(Modern Creative, Avant-Garde Jazz) [CD] Jewels & Binoculars - Floater (Michael Moore, Lindsey Horner, Michael Vatcher) - 2004, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 9. February 2014, 9:18
Jewels & Binoculars / Floater
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==== Log checksum 91C641D77648A9968035088CC231EE2BE4929077BE10134DA73A5F59B55395D1 ====

REM GENRE Jazz
REM DATE 2004
REM DISCID 950E0E0B
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Jewels & Binoculars"
TITLE "Floater"
FILE "01 - Masters of War.wav" WAVE
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    TITLE "Masters of War"
    PERFORMER "Jewels & Binoculars"
    INDEX 01 00:00:00
FILE "02 - Man in the Long Black Coat.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Man in the Long Black Coat"
    PERFORMER "Jewels & Binoculars"
    INDEX 01 00:00:00
FILE "03 - Farewell Angelina,What Can I Do For You.wav" WAVE
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    TITLE "Farewell Angelina/What Can I Do For You?"
    PERFORMER "Jewels & Binoculars"
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "I Want You"
    PERFORMER "Jewels & Binoculars"
    INDEX 00 06:58:13
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FILE "05 - The Lonesome Death of Hattie Carroll.wav" WAVE
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Michael Moore was born (1954) and raised in Arcata, California, USA. After absorbing music at home, playing locally and attending The College of the Redwoods and Humboldt State University, he moved to Boston to study with Jaki Byard, Gunther Schuller, Ran Blake, Joe Allard, George Russell and Joe Maneri at the New England Conservatory of Music, graduating in 1977. After a year in New York City he travelled to Europe for the first time in the summer of 1978 to play with Available Jelly, the musical accompaniment to the Great Salt Lake Mime Troupe. Since 1982 he has made his home in Amsterdam, the Netherlands.
The early '80's found him working in the theater (Baal, Dogtroep, De Voorziening, Teo Joling, Mug met de Gouden Tand) and dance (Pauline De Groot, Katie Duck, Allessandro Certini, Shusaku Takeuchi and Virgilio Sieni) as well as various musical contexts such as Gijs Hendricks' Octet, Franky Douglas' Sunchild, Guus Janssen's Septet and Maarten Altena's Quartet and Octet. Later he played and recorded with the groups of Mark Helias, Gerry Hemingway, Sean Bergin, Maurice Horsthuis, Georg Graewe, Klaus Konig, Burton Greene (Klezmokum), Simon Nabatov, Dave Douglas, Myra Melford, Mark Dresser, Ig Henneman and others.
In 1986 he received the Dutch jazz award, the Boy Edgar Prijs. In '97 Trio Clusone was voted #1 acoustic group (Talent Deserving Wider Recognition) in Down Beat's Critics Poll; in 2000 - 2002 Moore was voted #1 clarinetist in the same poll. He was also voted winner of the Bird Award from the Northsea Jazz Fest in 2000.
Since '91 his activities as composer and performer have been documented both on his own recording label, Ramboy, and others including hatART, Palmetto, Gramavision, Between the Lines and Red Toucan. His playing and writing are to be heard on more than 80 CDs.
His activities as a concert designer came to the fore in '93 with a commission for YoYo Ma's Carte Blanche at the Concertgebouw, Amsterdam; a three day festival (Moore & more) in Bremen, Germany; Clusone & friends concerts in Italy and Holland, and a three-day Available Jelly Festival at the Felix Meritus concert hall in Amsterdam. In '94 he organized three evenings at De Singel in Antwerpen with Lee Konitz, Misha Mengelberg, Joey Baron, Marilyn Crispell, Gerry Hemingway, Kenny Wheeler, Mark Feldman and others.
His more recent activities include performances with his ‘Fragile’ Quartet, Michael Moore Quintet, Jewels & Binoculars - play the music of Bob Dylan, Misha Mengelberg's Instant Composers Pool Orchestra, the Magpie dance and music performance group, the Achim Kaufmann Trio, Benoit Delbecq, Oskar Aichinger (music of Carla Bley and Annette Peacock) and the Paul Berner band.
Michael Moore has a deep understanding of both the American jazz and the Dutch improvised music traditions, but his writing and playing are also influenced by music from other cultures. He has played Turkish music with Ogüz Büyükberber and Hüsnü Senlendirici, Malinese with Toumani Diabate, Keletigui Diabate and Habib Koite, Portuguese with Fernando Lameirinhas and Cristina Branco, and Brazilian with Rogerio Bicudo, Banda Mantiqueira and Paulo Moura. The musics of Sicily, Madagascar, Istria and Indonesia have also been particularly influential. He has collaborated with and been influenced by poets and poetry, dancers and other visual artists. Michael continues to write, improvise, play and prepare new releases for Ramboy and other labels.
http://www.ramboyrecordings.com/mm.htm

