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Kon912 ®
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The Joe Brotherton Quartet - Here To Hear-
• Формат записи | Источник записи: [TR24][OF]
• Наличие водяных знаков: Нет
• Год издания релиза: 2024
• Жанр: Jazz
• Продолжительность:
00:50:32
• Источник:
• WEB релиз: ссылка
• Контейнер: FLAC (*.flac) • Тип рипа: tracks
• Наличие сканов: front
• Разрядность: 24/48 • Количество каналов: 2.0 • Формат: PCM
• Треклист •
✧ 01 - Drizzle's Abacus (00:06:51)
✧ 02 - Summertime (00:10:24)
✧ 03 - Friday Night Funky Jont (00:05:39)
✧ 04 - Brazilian Rain (00:05:20)
✧ 05 - Whole In The Funk Bucket (00:05:44)
✧ 06 - Hero-Here To Hear (00:07:57)
✧ 07 - Bourbon Street Parade (00:04:10)
✧ 08 - Li'l Liza Jane (00:04:24)
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• Лог DRM •
foobar2000 1.6.11 / Dynamic Range Meter 1.1.1
log date: 2024-02-18 13:20:34
--------------------------------------------------------------------------------
Analyzed: Joe Brotherton Quartet/Elijah Easton / Here To Hear (1-2)
Joe Brotherton Quartet/Elijah Jamal Balbed / Here To Hear (3)
Joe Brotherton Quartet/Flex Mathews/Elijah Jamal Balbed / Here To Hear (4)
Joe Brotherton Quartet / Here To Hear (5-8)
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR10 -0.14 dB -12.00 dB 6:51 01-Drizzle's Abacus
DR9 -0.14 dB -10.74 dB 7:57 06-Hero/Here To Hear
DR9 -0.15 dB -11.14 dB 4:25 08-Li'l Liza Jane
DR9 -0.14 dB -11.26 dB 5:40 03-Friday Night Funky Jont
DR9 -0.61 dB -12.13 dB 10:25 02-Summertime
DR9 -0.48 dB -12.05 dB 5:20 04-Brazilian Rain
DR9 -0.14 dB -10.93 dB 5:44 05-Whole In The Funk Bucket
DR9 -0.14 dB -11.14 dB 4:10 07-Bourbon Street Parade
--------------------------------------------------------------------------------
Number of tracks: 8
Official DR value: DR9
Samplerate: 48000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1812 kbps
Codec: FLAC
================================================================================
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• The Joe Brotherton Quartet •
Joe Brotherton is a staple of the Washington D.C. jazz community, known for his exceptional musicianship and signature style of trumpet-playing. Born in Nashville, Tennessee, Joe studied with several luminaries — among them Wynton Marsalis, Ingrid Jensen, and Ron Blake — and was named “an exciting and spectacular soloist” by Jazz Improv Magazine.
Joe’s ensemble, the Joe Brotherton Quartet, features Joe (trumpet/vox) along with the legendary Obasi Akoto (bass), Colin Chambers (keys), and Tyler Leak (drums). Long a fixture of DC’s jazz scene, the Joe Brotherton Quartet is known for their lively and mature performances featuring striking original compositions and reconstructed standards.
With Joe at the helm, the quartet puts on a dazzling show of New Orleans classics; poignant renditions of bebop, post-bop, and straight-ahead jazz and soaring originals; jazz-hip hop fusion, often featuring a hometown hip-hop or spoken word artist; and frenzied finales that afford each member moments to showcase daring displays of technique, brilliance, and command of their craft. This electrifying jazz repertoire is often punctuated by gutsy solos and tender treatments of familiar melodies.
The Joe Brotherton Quartet’s debut album “Here to Hear” will drop in February 2024.
Founded in 1965, Blues Alley is the nation’s oldest continuing jazz supper club, having showcased internationally renowned concert hall artists such as Dizzy Gillespie, Sarah Vaughan, Nancy Wilson, Grover Washington Jr., Ramsey Lewis, Charlie Byrd, Maynard Ferguson and Eva Cassidy in a small intimate setting.
Located in the heart of historic Georgetown in an 18th century red brick carriage house, Blues Alley offers its patrons a unique ambiance, reminiscent of the jazz clubs of the 1920’s and 1930’s.
Open seven days a week, Blues Alley specializes in authentic Creole cuisine, steak and seafood dishes.
“The nation’s finest jazz and supper club” – New York Times
“Joseph Brotherton is an exciting and spectacular soloist, well schooled in the tradition, and post-bop concepts. His solos are notable for their clarity, connectivity of ideas, clear articulation, intonation, and tasteful and measured use of his ample technique.” – Jazz Improv Magazine
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