(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 LionАудио кодек: APE Тип рипа: tracks+.cue Битрейт аудио: losslessПродолжительность: 00:36:03 Трэклист: 01. Witches and Devils (12:07) 02. Spirits (6:36) 03. Holy, Holy (11:10) 04. Saints (6:10)Состав: Albert Ayler (tenor saxophone) Norman Howard (trumpet) Henry Grimes (bass) (1,2,4) Earle Henderson (bass) (1,3) Sonny Murrary (drums)  EAC log  logExact Audio Copy V0.99 prebeta 4 from 23. January 2008EAC extraction logfile from 27. April 2009, 20:52Ayler, Albert / Witches & DevilsUsed drive : HL-DT-STDVDRAM GSA-T20N Adapter: 0 ID: 0Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : NoRead 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 trackUsed output format : Internal WAV Routines Sample format : 44.100 Hz; 16 Bit; StereoTOC 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 | 162251Track 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 OKTrack 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 OKTrack 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 OKTrack 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 OKNo tracks could be verified as accurate You may have a different pressing from the one(s) in the databaseNo errors occurredEnd of status report Цитата: 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 JurekThis 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.