Horace Silver - A Prescription for the Blues
Horace Silver - A Prescription for the Blues
Jazz | EAC-Rip | FLAC-5 Image+CUE+LOG | 379 MB. total
mp3 versions (lame 3.98.3): @320cbr (119 MB.) & VBR-4 (62,4 MB.)
400 dpi. Complete Scans: PNG (217 MB.) & JPG (31 MB.) | WinRar, 5% recovery
Audio CD | Label: Impulse! | Catalog#: IMP-12382 / 051238-2 | Release Date: 1997 | 51:57 min.
Jazz | EAC-Rip | FLAC-5 Image+CUE+LOG | 379 MB. total
mp3 versions (lame 3.98.3): @320cbr (119 MB.) & VBR-4 (62,4 MB.)
400 dpi. Complete Scans: PNG (217 MB.) & JPG (31 MB.) | WinRar, 5% recovery
Audio CD | Label: Impulse! | Catalog#: IMP-12382 / 051238-2 | Release Date: 1997 | 51:57 min.
Personnel:
Horace Silver (piano)
Michael Brecker (tenor sax.)
Randy Brecker (trumpet)
Ron Carter (bass)
Louis Hayes (drums)
All songs, lyrics and arrangements by Horace Silver.
© 1997 Ecaroh Music, Inc. / ASCAP.
Produced by Horace Silver and Silveto Productions, Inc.
Executive Producer: Tommy LiPuma.
Recorded by Jim Anderson.
Mixed by Al Schmitt.
Horace Silver (born September 2, 1928), born Horace Ward Martin Tavares Silva in Norwalk, Connecticut,
is an American jazz pianist and composer.
Silver is known for his distinctive humorous and funky playing style and for his pioneering compositional
contributions to hard bop. He was influenced by a wide range of musical styles, notably gospel music,
African music, and Latin American music and sometimes ventured into the soul jazz genre.
Early life and career
––––––––––-
His father, who was known as John Tavares Silva, was from the island of Maio in Cape Verde. His mother was born
in New Canaan, Connecticut and was of Irish-African descent.
Silver began his career as a tenor saxophonist but later switched to piano. His tenor saxophone playing was
highly influenced by Lester Young, and his piano style by Bud Powell. Silver was discovered in the Sundown Club
in Hartford, Connecticut in 1950 by saxophonist Stan Getz. Getz was playing at the club with Silver’s trio
backing him up. Getz liked Silver’s band and brought them on the road, eventually recording three of
Silver’s compositions. It was with Getz that Silver made his recording debut.
He moved to New York City in 1951, where he worked at the jazz club Birdland on Monday nights, when different
musicians would come together and informally jam. During that year he met the executives of the label Blue Note
while working as a sideman. He eventually signed with them where he remained until 1980. It was in New York that
he formed The Jazz Messengers, a co-operatively run group with Art Blakey.
In 1952 and 1953 he recorded three sessions with his own trio, featuring Blakey on drums and Gene Ramey, Curly Russell
and Percy Heath on bass. The drummer-pianist team lasted for four years; during this time, Silver and Blakey recorded
at Birdland (A Night at Birdland Vol. 1) with Russell, Clifford Brown and Lou Donaldson, at the Bohemia with
Kenny Dorham and Hank Mobley, and also in the studios. He was also a member of the Miles Davis All Stars,
recording the crucial Walkin' in 1954.
Blue Note years
–––––––-
From 1956 onwards, Silver recorded exclusively for the Blue Note label, eventually becoming close to label boss
Alfred Lion who allowed him greater input on aspects of album production than was usual at the time. During his years
with Blue Note, Silver helped to create the rhythmically forceful branch of jazz known as "hard bop", which combined
elements of rhythm-and-blues and gospel music with jazz. Gospel elements are particularly prominent on one of his
biggest hits, "The Preacher", which Silver had thought corny, but Lion had persuaded him to record.
While Silver's compositions at this time featured surprising tempo shifts and a range of melodic ideas, they caught
the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly
romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word
could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars
as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums
from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955),
6 Pieces of Silver (1956) and Blowin' the Blues Away (1959), which includes his famous, "Sister Sadie."
He also combined jazz with a sassy take on pop through the 1961 hit, "Filthy McNasty".
