(Hard Bop) Pepper Adams - 10 to 4 at the 5 Spot - 1958, FLAC (image+.cue), lossless

EAC extraction logfile from 12. July 2007, 9:10 for CD
Pepper Adams / 10 To 4 At The Five-Spot
Used drive  : LITE-ON CD-ROM LTN-527T   Adapter: 1  ID: 1
Read mode   : Secure with NO C2, accurate stream, disable cache
Read offset correction : 12
Overread 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 errors
Selected range
     Filename F:\Win-Rar\Pepper Adams - 10 to 4 at the 5 Spot (1958 OJC)[APE Full Scans]\Pepper Adams - 10 To 4 At The Five-Spot.wav.wav
     Peak level 100.0 %
     Range quality 100.0 %
     CRC 88262AA2
     Copy OK
No errors occured
End of status report

REM GENRE Jazz
REM DATE 1958
REM DISCID 3A096505
REM COMMENT "ExactAudioCopy v0.95b4"
PERFORMER "Pepper Adams"
TITLE "10 to 4 at the 5 Spot"
FILE "Pepper Adams - 10 to 4 at the 5 Spot.wav" WAVE
  TRACK 01 AUDIO
    TITLE "'Tis (Theme)"
    PERFORMER "Pepper Adams"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "You're My Thrill"
    PERFORMER "Pepper Adams"
    INDEX 00 06:03:23
    INDEX 01 06:07:43
  TRACK 03 AUDIO
    TITLE "The Long Two/Four"
    PERFORMER "Pepper Adams"
    INDEX 00 11:15:03
    INDEX 01 11:17:15
  TRACK 04 AUDIO
    TITLE "Hastings Street Bounce"
    PERFORMER "Pepper Adams"
    INDEX 00 21:58:15
    INDEX 01 21:59:08
  TRACK 05 AUDIO
    TITLE "Yourna (mono)"
    PERFORMER "Pepper Adams"
    INDEX 00 33:23:13
    INDEX 01 33:25:05

auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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Processing file: [Pepper Adams - 10 to 4 at the 5 Spot.wav]
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Coefficient of nonlinearity of a phase: 9.602006e-002
First order smothness: 4.352750e-001
Second order smothness: 6.524471e-001
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This track looks like CDDA with probability 99%

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In 1958, Pepper Adams and Donald Byrd were pivotal members of a sextet led by Chicago tenor saxophonist Johnny Griffin. They also formed their own quintet with fellow Detroiters Doug Watkins and Elvin Jones, and the then-rising star Bobby Timmons as the fifth wheel. This album, one of the first club dates recorded for the Riverside label, may have presented logistic problems with the acoustics, mic placements, and reel to reel tape technology, but there were no such issues with the extraordinary music contained on this effort. A tight, in tune and exciting ensemble, Adams and Byrd laid it all out for this single 39-minute set of modern jazz at the Five Spot Café in New York City. The symmetry between the witty and raw baritone sax of Adams and Byrd's stirring and sometimes strained trumpet is the stuff of legends, and the hallmark of the bop to hard bop era. Contained on this album are two definitive all-time great selections -- "The Long Two/Four" and especially "Hastings Street Bounce" -- the former with a march intro from Jones setting up a sharp staccato hard line melody with trumpet fills and the precise comping of Timmons, the latter a definitive groovy soul strut shuffle with one of the more hummable and memorable melodies ever, both pieces featuring rousing solos, and both tracks over ten minutes of jam power. Their theme "'Tis" penned by Thad Jones is a short, clipped unison bop which is a bit off minor, and showcases the unique instrumental voices of the frontmen. "Yourna," written by Byrd, and the standard "You're My Thrill" are the ballads tossed in for good measure and they showcase a yearning trumpet or somber pining baritone respectively. There's a palpable sense of democracy, shared values, and above all, balance in this band of expert modern jazz pioneers. It's a keeper, and one of the best recordings of any band in this era. The liner notes written by producer Orrin Keepnews suggests this was a "full night's work," perhaps for him and the band, as the "10 to 4" represents their time on the bandstand -- with breaks -- from 10 p.m. to 4 a.m. This gig reportedly lasted for nearly two months during the spring of 1958, so isn't there anything else in the can to supplement what is here?