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(Avant-Garde Jazz, Free Funk) [CD] Ornette Coleman - Science Fiction - 1971 (1998 Japan Edition), FLAC (tracks+.cue), lossless

(Avant-Garde Jazz, Free Funk) [CD] Ornette Coleman - Science Fiction - 1971 (1998 Japan Edition), FLAC (tracks+.cue), lossless
Ornette Coleman - Science Fiction
Жанр: Avant-Garde Jazz, Free Funk
Носитель: CD
Страна-производитель диска: Япония
Год издания: 1998
Издатель (лейбл): Sony Music
Номер по каталогу: SRCS 9372
Страна: США
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 37:28
Источник (релизер): dotdash (what)
Наличие сканов в содержимом раздачи: нет
Треклист:
01. What Reason Could I Give? (Coleman) - 3:10
02. Civilization Day (Coleman) - 6:07
03. Street Woman (Coleman) - 4:54
04. Science Fiction (Coleman) - 5:07
05. Rock the Clock (Coleman) - 3:19
06. All My Life (Coleman) - 3:59
07. Law Years (Coleman) - 5:25
08. The Jungle Is a Skyscraper (Coleman) - 5:27
Состав:
Ornette Coleman - alto saxophone, trumpet, violin
Don Cherry - pocket trumpet (#2-4)
Bobby Bradford (#4,7,9), Carmon Fornarotto (#1,6), Gerard Schwarg (#1,6) - trumpet
Dewey Redman - tenor saxophone, musette (#1,4-8)
Charlie Haden - bass
Billy Higgins (#1-4,6), Ed Blackwell (#1,4-8) - drums
David Henderson - recitation (#4)
Asha Puthli - vocals (#1,6)
Recorded at Columbia Studio E, New York on September 9 (#2,3,7,8), September 10 (#4) and October 13 (#1,5,6), 1971.
 
Лог создания рипа
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XLD extraction logfile from 2014-09-05 10:34:33 +0900
Ornette Coleman / Science Fiction
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TOC of the extracted CD
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3 | 09:16:45 | 04:53:40 | 41745 | 63759
4 | 14:10:10 | 05:07:10 | 63760 | 86794
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7 | 26:35:12 | 05:25:08 | 119637 | 144019
8 | 32:00:20 | 05:26:60 | 144020 | 168529
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Track 04 : OK (v1+v2, confidence 6/6)
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Track 06 : OK (v1+v2, confidence 6/6)
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Track 08 : OK (v1+v2, confidence 6/6)
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Track 01
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Track 02
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No errors occurred
End of status report
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Содержание индексной карты (.CUE)
TITLE "Science Fiction"
PERFORMER "Ornette Coleman"
REM GENRE "Jazz"
REM DATE "1971"
REM DISCID 7308C708
REM REPLAYGAIN_ALBUM_GAIN -6.93 dB
REM REPLAYGAIN_ALBUM_PEAK 1.000000
FILE "01 - What Reason Could I Give.flac" WAVE
TRACK 01 AUDIO
TITLE "What Reason Could I Give"
REM REPLAYGAIN_TRACK_GAIN -6.88 dB
REM REPLAYGAIN_TRACK_PEAK 1.000000
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Civilization Day"
REM REPLAYGAIN_TRACK_GAIN -6.67 dB
REM REPLAYGAIN_TRACK_PEAK 1.000000
INDEX 00 03:06:50
FILE "02 - Civilization Day.flac" WAVE
INDEX 01 00:00:00
TRACK 03 AUDIO
TITLE "Street Woman"
REM REPLAYGAIN_TRACK_GAIN -6.86 dB
REM REPLAYGAIN_TRACK_PEAK 1.000000
INDEX 00 06:04:07
FILE "03 - Street Woman.flac" WAVE
INDEX 01 00:00:00
TRACK 04 AUDIO
TITLE "Science Fiction"
REM REPLAYGAIN_TRACK_GAIN -4.71 dB
REM REPLAYGAIN_TRACK_PEAK 1.000000
INDEX 00 04:50:12
FILE "04 - Science Fiction.flac" WAVE
INDEX 01 00:00:00
TRACK 05 AUDIO
TITLE "Rock the Clock"
REM REPLAYGAIN_TRACK_GAIN -7.89 dB
REM REPLAYGAIN_TRACK_PEAK 0.999603
INDEX 00 05:03:12
FILE "05 - Rock the Clock.flac" WAVE
INDEX 01 00:00:00
TRACK 06 AUDIO
TITLE "All My Life"
REM REPLAYGAIN_TRACK_GAIN -6.59 dB
REM REPLAYGAIN_TRACK_PEAK 1.000000
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FILE "06 - All My Life.flac" WAVE
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TRACK 07 AUDIO
TITLE "Law Years"
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REM REPLAYGAIN_TRACK_PEAK 1.000000
INDEX 00 03:56:07
FILE "07 - Law Years.flac" WAVE
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TRACK 08 AUDIO
TITLE "The Jungle Is a Skyscraper"
REM REPLAYGAIN_TRACK_GAIN -5.49 dB
REM REPLAYGAIN_TRACK_PEAK 1.000000
INDEX 00 05:22:15
FILE "08 - The Jungle Is a Skyscraper.flac" WAVE
INDEX 01 00:00:00
 
