Claus Ogerman & Michael Brecker - Cityscape (2003)
Claus Ogerman & Michael Brecker - Cityscape (2003)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | 357 MB.
400dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2003) | Label: Warner Bros. | Catalog# 8122-73718-2 | 53:46 min.
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | 357 MB.
400dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2003) | Label: Warner Bros. | Catalog# 8122-73718-2 | 53:46 min.
Review by James Manheim ~allmusic
German-born composer and arranger Claus Ogerman, born in 1930, must rank as one of the most versatile musicians of the twentieth century. When he was at his peak in the 1970s, writing everything from ballet scores to arrangements for Brazilian composer Antonio Carlos Jobim, diva Barbra Streisand, and jazz/R&B saxophonist George Benson, there was hardly a radio station on the dial where his music wasn't heard during the course of a typical day – and he's still quite active. The key to his success has been his ability to stay in the background behind the musician he's working with and yet create something distinctive. This 1982 collaboration with the late jazz saxophonist Michael Brecker is one of his most successful works, not least because the overlap between the extended harmonies of jazz and the chromaticism of the late German Romantic polyphony in which Ogerman was trained is large enough to allow Brecker to operate comfortably – his improvisations seem to grow naturally out of the background, and the intersections between jazz band and orchestral strings come more easily here than on almost any other crossover between jazz and classical music. The mood is nocturnal and reflective. Brecker at this point had not yet made an album as a bandleader; he was primarily known to those who closely followed jazz and R&B session musicians. The album was originally billed as a release by Claus Ogerman with Michael Brecker. Yet notice how skillfully Ogerman eases the fearsomely talented young saxophonist into the spotlight. The highlight of the album is a three-part suite called In the Presence and Absence of Each Other, and in its middle movement, track 5, the saxophone is silent until about a minute before the end – yet everything in the piece leads up to this magical explosion of lyricism. The packaging describes this album as a "virtual concerto for saxophone and orchestra with jazz rhythm section," but it's a little more complicated than that – actually, it's a concerto for jazz band, with saxophone leader, and orchestra. That creates several layers, and it is precisely in handling these layers where jazz/classical crossovers tend to fail – and where Ogerman succeeds. A very sweet experience for listeners from either side of the divide.
Claus Ogerman & Michael Brecker - Cityscape (2003)
~Jazziz MagazineTracklist:
In the early '60s, arranger Claus Ogerman's signature style fueled classic hits like Frank Sinatra's landmark duet with Antonio Carlos Jobim - it's an approach that is still emulated today. By the early '70s, when a glut of jazz recordings laden with strings and background vocals surfaced (most in an effort to capitalize on the string-section appeal of some disco hits), Ogerman stood apart for his elegant melding of jazz and strings. Evidence of this is his work on George Benson's crossover hit Breezin'. Ogerman's earlier work on Jobim's landmark recording, Wave, as well as with Getz, Bill Evans, and Paul Desmond, and his later recordings with Benson, Freddie Hubbard, and Stanley Turrentine are better known than his solo and duet albums. It was producer Tommy LiPuma (then at Warner Bros.) who recognized Ogerman's talent early on. LiPuma produced an early Ogerman project, Gate of Dreams, that featured Benson, michael brecker, David Sanborn, and Joe Sample. One track inspired the producer to reunite Ogerman and Brecker for an album in 1982. "Nightwings" is from that collaboration, Cityscape. Conducted, composed, and arranged in classic Ogerman style, the album provided a unique backdrop for Brecker's impassioned solos.
01. Cityscape 8:47
02. Habanera 8:09
03. Nightwings 7:45
04. In the Presence and Absence of Each Other (Part-1) 8:57
05. In the Presence and Absence of Each Other (Part-2) 6:49
06. In the Presence and Absence of Each Other (Part-3) 6:41
07. In the Presence and Absence of Each Other (Part-3){alternate mix} 6:38
Claus Ogerman & Michael Brecker - Cityscape (2003)
Personnel:
Claus Ogerman - arranger and conducter
Michael Brecker - tenor saxophone
Warren Bernhardt - keyboards
John Tropea, Buzz Feiten - guitar
Eddie Gomez, Marcus Miller - bass
Steve Gadd - drums
Paulinho da Costa - percussion
~wikipedia
Claus Ogerman (born April 29, 1930) is a German musical arranger/ orchestrator, conductor, and composer, perhaps best known for his work with Antonio Carlos Jobim.
