(Cool, Hard Bop, Post-Bop) Chris Cheek - Vine - 2000, FLAC (image+.cue), lossless

EAC extraction logfile from 24. September 2005, 14:02 for CD
Chris Cheek / Vine
Used drive  : HL-DT-STDVD-ROM GDR8161B   Adapter: 1  ID: 0
Read mode   : Secure with NO C2, accurate stream, disable cache
Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Used output format : C:\Audio\EAC\Monkey\wapet.exe   (User Defined Encoder)
                     128 kBit/s
                     Additional command line options : %d -t "Artist=%a" -t "Title=%t" -t "Album=%g" -t "Year=%y" -t "Track=%n" -t "Genre=%m" mac.exe %s %d -c4000 -v
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 C:\Music\Chris.Cheek_Vine_(eac.ape.cue)\CDImage.wav
     Peak level 99.9 %
     Range quality 100.0 %
     CRC B5CB575B
     Copy OK
No errors occured
End of status report

PERFORMER "Chris Cheek"
TITLE "Vine"
FILE "Chris Cheek - Vine.wav" WAVE
  TRACK 01 AUDIO
    TITLE "So It Seems"
    PERFORMER "Chris Cheek"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "The Wing Key"
    PERFORMER "Chris Cheek"
    INDEX 00 09:08:60
    INDEX 01 09:11:37
  TRACK 03 AUDIO
    TITLE "Vine"
    PERFORMER "Chris Cheek"
    INDEX 00 22:15:22
    INDEX 01 22:18:17
  TRACK 04 AUDIO
    TITLE "Ice Fall"
    PERFORMER "Chris Cheek"
    INDEX 00 28:55:27
    INDEX 01 28:57:57
  TRACK 05 AUDIO
    TITLE "Granada"
    PERFORMER "Chris Cheek"
    INDEX 00 36:53:32
    INDEX 01 36:54:67
  TRACK 06 AUDIO
    TITLE "Reno"
    PERFORMER "Chris Cheek"
    INDEX 00 47:29:50
    INDEX 01 47:30:55
  TRACK 07 AUDIO
    TITLE "What's Left"
    PERFORMER "Chris Cheek"
    INDEX 00 55:03:70
    INDEX 01 55:04:22
  TRACK 08 AUDIO
    TITLE "Not a Samba"
    PERFORMER "Chris Cheek"
    INDEX 00 63:56:20
    INDEX 01 64:00:57

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: [Chris Cheek - Vine.wav]
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Detected average hi-cut frequency: 2.112776e+004 Hz
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Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 4.629993e-001
First order smothness: 3.593042e-001
Second order smothness: 6.364576e-001
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This track looks like CDDA with probability 100%

[CUETools log; Date: 07.08.2012 13:30:57; Version: 2.1.4]
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Chris Cheek's sophistication as a writer takes a giant leap with Vine, his best album to date. Joining the saxophonist are two of the most talked-about instrumentalists in jazz, pianist Brad Mehldau and guitarist Kurt Rosenwinkel, as well as bassist Matt Penman and drummer Jorge Rossy. Mehldau plays acoustic piano on only three tracks; otherwise, his instrument of choice is the Fender Rhodes, which blends with Rosenwinkel's guitar in subtle, miraculous ways.
"So It Seems" begins the album with winding melodies over a double-time feel and space-age chords that suggest club genres such as jungle and drum-n-bass. Rosenwinkel's solo is dirty and distorted; his expressive vocabulary takes some startling and highly original turns, such as falling off a note with an awkward wobble to end a phrase. In contrast, his solo on the quick 6/8 tune "Ice Fall" glistens with a clean tone and flawlessly executed lines. Mehldau is in top form throughout, getting around the Rhodes with consummate flair and playing beautiful piano behind Cheek's soprano sax on the final duo piece, "Not a Samba."
There's an epic side to Cheek's writing that we haven't quite heard prior to this album. In addition to "So It Seems," there's "The Wing Key," a Latin-tinged exploration that begins with a series of stunning tenor/guitar unison lines; "Granada," a more introspective piece with a Spanish-style hook at the end of the form; and "What's Left," a bright 12/8 piece that Mehldau, Cheek, and Rosenwinkel whip up in turn with brilliant solos. In contrast, "Vine" and "Reno" are simpler constructions, more similar to the folk and country elements heard on Cheek's previous album, A Girl Named Joe. Perhaps this is what it would have sounded like had Keith Jarrett ever happened to sit in with The Band.
It's not exactly surprising when a "dream team" of players such as this shines with instrumental brilliance. But it takes an artistic sensibility as focused and fully realized as Cheek's to work with the raw materials at hand and come up with something smashing.