(Avant-Garde, Free Jazz) Wadada Leo Smith - Reflectativity {Tzadik} - 2000, FLAC (image+.cue) lossless
Треклист:
Wadada Leo Smith - Reflectativity
Жанр: Avant-Garde, Free Jazz
Страна-производитель диска: USA
Год издания диска: 2000
Издатель (лейбл): Tzadik
Номер по каталогу: TZ 7060
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 51:09
Источник (релизер): собственный рип с оригинального CD (Darkman)
Наличие сканов в содержимом раздачи: да (полный набор сканов, 300 dpi)
Треклист:
1. Reflectativity
2. Blue Flag
3. Fisherman T Wmukl-D
4. Hanabishi
Personnel:
Anthony Davis: Piano
Malachi Favors Magoustous: Bass
Wadada Leo Smith: Trumpet, Flugel Horn
Жанр: Avant-Garde, Free Jazz
Страна-производитель диска: USA
Год издания диска: 2000
Издатель (лейбл): Tzadik
Номер по каталогу: TZ 7060
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 51:09
Источник (релизер): собственный рип с оригинального CD (Darkman)
Наличие сканов в содержимом раздачи: да (полный набор сканов, 300 dpi)
Треклист:
1. Reflectativity
2. Blue Flag
3. Fisherman T Wmukl-D
4. Hanabishi
Personnel:
Anthony Davis: Piano
Malachi Favors Magoustous: Bass
Wadada Leo Smith: Trumpet, Flugel Horn
Лог создания рипа (EAC Log)
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 30. October 2010, 15:20
Wadada Leo Smith / Reflectativity
Used drive : HL-DT-STDVD-RAM GSA-H54N Adapter: 0 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 102
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 : User Defined Encoder
Selected bitrate : 320 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -V %s
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 18:30.40 | 0 | 83289
2 | 18:30.40 | 4:43.12 | 83290 | 104526
3 | 23:13.52 | 15:49.33 | 104527 | 175734
4 | 39:03.10 | 12:06.62 | 175735 | 230246
Range status and errors
Selected range
Filename C:\EAC\Smith, Wadada Leo - Reflectativity.wav
Peak level 100.0 %
Range quality 100.0 %
Test CRC D41D80F5
Copy CRC D41D80F5
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 5) [6565944C]
Track 2 accurately ripped (confidence 6) [24C40AAC]
Track 3 accurately ripped (confidence 6) [9FBCE34C]
Track 4 accurately ripped (confidence 6) [C245A203]
All tracks accurately ripped
End of status report
Об альбоме / об исполнителе
CD Universe:
Re-Issue; Early 1970's; Avant Garde
Recording information: Avatar Studio, New York, NY (01/2000).
JazzTimes (6/01, p.149) - "...Compositions that are blueprints for improv...Smith's excellent use of space is much more evident as silence is more often audible than rhythm..."
----
Allmusic: (AMG)
Reflectativity [2000]
Wadada Leo Smith
Review
by Thom Jurek
This new version of Wadada Leo Smith's classic Reflectativity from 1972 -- now a memorial for Duke Ellington -- shows his compositional strengths as fully developed, even at that time. Yet, in this piece, he reworks his own notation to open up his lyrical side over his improvisational dimension. His unusual notation -- which resembles Anthony Braxton's of the period and later -- was actually a system being worked out over the range of multi-tonalities and improvisational possibilities within the erected framework. In this manner, where mode and harmonics establish a base and architecture, lyrical invention and dissonance find room to extend the original line and idea from both above the meter and below. Rhythm becomes an idea and a question within these contrasts, and is resolved by the rhythm section (sans drums). For his collaborators on this date, Smith relied on the tried and true talents of old friends: pianist/composer Anthony Davis and bassist Malachi Favors Maghostus. Over 18 minutes, the piece unfolds an interior world where sound, image, and ambivalence encounter what is unknown in musical language and attempt to deal with it -- if not resolve its issues. And this is the case with the other three compositions on this set. Smith looks for a way into a place where his written score breaks itself and, at that point (listen closely to the end of the first four minutes of "Fisherman T WMUKL-D"), music begins to present itself to the trio as a field of language to develop and systemize according to the strengths of each individual improviser -- all of whom are responsible for the restraint necessary to allow each of the other members to find his place in that system while erecting their own in relation to the work. Jazz and blues provide some hint as to where that language should come from, and European classical music where it may have tried to go and failed miserably; theatrical music (or musical dramatics) is another source, but none holds the entire root language (contained within the developing system itself and opening onto another field of language -- not of music, but of sound and color). The swinging opening theme "Hanabishi" illustrates this, where quotes from Thelonious Monk are juxtaposed against children's themes and "Revelie" on the trumpet. Next, Smith moves into Miles Davis' mid-'60s modalism in search of a key to leave the building he created. Davis is pushing at all the windows and doors, Maghostus burrowing into the floorboards, and Smith going right for the attic. They meet in midair, where all of them realize that the space inside is far bigger than it is outside. It's not physically possible to be sure, but sonically, there are no limits to inner space; equations don't have to add up to a squared whole. Hence the piece moves, bounces, and wends its way not so much horizontally but vertically, carving out a music from the air; intersections and reverberations become the same thing in a non-meat terrain where Fats Waller can meet Bach's Fugues and Cage's "Atlas Eclipticalis." Smith's Reflectativity is easily his most adventurous and consistent album since 1979's Divine Love.