Life and work
Born in Ratibor (Racibórz), Upper Silesia, Ogerman began his career with the piano. He is definitely one of the most prolific 20th century arrangers and has worked in the Top 40, Rock, Pop, Jazz, R&B, Soul, Easy listening, Broadway and Classical music fields. The exact number of recording artists for whom Ogerman has either arranged or conducted during his career has still not yet been determined.
In the 1950s, Ogerman worked in Germany as an arranger-pianist with Kurt Edelhagen, Max Greger, and Delle Haensch. Claus (then Klaus) also worked as a part-time vocalist and recorded several 45 rpms under the pen name of "Tom Collins", duetting with Hannelore Cremer - and he also recorded a solo vocal with the Delle Haensch Jump Combo as well. In 1959, he moved to the United States and joined the producer Creed Taylor at Verve Records, working on recordings with Antonio Carlos Jobim, Bill Evans, Wes Montgomery, Kai Winding and Cal Tjader - among countless others. Verve was sold to MGM in 1963. Claus Ogerman, by his own admission in Gene Lees' Jazzletter publication, arranged some 60-70 albums for Verve under Creed Taylor's direction from 1963-1967. In 1967 he joined Creed Taylor on the A&M/CTi label.
Ogerman arranged and conducted Diana Krall's 2001 album The Look of Love, and conducted on her DVD "Live in Paris". He also served as arranger and conductor for Krall's 2009 album "Quiet Nights". He won the 2010 Grammy Award for "Best Instrumental Arrangement Accompanying Vocalist(s)" for “Quiet Nights.”
Ogerman also arranged and conducted the orchestra on George Benson's 1976 album, Breezin', as well as on two other Benson albums.
Classical compositions
Ogerman has devoted himself almost exclusively to composing since the 1970s, his commissions including a ballet score for the American Ballet Theatre, Some Times, a work for jazz piano and orchestra Symbiosis for Bill Evans, a work for saxophone and orchestra Cityscape, for Michael Brecker, a song cycle Tagore-Lieder after poems by Rabindranath Tagore that was recorded by Judith Blegen and Brigitte Fassbaender, a Concerto for violin and orchestra, Lirico and a Sarabande-Fantasie for violin and orchestra recorded by Aaron Rosand, 10 Songs for Chorus A-Capella After Poems by Georg Heym that was recorded by the Cologne Radio Chorus, a work for violin and orchestra Preludio and Chant recorded by Gidon Kremer. In July 2008, he released an album of compositions with jazz pianist Danilo Perez entitled Across The Crystal Sea.
Ogerman's major influences as a composer remain Max Reger and Alexander Scriabin. He steadfastly maintains that he is not primarily concerned with "modernism" per se stating that his goal is to evoke an emotional response in the listener.
Work with Antonio Carlos Jobim
Ogerman arranged and conducted Francis Albert Sinatra & Antonio Carlos Jobim (1967), the first of two recordings that Frank Sinatra made with Jobim. Ogerman also arranged and conducted Jobim's The Composer of Desafinado, Plays (1963), A Certain Mr. Jobim (1967), Wave (1967), Jobim (1972), Urubu (1976) and Terra Brasilis (1980), on which he also played the piano. On the Jobim and Urubu albums, Ogerman was also the producer.
for more, please visit: http://en.wikipedia.org/wiki/Claus_Ogerman
Claus Ogerman (born April 29, 1930) is a German musical arranger/ orchestrator, conductor, and composer, perhaps best known for his work with Antonio Carlos Jobim.
Life and work
Born in Ratibor (Racibórz), Upper Silesia, Ogerman began his career with the piano. He is definitely one of the most prolific 20th century arrangers and has worked in the Top 40, Rock, Pop, Jazz, R&B, Soul, Easy listening, Broadway and Classical music fields. The exact number of recording artists for whom Ogerman has either arranged or conducted during his career has still not yet been determined.
