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Carmen McRae - The Diva Series

Artist: Carmen McRae
Title: The Diva Series
Recorded between 1955 & 1987. Includes liner notes by Will Friedwald.
Audio CD (May 20, 2003)
Number of Discs: 1
Label: Verve
Genre: Jazz Vocal
Style: Standards, Vocal Jazz, Bop
Source: Original CD

Extractor: EAC 0.99 prebeta 4
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1;  Level 8  
Single File.flac, Eac.log,
File.cue Multiple wav file with Gaps (Noncompliant)
Accurately ripped (confidence 2)
Size Torrent: 212 Mb
Front cover


1 Falling in Love with Love Hart, Rodgers 2:10
2 I Only Have Eyes for You Dubin, Warren 3:47
3 Speak Low Nash, Weill 3:08
4 Midnight Sun Burke, Burke, Hampton, Mercer 4:13
5 I'm Putting All My Eggs in One Basket Berlin 2:21
6 How Little We Know Carmichael, Mercer, Springer 2:27
7 Skylark Carmichael, Mercer 3:00
8 My Man's Gone Now Gershwin, Gershwin, Heyward 4:14
9 Comes Love Brown, Stept, Tobias 2:43
10 All the Things You Are Hammerstein, Kern 2:23
11 Ain't Misbehavin' Brooks, Razaf, Waller 3:16
12 Do You Know Why? Burke, VanHeusen 2:51
13 Bye Bye Blackbird Dixon, Henderson 3:25
14 Any Old Time Shaw 3:07
15 That Old Devil Moon Harburg, Lane 3:43
16 I'm Glad There Is You Dorsey, Madeira 3:53


Carmen McRae (vocals);
Phil Woods (alto saxophone);
Ben Webster, Zoot Sims (tenor saxophone);
Jimmy Cleveland (trombone);
Dick Katz, Ray Bryant (piano).

also: Mundell Lowe (guitar); Bill Green , Harry Klee (flute); Mahlon Clark, Justin Gordon (bass clarinet); Vinnie Dean, Porter Kilbert, Phil Woods (alto saxophone); Zoot Sims, Ben Webster, Budd Johnson (tenor saxophone); Sol Schlinger (baritone saxophone); Richard Gene Williams , Lennie Johnson, Ernie Royal, Al Stewart, Irwin "Marky" Markowitz, Charlie Shavers (trumpet); Tony Miranda, Dick Berg, Fred Klein, Donald Corrado (French horn); Mickey Gravine, Jimmy Cleveland, Billy Byers (trombone); Paul Faulise (bass trombone); John Towner Williams, Joe Marino (piano, celesta); Don Abney, Dick Katz, Eric Gunnison, Ray Bryant (piano); Frank Emilio Flynn (vibraphone, marimba); Larry Bunker (vibraphone); Floyd Williams, Todd Sommer, Winard Harper, Specs Wright (drums).

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Carmen Mercedes McRae (Harlem, 8 aprile 1920 – Beverly Hills, 10 novembre 1994) è stata una cantante, compositrice, attrice e pianista statunitense, è considerata una delle più influenti cantanti jazz del XX secolo.

Trasse ispirazione da Billie Holiday, ma ha sviluppato la sua voce in modo distintivo e personale. Ha registrato più di 60 album durante la sua carriera, eseguendo concerti e registrazioni negli Stati Uniti, Europa e Giappone.

Ha iniziato a studiare all'età di otto anni il pianoforte e la musica dei grandi del jazz come Louis Armstrong e Duke Ellington, incontrando la cantante Billie Holiday quando aveva solo 17 anni. Iniziò a suonare il pianoforte e come cantante nei club di New York ed in seguito ottiene il suo primo lavoro importante come pianista nella big band di Benny Carter (1944).

Nel 1948 si trasferì a Chicago, suonando il pianoforte costantemente per quasi quattro anni, prima di tornare a New York, dove nei primi anni cinquanta la sua carriera incontrò il successo. Nel 1954, è stata votata miglior nuova cantante dalla rivista Down Beat. Sposò il bassista Ike Isaacs alla fine del 1950.

