West's GOOD Music and T.I.'s Grand Hustle. Scott has a heavily Auto-Tuned half-sung/half-rapped vocal style, and refers to himself as a singer rather than a rapper. He's produced or co-produced tracks by Kanye West, Rihanna, and Drake, and he's appeared on tracks by Jay-Z, Pusha T, Meek Mill, and numerous others. Within four years of his 2012 mainstream arrival, Scott attained platinum singles as a lead artist and songwriter/producer, as well as a pair of Top Five studio albums, the latter of which went to number one.Scott grew up in a suburb of Houston and began making music as a teenager. He formed a duo called the Graduates with Chris Holloway, and they released an EP in 2009. The following year he formed another duo, the Classmates, with OG Chess. Scott produced the duo's two full-lengths, Buddy Rich and Cruis'n USA, and the duo broke up by the end of 2011. After dropping out of college, Scott moved to Los Angeles and began recording music on his own. He met T.I. and eventually Kanye West. Scott was hired as an in-house producer for GOOD Music, and appeared on the label's Cruel Summer compilation in 2012. Scott's debut, Owl Pharaoh, was originally scheduled to be released as a free mixtape in 2012, but as his profile grew (including a placement in XXL Magazine's Freshman Class of 2013), and due to sample clearance issues, the album wasn't released until May of 2013. Featuring guest appearances by T.I. and 2 Chainz (on the single 'Upper Echelon') as well as Toro y Moi and Justin Vernon of Bon Iver, the mixtape eventually garnered a nomination for Best Mixtape at the 2013 BET Hip Hop Awards.The buildup to Scott's first proper studio album involved the Days Before Rodeo mixtape, promoted with the singles 'Don't Play' and 'Mamacita,' and the March 2015 U.S. Rodeo Tour, for which Scott headlined, supported by Young Thug and Metro Boomin. Several of the dates sold out. During the same month, Rihanna's Scott-produced hit single 'Bitch Better Have My Money' was released. '3500' and 'Antidote' were released ahead of Rodeo, Scott's second full-length, which followed in September on Grand Hustle/Epic and debuted at number three on the Billboard 200. Toward the end of the year, 'Antidote' peaked at number 16 on the Hot 100 and became Scott's first platinum single.Chatter regarding a follow-up, along with numerous delays, ensued throughout much of 2016. Meanwhile, Scott extended his commercial presence with featured spots on Wiz Khalifa's 'Bake Sale,' Rihanna's 'Woo,' and Kanye West's 'FML,' as well as a collaboration with Young Thug and Quavo, 'Pick Up the Phone,' a mid-year hit issued as the lead single of Young Thug's JEFFERY. Three months later, after 'Bitch Better Have My Money' earned a platinum certification, Scott's second proper album arrived. Titled Birds in the Trap Sing McKnight, after one of Quavo's lines in 'Pick Up the Phone,' the woozy, mostly midtempo set featured that hit and contributions from the likes of André 3000, Kid Cudi, and Kendrick Lamar. It went straight to the top of the Billboard 200. Leading up to his third LP, Scott appeared on 'Kelly Price' from Migos' Culture and on Drake's 'Portland' from the More Life project. The latter track peaked within the Top Ten of the Hot 100, Scott's highest chart placement to date. In 2017 Scott dropped the hazy, Migos-esque single 'Butterfly Effect' and Huncho Jack, Jack Huncho, a collaborative project with Quavo.
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