Influences
–––––
Silver tended not to play up that he was proficient in Portuguese, nor draw directly on his rich Lusophone musical
upbringing. His 1965 hit, "Cape Verdean Blues," is the only clear rhythmic reference to his childhood home where
his father and friends jammed, with traditional Capeverdean morna and coladeira as the main fare. In the interview
for the liner notes to 1964's Song for My Father (Cantiga Para Meu Pai), however, Silver remarked of the title track,
"This tune is an original of mine, but it has a flavor of it that makes me think of my childhood days. Some of the
family, including my father and my uncle, used to have musical parties with three or four stringed instruments;
my father played violin and guitar. Those were happy, informal sessions." Silver melded additional Lusophone influences
into his music directly after his February 1964 tour of Brazil. Referring to "Song for My Father," Silver said,
"I was very much impressed by the authentic bossa nova beat. Not just the monotonous tick-tick-tick, tick-tick,
the way it's usually done, but the real bossa nova feeling, which I've tried to incorporate into this number."
His early influences included the styles of boogie-woogie and the blues. It includes but is not limited to Art Tatum,
Teddy Wilson, Nat “King” Cole, and Thelonious Monk. He liked to quote other musicians within his own work and would
often recreate famous solos in his original pieces as something of a tribute to the greats who influenced him.
During Silver's time with Blakey he rarely recorded as a leader, but after splitting with him in 1956, formed
his own hard bop quintet at first featuring the same line-up as Blakey's Jazz Messengers with 18-year-old Louis Hayes
substituting for Blakey. The quintet's more enduring line-up featured Blue Mitchell and Junior Cook.
In 1963 Silver created a new group featuring Joe Henderson on tenor saxophone and Carmell Jones on trumpet;
this quintet recorded most of Silver's best-known album Song for My Father. When Jones left to settle in Europe,
the trumpet chair was filled by a young Woody Shaw and Tyrone Washington replaced Henderson.
Silver's compositions, catchy and very strong harmonically, gained popularity while his band gradually switched to
funk and soul. This change of style was not readily accepted by many long-time fans. The quality of several albums
of this era, such as The United States of Mind (on which Silver himself provided vocals on several tracks),
is to this day contested by fans of the genre. Silver's spirituality displayed on these albums also has a mixed
reputation. However, many of these later albums featured many interesting musicians (such as Randy Brecker).
Silver was the last musician to be signed to Blue Note in the 1970s before it went into temporary abeyance.
In 1981 he formed his own short-lived label, Silveto.
Later years
–––––-
After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album,
Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered
the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993).
Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable
jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award.
The SFJazz Collective will focus on Horace Silver's music for their 2010 season.
Bassist Christian McBride and other sources have reported that as of 2008, Silver is suffering from Alzheimer's disease.
Legacy
–––
Silver's music has been a major force in modern jazz on at least four counts. He was one of the first pioneers of the
style known as Hard Bop, influencing such pianists as Bobby Timmons, Les McCann, and Ramsey Lewis. Second,
the instrumentation of his quintet (trumpet, tenor sax, piano, double bass, and drums) served as a model for small jazz
groups from the mid-1950s until the late 1960s.[citation needed] Further, Silver's ensembles provided an important
training ground for young players, many of whom (such as Donald Byrd, Art Farmer, Blue Mitchell, Woody Shaw,
Junior Cook, and Joe Henderson) later led similar groups of their own. Finally, Silver refined the art of composing
and arranging for his chosen instrumentation to a level of craftsmanship as yet unsurpassed in jazz.
[neutrality is disputed]
Silver's talent did not go unnoticed among rock musicians who bore jazz influences, either; Steely Dan sent Silver
into the Top 40 in the early 1970s when they crafted their biggest hit single, "Rikki, Don't Lose That Number,"
off the bass riff that opens "Song for My Father."
As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these
changes through music. He commented directly on the new scene through a trio of records called
United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic
philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings Play The Music of the Spheres (1979).
for detailed infromation, see: http://en.wikipedia.org/wiki/Horace_Silver
is an American jazz pianist and composer.
Silver is known for his distinctive humorous and funky playing style and for his pioneering compositional
contributions to hard bop. He was influenced by a wide range of musical styles, notably gospel music,
African music, and Latin American music and sometimes ventured into the soul jazz genre.
Early life and career
––––––––––-
His father, who was known as John Tavares Silva, was from the island of Maio in Cape Verde. His mother was born
in New Canaan, Connecticut and was of Irish-African descent.
Silver began his career as a tenor saxophonist but later switched to piano. His tenor saxophone playing was
highly influenced by Lester Young, and his piano style by Bud Powell. Silver was discovered in the Sundown Club
in Hartford, Connecticut in 1950 by saxophonist Stan Getz. Getz was playing at the club with Silver’s trio
backing him up. Getz liked Silver’s band and brought them on the road, eventually recording three of
Silver’s compositions. It was with Getz that Silver made his recording debut.
