(Avant-garde / Free Jazz) Anthony Braxton - Duets - Hamburg 1991 (8 Duets with Peter N. Wilson) {Music & Arts CD-710, USA} - 1992, APE (image+.cue) lossless

Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 1. September 2011, 15:38
Anthony Braxton / Duets: Hamburg 1991
Used drive  : TSSTcorpCDDVDW SE-S204N   Adapter: 2  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       : No
Used interface                              : Native Win32 interface for Win NT & 2000
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
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        1  |  0:00.00 |  8:49.02 |         0    |    39676
        2  |  8:49.02 |  7:08.53 |     39677    |    71829
        3  | 15:57.55 | 10:54.62 |     71830    |   120941
        4  | 26:52.42 | 12:26.73 |    120942    |   176964
        5  | 39:19.40 |  6:00.37 |    176965    |   204001
        6  | 45:20.02 |  7:15.43 |    204002    |   236669
        7  | 52:35.45 |  8:32.17 |    236670    |   275086
        8  | 61:07.62 |  8:40.35 |    275087    |   314121
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     Filename C:\avaxhome\Anthony Braxton - Duets- Hamburg 1991.wav
     Peak level 100.0 %
     Extraction speed 8.1 X
     Range quality 100.0 %
     Copy CRC BFAA4426
     Copy OK
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Track  2  accurately ripped (confidence 2)  [30462273]  (AR v2)
Track  3  accurately ripped (confidence 2)  [8E62FD55]  (AR v2)
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Track  6  accurately ripped (confidence 2)  [E3B37054]  (AR v2)
Track  7  accurately ripped (confidence 2)  [0DB5A1A3]  (AR v2)
Track  8  accurately ripped (confidence 2)  [86356FD3]  (AR v2)
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==== Log checksum 457B734B563266D7EEC1059BB03FFEDB9D09EC5F8FEC1EA3B113D75B8E159698 ====

REM GENRE Jazz
REM DISCID 6F105C08
REM COMMENT "ExactAudioCopy v1.0b2"
PERFORMER "Anthony Braxton"
TITLE "Duets: Hamburg 1991"
FILE "Anthony Braxton - Duets - Hamburg 1991.ape" WAVE
  TRACK 01 AUDIO
    TITLE "Composition 156"
    PERFORMER "Anthony Braxton"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Composition 157 (take 1)"
    PERFORMER "Anthony Braxton"
    INDEX 00 08:41:16
    INDEX 01 08:49:02
  TRACK 03 AUDIO
    TITLE "Composition 152"
    PERFORMER "Anthony Braxton"
    INDEX 00 15:54:61
    INDEX 01 15:57:55
  TRACK 04 AUDIO
    TITLE "Composition 153"
    PERFORMER "Anthony Braxton"
    INDEX 00 26:49:48
    INDEX 01 26:52:42
  TRACK 05 AUDIO
    TITLE "Composition 155"
    PERFORMER "Anthony Braxton"
    INDEX 00 39:16:15
    INDEX 01 39:19:40
  TRACK 06 AUDIO
    TITLE "Composition 154"
    PERFORMER "Anthony Braxton"
    INDEX 00 45:14:30
    INDEX 01 45:20:02
  TRACK 07 AUDIO
    TITLE "Composition 40A"
    PERFORMER "Anthony Braxton"
    INDEX 00 52:32:43
    INDEX 01 52:35:45
  TRACK 08 AUDIO
    TITLE "Composition 157 (take 2)"
    PERFORMER "Anthony Braxton"
    INDEX 00 61:04:20
    INDEX 01 61:07:62

Recorded in a Hamburg studio, these eight compositions are marked by the "new" distinction in that they were written for duet with a double bass, with the exception of one, "40a," which is hardly new but has never before been recorded; it was not scored specifically for duet. The eight works here are from Braxton's 150 series, and are numbered "152" through "157" with "157" being recorded twice. Aside form the bass role, Braxton himself plays everything from alto to contrabasse clarinet and flute. These compositions are critical in understanding the structure of Braxton's middle to late work. These pieces are all based on the idea that melodic infrastructure comes from both sides of a rhythmic equation, and that the extension of harmony and timbre are given utterance as a result of their entwined, not separate voices. Consequently for a large part of these proceedings, Mr. Wilson uses a bow and does splendid arco work, offering the significant color differentiations Braxton requires for his own lyric statements. When Wilson plays staccato and pizzicato he reflects the ever-shifting rhythmic orientation of Braxton's tonal world (both takes of "157"). For the most part, though, what sets these works apart from much of Braxton's sizeable canon is their knotty melodic structures, which involve various breathing techniques to it all pull off. The long note, cross tone approach displayed on "155" for bass clarinet, as it moves the melodic knot down the register, and as the breathing of the performer scales itself down, is one example, and the circular breathing in "157" is another. There are many other knotty vocabularies in the 150 series, where chromatic minimalism is interspersed with microtonal improvisation and even serial technique. This is a fascinating disc due in large part of Mr. Wilson's truly virtuoso playing of very difficult material, and for the rugged emotionalism Braxton puts into his own performance here.