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Горячее местечко / Горячая точка / The Hot Spot
Жанр: Score Композитор: Jack Nitzsche Год выпуска диска: 1990 Страна-производитель диска: США Издатель (лейбл): Antilles/Island Номер по каталогу: 422-846 813-2 Аудиокодек: FLAC (*.flac) Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 40:50 Источник: Mazeppa (hqshare) Наличие сканов в содержимом раздачи: да
Треклист: 01. Coming to Town - 3:12 02. Empty Bank - 2:24 03. Harry's Philosophy - 2:48 04. Dolly's Arrival - 1:20 05. Harry and Dolly - 2:53 06. Sawmill - 3:08 07. Bank Robbery - 4:37 08. Moanin' - 3:24 09. Gloria's Story - 3:28 10. Harry Sets Up Sutton - 1:46 11. Murder - 4:14 12. Blackmail - 2:13 13. End Credits - 5:22
EAC extraction logfile from 26. February 2007, 9:52 for CDSoundtrack / The Hot Spot
Used drive : LITE-ON CD-ROM LTN-527T Adapter: 1 ID: 1Read mode : Secure with NO C2, accurate stream, disable cacheRead offset correction : 12Overread into Lead-In and Lead-Out : Yes
Used output format : C:\Program Files\Monkey's Audio\MAC.exe (Monkey's Audio Lossless Encoder) High Lossless Compression
Other options : Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Installed external ASPI interface
Range status and errorsSelected range Filename F:\Downloads\Miles Davis & John Lee Hooker - The Hot Spot (1990)[APE Full Scans]\Soundtrack - The Hot Spot.wav.wav
Peak level 76.5 % Range quality 100.0 % CRC ACBA0B48 Copy OK
No errors occured
End of status report
REM GENRE SoundtrackREM DATE 1990REM DISCID C109920DREM COMMENT "ExactAudioCopy v0.95b4"PERFORMER "Various Artists"TITLE "The Hot Spot"FILE "VA - The Hot Spot OST.wav" WAVE TRACK 01 AUDIO TITLE "Coming to Town" PERFORMER "John Lee Hooker" INDEX 00 00:00:00 INDEX 01 00:00:32 TRACK 02 AUDIO TITLE "Empty Bank" PERFORMER "Taj Mahal" INDEX 00 03:07:50 INDEX 01 03:12:05 TRACK 03 AUDIO TITLE "Harry's Philosophy" PERFORMER "John Lee Hooker" INDEX 00 05:33:20 INDEX 01 05:35:50 TRACK 04 AUDIO TITLE "Dolly's Arrival" PERFORMER "Earl Palmer" INDEX 00 08:21:65 INDEX 01 08:24:07 TRACK 05 AUDIO TITLE "Harry and Dolly" PERFORMER "John Lee Hooker" INDEX 00 09:43:55 INDEX 01 09:44:42 TRACK 06 AUDIO TITLE "Sawmill" PERFORMER "John Lee Hooker" INDEX 00 12:35:35 INDEX 01 12:37:60 TRACK 07 AUDIO TITLE "Bank Robbery" PERFORMER "Miles Davis" INDEX 00 15:44:15 INDEX 01 15:45:25 TRACK 08 AUDIO TITLE "Moanin'" PERFORMER "John Lee Hooker" INDEX 00 20:20:12 INDEX 01 20:22:30 TRACK 09 AUDIO TITLE "Gloria's Story" PERFORMER "Miles Davis" INDEX 00 23:45:00 INDEX 01 23:46:45 TRACK 10 AUDIO TITLE "Harry Sets Up Sutton" PERFORMER "John Lee Hooker" INDEX 00 27:13:02 INDEX 01 27:14:40 TRACK 11 AUDIO TITLE "Murder" PERFORMER "John Lee Hooker" INDEX 00 28:58:12 INDEX 01 29:00:25 TRACK 12 AUDIO TITLE "Blackmail" PERFORMER "Miles Davis" INDEX 00 33:12:05 INDEX 01 33:14:50 TRACK 13 AUDIO TITLE "End Credits" PERFORMER "John Lee Hooker" INDEX 00 35:26:40 INDEX 01 35:27:72
auCDtect: CD records authenticity detector, version 0.8.2Copyright (c) 2004 Oleg Berngardt. All rights reserved.Copyright (c) 2004 Alexander Djourik. All rights reserved.------------------------------------------------------------Processing file: [VA - The Hot Spot OST.wav]Detected average hi-boundary frequency: 2.036613e+004 HzDetected average lo-boundary frequency: 1.436511e+004 HzDetected average hi-cut frequency: 2.181278e+004 HzDetected average lo-cut frequency: 1.744983e+004 HzMaximum probablis boundary frequency: 2.189100e+004 HzCoefficient of nonlinearity of a phase: 1.431877e-001First order smothness: 4.531357e-001Second order smothness: 8.369986e-001
------------------------------------------------------------This track looks like CDDA with probability 100%