He moved to New York City in 1951, where he worked at the jazz club Birdland on Monday nights, when different
musicians would come together and informally jam. During that year he met the executives of the label Blue Note
while working as a sideman. He eventually signed with them where he remained until 1980. It was in New York that
he formed The Jazz Messengers, a co-operatively run group with Art Blakey.
In 1952 and 1953 he recorded three sessions with his own trio, featuring Blakey on drums and Gene Ramey, Curly Russell
and Percy Heath on bass. The drummer-pianist team lasted for four years; during this time, Silver and Blakey recorded
at Birdland (A Night at Birdland Vol. 1) with Russell, Clifford Brown and Lou Donaldson, at the Bohemia with
Kenny Dorham and Hank Mobley, and also in the studios. He was also a member of the Miles Davis All Stars,
recording the crucial Walkin' in 1954.
Blue Note years
–––––––-
From 1956 onwards, Silver recorded exclusively for the Blue Note label, eventually becoming close to label boss
Alfred Lion who allowed him greater input on aspects of album production than was usual at the time. During his years
with Blue Note, Silver helped to create the rhythmically forceful branch of jazz known as "hard bop", which combined
elements of rhythm-and-blues and gospel music with jazz. Gospel elements are particularly prominent on one of his
biggest hits, "The Preacher", which Silver had thought corny, but Lion had persuaded him to record.
While Silver's compositions at this time featured surprising tempo shifts and a range of melodic ideas, they caught
the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly
romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word
could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars
as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums
from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955),
6 Pieces of Silver (1956) and Blowin' the Blues Away (1959), which includes his famous, "Sister Sadie."
He also combined jazz with a sassy take on pop through the 1961 hit, "Filthy McNasty".
Influences
–––––
Silver tended not to play up that he was proficient in Portuguese, nor draw directly on his rich Lusophone musical
upbringing. His 1965 hit, "Cape Verdean Blues," is the only clear rhythmic reference to his childhood home where
his father and friends jammed, with traditional Capeverdean morna and coladeira as the main fare. In the interview
for the liner notes to 1964's Song for My Father (Cantiga Para Meu Pai), however, Silver remarked of the title track,
"This tune is an original of mine, but it has a flavor of it that makes me think of my childhood days. Some of the
family, including my father and my uncle, used to have musical parties with three or four stringed instruments;
my father played violin and guitar. Those were happy, informal sessions." Silver melded additional Lusophone influences
into his music directly after his February 1964 tour of Brazil. Referring to "Song for My Father," Silver said,
"I was very much impressed by the authentic bossa nova beat. Not just the monotonous tick-tick-tick, tick-tick,
the way it's usually done, but the real bossa nova feeling, which I've tried to incorporate into this number."
His early influences included the styles of boogie-woogie and the blues. It includes but is not limited to Art Tatum,
Teddy Wilson, Nat “King” Cole, and Thelonious Monk. He liked to quote other musicians within his own work and would
often recreate famous solos in his original pieces as something of a tribute to the greats who influenced him.
During Silver's time with Blakey he rarely recorded as a leader, but after splitting with him in 1956, formed
his own hard bop quintet at first featuring the same line-up as Blakey's Jazz Messengers with 18-year-old Louis Hayes
substituting for Blakey. The quintet's more enduring line-up featured Blue Mitchell and Junior Cook.
In 1963 Silver created a new group featuring Joe Henderson on tenor saxophone and Carmell Jones on trumpet;
this quintet recorded most of Silver's best-known album Song for My Father. When Jones left to settle in Europe,
the trumpet chair was filled by a young Woody Shaw and Tyrone Washington replaced Henderson.
Silver's compositions, catchy and very strong harmonically, gained popularity while his band gradually switched to
funk and soul. This change of style was not readily accepted by many long-time fans. The quality of several albums
of this era, such as The United States of Mind (on which Silver himself provided vocals on several tracks),
is to this day contested by fans of the genre. Silver's spirituality displayed on these albums also has a mixed
reputation. However, many of these later albums featured many interesting musicians (such as Randy Brecker).
Silver was the last musician to be signed to Blue Note in the 1970s before it went into temporary abeyance.
In 1981 he formed his own short-lived label, Silveto.
Later years
–––––-
After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album,
Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered
the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993).
Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable
jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award.
The SFJazz Collective will focus on Horace Silver's music for their 2010 season.