In the 1950s, Ogerman worked in Germany as an arranger-pianist with Kurt Edelhagen, Max Greger, and Delle Haensch. Claus (then Klaus) also worked as a part-time vocalist and recorded several 45 rpms under the pen name of "Tom Collins", duetting with Hannelore Cremer - and he also recorded a solo vocal with the Delle Haensch Jump Combo as well. In 1959, he moved to the United States and joined the producer Creed Taylor at Verve Records, working on recordings with Antonio Carlos Jobim, Bill Evans, Wes Montgomery, Kai Winding and Cal Tjader - among countless others. Verve was sold to MGM in 1963. Claus Ogerman, by his own admission in Gene Lees' Jazzletter publication, arranged some 60-70 albums for Verve under Creed Taylor's direction from 1963-1967. In 1967 he joined Creed Taylor on the A&M/CTi label.
Ogerman arranged and conducted Diana Krall's 2001 album The Look of Love, and conducted on her DVD "Live in Paris". He also served as arranger and conductor for Krall's 2009 album "Quiet Nights". He won the 2010 Grammy Award for "Best Instrumental Arrangement Accompanying Vocalist(s)" for “Quiet Nights.”
Ogerman also arranged and conducted the orchestra on George Benson's 1976 album, Breezin', as well as on two other Benson albums.
Classical compositions
Ogerman has devoted himself almost exclusively to composing since the 1970s, his commissions including a ballet score for the American Ballet Theatre, Some Times, a work for jazz piano and orchestra Symbiosis for Bill Evans, a work for saxophone and orchestra Cityscape, for Michael Brecker, a song cycle Tagore-Lieder after poems by Rabindranath Tagore that was recorded by Judith Blegen and Brigitte Fassbaender, a Concerto for violin and orchestra, Lirico and a Sarabande-Fantasie for violin and orchestra recorded by Aaron Rosand, 10 Songs for Chorus A-Capella After Poems by Georg Heym that was recorded by the Cologne Radio Chorus, a work for violin and orchestra Preludio and Chant recorded by Gidon Kremer. In July 2008, he released an album of compositions with jazz pianist Danilo Perez entitled Across The Crystal Sea.
Ogerman's major influences as a composer remain Max Reger and Alexander Scriabin. He steadfastly maintains that he is not primarily concerned with "modernism" per se stating that his goal is to evoke an emotional response in the listener.
Work with Antonio Carlos Jobim
Ogerman arranged and conducted Francis Albert Sinatra & Antonio Carlos Jobim (1967), the first of two recordings that Frank Sinatra made with Jobim. Ogerman also arranged and conducted Jobim's The Composer of Desafinado, Plays (1963), A Certain Mr. Jobim (1967), Wave (1967), Jobim (1972), Urubu (1976) and Terra Brasilis (1980), on which he also played the piano. On the Jobim and Urubu albums, Ogerman was also the producer.
for more, please visit: http://en.wikipedia.org/wiki/Claus_Ogerman
~wikipedia
Michael Leonard Brecker (March 29, 1949 – January 13, 2007) was an American jazz saxophonist and composer. Acknowledged as "a quiet, gentle musician widely regarded as the most influential tenor saxophonist since John Coltrane," he has been awarded 15 Grammy Awards as both performer and composer and was inducted into Down Beat Jazz Hall of Fame in 2007.
Biography
Born in Philadelphia, Pennsylvania and raised in Cheltenham Township, a local suburb, Michael Brecker was exposed to jazz at an early age by his father, an amateur jazz pianist. He grew up a part of the generation of jazz musicians who saw rock music not as the enemy but as a viable musical option. Brecker began studying clarinet, then moved to alto saxophone in school, eventually settling on the tenor saxophone as his primary instrument. He graduated from Cheltenham High School in 1967 and after only a year at Indiana University, Michael Brecker moved to New York City in 1969 where he carved out a niche for himself as a dynamic and exciting jazz soloist. He first made his mark at age 21 as a member of the jazz-rock band Dreams—a band that included his older brother Randy, trombonist Barry Rogers, drummer Billy Cobham, Jeff Kent and Doug Lubahn. Dreams was short-lived, lasting only a year, but (Miles Davis was seen at some gigs prior to his recording Jack Johnson.)