While Bob Dylan's lyrics are the focus of most attention given to his music, his melodic concepts, drawing largely from traditional/folk sources, are underrated. While there are quite a few Dylan tributes, [the Jewels and Binoculars trio is] one of the finest decoders formed for the purpose of exploring Dylan's work [...]
For those who were able to check out this collective's first set of Dylan interpretations (also on Moore's Ramboy label), Floater picks up where its predecessor left off. Namely, Dylan's simple melodies serve as a framework for their improvisations, interpreted with great creativity, imagination, and taste.
While the record concentrates on mostly subdued, reflective moods, it is hardly a snoozer; rather, the participants are chiefly preoccupied with melodic interplay. For instance, while the politicized nature of "Masters of War" is certainly relevant, its potency is more subtly designed, with Moore's forlorn alto brewing alongside Horner and Vatcher. A similar approach emerges on "Tears Of Rage", with Moore's alto being the main vehicle for espousing an almost detached frustration.
Somber moods play a significant role as well. One of the most poignant moments appears on "Main In The Long Black Coat", a jewel from Oh Mercy that utilizes Moore's haunting bass clarinet work amidst Horner's sonorous pizzicato and Vatcher's luminous dulcimer and tasteful percussion. The reflective "The Lonesome Death Of Hattie Carroll" also drips out emotive lines courtesy of Moore's sensitive clarinet. Yet, this melodic interplay also drives the stunning "Farewell Angelina/What Can I Do For You?" and "Lay Down", both highlights due to the beauty and intimacy of Moore's clarinet work, which caresses and honors Dylan's gorgeous themes.
Lest one think that gloomy, dour moods carry the day, Horner's slippery, buzzy lines offer plenty of inspiration. Perhaps the best example of this feeling is "I Want You" with Moore's clarinet flowing freely amidst the churning rhythms. Likewise, the group gets funky on "Things Have Changed" (from the recent soundtrack to The Wonder Boys), with Horner's beefy bass lines and Vatcher's rockish groove prompting some head-shaking. The group also gets somewhat "jazzy" on "All I Really Want To Do", with Horner's dynamic arco meeting Moore's aching alto, or perhaps the most "straightahead" piece, "Floater (Too Much To Ask)", from Love And Theft, featuring more sweet clarinet work from Moore, or finally, Blood On The Tracks' "Buckets Of Rain", with Vatcher's joyous brushwork accenting the group's flair.
The result here is certain to be one of the strongest releases of 2004 and certainly, a no-brainer for those that sought out the previous volume. This intuitive meeting will likely please Dylan fans looking for a fresh vision and might even offer a glimpse of the man's genius previously lost on those who don't "get" Dylan.
--Jay Collins, One Final Note, October 2004
http://www.ramboyrecordings.com/ramboy20/ramboy20.htm

Michael Moore - alto saxophone, clarinet, bass clarinet, melodica, bells
Lindsey Horner - bass
Michael Vatcher - percussion