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(Avant-Garde, Free Jazz) Albert Ayler - Witches & Devils (Remastered) - 2002, APE (tracks+.cue), lossless

Albert Ayler - Witches & Devils (Remastered)
Жанр: Avant-Garde, Free Jazz
Год записи: 1964
Год выпуска диска: 2002
Производитель диска: Германия
Лейбл: Black Lion
Аудио кодек: APE
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 00:36:03
01. Witches and Devils (12:07)
02. Spirits (6:36)
03. Holy, Holy (11:10)
04. Saints (6:10)
Albert Ayler (tenor saxophone)
Norman Howard (trumpet)
Henry Grimes (bass) (1,2,4)
Earle Henderson (bass) (1,3)
Sonny Murrary (drums)
EAC log
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 27. April 2009, 20:52
Ayler, Albert / Witches & Devils
Used drive : HL-DT-STDVDRAM GSA-T20N Adapter: 0 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 : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
1 | 0:00.00 | 12:06.70 | 0 | 54519
2 | 12:06.70 | 6:36.37 | 54520 | 84256
3 | 18:43.32 | 11:10.03 | 84257 | 134509
4 | 29:53.35 | 6:09.67 | 134510 | 162251
Track 1
Filename Z:\utorrent\Uploads\Albert Ayler - Witches & Devils\01 Witches and Devils.wav
Pre-gap length 0:00:02.00
Peak level 98.4 %
Track quality 100.0 %
Test CRC 5E2F6D64
Copy CRC 5E2F6D64
Cannot be verified as accurate (confidence 3) [AFF8DF3D], AccurateRip returned [1C872BF2]
Copy OK
Track 2
Filename Z:\utorrent\Uploads\Albert Ayler - Witches & Devils\02 Spirits.wav
Pre-gap length 0:12:03.05
Peak level 94.9 %
Track quality 99.9 %
Test CRC 6E6DC422
Copy CRC 6E6DC422
Cannot be verified as accurate (confidence 3) [6E56620D], AccurateRip returned [DFCF6AFC]
Copy OK
Track 3
Filename Z:\utorrent\Uploads\Albert Ayler - Witches & Devils\03 Holy, Holy.wav
Pre-gap length 0:06:32.47
Peak level 94.2 %
Track quality 100.0 %
Test CRC 416BE36B
Copy CRC 416BE36B
Cannot be verified as accurate (confidence 3) [AE2AD39D], AccurateRip returned [535CBA74]
Copy OK
Track 4
Filename Z:\utorrent\Uploads\Albert Ayler - Witches & Devils\04 Saints.wav
Pre-gap length 0:11:06.13
Peak level 82.6 %
Track quality 100.0 %
Test CRC 05B439C0
Copy CRC 05B439C0
Cannot be verified as accurate (confidence 3) [97E33B89], AccurateRip returned [D8C7EE13]
Copy OK
No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
No errors occurred
End of status report
Cannot be verified as accurate (confidence 3)
Затрудняюсь сказать почему бы это. Диск оригинальный купленный в магазине. Может у них в базе данных присутсвует рип с оригинала а не с ремастера? С последнего рипа настройки на ЕАС не менял.
Review by Tom Jurek
This Arista Freedom release is actually a reissue of two sessions from 1964. Witches & Devils is a compelling listen because of its situational framework rather than its artistic achievement. Ayler had already had the experience of playing with Cecil Taylor in Europe two years before this. The rhythm section there, Sunny Murray and Henry Grimes, also appear here. Though Grimes plays on only one of the two sessions -- the other bassist was Earle Henderson -- Murray is present throughout, and what a difference it makes in the sound of Ayler's confidence, tone, and overall musical presentation. Previous outings featured Ayler with well-meaning but incapable European musicians trying to play his music. Here, though the trumpet chair -- Norman Howard, a friend from Ayler's hometown of Cleveland -- is a weak link in the chain, this situation allows Ayler's music to shine through, more or less. Needless to say, the quartet with Grimes and Murray, which yields two tunes here -- the title track, which also features Henderson, and "Holy, Holy" -- offers the first real glimpse of Ayler in command. His statuesque take on the tonal and timbral fronts comes from both Ornette Coleman and the honking R&B bar-walkers. And in looking inside the various registers on the title cut, he explores the emotions inherent in timbral modulation without refracting the notes themselves too much. He moves from a whisper of great tenderness to a bloodcurdling scream, and it all sounds natural. On "Holy, Holy," the arco bass work by Grimes complements the intensity with which Ayler is playing. He goes for the upper register buoyed up by Murray's triple time, timberline beats and cross-handed polyrhythms, screeching to the point of sounding like a crying child, quoting hymns and blues tunes throughout. Howard's trumpet playing is no great shakes, but he moves through note displacement very well, opening up the harmonic registers for Ayler and Grimes to break through unencumbered. This is a revealing if not completely satisfying recording.
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