Most of Brecker's early work is marked by an approach informed as much by rock guitar as by R&B saxophone. After Dreams, he worked with Horace Silver and then Billy Cobham before once again teaming up with his brother Randy to form the Brecker Brothers. The band followed jazz-rock trends of the time, but with more attention to structured arrangements, a heavier backbeat, and a stronger rock influence. The band stayed together from 1975 to 1982 with consistent success and musicality.
During his career, he was in great demand as a soloist and sideman. He performed with bands which spanned from mainstream jazz to mainstream rock. Altogether, he appeared on over 700 albums, either as a band member or a guest soloist. He put his stamp on numerous pop and rock recordings as a soloist. His featured guest solos with James Taylor and Paul Simon are excellent examples from this body of work. For example, on James Taylor's 1972 album, One Man Dog, Brecker's solo on the track "Don't Let Me Be Lonely Tonight" complements the other acoustic instruments and sparse vocal. Also, on Paul Simon's 1975 album Still Crazy After All These Years, Brecker's solo on the title track is used to a similar effect. His solos are often placed in the bridge, or appended as a coda. This musical structure and instrumentation typifies (and somewhat defines) this jazz-rock fusion style. Other notable collaborations in this genre include work with Steely Dan, Lou Reed, Donald Fagen, Dire Straits, Joni Mitchell, Eric Clapton, Aerosmith, Dan Fogelberg, Frank Sinatra, Frank Zappa, Bruce Springsteen, and Parliament-Funkadelic.
Brecker also recorded or performed with leading jazz figures during his era, including Herbie Hancock, Chick Corea, Chet Baker, George Benson, Quincy Jones, Charles Mingus, Jaco Pastorius, McCoy Tyner, Pat Metheny, Elvin Jones, Claus Ogerman, and many others.
During the early 1980s, he was also a member of NBC’s Saturday Night Live Band. Brecker can be seen in the background sporting shades during Eddie Murphy’s James Brown parody. After a stint co-leading the all-star group Steps Ahead with Mike Mainieri, Brecker finally recorded a solo album in 1987. That eponymously titled debut album marked his return to a more traditional jazz setting, highlighting his compositional talents and featuring the EWI (Electronic Wind Instrument), which Brecker had previously played with Steps Ahead. He continued to record albums as a leader throughout the 1990s and 2000s, winning multiple Grammy Awards. His solo and group tours consistently sold out top jazz venues in major cities worldwide.
He went on tour in 2001 with a collaborative group, Hancock-Brecker-Hargrove. This tour was dedicated to jazz pioneers John Coltrane and Miles Davis. Brecker paid homage to Coltrane by performing Coltrane's signature piece, "Naima". This composition is a definitive work for tenor sax; its demanding solo enabled Brecker to show his complete mastery of the instrument. The live concert CD from the tour, Directions in Music, won a Grammy in 2003.
While performing at the Mount Fuji Jazz Festival in 2004, Brecker experienced a sharp pain in his back. Shortly thereafter in 2005, he was diagnosed with the blood disorder myelodysplastic syndrome (MDS). Despite a widely publicized worldwide search, Brecker was unable to find a matching stem cell donor. In late 2005, he was the recipient of an experimental partial matching stem cell transplant. By late 2006, he appeared to be recovering, but the experiment proved not to be a cure. He made his final public performance on June 23 2006, playing with Herbie Hancock at Carnegie Hall.
On January 13, 2007, Michael Brecker died from complications of leukemia in New York City. His funeral was held on January 15, 2007 in Hastings-on-Hudson, NY.
On February 11, 2007, Michael Brecker was awarded two posthumous Grammy awards for his involvement on his brother Randy's 2005 album Some Skunk Funk.
On May 22, 2007, his final recording, Pilgrimage, was released receiving a good critical response. It was recorded in August 2006 with Pat Metheny on guitar, John Patitucci on bass, Jack DeJohnette on drums and Herbie Hancock and Brad Mehldau on piano. Brecker was critically ill when it was recorded but the other musicians involved praised the standard of his musicianship. Brecker was again posthumously nominated and subsequently awarded two additional Grammy Awards for this album in the categories of Best Jazz Instrumental Solo and Best Jazz Instrumental Album, Individual or Group, bringing his Grammy total to 15.