----
Customer Review at Amazon:
5.0 out of 5 stars - Webern meets Miles, conducted by a griot Kandinsky, May 26, 2003
By: Phil Avetxori
Wadada Leo Smith, one of the more imaginative contemporary jazz trumpeters, is also well versed in numerous international folk idioms, delta blues, and the European classical tradition. This may be a sign of my ignorance of the man's work, but he has always reminded me of Anthony Braxton and Simon Fell: an ambitious, idiosyncratic composer and improvisor, creating demanding modernist musical forms that, nonetheless, leave plenty of room for imaginative improvisation.
The music on "Reflectativity", more so than anything else I've heard from Smith, seems to bear this out. Joined by Anthony Davis on piano, and fellow AACM member Malachi Favors Magoustous on bass, Smith presents four compositons that, while unapolegetically abstract, always display his affinity for both black American music traditions, and the post-Webern modern classical establishment. At nearly twenty minutes, the opening title track is the album's centerpiece. Jazz convention and classical formality are stretched out over a sparse abstract canvas, with the players' questing lines zig-zagging through a hushed, contemplative space. The lack of a drummer (add Jack DeJonette to this line-up, and you have The Golden Quartet) allows for a rhythmic fluidity that's clearly both stipulated by the score and masterfully implemented by the players' instantaneous improvisatory decisions. The secon track, "Blue Flag" is, if anything, even sparser and more Feldmanesque, despite its brevity. "Fisherman T Wmukl-D" starts off in much of the same territory as the first two compositions, with flowing, beautiful piano lines meeting intriguing parries of extended trumpet technique. Then ,about halfway through the piece, the players rush off into a tight segment of rolling free jazz interplay. The final track, "Hanabishi" is the fastest and the "jazziest" of the bunch. It's distinct sections feature a variety of player combinations that further display the group's improvisatory chops, to thrilling effect.
I've owned this cd for a while, but had never listened to it much, until fairly recently. It demands attentive listening to appreciate the full scope of Smith's creativity. However, your attention will be rewarded with a beautiful adventure in form and feeling, where the Modernist push for new frontiers meets a century of jazz tradition.
Re-Issue; Early 1970's; Avant Garde
Recording information: Avatar Studio, New York, NY (01/2000).
JazzTimes (6/01, p.149) - "...Compositions that are blueprints for improv...Smith's excellent use of space is much more evident as silence is more often audible than rhythm..."
