(Avant-Garde Jazz, Chamber Jazz, Free Improvisation) [CD] Mat Maneri, Matthew Shipp, Whit Dickey - Vessel in Orbit - 2017, FLAC (tracks+.cue), lossless
![(Avant-Garde Jazz, Chamber Jazz, Free Improvisation) [CD] Mat Maneri, Matthew Shipp, Whit Dickey - Vessel in Orbit - 2017, FLAC (tracks+.cue), lossless](/upload/000/u2/6c/cd/avant-garde-jazz-chamber-jazz-free-improvisation-cd-mat-ma.jpg "(Avant-Garde Jazz, Chamber Jazz, Free Improvisation) [CD] Mat Maneri, Matthew Shipp, Whit Dickey - Vessel in Orbit - 2017, FLAC (tracks+.cue), lossless")
Треклист:
Mat Maneri, Matthew Shipp, Whit Dickey / Vessel in Orbit
Жанр: Avant-Garde Jazz, Chamber Jazz, Free Improvisation
Носитель: CD
Страна-производитель диска (релиза): USA
Год издания: 2017
Издатель (лейбл): AUM Fidelity
Номер по каталогу: AUM 101
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 48:15
Источник (релизер): shiftingstill
Наличие сканов в содержимом раздачи: front + back (web)
Треклист:
01. Spaceship 9 (05:15)
02. Space Walk (06:37)
03. Dark Matter (5:58)
04. Galaxy 9 (09:13)
05. Turbulence (04:51)
06. To a Lost Comrade (05:39)
07. Space Strut (04:29)
08. Hyperspatial (06:12)
Produced by Whit Dickey
Recorded & mixed by Jim Clouse at Park West Studios, Brooklyn, NY
Другие мои раздачи на трекере
Жанр: Avant-Garde Jazz, Chamber Jazz, Free Improvisation
Носитель: CD
Страна-производитель диска (релиза): USA
Год издания: 2017
Издатель (лейбл): AUM Fidelity
Номер по каталогу: AUM 101
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 48:15
Источник (релизер): shiftingstill
Наличие сканов в содержимом раздачи: front + back (web)
Треклист:
01. Spaceship 9 (05:15)
02. Space Walk (06:37)
03. Dark Matter (5:58)
04. Galaxy 9 (09:13)
05. Turbulence (04:51)
06. To a Lost Comrade (05:39)
07. Space Strut (04:29)
08. Hyperspatial (06:12)
Produced by Whit Dickey
Recorded & mixed by Jim Clouse at Park West Studios, Brooklyn, NY
Состав
Whit Dickey drums
Mat Maneri viola
Matthew Shipp piano
Mat Maneri viola
Matthew Shipp piano
positivelyunderground.wordpress.com
First 9/10 of the year folks, three legends keeping it straightforward with 48 spotless minutes of music.
“Vessel in Orbit,” the latest album from the great AUM Fidelity Records, features three greats doing what they do best in a neat, 48-minute package. In terms of background, Matthew Shipp, Mat Maneri, and Whit Dickey are all names that most fans of improvisation are familiar with. Last year, Shipp was featured on a re-release of sorts of old concert duets between him and the late-great David S. Ware. Perhaps this combined with his biting “Cactus” album from the fall with Bobby Kapp puts him on a bit of a winning streak—of course it’s hard to say he’s ever NOT been on a winning streak. For Dickey, this is a little bit of a return to the studio, although he also laid down some work with the freaky cornet player Kirk Knuffke last year, and violist Maneri has been active as ever, playing on Ches Smith’s “The Bell” in 2016.
From beginning to end, the album pulses with life. These musicians hold blues and swing in everything they do, but they sound ridiculously fresh, unique, and in the moment at all times. Dickey is a painter at the drums. He never lays down the rhythm too obviously, yet the allusions to swing can always be heard. “Space Walk” reads as barren and contrasts the slightly more consistent rhythmic drive of the first track. Dickey is all over his toms on the track, but he also taps at the ride cymbal with the swell of each miniature musical phrase.
Also, the project is quite digestible. Most of the songs run around five or six minutes, making them packed with activity and still, Shipp keeps his bashing bass sounds and freckled high notes contained. Of course, these musicians aren’t compromising artistry or pandering to a mainstream audience, but this album might be a bit more applicable to any music fan with a pulse than their more stretched out, no-holds material.
