(Avant-garde / Free-Jazz/ Improvisation) Eugene Chadbourne and 2000 Statues ( John Zorn, Fred Frith, Tom Cora, Wayne Horvitz, Toshinori Kondo and more....) - The English Channel - 1979, FLAC (tracks) lossless
Треклист:
Eugene Chadbourne and 2000 Statues ( John Zorn, Fred Frith, Tom Cora, Wayne Horvitz, Toshinori Kondo and more....) - The English Channel
Жанр: Avant-garde / Free-Jazz/ Improvisation
Страна-производитель диска: USA
Год издания диска: 1979
Издатель (лейбл): Parachute
Номер по каталогу: #P007
Аудио кодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 40:40
Источник (релизер): хижина экстрасенса
Наличие сканов в содержимом раздачи: нет
Треклист:
Side One (20'48)
Side Two (19'51)
Recorded live to two-track at Dick Charles Recording, New York, in June 1979.
The tapes were edited by Eugene Chadbourne.
Note: The 1981 cassette and 2001 CD reissues are significantly different from this version. The master tapes for the original vinyl version seems to be lost.
Жанр: Avant-garde / Free-Jazz/ Improvisation
Страна-производитель диска: USA
Год издания диска: 1979
Издатель (лейбл): Parachute
Номер по каталогу: #P007
Аудио кодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 40:40
Источник (релизер): хижина экстрасенса
Наличие сканов в содержимом раздачи: нет
Треклист:
Side One (20'48)
Side Two (19'51)
Recorded live to two-track at Dick Charles Recording, New York, in June 1979.
The tapes were edited by Eugene Chadbourne.
Note: The 1981 cassette and 2001 CD reissues are significantly different from this version. The master tapes for the original vinyl version seems to be lost.
Лог создания рипа
нет
Содержание индексной карты (.CUE)
нет
Лог проверки качества
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
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-=== DO NOT EDIT THIS FILE! ===-
Path: ...\Eugene Chadbourne - 2000 Statues - The English Channel (1978) - flac
1 -=- 01 - The English Channel - Side One.flac -=- CDDA (100%)
2 -=- 02 - The English Channel - Side Two.flac -=- CDDA (100%)
Summary 100,00% CDDA
41436308
Об альбоме (сборнике)
"[...] The players are numbered. The score consists of boxes with appropriate numbers in them. The boxes themselves are numbered and one proceeds in a relatively orderly fashion from box to box until the end of the piece, which is in 3 sections. Contained in this structure are solos of almost everyone, some seen as final events in a box, others as whole boxes. It's difficult to make out if there is supposed to be a quantitative or qualitative difference between these two types of solo, but it's scarcely important.
The only other written instructions are directions as to which instrument to play (for those with more than one) and hints as to ambience - 'Texas Chain Massacre', 'I Walk The Line', 'An imitation of Anthony Braxton', 'Swing', 'R & B Trades', 'Noodling', etc. There are 3 more or less set pieces - a fragment of West Coast jazz, a loony calypso entitled 'I am the Dentist' which Eugene sings inaudibly into a contact microphone, and the inevitable Disco section. Oh yes, and an Incus Records takeoff.
In the last 'movement', the idea is that a melody line moves around from instrument to instrument, but a melody line generated spontaneously by the musicians themselves. When the piece was performed by an orchestra of students at Woodstock, this was apparently very successful; here it remains unclear and Eugene decides to cut it from both the record and the concert.
There are some inevitable contradictions at work, especially the old favorite of the composer saying that fundamentally he'd like us to do what we want in the improvised sections, only later to reveal that he has quite specific ideas about what it should sound like. Why not write them down? Attempts to discuss this and related issues during and after rehearsals were generally unsuccessful. A popular response was to questions about structure and improvisation seems to be 'This is the way I work'. Frustrating.
The most helpful description of the piece for me was when Eugene said that what he was really after was for it to sound like him if he happened to be an orchestra. As such, it sounds pretty good in the end. [...]
The recording
A very strange experience, engineered with great skill in a small professional studio by the genial Les Paul Jnr. A whole album in a day, with a 17 piece band; problems like the brass sitting next to the strings in the same room, acoustic and electric guitars playing at the same time, three percussionists... the mixing was never likely to be anything less than erratic, but Les did a remarkable job.
Eugene entered into his mad genius persona ('That's really awful - fantastic!'), pressing on in the face of our murmuring voices wanting to do things again. In the end there were no 2nd takes of anything at all. It probably wouldn't have made much difference under the circumstances. Lesli Dalaba played two fined trumpet solos, quiet, slow, subtle, sure; in fact all the solos went much better than the ensemble improvisations, which was entirely predictable as a lot of us couldn't hear what half of us were doing!