During his career, Brecker played a Selmer Mark VI tenor saxophone using a customized Dave Guardala mouthpiece. Early in his career, he had played a Selmer Super Balanced Action saxophone. His earlier mouthpieces included a metal Dukoff (in the late 70s and early 80s) and a metal Otto Link (in the mid-70s).
for more, please visit: http://en.wikipedia.org/wiki/Michael_Brecker
Michael Leonard Brecker (March 29, 1949 – January 13, 2007) was an American jazz saxophonist and composer. Acknowledged as "a quiet, gentle musician widely regarded as the most influential tenor saxophonist since John Coltrane," he has been awarded 15 Grammy Awards as both performer and composer and was inducted into Down Beat Jazz Hall of Fame in 2007.
Biography
Born in Philadelphia, Pennsylvania and raised in Cheltenham Township, a local suburb, Michael Brecker was exposed to jazz at an early age by his father, an amateur jazz pianist. He grew up a part of the generation of jazz musicians who saw rock music not as the enemy but as a viable musical option. Brecker began studying clarinet, then moved to alto saxophone in school, eventually settling on the tenor saxophone as his primary instrument. He graduated from Cheltenham High School in 1967 and after only a year at Indiana University, Michael Brecker moved to New York City in 1969 where he carved out a niche for himself as a dynamic and exciting jazz soloist. He first made his mark at age 21 as a member of the jazz-rock band Dreams—a band that included his older brother Randy, trombonist Barry Rogers, drummer Billy Cobham, Jeff Kent and Doug Lubahn. Dreams was short-lived, lasting only a year, but (Miles Davis was seen at some gigs prior to his recording Jack Johnson.)
Most of Brecker's early work is marked by an approach informed as much by rock guitar as by R&B saxophone. After Dreams, he worked with Horace Silver and then Billy Cobham before once again teaming up with his brother Randy to form the Brecker Brothers. The band followed jazz-rock trends of the time, but with more attention to structured arrangements, a heavier backbeat, and a stronger rock influence. The band stayed together from 1975 to 1982 with consistent success and musicality.
During his career, he was in great demand as a soloist and sideman. He performed with bands which spanned from mainstream jazz to mainstream rock. Altogether, he appeared on over 700 albums, either as a band member or a guest soloist. He put his stamp on numerous pop and rock recordings as a soloist. His featured guest solos with James Taylor and Paul Simon are excellent examples from this body of work. For example, on James Taylor's 1972 album, One Man Dog, Brecker's solo on the track "Don't Let Me Be Lonely Tonight" complements the other acoustic instruments and sparse vocal. Also, on Paul Simon's 1975 album Still Crazy After All These Years, Brecker's solo on the title track is used to a similar effect. His solos are often placed in the bridge, or appended as a coda. This musical structure and instrumentation typifies (and somewhat defines) this jazz-rock fusion style. Other notable collaborations in this genre include work with Steely Dan, Lou Reed, Donald Fagen, Dire Straits, Joni Mitchell, Eric Clapton, Aerosmith, Dan Fogelberg, Frank Sinatra, Frank Zappa, Bruce Springsteen, and Parliament-Funkadelic.
Brecker also recorded or performed with leading jazz figures during his era, including Herbie Hancock, Chick Corea, Chet Baker, George Benson, Quincy Jones, Charles Mingus, Jaco Pastorius, McCoy Tyner, Pat Metheny, Elvin Jones, Claus Ogerman, and many others.
During the early 1980s, he was also a member of NBC’s Saturday Night Live Band. Brecker can be seen in the background sporting shades during Eddie Murphy’s James Brown parody. After a stint co-leading the all-star group Steps Ahead with Mike Mainieri, Brecker finally recorded a solo album in 1987. That eponymously titled debut album marked his return to a more traditional jazz setting, highlighting his compositional talents and featuring the EWI (Electronic Wind Instrument), which Brecker had previously played with Steps Ahead. He continued to record albums as a leader throughout the 1990s and 2000s, winning multiple Grammy Awards. His solo and group tours consistently sold out top jazz venues in major cities worldwide.
