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

Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 12. June 2011, 19:55
Anthony Braxton / Duets: Hamburg 1991
Used drive  : Optiarc DVD RW AD-7710H   Adapter: 1  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                              : Native Win32 interface for Win NT & 2000
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 |  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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Track  2
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Track  3
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Track  4
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Track  5
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Track  6
     Filename C:\MY RIPS\06 - Composition 154.wav
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Track  7
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Track  8
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All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 3154D537E3DEDD498C6E7BEB74A4D06E3E6DC919174E80733080DAF743F1E4EA ====

REM GENRE Jazz
REM DISCID 6F105C08
REM COMMENT "ExactAudioCopy v1.0b1"
PERFORMER "Anthony Braxton"
TITLE "Duets: Hamburg 1991"
FILE "01 - Composition 156.wav" 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 08:41:27
FILE "02 - Composition 157 (take 1).wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "Composition 152"
    PERFORMER "Anthony Braxton"
    INDEX 00 07:05:43
FILE "03 - Composition 152.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Composition 153"
    PERFORMER "Anthony Braxton"
    INDEX 00 10:51:45
FILE "04 - Composition 153.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "Composition 155"
    PERFORMER "Anthony Braxton"
    INDEX 00 12:23:48
FILE "05 - Composition 155.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Composition 154"
    PERFORMER "Anthony Braxton"
    INDEX 00 05:54:67
FILE "06 - Composition 154.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Composition 40A"
    PERFORMER "Anthony Braxton"
    INDEX 00 07:12:25
FILE "07 - Composition 40A.wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "Composition 157 (take 2)"
    PERFORMER "Anthony Braxton"
    INDEX 00 08:28:50
FILE "08 - Composition 157 (take 2).wav" WAVE
    INDEX 01 00:00:00

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.