Jimmy Smith - Peter & The Wolf (1999)
Jimmy Smith - Peter & The Wolf (1999)
Jazz | EAC Rip | FLAC (image)+CUE+LOG | mp3@320 | 211 MB. & 77 MB.
400dpi. Complete Scans (JPG) - 18 MB. | WinRar, 3% recovery
Audio CD (1999) | Label: PolyGram/Verve | Catalog# 547-264-2 | 32:37 min.
Jazz | EAC Rip | FLAC (image)+CUE+LOG | mp3@320 | 211 MB. & 77 MB.
400dpi. Complete Scans (JPG) - 18 MB. | WinRar, 3% recovery
Audio CD (1999) | Label: PolyGram/Verve | Catalog# 547-264-2 | 32:37 min.
Review by Scott Yanow ~allmusic
Of all of organist Jimmy Smith's big-band albums recorded for Verve, this is one of the most imaginative ones. Oliver Nelson arranged a variety of themes from Prokofiev's Peter & the Wolf into a swinging suite featuring the great organist Jimmy Smith. Although there is no verbal narrative on this LP, Nelson's liner notes tell the story (which can actually be followed through the music) and Smith pays respect to the original melodies while making strong statements of his own. A classic of its kind.
Jimmy Smith - Peter & The Wolf (1999)
Tracklist:
01. The Bird/The Duck/The Cat/The Grandfather/The Wolf/The Hunter/Peter (4:13)
02. Duck Theme/Jimmy and the Duck/Peter's Theme/Meal Time (9:42)
03. Elegy for a Duck (7:17)
04. Cat in a Tree (5:23)
05. Capture of the Wolf (1:17)
06. Finale/Parade/Peter Plays Some Blues (4:45)
Jimmy Smith - Peter & The Wolf (1999)
Personnel:
Jimmy Smith - organ
Joe Newman, Ernie Royal, Richard Williams, Snooky Young - trumpets
Quentin Jackson, Tom McIntosh, Britt Woodman - trombones
Dick Hixson, Tony Studd - bass trombones
Jimmy Buffington, Willie Ruff - flugelhorn
Bob Ashton, Danny Bank, Jerry Dodgion - woodwinds
Jerome Richardson, Stan Webb, Phil Woods - woodwinds
Billy Butler, Barry Galbraith - guitars
Richard Davis - bass
Harry Breuer, Bobby Rosengarden - drums, percussions
Grady Tate - drums
Oliver Nelson - arranger, conductor
~allaboutjazz
Born: December 8, 1925
Died: February 8, 2005
Instrument: Organ, Hammond B3
Jimmy Smith, nicknamed “The Incredible Jimmy Smith”,
Born James Oscar Smith in Norristown, Pennsylvania, USA. Smith was influenced by both gospel and blues. He first achieved prominence in the 1950s where his recordings became popular on jukeboxes before there were commonly used terms to describe his unique musical flavor. In the sixties and seventies he helped create the jazz style known as 'funk' or 'soul jazz'.
There had been earlier limited use of the electronic organ in jazz (notably by Fats Waller and Count Basie), though these early examples sometimes had a novelty feel. Smith is widely recognized as introducing the electric organ as a legitimate musical instrument, capable of virtuoso improvisation.
Smith employed a unique technique to emulate a string bass player on the organ. Although he played walking bass lines on the pedals on ballads, for uptempo tunes, he would play the bass line on the lower manual and use the pedals for emphasis on the attack of certain notes. His solos were characterised by percussive chords mixed with very fast melodic improvisation with the right hand. He generally used a drawbar registration of 868000000 or 888000000 on the lower manual, which he used for the bass line and comping chords. He used a similar registration on the upper manual, which he used for soloing, but with the addition of the Hammond's percussion circuit.
Smith was a prolific recording artist. He first recorded with the Blue Note label in 1956. His early albums with Blue Note sold very well, improving its financial viability and aiding the label's efforts to promote other artists. They include Home Cookin' , The Sermon!, Midnight Special, Prayer Meetin' , and Back at the Chicken Shack.
Smith signed to Verve Records label in 1963. Smith's albums with Verve include: The Cat, The Boss, Root Down, Peter & The Wolf, Any Number Can Win, The Incredible…,
Bashin' , Got My Mojo Workin' , Christmas Cookin' , and Organ Grinder Swing.