Each track also maintains an individual identity. With its bass pedal foundation and brief stints into bashing improvisation and reserved lyrical playing, opener “Spaceship 9” frames the project nicely without putting all the player’s cards on the table. Longest track “Galaxy 9” features a great change in direction, first playing around with a squirrely little motive, before the spaced-out bridge leads into pulsing, brooding ending. “To a Lost Comrade” might showcase the band at their highest commitment to delicacy, a term I’m using very lightly considering the rather big swell at the center of the tune. Still, Shipp places a little bit of a sweetened emotional tone in the work and the ideas from all three remain a bit more lyrical than the mix on the other parts of the project.
Maneri and Shipp’s chemistry is truly uncanny. Both of Shipp’s hands continuously deliver melodic ideas and Maneri also somewhat subscribes to that ideology. As both hands spill over the bar lines on “Turbulence,” Maneri adds his own pecks and lines to the mix, the middle of the track crafting a mad house of melodic ideas before the ending also features charismatic back-and-forth tossing from the two.
Perhaps the trio isn’t carving out an entirely new aesthetic space—the acoustic, piano trio is fairly commonplace in 2017—however, some band outfits are never to die and certain musicians are gifted enough to remain fresh with each passing year. “Vessel in Orbit” bleeds greatness from three tried and true veterans.
-Donovan Burtan
“Vessel in Orbit,” the latest album from the great AUM Fidelity Records, features three greats doing what they do best in a neat, 48-minute package. In terms of background, Matthew Shipp, Mat Maneri, and Whit Dickey are all names that most fans of improvisation are familiar with. Last year, Shipp was featured on a re-release of sorts of old concert duets between him and the late-great David S. Ware. Perhaps this combined with his biting “Cactus” album from the fall with Bobby Kapp puts him on a bit of a winning streak—of course it’s hard to say he’s ever NOT been on a winning streak. For Dickey, this is a little bit of a return to the studio, although he also laid down some work with the freaky cornet player Kirk Knuffke last year, and violist Maneri has been active as ever, playing on Ches Smith’s “The Bell” in 2016.
From beginning to end, the album pulses with life. These musicians hold blues and swing in everything they do, but they sound ridiculously fresh, unique, and in the moment at all times. Dickey is a painter at the drums. He never lays down the rhythm too obviously, yet the allusions to swing can always be heard. “Space Walk” reads as barren and contrasts the slightly more consistent rhythmic drive of the first track. Dickey is all over his toms on the track, but he also taps at the ride cymbal with the swell of each miniature musical phrase.
Also, the project is quite digestible. Most of the songs run around five or six minutes, making them packed with activity and still, Shipp keeps his bashing bass sounds and freckled high notes contained. Of course, these musicians aren’t compromising artistry or pandering to a mainstream audience, but this album might be a bit more applicable to any music fan with a pulse than their more stretched out, no-holds material.
Each track also maintains an individual identity. With its bass pedal foundation and brief stints into bashing improvisation and reserved lyrical playing, opener “Spaceship 9” frames the project nicely without putting all the player’s cards on the table. Longest track “Galaxy 9” features a great change in direction, first playing around with a squirrely little motive, before the spaced-out bridge leads into pulsing, brooding ending. “To a Lost Comrade” might showcase the band at their highest commitment to delicacy, a term I’m using very lightly considering the rather big swell at the center of the tune. Still, Shipp places a little bit of a sweetened emotional tone in the work and the ideas from all three remain a bit more lyrical than the mix on the other parts of the project.
Maneri and Shipp’s chemistry is truly uncanny. Both of Shipp’s hands continuously deliver melodic ideas and Maneri also somewhat subscribes to that ideology. As both hands spill over the bar lines on “Turbulence,” Maneri adds his own pecks and lines to the mix, the middle of the track crafting a mad house of melodic ideas before the ending also features charismatic back-and-forth tossing from the two.
Perhaps the trio isn’t carving out an entirely new aesthetic space—the acoustic, piano trio is fairly commonplace in 2017—however, some band outfits are never to die and certain musicians are gifted enough to remain fresh with each passing year. “Vessel in Orbit” bleeds greatness from three tried and true veterans.
-Donovan Burtan
popmatters.com
Whit Dickey / Mat Maneri / Matthew Shipp
Vessel in Orbit
BY WILL LAYMAN
11 April 2017
Freely improvised jazz is not a market leader, but I think it’s time you checked it out. Okay, not if you limit you listening to today’s pop tunes or only classic rock, only smooth jazz.
