(Avant-garde / Free Jazz) Splatter Trio & Debris - Jump or Die (Splatter Trio & Debris play Anthony Braxton) - 1994, APE (image+.cue) lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 2. May 2011, 17:07
Anthony Braxton / Jump Or Die
Used drive : ATAPI DVD A DH16A1L Adapter: 1 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 : Yes
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 | 11:14.00 | 0 | 50549
2 | 11:14.00 | 6:16.55 | 50550 | 78804
3 | 17:30.55 | 8:35.72 | 78805 | 117501
4 | 26:06.52 | 12:01.30 | 117502 | 171606
5 | 38:08.07 | 6:57.18 | 171607 | 202899
6 | 45:05.25 | 4:22.70 | 202900 | 222619
7 | 49:28.20 | 9:36.25 | 222620 | 265844
8 | 59:04.45 | 6:32.57 | 265845 | 295301
9 | 65:37.27 | 10:53.38 | 295302 | 344314
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Filename C:\avaxhome\Anthony Braxton - Jump Or Die.wav
Peak level 99.9 %
Range quality 100.0 %
Copy CRC 0E3B1339
Copy OK
No errors occurred
AccurateRip summary
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Track 9 cannot be verified as accurate (confidence 2) [4EA6E77D], AccurateRip returned [F51BF517]
No tracks could be verified as accurate
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End of status report

REM GENRE Jazz
REM DATE 1994
REM DISCID 8A11EE09
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Anthony Braxton"
TITLE "Jump Or Die"
FILE "Anthony Braxton - Jump Or Die.APE" WAVE
  TRACK 01 AUDIO
    TITLE "Compositions 40E(+40D) + (40P + 69Q) + 40(O)"
    PERFORMER "Anthony Braxton"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Composition 48"
    PERFORMER "Anthony Braxton"
    INDEX 01 11:14:00
  TRACK 03 AUDIO
    TITLE "Compositions 23D(+108A)"
    PERFORMER "Anthony Braxton"
    INDEX 01 17:30:55
  TRACK 04 AUDIO
    TITLE "Composition 50(+53)"
    PERFORMER "Anthony Braxton"
    INDEX 01 26:06:52
  TRACK 05 AUDIO
    TITLE "Composition 142"
    PERFORMER "Anthony Braxton"
    INDEX 01 38:08:07
  TRACK 06 AUDIO
    TITLE "Composition 15"
    PERFORMER "Anthony Braxton"
    INDEX 01 45:05:25
  TRACK 07 AUDIO
    TITLE "Compositions 69L + (122 + 69I) + 69D"
    PERFORMER "Anthony Braxton"
    INDEX 01 49:28:20
  TRACK 08 AUDIO
    TITLE "Composition 74C"
    PERFORMER "Anthony Braxton"
    INDEX 00 59:04:38
    INDEX 01 59:04:45
  TRACK 09 AUDIO
    TITLE "Compositions (120D + 90) + (23C + 133)"
    PERFORMER "Anthony Braxton"
    INDEX 01 65:37:27

When this album appeared in 1994, the general reaction was, "It's about time!" Over the previous 25 or so years, Anthony Braxton had created several hundred compositions that, despite their unique combinations of beauty and complexity, were rarely covered. Even better, the two San Francisco-based groups who came together for this project took advantage of one of Braxton's major conceptual developments of the '80s: the idea of having individual members of his ensembles being able to play any of his pieces at any time during a performance, treating his repertoire as a vast well to be freely sampled. So listeners have the gorgeous "Composition 23D" (fondly recalled as side one, cut three from Braxton's classic Arista release, New York, Fall 1974) lovingly read with baritone and vibes in front and gradually blended in with the abstract "Composition 108," ushered in by bass and drums. It's a
good example of how complicated and even jolting this approach can be, even to those familiar with Braxton's music. On the original "Composition 23D," during the recapitulation of the theme (and expansion on it), there's a wonderful interplay between the lead horns and rhythm. Here, the bass and drums are off in another territory entirely, forcing the listener to reconcile the divergent paths under the general rubric of "Braxtonia." Very difficult, but very intriguing and often rewarding. The musicians from the Splatter Trio and Debris divide and coalesce into various configurations, altering instrumentation in imaginative ways and usually offering fresh perspectives on Braxton's challenging music. Among others, cornetist Keith Hedger and percussionist Gino Robair stand out for their evocative work. Do the combinations always succeed? No, sometimes they can sound a bit forced, as though
the compositions are at loggerheads with each other. This latter problem, however, may be one of Braxton's deeper points: dealing with situations where different groups have different goals. All told, Jump or Die is a fascinating document and well worth hearing. One can only wish that more musicians would take up the mantle. ~ Brian Olewnick
All songs written or co-written by Anthony Braxton. Option (5-6/95, p.133) - "...what this release announces is how crucial Braxton has been to creative improvised music in the last 20 years..."