It was in this period that he began a regular collaboration with Guitarist Wes Montgomery, with whom he recorded two albums: The Dynamic Duo with Wes Montgomery and Further Adventures Of Jimmy and Wes.
Smith recorded with a full orchestra and worked with arrangers and conductors such as Lalo Schifrin and Oliver Nelson. He also worked in small groups that featured many of the best jazz musicians of his era: Kenny Burrell, Donald “Duck” Bailey, Grady Tate, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean and Stanley Turrentine among them.
Smith had a career revival in the 'eighties and 'nineties, again recording for Blue Note and Verve, as well as for the Milestone label. There are also numerous recordings with other artists available including: Love And Peace: A Tribute To Horace Silver with Dee Dee Bridgewater (1995) and Blue Bash! with Kenny Burrell (1963).
His influence has been felt across multiple generations and musical styles; nearly every subsequent jazz organist owes a large debt to Smith. The Beastie Boys (who sampled the bassline from Smith's “Root Down (and Get It) and saluted Smith in the lyrics for their own hit “Root Down”), Medeski, Martin & Wood, and The Hayden-Eckert Ensemble are among the better known contemporary bands that pay tribute to Smith's sensibilities and sound. The Acid Jazz movement also reflects Smith's influences.
Smith died on February 8, 2005, in Scottsdale, Arizona, USA.
Born: December 8, 1925
Died: February 8, 2005
Instrument: Organ, Hammond B3
Jimmy Smith, nicknamed “The Incredible Jimmy Smith”,
Born James Oscar Smith in Norristown, Pennsylvania, USA. Smith was influenced by both gospel and blues. He first achieved prominence in the 1950s where his recordings became popular on jukeboxes before there were commonly used terms to describe his unique musical flavor. In the sixties and seventies he helped create the jazz style known as 'funk' or 'soul jazz'.
There had been earlier limited use of the electronic organ in jazz (notably by Fats Waller and Count Basie), though these early examples sometimes had a novelty feel. Smith is widely recognized as introducing the electric organ as a legitimate musical instrument, capable of virtuoso improvisation.
Smith employed a unique technique to emulate a string bass player on the organ. Although he played walking bass lines on the pedals on ballads, for uptempo tunes, he would play the bass line on the lower manual and use the pedals for emphasis on the attack of certain notes. His solos were characterised by percussive chords mixed with very fast melodic improvisation with the right hand. He generally used a drawbar registration of 868000000 or 888000000 on the lower manual, which he used for the bass line and comping chords. He used a similar registration on the upper manual, which he used for soloing, but with the addition of the Hammond's percussion circuit.
Smith was a prolific recording artist. He first recorded with the Blue Note label in 1956. His early albums with Blue Note sold very well, improving its financial viability and aiding the label's efforts to promote other artists. They include Home Cookin' , The Sermon!, Midnight Special, Prayer Meetin' , and Back at the Chicken Shack.
Smith signed to Verve Records label in 1963. Smith's albums with Verve include: The Cat, The Boss, Root Down, Peter & The Wolf, Any Number Can Win, The Incredible…,
Bashin' , Got My Mojo Workin' , Christmas Cookin' , and Organ Grinder Swing.
It was in this period that he began a regular collaboration with Guitarist Wes Montgomery, with whom he recorded two albums: The Dynamic Duo with Wes Montgomery and Further Adventures Of Jimmy and Wes.
Smith recorded with a full orchestra and worked with arrangers and conductors such as Lalo Schifrin and Oliver Nelson. He also worked in small groups that featured many of the best jazz musicians of his era: Kenny Burrell, Donald “Duck” Bailey, Grady Tate, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean and Stanley Turrentine among them.
Smith had a career revival in the 'eighties and 'nineties, again recording for Blue Note and Verve, as well as for the Milestone label. There are also numerous recordings with other artists available including: Love And Peace: A Tribute To Horace Silver with Dee Dee Bridgewater (1995) and Blue Bash! with Kenny Burrell (1963).
His influence has been felt across multiple generations and musical styles; nearly every subsequent jazz organist owes a large debt to Smith. The Beastie Boys (who sampled the bassline from Smith's “Root Down (and Get It) and saluted Smith in the lyrics for their own hit “Root Down”), Medeski, Martin & Wood, and The Hayden-Eckert Ensemble are among the better known contemporary bands that pay tribute to Smith's sensibilities and sound. The Acid Jazz movement also reflects Smith's influences.