But if you have a taste for music that challenges your ears even a little bit, then you should hear Vessel in Orbit. If you get absorbed by edgier rock, then this trio might give you a thrill. If you are a classical music fan whose taste runs into the 20th century and some daring harmonies, then you will be fascinated by group with piano, viola, and drums that improvises with a sense of structure that is astonishing. If you are jazz fan but not much into “the weird stuff”, then I’d suggest that the weird is actually wonderful and not that weird. At least not this stuff, this incredible improvised stuff being made by drummer Whit Dickey, violist Mat Maneri, and pianist Matthew Shipp.
The background. Dickey is the oldest in the band at 62, and he is associated mainly with the kind of intense freedom within structure that this album refines. He played in the acclaimed quartet of saxophonist David S. Ware along with Shipp. Shipp is the most widely recorded pianist of what we used to call “the downtown scene”, and his work has spanned electronica, free jazz, and all manner of expressive in-between-ness. As a student at the New England Conservatory, he studied with saxophonist Joe Maneri, who is the father of Mat Maneri. Maneri the string player has a classical background as well as a heritage as a free improvisor.
The result of these various close connections and varying backgrounds is a trio record that is, more than anything, cohesive. Each composition is credited to all three musicians, which usually indicates that the performances were wholly improvised: no chart, no predetermined melody, harmony, rhythm or form. If that’s the case, then there’s simply some magic in how these musicians listen to each other in the moment. “Spaceship 9”, which opens the recording, begins with a gong-like set of left-hand octaves from Shipp, choreographed perfectly with the trio, leading to a suddenly lyrical set of chiming steps where viola and piano are in sync. It sounds composed. It is, in fact, rich in intuitive structure.
“Galaxy 9” is so lyrical in its early going that it seems like a folk song, with traces of the kind of piano-jazz-lyricism that Keith Jarrett is known for. While parts of Vessel in Orbit can get frantic and harsh, this track is harmonically inviting. Even as Dickey turns up the heat on the groove, the viola and piano keep it focused amidst the freedom. At times, Maneri sounds like a klezmer string player, circling around and around with excitement but staying in the mode.
Maneri, as the one player here who must always play something like a linear melody, never seems to be working at cross-purposes with Shipp and the tonal centers he finds on the piano. Maneri’s ear is superb, and he is able to follow Shipp wherever his imagination takes him. But just as often, it’s Maneri who leads. Five minutes into “Space Walk” he gets a brief solo statement (where, by the way, he sounds for all the world like two violists at once), and his call-and-response-by-myself ideas set up a new groove from Dickey.
Shipp is one of my favorite pianists because there is always something beautiful and grooving going on, even when the music is not conventionally pretty. “Dark Matter” starts with solo piano that presents a powerful bass groove and engaging right hand melodies. The band joins and builds to a collective climax before the trio simmers down into a series of sharp quarter notes against which Dickey plays a counter-rhythm in three. Eventually, the counterpoint of piano and viola grows so beautifully intricate that it seems like a fine pattern of cloth.
Dickey set the pace at times too, as well a drummer should. “Space Strut” starts with his busy, complex work on the cymbals, and it moves into a zone that allows Shipp to “walk” a left-handed bass line. Manner manages to find traces of Thelonious Monk in his melodies, and the band finds several different ways of swinging.
To my ears, this truly “free” date is the best possible argument for free collective improvisation. If you’re not used to this stuff, I understand the reluctance to try something so different. Like a new cuisine, something beyond your usual diet, it might be strange at first. But this is place to give it a go—with top players who know each other very well and who clearly want to capture your ear.
Rock ’n’ roll and hip-hop both suggest transgression and edge at their best. So does jazz. Give it it’s due. Give it a listen. You think your “cool” music is different and daring but still great? Jazz has it all for you and more. Give Dickey, Maneri, and Shipp a listen. They’re making rebellion beautiful again.
Vessel in Orbit
BY WILL LAYMAN
11 April 2017
Freely improvised jazz is not a market leader, but I think it’s time you checked it out. Okay, not if you limit you listening to today’s pop tunes or only classic rock, only smooth jazz.
But if you have a taste for music that challenges your ears even a little bit, then you should hear Vessel in Orbit. If you get absorbed by edgier rock, then this trio might give you a thrill. If you are a classical music fan whose taste runs into the 20th century and some daring harmonies, then you will be fascinated by group with piano, viola, and drums that improvises with a sense of structure that is astonishing. If you are jazz fan but not much into “the weird stuff”, then I’d suggest that the weird is actually wonderful and not that weird. At least not this stuff, this incredible improvised stuff being made by drummer Whit Dickey, violist Mat Maneri, and pianist Matthew Shipp.