He went on tour in 2001 with a collaborative group, Hancock-Brecker-Hargrove. This tour was dedicated to jazz pioneers John Coltrane and Miles Davis. Brecker paid homage to Coltrane by performing Coltrane's signature piece, "Naima". This composition is a definitive work for tenor sax; its demanding solo enabled Brecker to show his complete mastery of the instrument. The live concert CD from the tour, Directions in Music, won a Grammy in 2003.
While performing at the Mount Fuji Jazz Festival in 2004, Brecker experienced a sharp pain in his back. Shortly thereafter in 2005, he was diagnosed with the blood disorder myelodysplastic syndrome (MDS). Despite a widely publicized worldwide search, Brecker was unable to find a matching stem cell donor. In late 2005, he was the recipient of an experimental partial matching stem cell transplant. By late 2006, he appeared to be recovering, but the experiment proved not to be a cure. He made his final public performance on June 23 2006, playing with Herbie Hancock at Carnegie Hall.
On January 13, 2007, Michael Brecker died from complications of leukemia in New York City. His funeral was held on January 15, 2007 in Hastings-on-Hudson, NY.
On February 11, 2007, Michael Brecker was awarded two posthumous Grammy awards for his involvement on his brother Randy's 2005 album Some Skunk Funk.
On May 22, 2007, his final recording, Pilgrimage, was released receiving a good critical response. It was recorded in August 2006 with Pat Metheny on guitar, John Patitucci on bass, Jack DeJohnette on drums and Herbie Hancock and Brad Mehldau on piano. Brecker was critically ill when it was recorded but the other musicians involved praised the standard of his musicianship. Brecker was again posthumously nominated and subsequently awarded two additional Grammy Awards for this album in the categories of Best Jazz Instrumental Solo and Best Jazz Instrumental Album, Individual or Group, bringing his Grammy total to 15.
During his career, Brecker played a Selmer Mark VI tenor saxophone using a customized Dave Guardala mouthpiece. Early in his career, he had played a Selmer Super Balanced Action saxophone. His earlier mouthpieces included a metal Dukoff (in the late 70s and early 80s) and a metal Otto Link (in the mid-70s).
for more, please visit: http://en.wikipedia.org/wiki/Michael_Brecker
Produced by Tommy LiPuma.
Composed, Arranged and Conducted by Claus Ogerman.
Recorded & Mixed by Al Schmitt
Assistant Engineers: Hugh Davies, Don Koldon, Jason Corsaro, Don Wershba and Michael Christopher.
Recorded at The Power Station, New York, NY; Mediasound, New York, NY; Sound Labs, Hollywood, CA;
Mastered at The Mastering Lab by Mike Reese
Concertmaster: David Nadien
Production Coordination: Jan Abbazia and Noel Newbolt.
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 17. April 2010, 18:53
Claus Ogerman & Michael Brecker / Cityscape
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Null samples used in CRC calculations : Yes
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EAC extraction logfile from 17. April 2010, 18:53
Claus Ogerman & Michael Brecker / Cityscape
Used drive : ASUS DRW-1608P3S Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
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
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 8:47.00 | 0 | 39524
2 | 8:47.00 | 8:08.52 | 39525 | 76176
3 | 16:55.52 | 7:45.10 | 76177 | 111061
4 | 24:40.62 | 8:57.10 | 111062 | 151346
5 | 33:37.72 | 6:49.25 | 151347 | 182046
6 | 40:27.22 | 6:41.25 | 182047 | 212146
7 | 47:08.47 | 6:38.23 | 212147 | 242019
Range status and errors
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Filename G:\@@ JAZZ WORK @@\Claus Ogerman & Michael Brecker - Cityscape\Claus Ogerman & Michael Brecker - Cityscape.wav
Peak level 98.9 %
Range quality 100.0 %
Test CRC 178A45A4
Copy CRC 178A45A4
Copy OK
No errors occurred
AccurateRip summary
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All tracks accurately ripped
End of status report
[Verification date: 17.04.2010 20:37:03]
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[Disc ID: 000f7a35-005be394-540c9a07]
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04 [aba8646a] (04/04) Accurately ripped
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Claus Ogerman & Michael Brecker - Cityscape (2003)
(links are interchangeable)