(Avant-Garde Jazz, Electric Jazz) [CD] Jozef Dumoulin Trio - Rainbow Body - 2011, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 12. November 2011, 16:56
Jozef Dumoulin / Rainbow Body
Used drive  : PHILIPS SPD3400CC   Adapter: 3  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                              : Installed external ASPI interface
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
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TOC of the extracted CD
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        2  |  4:49.00 |  2:06.00 |     21675    |    31124
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       10  | 37:52.00 |  4:50.00 |    170400    |   192149
       11  | 42:42.00 |  5:13.01 |    192150    |   215625
       12  | 47:55.01 |  4:29.13 |    215626    |   235813
       13  | 52:24.14 |  4:06.61 |    235814    |   254324
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None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
==== Log checksum 8F846778CAC625C1D7EA1630D0F6EED914091AB2C2308FE073B036DB635B1087 ====

REM GENRE Jazz
REM DATE 2011
REM DISCID B90D3F0D
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PERFORMER "Jozef Dumoulin"
TITLE "Rainbow Body"
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    TITLE "Asia (aka La Pivellina)"
    PERFORMER "Jozef Dumoulin"
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Belgian pianist Jozef Dumoulin's début release with his band Lidlboj, Trees Are Always Right (Bee Jazz, 2009), revealed this one-time John Taylor student to be something of an aficionado of farting around. This is not meant pejoratively, necessarily; farting around is an honorable activity in some quarters of improvised music, and can give rise to good work (think of Marion Brown's Afternoon of a Georgia Faun (ECM, 1970), for example). That said, the results were encouraging when Dumoulin, as a sideman on reed player Magic Malik's strong Short Cuts (Bee Jazz, 2011), was obliged to keep the farting around in check.
Rainbow Body—essentially an electric-trio record—imposes a further formal discipline on Dumoulin that energizes the proceedings with a focus and coherence missing from Trees.
Rainbow Body's interest and raison d'être derive from its jarring juxtapositions, both in its musical pedigree and in its arrangements and organization. At times Dumoulin solos like an overexcited Chick Corea, but other times his playing more closely resembles Pierre Boulez and the brainy IRCAM crowd. It's jazz in that it's a small group improvising on musical themes, but it also draws upon various generations of electronic and prog-rock sounds and procedures.
In terms of the arrangements, too, there are brash (and sometimes brusque) contrasts. It is rarely the case that all three musicians will pull in different directions, but almost always two are pitted against one: emphatically arrhythmic or atonal (or both) musical materials on one hand, against a conventional and easy-to-grasp framework on the other.
The starkest and probably most successful example is "The Dragon Warrior." Over a cloyingly smooth rhythm track that sounds like a 1980s soft-rock number, solos built from highly-distorted sounds are provided by Dumoulin (certainly) and bassist Trevor Dunn (probably). The contrast is striking, but by the end of the number, the freer- jazz soloists are apparently attempting to hew to the line dictated by the soft-rock number, both in terms of the placement of their rude sound-clusters and in the rising and falling of the notes they play.
On some tracks the keyboards play the straight man, alongside idiosyncratic drumming (as on the subtle "Sosuke," where drummer Eric Thielemans sounds a bit like Paul Motian); on others bassist Dunn anchors the piece (as with " Venkataraman"'s ostinato bass figure). On "Fuga X," (simultaneously an homage to Bach and to Ornette Coleman and Pat Metheny's "Song X," (from Song X (Nonesuch, 1986)?), Dumoulin plays a veritable fugue while the drum and bass turn out a marvelous and entirely straightforward shuffle. The result is not always a success, but the overall effort is always undertaken with intelligence and empathy among the musicians.
The album's overall success and coherence owes a lot to its good sound. Not just Frédéric Carrayol's pristine and full recording, but especially the keyboard sound, upon which Dumoulin lavishes loving attention. Sometimes he sounds like a dated be-beeping 1970s computer, at others he coaxes the chunkiest possible Fender Rhodes sound, with all of its connotations of a diversity of records past.