Tra i suoi progetti discografici più interessanti ci sono: Mad About The Man (1957) con il compositore Noël Coward, Boy Meets Girl (1957) con Sammy Davis Jr., l’album tributo contenente una raccolta di canzoni di Nat King Cole You 're Lookin' at Me (1983), un album di duetti live con la cantante Betty Carter Duets (1987); ha chiuso la sua brillante carriera con omaggi a Thelonious Monk, Carmen Sings Monk (1990) e a Sarah Vaughan, Sarah: Dedicated to You (1991).

Carmen McRae ha cantato nei jazz club di tutti gli Stati Uniti e in tutto il mondo per oltre cinquant'anni, partecipando al leggendario Monterey Jazz Festival (1961-1963, 1966, 1971, 1973, 1982), al North Sea Jazz Festival nel 1980, al Montreux Jazz Festival nel 1989 e ad Umbria Jazz (1990).al Brasile e c’è comunque spazio per le eleganti ballads di Mahnattan.


I came to jazz after Billie's death and just as Nancy Wilson was beginning to make her mark--at a time when the top 3 divas in jazz (as supported by fans and critics polls) were consistently Ella, Sarah and Carmen, from 1 to 3. Carmen made her appearance slightly after the other two, beginning with strings-plus-vocal dates that were the order of the day, before a breakout jazz set--"Live at Sugar Hill"--in the early '60s. Many listeners, Carmen fans among them, don't realize what a complete singer she once was--possessing not only the interpretive gifts of a great actress but a nearly equally impressive voice. This collection is valuable if only because it sets the record straight, revealing a Carmen McRae before she started showing the effects of a tobacco addiction.

She was always rightfully recognized as one of the top 3-4 jazz singers and interpreters of the American Songbook, but by the early '70s her once-lovely soprano (and song keys) had dropped considerably, and she lacked the breath support that once allowed her to draw out a phrase, finishing it off with a warm, glowing vibrato (the vibrato would desert her, and her voice began to evidence little to no "body" when she sang softly). Give credit to the interpretive abilities and all-around musicianship that enabled her to "work around" if not hide the harmful effects of smoking. On this recording, you're able to hear both strengths of Carmen--her ability to deliver a lyric convincingly and the stirring and seductive vocal quality that perhaps many listeners are unaware of.

A revealing contrast is her performance of "Any Old Time" (composed by Artie Shaw for Billie Holiday) on this occasion with the performance of the same tune almost 30 years later (mid to late 80s) on a disc of the same title. Both are excellent, though the later recording requires her to "punch" individual notes and work more carefully with her rhythm section. As for "All the Things You Are," which she handles here with the required sustained legatos along with dramatic phrasing and incisive articulations, that's a number that would be out of reach for her by the mid 70s.

In all fairness, perhaps the "dirty habit" doesn't deserve all the blame. Ella's voice began to wobble in the '70s, and Sarah (also a smoker), though she retained her formidable range, employed an artificial, faux-opera falsetto to attain the heights she formerly had reached without strain or artifice. Not all but perhaps most vocalists are like vintage wine, and a listener is best advised to attend to time periods as much as the singer before expressing a preference or judgment about the artist. Don't take the ratings at All-Music Guide too seriously. Pick up "Live at Sugar Hill" or "Boy Meets Girl" with Carmen and Sammy Davis Jr. (who's delightful as a foil to Carmen and absolutely dominating as a soloist on the "Porgy and Bess" numbers). "Carmen McRae Sings The American Songbook" from the early seventies is a swinging live set by Carmen, sparked by the guitar of Joe Pass, but the voice is not the radiant, vibrant one we hear on McRae circa 1950 and 1960. Of her late recordings, "Any Old Time" (which includes tenor giant Clifford Jordan) is, in my opinion, the most consistently satisfying, though her even later tribute to Sarah Vaughan is more successful than I had anticipated, with no small amount of credit due to the supportive piano accompaniment of Shirley Horn.
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Size 212.97 MB
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Aggiunto 24.07.11 - 16:07:45
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