----
Allmusic: (AMG)
Reflectativity [2000]
Wadada Leo Smith
Review
by Thom Jurek
This new version of Wadada Leo Smith's classic Reflectativity from 1972 -- now a memorial for Duke Ellington -- shows his compositional strengths as fully developed, even at that time. Yet, in this piece, he reworks his own notation to open up his lyrical side over his improvisational dimension. His unusual notation -- which resembles Anthony Braxton's of the period and later -- was actually a system being worked out over the range of multi-tonalities and improvisational possibilities within the erected framework. In this manner, where mode and harmonics establish a base and architecture, lyrical invention and dissonance find room to extend the original line and idea from both above the meter and below. Rhythm becomes an idea and a question within these contrasts, and is resolved by the rhythm section (sans drums). For his collaborators on this date, Smith relied on the tried and true talents of old friends: pianist/composer Anthony Davis and bassist Malachi Favors Maghostus. Over 18 minutes, the piece unfolds an interior world where sound, image, and ambivalence encounter what is unknown in musical language and attempt to deal with it -- if not resolve its issues. And this is the case with the other three compositions on this set. Smith looks for a way into a place where his written score breaks itself and, at that point (listen closely to the end of the first four minutes of "Fisherman T WMUKL-D"), music begins to present itself to the trio as a field of language to develop and systemize according to the strengths of each individual improviser -- all of whom are responsible for the restraint necessary to allow each of the other members to find his place in that system while erecting their own in relation to the work. Jazz and blues provide some hint as to where that language should come from, and European classical music where it may have tried to go and failed miserably; theatrical music (or musical dramatics) is another source, but none holds the entire root language (contained within the developing system itself and opening onto another field of language -- not of music, but of sound and color). The swinging opening theme "Hanabishi" illustrates this, where quotes from Thelonious Monk are juxtaposed against children's themes and "Revelie" on the trumpet. Next, Smith moves into Miles Davis' mid-'60s modalism in search of a key to leave the building he created. Davis is pushing at all the windows and doors, Maghostus burrowing into the floorboards, and Smith going right for the attic. They meet in midair, where all of them realize that the space inside is far bigger than it is outside. It's not physically possible to be sure, but sonically, there are no limits to inner space; equations don't have to add up to a squared whole. Hence the piece moves, bounces, and wends its way not so much horizontally but vertically, carving out a music from the air; intersections and reverberations become the same thing in a non-meat terrain where Fats Waller can meet Bach's Fugues and Cage's "Atlas Eclipticalis." Smith's Reflectativity is easily his most adventurous and consistent album since 1979's Divine Love.
----
Customer Review at Amazon:
5.0 out of 5 stars - Webern meets Miles, conducted by a griot Kandinsky, May 26, 2003
By: Phil Avetxori
Wadada Leo Smith, one of the more imaginative contemporary jazz trumpeters, is also well versed in numerous international folk idioms, delta blues, and the European classical tradition. This may be a sign of my ignorance of the man's work, but he has always reminded me of Anthony Braxton and Simon Fell: an ambitious, idiosyncratic composer and improvisor, creating demanding modernist musical forms that, nonetheless, leave plenty of room for imaginative improvisation.
The music on "Reflectativity", more so than anything else I've heard from Smith, seems to bear this out. Joined by Anthony Davis on piano, and fellow AACM member Malachi Favors Magoustous on bass, Smith presents four compositons that, while unapolegetically abstract, always display his affinity for both black American music traditions, and the post-Webern modern classical establishment. At nearly twenty minutes, the opening title track is the album's centerpiece. Jazz convention and classical formality are stretched out over a sparse abstract canvas, with the players' questing lines zig-zagging through a hushed, contemplative space. The lack of a drummer (add Jack DeJonette to this line-up, and you have The Golden Quartet) allows for a rhythmic fluidity that's clearly both stipulated by the score and masterfully implemented by the players' instantaneous improvisatory decisions. The secon track, "Blue Flag" is, if anything, even sparser and more Feldmanesque, despite its brevity. "Fisherman T Wmukl-D" starts off in much of the same territory as the first two compositions, with flowing, beautiful piano lines meeting intriguing parries of extended trumpet technique. Then ,about halfway through the piece, the players rush off into a tight segment of rolling free jazz interplay. The final track, "Hanabishi" is the fastest and the "jazziest" of the bunch. It's distinct sections feature a variety of player combinations that further display the group's improvisatory chops, to thrilling effect.
I've owned this cd for a while, but had never listened to it much, until fairly recently. It demands attentive listening to appreciate the full scope of Smith's creativity. However, your attention will be rewarded with a beautiful adventure in form and feeling, where the Modernist push for new frontiers meets a century of jazz tradition.
Tzadik
Reflectativity, first released on Leo Smith's own label in the early 1970s is one of the most important extended compositions blending improvisation and composition, and one of Leo Smith's masterpieces. This exciting new version features the brilliant pianist/composer Anthony Davis (who performed on the original recording) and longtime friend and colleague Malachi Favors—the legendary monster bass player from the Art Ensemble of Chicago. Coupled with several new compositions, this CD brings together the past and present of creative music's most continually fascinating composer/performers.