Отчет CUETools
[CUETools log; Date: 05.09.2014 19:12:53; Version: 2.1.5]
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6 | (2/2) Accurately ripped
7 | (2/2) Accurately ripped
8 | (2/2) Accurately ripped
[AccurateRip ID: 000b4c46-004bac9e-7308c708] found.
Track [ CRC | V2 ] Status
01 [bbeb1a1c|51ea7c32] (3+3/6) Accurately ripped
02 [3e181781|61e96718] (3+3/6) Accurately ripped
03 [775e0387|13fdda61] (3+3/6) Accurately ripped
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07 [62432dce|1861e624] (3+3/6) Accurately ripped
08 [2fc03099|380a40fd] (3+3/6) Accurately ripped
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Review by Steve Huey
Ornette Coleman's first album for Columbia followed a stint on Blue Note that found the altoist in something of a holding pattern. Science Fiction was his creative rebirth, a stunningly inventive and appropriately alien-sounding blast of manic energy. Coleman pulls out all the stops, working with a variety of different lineups and cramming the record full of fresh ideas and memorable themes. Bassist Charlie Haden and drummers Billy Higgins and/or Ed Blackwell are absolutely indispensable to the overall effect, playing with a frightening, whirlwind intensity throughout. The catchiest numbers -- including two songs with Indian vocalist Asha Puthli, which sound like pop hits from an alternate universe -- have spacy, long-toned melodies that are knocked out of orbit by the rhythm section's churning chaos, which often creates a totally different pulse. Two tracks reunite Coleman's classic quartet of Haden, Higgins, and Don Cherry; "Street Woman" just wails, and "Civilization Day" is a furious, mind-blowing up-tempo burner. "Law Years" and "The Jungle Is a Skyscraper" feature a quintet with Haden, Blackwell, tenorist Dewey Redman, and trumpeter Bobby Bradford; both have racing, stop-start themes, and "Jungle"'s solos have some downright weird groaning effects. "Rock the Clock" foreshadows Coleman's '70s preoccupations, with Redman playing the musette (an Arabic double-reed instrument) and Haden amplifying his bass through a wah-wah pedal to produce sheets of distorted growls. The title track is a free septet blowout overlaid with David Henderson's echoed poetry recitations, plus snippets of a crying baby; it could sound awkward today, but in context it's perfectly suited to the high-octane craziness all around it. Science Fiction is a meeting ground between Coleman's past and future; it combines the fire and edge of his Atlantic years with strong hints of the electrified, globally conscious experiments that were soon to come. And, it's overflowing with brilliance.
 
Об альбоме (сборнике)
Science Fiction — одна из самых красочных, разнообразных, многогранных и самых раздражающих записей в каталоге Коулмена. Главный источник раздражения здесь, несомненно, участие певцов Эши Путли и Дейвида Хендерсона. Приятный томный вокал Эши Путли поддержан столь же сладкоголосой секцией четырех духовых. Поэзия — безвкусные тексты в стиле песен про любовь из Top 40. (Пример текста из 'All My Life': 'я всю жизнь ждал тебя / И вот я здесь / Ты никогда не знала меня / Хотя я знал тебя давно / Я любил твое имя всегда / И вот теперь я твой.') Единственное, что спасает все это от полной неуместности — свободно пульсирующий фон, создаваемый двумя ударниками и контрабасистами.
Заглавная композиция столь же странна: поэт Дейвид Хендерсон зачитывает загадочный текст о метафизике любви, аффектированность которого усилена щедрым использованием студийного эха. Его величественное чтение иногда прерывается гаснущими звуками вопящего младенца. На заднем плане (и только там, к сожалению) можно слышать свободную импровизацию ансамбля, которая в точности соответствует двойному квартету на Free Jazz — два саксофона, две трубы, два контрабаса и два барабана — и они, в самом деле, играют с похожей концентрированностью и динамизмом. Третий раздражающий фактор для пуриста — ва-ва педаль, использованием которой в простом роковом рифе 'Rock The Clock' Чарли Хейден до неузнаваемости искажает теплый, живой звук своего инструмента.
Но Science Fiction должны в то же время приветствовать традиционалисты среди поклонников Коулмена. На 'Civilization Day' и 'Street Woman' воссоединен первоначальный квартет 1958 г. Слушая вдохновение и единение их взаимодействия как в темах, так и в импровизациях, кажется, что 11 лет, проведенных врозь, вообще никак на них не повлияли. Одно различие можно отметить, а именно, что доверие и свобода исполнителей на духовых только увеличилась за эти годы. То, что 'Law Years' и 'The Jungle Is a Skyscraper' также напоминают о былых временах, неслучайно: трубач Бобби Бредфорд, который на этих композициях присоединяется к первоначальному квартету, уже играл с Коулменом и Блэквеллом в Лос-Анджелесе в 1950-е гг., и принадлежал к эфемерному (не записанному) квартету Коулмена в Нью-Йорке 1961 г. Слушая теперь его полный, темный тон трубы, то, как он дополняет яркий звук альт-саксофона Коулмена, равно как и его вдохновенные соло, легко понять, почему Коулмен в течение многих лет хотел, чтобы тот был постоянным участником его группы.
04:22
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