Bassist Christian McBride and other sources have reported that as of 2008, Silver is suffering from Alzheimer's disease.
Legacy
–––
Silver's music has been a major force in modern jazz on at least four counts. He was one of the first pioneers of the
style known as Hard Bop, influencing such pianists as Bobby Timmons, Les McCann, and Ramsey Lewis. Second,
the instrumentation of his quintet (trumpet, tenor sax, piano, double bass, and drums) served as a model for small jazz
groups from the mid-1950s until the late 1960s.[citation needed] Further, Silver's ensembles provided an important
training ground for young players, many of whom (such as Donald Byrd, Art Farmer, Blue Mitchell, Woody Shaw,
Junior Cook, and Joe Henderson) later led similar groups of their own. Finally, Silver refined the art of composing
and arranging for his chosen instrumentation to a level of craftsmanship as yet unsurpassed in jazz.
[neutrality is disputed]
Silver's talent did not go unnoticed among rock musicians who bore jazz influences, either; Steely Dan sent Silver
into the Top 40 in the early 1970s when they crafted their biggest hit single, "Rikki, Don't Lose That Number,"
off the bass riff that opens "Song for My Father."
As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these
changes through music. He commented directly on the new scene through a trio of records called
United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic
philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings Play The Music of the Spheres (1979).
for detailed infromation, see: http://en.wikipedia.org/wiki/Horace_Silver
Tracklist:
01. A Prescription for the Blues
02. Whenever Lester Plays the Blues
03. You Gotta Shake that Thing
04. Yodel Lady Blues
05. Brother John and Brother Gene
06. Free at Last
07. Walk On
08. Sunrise in Malibu
09. Doctor Jazz
Track samples can be listened here. (amazon.com)
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 18. March 2010, 13:56
Horace Silver / A Prescription for the Blues
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 | 0:00.32 | 5:14.03 | 32 | 23584
2 | 5:14.35 | 6:36.02 | 23585 | 53286
3 | 11:50.37 | 5:15.65 | 53287 | 76976
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7 | 34:58.70 | 6:26.12 | 157420 | 186381
8 | 41:25.07 | 5:01.48 | 186382 | 209004
9 | 46:26.55 | 5:31.02 | 209005 | 233831
Range status and errors
Selected range
Filename C:\extracts\Horace Silver - A Prescription for the Blues\Horace Silver - A Prescription for the Blues.wav
Peak level 100.0 %
Range quality 99.9 %
Test CRC 97790B75
Copy CRC 97790B75
Copy OK
No errors occurred
AccurateRip summary
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Track 9 cannot be verified as accurate (confidence 4) [EE893967], AccurateRip returned [CDFB96D3]
No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
End of status report
EAC extraction logfile from 18. March 2010, 13:56
Horace Silver / A Prescription for the Blues
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 | 0:00.32 | 5:14.03 | 32 | 23584
2 | 5:14.35 | 6:36.02 | 23585 | 53286
3 | 11:50.37 | 5:15.65 | 53287 | 76976
4 | 17:06.27 | 6:42.10 | 76977 | 107136
5 | 23:48.37 | 4:42.63 | 107137 | 128349
6 | 28:31.25 | 6:27.45 | 128350 | 157419
7 | 34:58.70 | 6:26.12 | 157420 | 186381
8 | 41:25.07 | 5:01.48 | 186382 | 209004
9 | 46:26.55 | 5:31.02 | 209005 | 233831
Range status and errors
Selected range
Filename C:\extracts\Horace Silver - A Prescription for the Blues\Horace Silver - A Prescription for the Blues.wav
Peak level 100.0 %
Range quality 99.9 %
Test CRC 97790B75
Copy CRC 97790B75
Copy OK
No errors occurred
AccurateRip summary
Track 1 cannot be verified as accurate (confidence 4) [4FEA2E2C], AccurateRip returned [D3A0B3E5]
