(Avant-Garde, Free Jazz) Mary Halvorson Quintet - Bending Bridges - 2012, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 31. July 2012, 10:51
Mary Halvorson Quintet / Bending Bridges
Used drive  : PIONEER DVD-RW  DVR-111L   Adapter: 0  ID: 0
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Defeat audio cache      : Yes
Make use of C2 pointers : No
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Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
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Quality                         : High
Add ID3 tag                     : No
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Track  1
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Track  2
     Filename D:\EAC Rips\Mary Halvorson Quintet - Bending Bridges (2012) - FLAC\02. Hemorrhaging Smiles (No. 25).wav
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Track  3
     Filename D:\EAC Rips\Mary Halvorson Quintet - Bending Bridges (2012) - FLAC\03. Forgotten Men in Silver (No. 24).wav
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Track  4
     Filename D:\EAC Rips\Mary Halvorson Quintet - Bending Bridges (2012) - FLAC\04. Love in Eight Colors (No. 21).wav
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Track  5
     Filename D:\EAC Rips\Mary Halvorson Quintet - Bending Bridges (2012) - FLAC\05. The Periphery of Scandal (No. 23).wav
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Track  6
     Filename D:\EAC Rips\Mary Halvorson Quintet - Bending Bridges (2012) - FLAC\06. That Old Sound (No. 27).wav
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Track  7
     Filename D:\EAC Rips\Mary Halvorson Quintet - Bending Bridges (2012) - FLAC\07. Sea Cut Like Snow (No. 26).wav
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Track  8
     Filename D:\EAC Rips\Mary Halvorson Quintet - Bending Bridges (2012) - FLAC\08. Deformed Weight of Hands (No. 28).wav
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Track  9
     Filename D:\EAC Rips\Mary Halvorson Quintet - Bending Bridges (2012) - FLAC\09. All the Clocks (No. 29).wav
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None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
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[23773bec] (2/2) Accurately ripped
==== Log checksum BD981645B728E97911B60A5B06A0EA52830B851E4671D3C4880D2360598F9367 ====

REM GENRE Jazz
REM DATE 2012
REM DISCID 79101109
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 0616892024842
PERFORMER "Mary Halvorson Quintet"
TITLE "Bending Bridges"
FILE "01. Sinks When She Rounds the Bend (No. 22).flac" WAVE
  TRACK 01 AUDIO
    TITLE "Sinks When She Rounds the Bend (No. 22)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700145
    INDEX 01 00:00:00
FILE "02. Hemorrhaging Smiles (No. 25).flac" WAVE
  TRACK 02 AUDIO
    TITLE "Hemorrhaging Smiles (No. 25)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700146
    INDEX 01 00:00:00
FILE "03. Forgotten Men in Silver (No. 24).flac" WAVE
  TRACK 03 AUDIO
    TITLE "Forgotten Men in Silver (No. 24)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700147
    INDEX 01 00:00:00
FILE "04. Love in Eight Colors (No. 21).flac" WAVE
  TRACK 04 AUDIO
    TITLE "Love in Eight Colors (No. 21)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700148
    INDEX 01 00:00:00
FILE "05. The Periphery of Scandal (No. 23).flac" WAVE
  TRACK 05 AUDIO
    TITLE "The Periphery of Scandal (No. 23)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700149
    INDEX 01 00:00:00
FILE "06. That Old Sound (No. 27).flac" WAVE
  TRACK 06 AUDIO
    TITLE "That Old Sound (No. 27)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700150
    INDEX 01 00:00:00
FILE "07. Sea Cut Like Snow (No. 26).flac" WAVE
  TRACK 07 AUDIO
    TITLE "Sea Cut Like Snow (No. 26)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700151
    INDEX 01 00:00:00
FILE "08. Deformed Weight of Hands (No. 28).flac" WAVE
  TRACK 08 AUDIO
    TITLE "Deformed Weight of Hands (No. 28)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700152
    INDEX 01 00:00:00
FILE "09. All the Clocks (No. 29).flac" WAVE
  TRACK 09 AUDIO
    TITLE "All the Clocks (No. 29)"
    PERFORMER "Mary Halvorson Quintet"
    ISRC USYL80700153
    INDEX 01 00:00:00

For the sophomore effort from her quintet, guitarist Mary Halvorson reprises the winning formula of Saturn Sings (Firehouse 12, 2010). Again, there is a mix of pieces for the full ensemble and for Halvorson in trio; and, again, the end result defies classification, touching on spidery improv, jazz tradition and avant rock in a cleverly idiosyncratic brew. Only this time out, she is even more successful. Her writing has developed, unveiling appealing tunes enlivened by arrangements which extract the best from the resources at her disposal.
In spite of the presence of illustrious saxophonist Jon Irabagon, Halvorson proves the star soloist, sounding like no one else. Her crisp, single line picking, alternately springy and spiky, remains readily identifiable after just a few notes, notwithstanding her diversity of pitch flexing effects and attacks. Bassist John Hébert and drummer Ches Smith create a synergetic response to the leader's discursive approach. Hébert anchors through a fleet-ingered, muscular tone, while the drummer ably accompanies Halvorson wherever she goes, whether needing rocky energy or nervy clatter. Irabagon and trumpeter Jonathan Finlayson appear on five of the nine selections. Neither is flashy. Finlayson's lean statements and fanfares provide a cooling balm while the reedman's trajectory is never straightforward. He sets challenges for himself which he meets with fluent ease, spinning keening Ornette-ish melodies one moment and abrasive distortion the next.
Halvorson's knotty charts, with their countless unpredictable twists and varied backdrops, breed responsive and involved interplay. The pick of the quintet tracks is the opener, "Sinks When She Rounds The Bend." Typical of the relentless switchbacks, the nagging bittersweet theme first gives way to a short triumphal passage from the guitarist, and then a rippling, unaccompanied spot for Hébert, before building to a firestorm of skronk, the fervor dissipating to nothing in an unexpectedly understated finish. The turbulent "Love In Eight Colors" features Irabagon's most compelling statement: he starts with clipped plosive tones (which sound as if they are played backwards) before extending into an undulating legato which disintegrates into a litany of distorted blurts.
Of the trio outings, "Forgotten Men In Silver" is particularly fine. A deceptively simple air emerges from a scratchy bass/drum interlude before being subjected to characteristic deconstruction, while on "That Old Sound," the languor is spiked by an insistent, questioning jangle which sets the mood for the ensuing interaction. But really, each cut repays close attention. How could Bending Bridges be improved? Perhaps only by featuring the full quintet throughout.
http://www.allaboutjazz.com/php/article.php?id=41983#.UKUXBB0zaQA