Smith died on February 8, 2005, in Scottsdale, Arizona, USA.
Recorded May 11-12, 1966; at Van Gelder Recording Studio, Englewood Cliffs, New Jersey
Original LP issue: Peter and the Wolf - Verve V6-8652
Original recordings produced by Creed Taylor
Original LP cover photograph by Don Ornitz
Original LP cover design by Acy R. Lehman
Liner notes by Oliver Nelson
Reissue:
Supervised by Bryan Koniarz
Researched and restored by Ben Young
Mastered by Cave Canem at PolyGram Studios
Production Coordinated by Tom Greenwood
Production assistance by Carlos Kase
Series art directed and designed by Sung Lee/STAIN
Package layout by SMAY VISION
Design coordinated by Suzanne White
~wikipedia
Peter and the Wolf (Russian: Петя и волк, Petya i volk), Op. 67, is a composition written by Sergei Prokofiev in 1936 in the USSR. It is a children's story (with both music and text by Prokofiev), spoken by a narrator accompanied by the orchestra.
History
In 1936 Sergei Prokofiev was commissioned by Natalya Sats and the Central Children's Theatre in Moscow to write a new musical symphony for children. The intent was to cultivate "musical tastes in children from the first years of school". Intrigued by the invitation, Prokofiev completed Peter and the Wolf in just four days. The debut on 2 May 1936 was, in the composer's words, inauspicious at best: "…was poor and failed to attract much attention".
Plot
Peter, a young boy, lives at his grandfather's home in a forest clearing. One day Peter goes out into the clearing, leaving the garden gate open, and the duck that lives in the yard takes the opportunity to go swimming in a pond nearby. The duck starts arguing with a little bird ("What kind of bird are you if you can't fly?" – "What kind of bird are you if you can't swim?"). Peter's pet cat stalks them quietly, and the bird —warned by Peter— flies to safety in a tall tree while the duck swims to safety in the middle of the pond.
Peter's grandfather scolds Peter for being outside in the meadow ("Suppose a wolf came out of the forest?"), and, when Peter defies him, saying that "Boys like me are not afraid of wolves", his grandfather takes him back into the house and locks the gate. Soon afterwards "a big, grey wolf" does indeed come out of the forest. The cat quickly climbs into a tree, but the duck, who has excitedly jumped out of the pond, is chased, overtaken and swallowed by the wolf.
Peter fetches a rope and climbs over the garden wall into the tree. He asks the bird to fly around the wolf's head to distract it, while he lowers a noose and catches the wolf by its tail. The wolf struggles to get free, but Peter ties the rope to the tree and the noose only gets tighter.
"Peter and the Wolf" on stage in Toronto, 2007 (the parade).
Some hunters, who have been tracking the wolf, come out of the forest ready to shoot, but Peter gets them to help him take the wolf to a zoo in a victory parade (the piece was first performed for an audience of pioneers during May Day celebrations) that includes himself, the bird, the hunters leading the wolf, the cat and grumpy grumbling Grandfather ("What if Peter hadn't caught the wolf? What then?") In the story's ending, the listener is told that "if you listen very carefully, you'd hear the duck quacking inside the wolf's belly, because the wolf in his hurry had swallowed her alive."
Recordings
The first American version, recorded in 1939 by RCA Victor, was issued in an album of three 78 rpm discs. It was narrated by Richard Hale, a film actor best known for villainous and exotic roles, with music performed by the Boston Symphony Orchestra under the direction of Serge Koussevitzky. Hale also served as narrator for Arthur Fiedler's 1953 RCA Victor high fidelity recording with the Boston Pops Orchestra, which also included Paul Dukas' The Sorcerer's Apprentice and King Henry VIII dances by Camille Saint-Saens and Edward German. A 1987 Chandos Records recording with the Royal Scottish National Orchestra was conducted by Neeme Järvi, while his the composer's son Oleg Prokofiev and grandson Gabriel Prokofiev were the narrators for the 1991 Hyperion Records recording performed by the New London Orchestra conducted by Ronald Corp
Many English-language recordings of this famous piece have been made.
for more details, please visit: http://en.wikipedia.org/wiki/Peter_and_the_Wolf
Peter and the Wolf (Russian: Петя и волк, Petya i volk), Op. 67, is a composition written by Sergei Prokofiev in 1936 in the USSR. It is a children's story (with both music and text by Prokofiev), spoken by a narrator accompanied by the orchestra.
