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┌─────────────────────────────────────────────────────────────────────┐
│ Title │
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ─│─│─┐
│ │ | RiPPER..: Billy Cristal │ GENRE......: Jazz | │ │
│ │ :.LABEL...: n/a │ SCENE DATE.: 10/05/2003 .: │ │
│ │ · bITRATE.: 192kbps/44.1Hz/Joint-│ STORE DATE.: 00/00/2003 · │ │
│ │ : ENCODER.: Lame │ TRACKS.....: 10 │ │
│ │ | SiZE....: 94,6 MB │ SOURCE.....: CDDA | │ │
└─│─│─· ·─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└─────────────────────────────────────────────────────────────────────┘
───────────────────────────────────────────────────────────────────────
───────────────────────────────────────────────────────────────────────
┌────────────────────────[ TRACKLIST ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ Number Trackname Time │ │
│ │ │ │
│ │ 01 Introduction 01:20 │ │
│ │ 02 Sam Woodyard is Back in Town 07:36 │ │
│ │ 03 Willow Weep for Me 10:07 │ │
│ │ 04 Fingers Poppin' at the Popcorn 09:33 │ │
│ │ 05 Blues for Marcelle 05:05 │ │
│ │ 06 Mack the Knife 08:45 │ │
│ │ 07 Simone (Lulu)'s Back in Town 05:06 │ │
│ │ 08 Let's Do It, Let's Fall in Love 04:00 │ │
│ │ 09 Great Reunion Blues 08:34 │ │
│ │ 10 Take the 'a' Train 08:39 │ │
│ │ : : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ────────┘
┌────────────────────────[ RELEASE NOTES ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ Re-release + Remaster of 1976 LP including 4 previously │ │
│ │ unreleased tracks. │ │
│ │ │ │
│ │ * │ │
│ │ │ │
│ │ About Gerard Badini: │ │
│ │ │ │
│ │ While many releases on long-gone European labels are hard to │ │
│ │ track, it is possible this French reed player has appeared on │ │
│ │ something like 150 jazz recording sessions since the late '40s. │ │
│ │ Which isn't bad, or rather is Badini. Nothing establises him as │ │
│ │ the distinguished continental type more than a credit such as │ │
│ │ this: Gerard Badini, self-taught clarinetist and tenor │ │
│ │ saxophonist, made his professional debut at the Monte Carlo │ │
│ │ Sporting Club in 1952. He had begun his musical training as a │ │
│ │ classical singer, and picked up the clarinet in 1950. While │ │
│ │ roulette wheels spun and clicked and the elite of Europe lost │ │
│ │ fortunes, Badini honed his musical craft in various traditional │ │
│ │ jazz bands. A tour of the European continent alongside Sidney │ │
│ │ Bechet was a chance to be heard by a more expansive jazz │ │
│ │ audience at venues such as the Salle Pleyal in his native Paris │ │
│ │ and Festival Hall across the pond in London. It can be assumed │ │
│ │ that it was also an opportunity to be overshadowed. │ │
│ │ By the end of the '50s Badini had switched to tenor saxophone, │ │
│ │ cultivating relationships with players such as pianist Claude │ │
│ │ Bolling, drummer Gerard Pochonet, and alto saxophonist Michel │ │
│ │ Attenoux. Badini 's bingo is straight-ahead swing; he is a │ │
│ │ Benny Goodman man, although he solos capably and with a │ │
│ │ consistent sense of adventure within well-tested stylistic │ │
│ │ boundaries on tenor saxophone as well as clarinet. Through the │ │
│ │ '60s and '70s he worked both as leader of his own small combos │ │
│ │ such as Swing Machine and behind visiting American stars │ │
│ │ including vocalist Helen Humes and a rotating series of │ │
│ │ ex-sidemen from Duke Ellington's band. On that subject, a side │ │
│ │ cut with trombonist Sam Woodyard is some of the baddest Badini. │ │
│ │ Badini tried living in New York for several years in the late │ │
│ │ '70s, but returned to France by 1982, obsessing about getting a │ │
│ │ decent croissant in the morning. The Super Swing Machine was │ │
│ │ his contribution to the culture of 1984. In the '90s he arrived │ │
│ │ at the slightly less arrogrant band name of Gerard Badini Big │ │
│ │ Band. This group, in co-leadership with Michel Leeb, recorded │ │
│ │ the fine 1996 tribute entitled Djangos d'Or featuring guest │ │
│ │ artists Johnny Griffin on tenor saxophone and vocalist Dee Dee │ │
│ │ Bridgewater. │ │
│ │ - Eugene Chadbourne (AMG) │ │
│ │ : : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ────────┘
┌────────────────────────[ GROUP NEWS ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ OSC is still holding it down after more than a year in tha scene. │ │
│ │ Our dedication to bringing you the best in ol skool classics is, │ │
│ │ and always will be, our driving force. Quality over quantity. │ │
│ │ │ │
│ │ "It's all about the music, fuck the other ish." - OSC │ │
│ │ │ │
│ │ │ │
│ │ │ │
│ │ │ │
│ │ As always we'd like to greet those groups adding, not taking away: │ │
│ │ │ │
│ │ aPC - WHOA - SSR - OMNi - XXL - KSi - CHR - RNS - ESC │ │
│ │ │ │
│ │ If you're not listed, don't worry, props go out to all good groups. │ │
│ │ │ │
│ │ One last note: we at OSC do not fill requests, nor do we condone │ │
│ │ piracy. For review purposes only, so delete after 24 hrs and │ │
│ │ : support the artists. : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ASCII BY mMhCkB ───────┘
"NFO Generated With Morgoth's Mp3Releaser"