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Track 8 cannot be verified as accurate (confidence 4) [BF22059C], AccurateRip returned [DC1F130C]
Track 9 cannot be verified as accurate (confidence 4) [EE893967], AccurateRip returned [CDFB96D3]
No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
End of status report
[Verification date: 18.03.2010 14:22:29]
[Disc ID: 0011f1c7-0083bb1d-660c2d09]
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G:\@FLAC>flac -v
flac 1.2.1
G:\@FLAC>flac -5 -V -w "horaceSilver.WAV"
flac 1.2.1, Copyright (C) 2000,2001,2002,2003,2004,2005,2006,2007 Josh Coalson
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
horaceSilver.WAV: Verify OK, wrote 377292051 bytes, ratio=0,686
G:\@FLAC>
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G:\@lame>lame -b320 -h –noReplayGain "horaceSilver.WAV" "CdImage@320.mp3"
LAME 3.98.3 32bits (http://www.mp3dev.org/)
CPU features: MMX (ASM used), SSE (ASM used), SSE2
Using polyphase lowpass filter, transition band: 20094 Hz - 20627 Hz
Encoding horaceSilver.wav to CdImage@320.mp3
Encoding as 44.1 kHz j-stereo MPEG-1 Layer III (4.4x) 320 kbps qval=2
Frame | CPU time/estim | REAL time/estim | play/CPU | ETA
119353/119353(100%)| 5:23/ 5:23| 5:23/ 5:23| 9.6400x| 0:00
–––––––––––––––––––––––––––––––––––––––-
kbps LR MS % long switch short %
320.0 98.4 1.6 94.0 3.7 2.4
Writing LAME Tag…done
G:\@lame>
G:\@lame>lame -b320 -h –noReplayGain "horaceSilver.WAV" "CdImage@320.mp3"
LAME 3.98.3 32bits (http://www.mp3dev.org/)
CPU features: MMX (ASM used), SSE (ASM used), SSE2
Using polyphase lowpass filter, transition band: 20094 Hz - 20627 Hz
Encoding horaceSilver.wav to CdImage@320.mp3
Encoding as 44.1 kHz j-stereo MPEG-1 Layer III (4.4x) 320 kbps qval=2
Frame | CPU time/estim | REAL time/estim | play/CPU | ETA
119353/119353(100%)| 5:23/ 5:23| 5:23/ 5:23| 9.6400x| 0:00
–––––––––––––––––––––––––––––––––––––––-
kbps LR MS % long switch short %
320.0 98.4 1.6 94.0 3.7 2.4
Writing LAME Tag…done
G:\@lame>
"]Using polyphase lowpass filter, transition band: 17249 Hz - 17782 Hz
Encoding horaceSilver.wav to CdImage@VBR4.mp3
Encoding as 44.1 kHz j-stereo MPEG-1 Layer III VBR(q=4)
Frame | CPU time/estim | REAL time/estim | play/CPU | ETA
119353/119353(100%)| 2:07/ 2:07| 2:07/ 2:07| 24.517x| 0:00
32 [ 66] %
40 [ 0]
48 [ 0]
56 [ 2] *
64 [ 52] %
80 [ 260] %
96 [ 134] %
112 [ 2023] %*
128 [ 26460] %%%*********************
160 [ 75142] %%%%%%%%%%%*******************************************************
192 [ 6705] %%****
224 [ 3958] %%**
256 [ 2831] %**
320 [ 1720] %*
–––––––––––––––––––––––––––––––––––––––-
kbps LR MS % long switch short %
160.2 16.8 83.2 90.7 5.2 4.1
Writing LAME Tag…done
G:\@lame>
Encoding horaceSilver.wav to CdImage@VBR4.mp3
Encoding as 44.1 kHz j-stereo MPEG-1 Layer III VBR(q=4)
Frame | CPU time/estim | REAL time/estim | play/CPU | ETA
119353/119353(100%)| 2:07/ 2:07| 2:07/ 2:07| 24.517x| 0:00
32 [ 66] %
40 [ 0]
48 [ 0]
56 [ 2] *
64 [ 52] %
80 [ 260] %
96 [ 134] %
112 [ 2023] %*
128 [ 26460] %%%*********************
160 [ 75142] %%%%%%%%%%%*******************************************************
192 [ 6705] %%****
224 [ 3958] %%**
256 [ 2831] %**
320 [ 1720] %*
–––––––––––––––––––––––––––––––––––––––-
kbps LR MS % long switch short %
160.2 16.8 83.2 90.7 5.2 4.1
Writing LAME Tag…done
G:\@lame>
Horace Silver - A Prescription for the Blues
Note: If you find "dead-links" in any of my posts; please send me a p.m., with explaining the album artist & album name.
Links Text File (RS)
Password:
12Madame34Matmazel67Mosyo
Links Text File (RS)
Password:
12Madame34Matmazel67Mosyo
My Notes…
I've edited my "Stan Getz & Joao Gilberto - Getz/Gilberto [K2-HD]" post..
This time it's better than the old I think; better rip+encode+scans..
If you interest; here's the link:
http://avaxhome.ws/music/jazz/StanGetzJoaoGilbertoGetzGilberto.html
Regards…