(Modern Creative, Tap Dance, Swing) [CD] "Baby" Laurence - Dancemaster (1959-1960) - 2008, FLAC (image+.cue), lossless

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 20. January 2018, 22:50
Baby Laurence / Dancemaster
Used drive  : ASUS    DRW-24B1LT   Adapter: 0  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 6
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Used output format              : User Defined Encoder
Selected bitrate                : 768 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
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TOC of the extracted CD
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        2  |  4:28.60 |  4:49.72 |     20160    |    41906
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        5  | 18:14.00 |  4:35.22 |     82050    |   102696
        6  | 22:49.22 |  5:03.26 |    102697    |   125447
        7  | 27:52.48 |  2:59.04 |    125448    |   138876
        8  | 30:51.52 |  4:12.70 |    138877    |   157846
        9  | 35:04.47 |  4:05.64 |    157847    |   176285
       10  | 39:10.36 |  4:00.72 |    176286    |   194357
       11  | 43:11.33 |  2:59.65 |    194358    |   207847
Range status and errors
Selected range
     Filename F:\audio\Baby Laurence - Dancemaster.wav
     Peak level 92.3 %
     Extraction speed 5.8 X
     Range quality 100.0 %
     Test CRC 77FADFC5
     Copy CRC 77FADFC5
     Copy OK
No errors occurred
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==== Log checksum 6DD9911050D8533D7764A8FD3519CA8E86894B71D18DA892196D685FFD420680 ====

REM GENRE Jazz
REM DATE 2008
REM DISCID 910AD30B
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "Baby Laurence"
TITLE "Dancemaster"
FILE "Baby Laurence - Dancemaster.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Baby at Birdland"
    PERFORMER "Baby Laurence"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "The Sand"
    PERFORMER "Baby Laurence"
    INDEX 01 04:28:60
  TRACK 03 AUDIO
    TITLE "Buck Dance"
    PERFORMER "Baby Laurence"
    INDEX 01 09:18:57
  TRACK 04 AUDIO
    TITLE "Mall March"
    PERFORMER "Baby Laurence"
    INDEX 01 14:24:56
  TRACK 05 AUDIO
    TITLE "Concerto in Taps"
    PERFORMER "Baby Laurence"
    INDEX 01 18:14:00
  TRACK 06 AUDIO
    TITLE "Whispering (Bill Robinson Step Dance)"
    PERFORMER "Baby Laurence"
    INDEX 01 22:49:22
  TRACK 07 AUDIO
    TITLE "Delila's Theme"
    PERFORMER "Baby Laurence"
    INDEX 01 27:52:48
  TRACK 08 AUDIO
    TITLE "Baby's Walking Blues"
    PERFORMER "Baby Laurence"
    INDEX 01 30:51:52
  TRACK 09 AUDIO
    TITLE "Moose the Mooche"
    PERFORMER "Baby Laurence"
    INDEX 01 35:04:47
  TRACK 10 AUDIO
    TITLE "Lullaby of the Leaves"
    PERFORMER "Baby Laurence"
    INDEX 01 39:10:36
  TRACK 11 AUDIO
    TITLE "Ornithology"
    PERFORMER "Baby Laurence"
    INDEX 01 43:11:33

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"Baby Laurence" Jackson has been hailed as a jazz dancer of the rarest of rhythmic phenomena whose fluid beats, melodic phrasings, and instrumentalized conceptions moved him in the category of jazz musician. Born Laurence Donald Jackson in Baltimore, Maryland, he was a boy soprano at age twelve singing with McKinney's Cotton Pickers when the bandleader Don Redman came to town. He heard Jackson and asked his mother if he could take the boy on the road. She agreed, provided that her son was supplied with a tutor.
While touring on the Loew's circuit, Jackson's first visit to New York was marked by a visit to the Hoofers Club in Harlem, where he saw the tap dancing of Honi Coles, Raymond Winfield, Roland Holder and Harold Mablin. Several years later, he returned to New York to perform with his brother in a vocal group they formed called "The Four Buds". While working in the Harlem nightclub owned by Dickie Wells, the retired dancer from the group of Wells, Mordecai and Taylor encouraged his dancing and nicknamed him Baby. He continued to frequent the Hoofers Club, absorbing ideas and picking up steps from Eddie Rector, Pete Nugent, Toots Davis, Jack Wiggins and Teddy Hale, who became his chief dancing rival. "I saw a fellow dance and his feet never touched the floor," remembers tap dancer Bunny Briggs when he first saw Laurence dance in the thirties, when he was participating in after-hours jam sessions in Harlem and playing such theatres as the Apollo.
He also performed with group called the "The Six Merry Scotchmen" (in some billings, the "Harlem Highlanders"), who dressed in kilts, danced, and sang Jimmie Lunceford arrangements in five-part harmony. Around 1940, Baby focused on tap dancing and became a soloist. Through the forties, he danced with the big bands of Duke Ellington, Count Basie and Woody Herman, and in the fifties, he danced in small Harlem jazz clubs. It was under the influence of jazz saxophonist Charlie "Bird" Parker and other bebop musicians that he expanded tap technique into jazz dancing. Listening to the jazz pianist Art Tatum, Baby duplicated in his feet what Tatum played with his fingers. Listening to Parker, Dizzy Gillespie and Bud Powell as well as the jazz drummer Max Roach, Baby developed a way of improvising solo lines and variations as much like a horn man as a percussionist. "He was more a drummer than a dancer," writes Whitney Balliett in New York Notes (1976), "he did little with the top half of his torso. But his legs and feet were speed and thunder and surprise... a succession of explosions, machine-gun rattles and jarring thumps."
Like musicians in a jazz combo, Laurence was also a fluent improviser who took solos, traded breaks and built upon motifs that were suggested by previous horn men. He was a master of dynamics who would start a thirty-two-bar chorus with light heel-and-toe figures, then drop in heavy off-beat accents and sprays of rapid toe beats that gave way to double-time bursts of rhythm.

#1-5:
"Baby" Laurence - tap dancer
Paul Quinichette - saxophone
Al Hall - bass
Nat Pierce - piano
Skeeter Best - guitar
Osie Johnson - drums
Recorded at Bell Sound Studio, New York on January 7, 1959.
#6-11:
"Baby" Laurence - tap dancer
Bobby Jasper - flute, tenor saxophone
Arvell Shaw - bass
Roland Hanna - piano
Gerard "Dave" Pochonet - drums
Recorded at Bell Sound Studio, New York on February 11, 1960.