Wayne Shorter / Speak No Evil
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1965/2012
Жанр: Jazz, Hard Bop, Post Bop
Издатель (лейбл): Blue Note Records
Продолжительность: 42:04
Наличие сканов в содержимом раздачи: Буклет PDF
Источник (релизер): hdtracks
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0
Треклист:
1. Witch Hunt 8:11
2. Fee-Fi-Fo-Fum 5:53
3. Dance Cadaverous 6:45
4. Speak No Evil 8:23
5. Infant Eyes 6:54
6. Wild Flower 6:07
DR Log
foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2017-09-12 12:23:01
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Analyzed: Wayne Shorter / Speak No Evil (HDTracks 24-96)
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DR Peak RMS Duration Track
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DR14 -0.07 dB -19.38 dB 8:09 ?-Witch Hunt
DR14 -0.03 dB -20.63 dB 5:53 ?-Fee-Fi-Fo-Fum
DR16 -1.51 dB -21.41 dB 6:44 ?-Dance Cadaverous
DR14 -1.21 dB -19.19 dB 8:20 ?-Speak No Evil
DR13 -3.44 dB -22.04 dB 6:53 ?-Infant Eyes
DR13 -0.87 dB -18.81 dB 6:05 ?-Wild Flower
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Number of tracks: 6
Official DR value: DR14
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2953 kbps
Codec: FLAC
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Состав
Wayne Shorter — tenor saxophone
Freddie Hubbard — trumpet
Herbie Hancock — piano
Ron Carter — double bass
Elvin Jones — drums
Об исполнителе (группе)
On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work. The odd harmonic frameworks used to erect "Fee-Fi-Fo-Fum," with its balladic structure augmented with a bluesy regimen of hard bop and open-toned modalism, create the illusion of a much larger band managing all that timbral space. Likewise on the title track, with its post-bop-oriented melodic line strewn across a wide chromatic palette of minors and Hancock's piano pushing through a contrapuntal set of semi-quavers, the avant-garde meets the hard bop of the '50s head on and everybody wins. The loping lyric of the horns and Hancock's vamping in the middle section during Shorter's solo reveals a broad sense of humor in the saxophonist's linguistics and a deep, more regimented sense of time and thematic coloration. The set ends with the beautiful "Wild Flower," a lilting ballad with angular accents by Hancock who takes the lyric and inverts it, finding a chromatic counterpoint that segues into the front line instead of playing in opposition. The swing is gentle but pronounced and full of Shorter's singular lyricism as a saxophonist as well as a composer.
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发表于 2020-9-24 13:09:12
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