(jazz, post-bop, modal) Bill Evans Trio - Portrait In Jazz [2008 - Keepnews Collection] - 1959, FLAC (tracks+.cue), lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 1. November 2009, 11:23
Bill Evans Trio / Portrait In Jazz [Keepnews Collection]
Used drive  : TSSTcorpCD/DVDW TS-H552L   Adapter: 3  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                              : 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\FLAC\flac.exe
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -6" %s
TOC of the extracted CD
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        1  |  0:00.00 |  3:24.36 |         0    |    15335
        2  |  3:24.36 |  6:00.41 |     15336    |    42376
        3  |  9:25.02 |  4:37.54 |     42377    |    63205
        4  | 14:02.56 |  4:57.29 |     63206    |    85509
        5  | 19:00.10 |  3:15.73 |     85510    |   100207
        6  | 22:16.08 |  4:36.52 |    100208    |   120959
        7  | 26:52.60 |  5:09.27 |    120960    |   144161
        8  | 32:02.12 |  4:56.74 |    144162    |   166435
        9  | 36:59.11 |  5:25.59 |    166436    |   190869
       10  | 42:24.70 |  3:23.08 |    190870    |   206102
       11  | 45:48.03 |  5:25.72 |    206103    |   230549
       12  | 51:14.00 |  4:39.28 |    230550    |   251502
       13  | 55:53.28 |  4:26.04 |    251503    |   271456
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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Track  9
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Track 10
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Track 11
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Track 12
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Track 13
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All tracks accurately ripped
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End of status report

REM GENRE Jazz
REM DATE 1959
REM DISCID A50E230D
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Bill Evans Trio"
TITLE "Portrait In Jazz [Keepnews Collection]"
FILE "01 - Come Rain Or Come Shine (Take 5).wav" WAVE
  TRACK 01 AUDIO
    TITLE "Come Rain Or Come Shine (Take 5)"
    PERFORMER "Bill Evans Trio"
    INDEX 01 00:00:00
FILE "02 - Autumn Leaves.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Autumn Leaves"
    PERFORMER "Bill Evans Trio"
    INDEX 01 00:00:00
FILE "03 - Witchcraft.wav" WAVE
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    INDEX 01 00:00:00
FILE "04 - When I Fall In Love.wav" WAVE
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FILE "05 - Peri's Scope.wav" WAVE
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FILE "06 - What Is This Thing Called Love .wav" WAVE
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FILE "07 - Spring Is Here.wav" WAVE
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FILE "08 - Someday My Prince Will Come.wav" WAVE
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FILE "09 - Blue In Green (Take 3).wav" WAVE
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FILE "11 - Autumn Leaves (Take 9, monaural).wav" WAVE
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FILE "12 - Blue In Green (Take 1).wav" WAVE
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FILE "13 - Blue In Green (Take 2).wav" WAVE
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    INDEX 01 00:00:00

One of the two most important associations in the early development of the incredible talent of Bill Evans was undoubtedly his nine-month 1958 stay with the Miles Davis Sextet that also included John Coltrane and Cannonball Adderley. The other was the year-and-a-half span in which Scott LaFaro was the bassist in Bill's newly-formed trio and they developed their remarkable creative rapport, working towards what Evans termed "simultaneous improvisation." Portrait in Jazz was the first of four albums by the Evans/LaFaro/Motian team; in it can clearly be heard the exciting sound of new ideas being born. ”
“Orrin Keepnews' commentary (from his new liner notes): “This turned out to be the easiest Bill Evans record session I was ever involved in. The trio's initial working repertoire consisted entirely of material that he wanted to record but had not yet attempted; I probably would have preferred having more than two originals, having not yet fully realized that his ability to reconstruct and revitalize old and often over-familiar standards was one of his more important contributions to the jazz vocabulary.”