On leaving the studio I inadvertently broke a door. It cost us $100. I could have mended it myself for 2... [...]"
(Fred Frith, from MUSICS, No. 23, November 1979
- taken from WNUR-FM JazzWeb)
The only other written instructions are directions as to which instrument to play (for those with more than one) and hints as to ambience - 'Texas Chain Massacre', 'I Walk The Line', 'An imitation of Anthony Braxton', 'Swing', 'R & B Trades', 'Noodling', etc. There are 3 more or less set pieces - a fragment of West Coast jazz, a loony calypso entitled 'I am the Dentist' which Eugene sings inaudibly into a contact microphone, and the inevitable Disco section. Oh yes, and an Incus Records takeoff.
In the last 'movement', the idea is that a melody line moves around from instrument to instrument, but a melody line generated spontaneously by the musicians themselves. When the piece was performed by an orchestra of students at Woodstock, this was apparently very successful; here it remains unclear and Eugene decides to cut it from both the record and the concert.
There are some inevitable contradictions at work, especially the old favorite of the composer saying that fundamentally he'd like us to do what we want in the improvised sections, only later to reveal that he has quite specific ideas about what it should sound like. Why not write them down? Attempts to discuss this and related issues during and after rehearsals were generally unsuccessful. A popular response was to questions about structure and improvisation seems to be 'This is the way I work'. Frustrating.
The most helpful description of the piece for me was when Eugene said that what he was really after was for it to sound like him if he happened to be an orchestra. As such, it sounds pretty good in the end. [...]
The recording
A very strange experience, engineered with great skill in a small professional studio by the genial Les Paul Jnr. A whole album in a day, with a 17 piece band; problems like the brass sitting next to the strings in the same room, acoustic and electric guitars playing at the same time, three percussionists... the mixing was never likely to be anything less than erratic, but Les did a remarkable job.
Eugene entered into his mad genius persona ('That's really awful - fantastic!'), pressing on in the face of our murmuring voices wanting to do things again. In the end there were no 2nd takes of anything at all. It probably wouldn't have made much difference under the circumstances. Lesli Dalaba played two fined trumpet solos, quiet, slow, subtle, sure; in fact all the solos went much better than the ensemble improvisations, which was entirely predictable as a lot of us couldn't hear what half of us were doing!
On leaving the studio I inadvertently broke a door. It cost us $100. I could have mended it myself for 2... [...]"
(Fred Frith, from MUSICS, No. 23, November 1979
- taken from WNUR-FM JazzWeb)
Состав
2000 STATUES
Eugene Chadbourne: dobro, electric & acoustic guitars, vocals
Toshinori Kondo: trumpet, alto horn
Lesli Dalaba: trumpet
John Zorn: alto & soprano saxophones, Bb clarinet
Charles Verstraeten: trombone, bass trombone, euphonium
Mark Kramer: trombone, cheap organ
Polly Bradfield: violin
Jim Katzin: violin
LaDonna Smith: violin, viola, Hammond organ
Fred Frith: electric guitar
Davey Williams: banjo, mandolin, electric guitar
Steve Beresford: toy guitar, toy drums, toy piano, piano, toys, other stuff, alto horn
Evan Gallagher: piano (side 1), tympani, marimba, vibes, percussion
Bob Ostertag: synthesizer, electronics
Tom Cora: cello
Wayne Horvitz: bass, harmonica, piano (side 2)
Andrea Centazzo: gongs, drums, percussion
Eugene Chadbourne: dobro, electric & acoustic guitars, vocals
Toshinori Kondo: trumpet, alto horn
Lesli Dalaba: trumpet
John Zorn: alto & soprano saxophones, Bb clarinet
Charles Verstraeten: trombone, bass trombone, euphonium
Mark Kramer: trombone, cheap organ
Polly Bradfield: violin
Jim Katzin: violin
LaDonna Smith: violin, viola, Hammond organ
Fred Frith: electric guitar
Davey Williams: banjo, mandolin, electric guitar
Steve Beresford: toy guitar, toy drums, toy piano, piano, toys, other stuff, alto horn
Evan Gallagher: piano (side 1), tympani, marimba, vibes, percussion
Bob Ostertag: synthesizer, electronics
Tom Cora: cello
Wayne Horvitz: bass, harmonica, piano (side 2)
Andrea Centazzo: gongs, drums, percussion