The background. Dickey is the oldest in the band at 62, and he is associated mainly with the kind of intense freedom within structure that this album refines. He played in the acclaimed quartet of saxophonist David S. Ware along with Shipp. Shipp is the most widely recorded pianist of what we used to call “the downtown scene”, and his work has spanned electronica, free jazz, and all manner of expressive in-between-ness. As a student at the New England Conservatory, he studied with saxophonist Joe Maneri, who is the father of Mat Maneri. Maneri the string player has a classical background as well as a heritage as a free improvisor.
The result of these various close connections and varying backgrounds is a trio record that is, more than anything, cohesive. Each composition is credited to all three musicians, which usually indicates that the performances were wholly improvised: no chart, no predetermined melody, harmony, rhythm or form. If that’s the case, then there’s simply some magic in how these musicians listen to each other in the moment. “Spaceship 9”, which opens the recording, begins with a gong-like set of left-hand octaves from Shipp, choreographed perfectly with the trio, leading to a suddenly lyrical set of chiming steps where viola and piano are in sync. It sounds composed. It is, in fact, rich in intuitive structure.
“Galaxy 9” is so lyrical in its early going that it seems like a folk song, with traces of the kind of piano-jazz-lyricism that Keith Jarrett is known for. While parts of Vessel in Orbit can get frantic and harsh, this track is harmonically inviting. Even as Dickey turns up the heat on the groove, the viola and piano keep it focused amidst the freedom. At times, Maneri sounds like a klezmer string player, circling around and around with excitement but staying in the mode.
Maneri, as the one player here who must always play something like a linear melody, never seems to be working at cross-purposes with Shipp and the tonal centers he finds on the piano. Maneri’s ear is superb, and he is able to follow Shipp wherever his imagination takes him. But just as often, it’s Maneri who leads. Five minutes into “Space Walk” he gets a brief solo statement (where, by the way, he sounds for all the world like two violists at once), and his call-and-response-by-myself ideas set up a new groove from Dickey.
Shipp is one of my favorite pianists because there is always something beautiful and grooving going on, even when the music is not conventionally pretty. “Dark Matter” starts with solo piano that presents a powerful bass groove and engaging right hand melodies. The band joins and builds to a collective climax before the trio simmers down into a series of sharp quarter notes against which Dickey plays a counter-rhythm in three. Eventually, the counterpoint of piano and viola grows so beautifully intricate that it seems like a fine pattern of cloth.
Dickey set the pace at times too, as well a drummer should. “Space Strut” starts with his busy, complex work on the cymbals, and it moves into a zone that allows Shipp to “walk” a left-handed bass line. Manner manages to find traces of Thelonious Monk in his melodies, and the band finds several different ways of swinging.
To my ears, this truly “free” date is the best possible argument for free collective improvisation. If you’re not used to this stuff, I understand the reluctance to try something so different. Like a new cuisine, something beyond your usual diet, it might be strange at first. But this is place to give it a go—with top players who know each other very well and who clearly want to capture your ear.
Rock ’n’ roll and hip-hop both suggest transgression and edge at their best. So does jazz. Give it it’s due. Give it a listen. You think your “cool” music is different and daring but still great? Jazz has it all for you and more. Give Dickey, Maneri, and Shipp a listen. They’re making rebellion beautiful again.
Лог создания рипа
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 19. April 2017, 17:00
Whit Dickey, Mat Maneri, Matthew Shipp / Vessel In Orbit
Used drive : HL-DT-STBD-RE BH10LS30 Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 667
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 : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -8 -e -p -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 5:14.60 | 0 | 23609
2 | 5:14.60 | 6:37.03 | 23610 | 53387
3 | 11:51.63 | 5:58.06 | 53388 | 80243
4 | 17:49.69 | 9:13.05 | 80244 | 121723
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6 | 31:54.13 | 5:39.06 | 143563 | 168993
7 | 37:33.19 | 4:29.20 | 168994 | 189188
8 | 42:02.39 | 6:12.32 | 189189 | 217120
Track 1
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Track 2
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Track 3
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Track 4
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Track 5
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Track 6
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Track 7
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Track 8
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End of status report
==== Log checksum 39A5B41466AE347643A98F8800D29A184D6786E70672BBABE4D7698E6950C00B ====
Содержание индексной карты (.CUE)
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