History
In 1936 Sergei Prokofiev was commissioned by Natalya Sats and the Central Children's Theatre in Moscow to write a new musical symphony for children. The intent was to cultivate "musical tastes in children from the first years of school". Intrigued by the invitation, Prokofiev completed Peter and the Wolf in just four days. The debut on 2 May 1936 was, in the composer's words, inauspicious at best: "…was poor and failed to attract much attention".
Plot
Peter, a young boy, lives at his grandfather's home in a forest clearing. One day Peter goes out into the clearing, leaving the garden gate open, and the duck that lives in the yard takes the opportunity to go swimming in a pond nearby. The duck starts arguing with a little bird ("What kind of bird are you if you can't fly?" – "What kind of bird are you if you can't swim?"). Peter's pet cat stalks them quietly, and the bird —warned by Peter— flies to safety in a tall tree while the duck swims to safety in the middle of the pond.
Peter's grandfather scolds Peter for being outside in the meadow ("Suppose a wolf came out of the forest?"), and, when Peter defies him, saying that "Boys like me are not afraid of wolves", his grandfather takes him back into the house and locks the gate. Soon afterwards "a big, grey wolf" does indeed come out of the forest. The cat quickly climbs into a tree, but the duck, who has excitedly jumped out of the pond, is chased, overtaken and swallowed by the wolf.
Peter fetches a rope and climbs over the garden wall into the tree. He asks the bird to fly around the wolf's head to distract it, while he lowers a noose and catches the wolf by its tail. The wolf struggles to get free, but Peter ties the rope to the tree and the noose only gets tighter.
"Peter and the Wolf" on stage in Toronto, 2007 (the parade).
Some hunters, who have been tracking the wolf, come out of the forest ready to shoot, but Peter gets them to help him take the wolf to a zoo in a victory parade (the piece was first performed for an audience of pioneers during May Day celebrations) that includes himself, the bird, the hunters leading the wolf, the cat and grumpy grumbling Grandfather ("What if Peter hadn't caught the wolf? What then?") In the story's ending, the listener is told that "if you listen very carefully, you'd hear the duck quacking inside the wolf's belly, because the wolf in his hurry had swallowed her alive."
Recordings
The first American version, recorded in 1939 by RCA Victor, was issued in an album of three 78 rpm discs. It was narrated by Richard Hale, a film actor best known for villainous and exotic roles, with music performed by the Boston Symphony Orchestra under the direction of Serge Koussevitzky. Hale also served as narrator for Arthur Fiedler's 1953 RCA Victor high fidelity recording with the Boston Pops Orchestra, which also included Paul Dukas' The Sorcerer's Apprentice and King Henry VIII dances by Camille Saint-Saens and Edward German. A 1987 Chandos Records recording with the Royal Scottish National Orchestra was conducted by Neeme Järvi, while his the composer's son Oleg Prokofiev and grandson Gabriel Prokofiev were the narrators for the 1991 Hyperion Records recording performed by the New London Orchestra conducted by Ronald Corp
Many English-language recordings of this famous piece have been made.
for more details, please visit: http://en.wikipedia.org/wiki/Peter_and_the_Wolf
Jimmy Smith - Peter & The Wolf (1999)
Jimmy Smith (1925 - 2005)
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 18. April 2010, 21:39
Jimmy Smith / Peter & The Wolf
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EAC extraction logfile from 18. April 2010, 21:39
Jimmy Smith / Peter & The Wolf
Used drive : HL-DT-STDVD-ROM GDR8164B Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 102
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 | 4:12.52 | 0 | 18951
2 | 4:12.52 | 9:41.50 | 18952 | 62576
3 | 13:54.27 | 7:16.55 | 62577 | 95331
4 | 21:11.07 | 5:23.13 | 95332 | 119569
5 | 26:34.20 | 1:17.02 | 119570 | 125346
6 | 27:51.22 | 4:45.20 | 125347 | 146741
Range status and errors
Selected range
Filename E:\Jimmy Smith - Peter & The Wolf\Jimmy Smith - Peter & The Wolf.wav
Peak level 100.0 %
Range quality 99.9 %
Test CRC 58441173
Copy CRC 58441173
Copy OK
No errors occurred
AccurateRip summary
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Jimmy Smith - Peter & The Wolf (1999)
(flac links are interchangeable, mp3@320 & artwork = single link)