(Avant-Garde, Free Improvisation) [CD] Paul Hartsaw's SocioCybernetic Music Machine (w/ Aurora Josephson, Phillip Greenlief, Scott Looney) - Oakland 2007 - 2008, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 28. December 2013, 18:51
Paul Hartsaw's SocioCybernetic Music Machine (SCMM) / Oakland 2007
Used drive  : PIONEER DVD-RW  DVR-115D   Adapter: 0  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 48
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
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 896 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
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TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
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        1  |  0:00.00 | 51:48.62 |         0    |   233161
Track  1
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None of the tracks are present in the AccurateRip database
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End of status report
==== Log checksum 4CA5FC32A8FCDCC027C10A2A40B2FBEDCA4C623A720B5755F207EB9B1A1AA655 ====

REM GENRE "Free Improvisation"
REM DATE 2008
REM DISCID 020C2401
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Paul Hartsaw's SocioCybernetic Music Machine (SCMM)"
TITLE "Oakland 2007"
FILE "01 - 32 Moments For Octet.wav" WAVE
  TRACK 01 AUDIO
    TITLE "32 Moments For Octet"
    PERFORMER "Paul Hartsaw's SocioCybernetic Music Machine (SCMM)"
    INDEX 01 00:00:00

d:\>d:\aucdtect -d/-m0 d:\zzz\*.wav
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: [01. 32 Moments For Octet.wav]
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This track looks like CDDA with probability 100%
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Final Conclusion:
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These tracks looks like CDDA with probability 100%

Dedicated to Gordon Pask (1928-1996)
Liner notes: Guillermo Gregorio
Produced by Paul Hartsaw
Recorded at 1510 Oakland CA August 19, 2007
Recording engineered by Scott Looney
Cover art & design by Paul Hartsaw & Alan Anzalone
The world of "free jazz" and improvisation (or improv) and the world of avant garde classical have been converging for some time now. In opposition to the "Third Stream" concepts put forward in the late '50s by Gunther Schuller and others, the musical rapprochement does not necessarily combine the musical syntax of jazz and classical vocabularies. Rather there has developed a language of sounds and intervalic relations that both groups hold more or less in common.
By utilizing various schemas to encourage both improvisational discourse and sonic innovation, artists from both sides are creating musical works that involve all participants in the decision of what to play and when. Sometimes there is full notation and individual decisions are made on the level of timing and ordering of the music at hand. On the other end is the intuitive group improvisation, where a kind of total choice is available on the part of artists, subject, of course, ultimately to the approval or disapproval of fellow artists and audiences.
Somewhere in between is the music produced by Paul Hartsaw's Octet in a project he calls the Socio-Cybernetic Music Machine (SCMM), recorded in performance in Oakland in 2007 (Metastable Sound 012). As I understand it, Mr. Hartsaw created a performance schema where individual musicians were instructed at various times to remain silent, to play, or to "take initiative," to play in the manner of a soloist. Musicians were given written motives to sound as well as given times where they could freely improvise.
The end result is a performance lasting 51-odd-minutes, controlled in part by Paul Hartsaw's role as "signaller," a kind of combination traffic cop and conductor.
The octet consisted of seven musicians and one vocalist, and the performance that ensues I trust is only one of infinite numbers of possibilities.
And so does the music have and retain interest? Yes. It has that free-abstract improvisational sound one might expect, somewhere between Stockhausen's improvisational pieces and the AACM in their more avant mode.
It is music that takes a number of listens to accustom oneself to, as is usually the case with any sort of complicated and advanced work. There are moments of comparative repose and moments of density and energetic activity. What Hartsaw's schema does is ensure that there is sonic variety and contrast in every performance. Like more conventional jazz, the music depends heavily on the imagination and ability of the artists. Like more conventionally conceived avant modern concert music there is a more or less ordered presentation of musical events that proceed in linear fashion from point A to point B.
The CD is recommended for those who like to explore ensemble abstractions. Paul Hartsaw's structural and personal direction of the sounds ensures that there is interest and variety. Recommended listening.

Ara Anderson: trumpet
Kristian Aspelin: ele. guitar
Jerome Bryerton: percussion
Phillip Greenlief: soprano sax
Aurora Josephson: voice
Jacob Lindsay: clarinet
Scott Looney: piano, electronics
Damon Smith: bass
Paul Hartsaw: signalling, socio-musical engineer