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Детали релиза : Ray Charles - Genius+Soul=Jazz / My Kind Of Jazz (1997) [FLAC (tracks + .cue)]

AlbumСкачать Ray Charles - Genius+Soul=Jazz / My Kind Of Jazz (1997) [FLAC (tracks + .cue)]
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Ray Charles - Genius+Soul=Jazz / My Kind Of Jazz (1997)  [FLAC (tracks + .cue)](кликните для просмотра полного изображения)
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Artist: Ray Charles
Album: Genius+Soul=Jazz / My Kind Of Jazz
Released: 1997
Original: 1960/1970
Genre: Soul, Soul Jazz, Jazz Blues, Piano Blues, Urban Blues, Early R&B
Country: U.S.A.
Duration: 01:17:55

Tracklisting:

Genius + Soul = Jazz (1960)
01. From The Heart (01:50)
02. I've Got News For You (04:35)
03. Moanin' (03:20)
04. Let's Go (02:44)
05. One Mint Julep (03:09)
06. I'm Gonna Move To The Outskirts Of Town (03:46)
07. Stompin' Room Only (03:47)
08. Mister C (04:32)
09. Strike Up The Band (02:38)
10. Birth Of The Blues (05:15)

My Kind Of Jazz (1970)
11. Golden Boy (03:27)
12. Booty-Butt (04:15)
13. This Here (04:42)
14. I Remember Clifford (03:42)
15. Sidewinder (03:33)
16. Bluesette (03:22)
17. Pas-Se-O-Ne Blues (04:45)
18. Zig Zag (04:32)
19. Angel City (04:26)
20. Senor Blues (05:24)
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Original recording reissued, Original recording remastered.

Label: Rhino
Catalog: R2 72814
Format: CD, Compilation, 2 to 1
Country: US
Released: 1997
Original: 1960/1970
Genre: R&B
Style: Soul, Soul Jazz, Jazz Blues, Piano Blues, Urban Blues, Early R&B

Product Description:
Charles' only all-instrumental LPs on one CD! 1960's Genius + Soul = Jazz is a big band jazz workout featuring the Count Basie Band and arrangements from Quincy Jones. It includes the Top 10 hit "One Mint Julep." The proto-acid jazz of 1970's My Kind Of Jazz contains the funky hit single "Booty-Butt." Digitally remastered for best-ever sound!

Ray Charles - Genius + Soul = Jazz (1960)

Review by Richie Unterberger:

One of the best early-'60s examples of soul/jazz crossover, this record, like several of his dates from the period, featured big-band arrangements (played by the Count Basie band). This fared better than some of Charles' similar outings, however, if only because it muted some of his straight pop aspirations in favor of some pretty mean and lean, cut-to-the-heart-of-the-matter B-3 Hammond organ licks. Most of the album is instrumental and swings pretty vivaciously, although Charles does take a couple of vocals with "I'm Gonna Move to the Outskirts of Town" and "I've Got News for You." Yet one of those instrumentals, a cover of the Clovers' "One Mint Julep," would give Charles one of his most unpredictable (and best) early-'60s hits. In 1997, it was combined with the much later My Kind of Jazz album (from 1970) onto a single-disc CD reissue by Rhino.

Ray Charles - My Kind Of Jazz (1970)

Review by Richard S. Ginell & Richie Un:

This LP came seemingly out of the blue as a showcase for the Ray Charles big band, spawning two little-known sequels later on in the '70s. It's a roaring, solid band, too, playing jazz standards like "This Here," "The Sidewinder," "Bluesette," and "Senor Blues," comfortable at slow, loping tempos as well as in the rousers, with excellent mainstream soloists (none of whom are identified) and good conventional charts (also uncredited). The sole exception to the pattern -- and a hit single in its own right -- is a catchy, funky Charles gospel/blues called "Booty Butt," where Charles adds multi-tracked gospel moans for his sole vocal contribution, and the band chimes in only on the very last chord. Clearly, the title and the appalling lack of credits say volumes about Charles' reputation as a control freak; this is his kind of jazz and nobody else's. In 1997, it was combined with the much earlier Genius + Soul album onto a single-disc CD reissue by Rhino.

Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.
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