A return look and listen to this historical and breathtaking collaboration between two of the great figures of modern music should naturally be prefaced by a few key facts. Although this album presents itself as the soundtrack to the film The Hot Spot, like many such releases it bares little relation to the music that was actually used in the film -- not that much of this music was actually used. All one really needs to know about the film itself, other than the fact that it was directed by Dennis Hopper, is that it is awful, even by bad film standards. That it was the impetus for this marvelous music to be made is something listeners should be thankful for, particularly fans of either Miles Davis or John Lee Hooker. Anyone who grew up with the former artist during his electric transfusions of the '60s and '70s probably wondered why he wasn't playing with John Lee Hooker the whole time, since they both seemed headed in the same direction. In fact, one wonders why it took this crummy film and the personal appeal of its director to bring these two musical giants together. That they didn't seek to do something like this on their own can be looked at as a character flaw, one that can only be forgiven after listening to how wonderfully they interact here. An important aspect of the magic is their individual genius in the art of playing blues music in such utterly personal ways. There is no mistaking the sound of either Hooker or Davis for anyone else, with layer upon layer of detail backing that up -- the actual sound of their instruments is distinctive, their choices of notes and timing completely unusual and impossible to imitate, and they both have a knack for casually making even the most basic sort of band track sound as if it is a style of music that has never been played before. No matter how many times one may have heard a bar band break into what they think is a Hooker boogie, a brief recovery period will still be required after first exposure to the tracks here. Often during his recording career, Hooker was able to get a particularly scintillating rhythm section sound going with whatever pros had been assembled for the occasion. This is one of these sessions, but it indeed makes it seem like a royal visit to have Davis blowing over the top of these grooves. There are other dignitaries as well. Blues guitarist Roy Rogers adds some tasteful slide guitar, and it could be said that it presents another melodic direction for the interaction. But when one has a choice to hear Hooker or Davis instead, most listeners will simply wish Rogers had ridden off into the sunset on his faithful horse instead of coming to this session. Taj Mahal, on the other hand, adds nice textures with his dobro, an instrument that is wonderfully versatile yet so often overlooked in anything other than bluegrass music or straight-ahead country blues. The latter genre, unfortunately, has too much of a sway over this performer's choice of picking patterns. He sounds like what he is: a revivalist who learned how to play blues in college. The rhythm section kicks the whole time, while composer and arranger Jack Nitzsche makes valuable contributions of his own. This includes a minor-key groove -- completely unusual for Hooker, who perhaps recorded in a minor key less than a half-dozen times in his entire career. The dabs of typical film score-type music seem like nothing special until there is an entrance by Davis. These sections of him extemporizing over such routine music bring to mind one of the Ralph J. Gleason profiles of Davis, which described the artist hanging out in his music room playing along with various new releases and painfully trying to reharmonize several selections from the score of Dr. Doolittle he was thinking about recording. The image is that of normal music being twisted into something different by a master at such trickery; most of The Hot Spot soundtrack, on the other hand, presents this great jazz soloist playing over blues grooves as pure as only Hooker could make happen, an interesting contrast to some of the weaker, late-period Davis, where his bands are simply straining to be funky in an old-time bluesy way. To say this is the best recording Davis made in his final period might be misunderstood as damning with faint praise. A more solid compliment would be to contrast it with other great moments from the trumpeter's career, such as Bitches Brew or Kind of Blue, and the best parts of this soundtrack contain music that is every bit as interesting and profound. As for a Hooker album, there might be others that have better blues songs on them, but this is just about the only recording the bluesman ever did with a really great jazz soloist on it.
John Lee Hooker, Miles Davis, Taj Mahal, Roy Rogers, Tim Drummond, Earl Palmer, Bradford Ellis
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