(Avant-Garde Jazz, Free Improvisation) [CD] Geometric(s) (Tiziano Tononi & Alberto Tacchini) - La Magia Della Luce - 2001, FLAC (tracks+.cue), lossless

(Avant-Garde Jazz, Free Improvisation) [CD] Geometric(s) (Tiziano Tononi & Alberto Tacchini) - La Magia Della Luce - 2001, FLAC (tracks+.cue), lossless
Geometric(s) / La Magia Della Luce
Жанр: Avant-Garde Jazz, Free Improvisation
Носитель: CD
Страна-производитель диска: Italy
Год издания: 2001
Издатель (лейбл): Splasc(H) Records
Номер по каталогу: CDH741.2
Страна: Italy
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 64:26
Источник (релизер): свой фирменный диск
Наличие сканов в содержимом раздачи:
1. Timbric Variations 19:46
2. Destructing / Recomposing 20:34
3. Substantial Interaction / Sad End 24:07
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 2. July 2014, 20:24
Geometric(s) / La Magia Della Luce
Used drive : PIONEER DVD-RW DVR-115D Adapter: 0 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
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 : 896 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "BAND=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" %hascover%--picture="%coverfile%"%hascover% %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
1 | 0:00.32 | 19:46.30 | 32 | 89011
2 | 19:46.62 | 20:34.28 | 89012 | 181589
3 | 40:21.15 | 24:05.47 | 181590 | 290011
Track 1
Filename D:\zzz\01 - Timbric Variations.wav
Pre-gap length 0:00:02.32
Peak level 99.2 %
Extraction speed 5.8 X
Track quality 100.0 %
Test CRC F0D62C13
Copy CRC F0D62C13
Track not present in AccurateRip database
Copy OK
Track 2
Filename D:\zzz\02 - Destructing , Recomposing.wav
Peak level 99.2 %
Extraction speed 7.4 X
Track quality 99.9 %
Test CRC 1A389034
Copy CRC 1A389034
Track not present in AccurateRip database
Copy OK
Track 3
Filename D:\zzz\03 - Substantial Interaction , Sad End.wav
Peak level 99.2 %
Extraction speed 9.0 X
Track quality 100.0 %
Test CRC AC75063D
Copy CRC AC75063D
Track not present in AccurateRip database
Copy OK
None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
==== Log checksum 70602062531650FF290596FA91850298161D6190A407A8F4D716021216E23607 ====
Содержание индексной карты (.CUE)
REM GENRE "Avant-Garde Jazz"
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Geometric(s)"
TITLE "La Magia Della Luce"
FILE "01 - Timbric Variations.wav" WAVE
TITLE "Timbric Variations"
PERFORMER "Geometric(s)"
PREGAP 00:00:32
INDEX 01 00:00:00
FILE "02 - Destructing , Recomposing.wav" WAVE
TITLE "Destructing / Recomposing"
PERFORMER "Geometric(s)"
INDEX 01 00:00:00
FILE "03 - Substantial Interaction , Sad End.wav" WAVE
TITLE "Substantial Interaction / Sad End"
PERFORMER "Geometric(s)"
INDEX 01 00:00:00
Лог проверки качества
d:\>d:\aucdtect -d/-m0 d:\zzz\*.wav
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
Processing file: [01. Timbric Variations.wav]
This track looks like CDDA with probability 100%
Processing file: [02. Destructing - Recomposing.wav]
This track looks like CDDA with probability 99%
Processing file: [03. Substantial Interaction - Sad End.wav]
This track looks like CDDA with probability 99%
Final Conclusion:
These tracks looks like CDDA with probability 100%
Доп. информация:
Album Info & JazzWeekly.com Review
Film music to works by Gillo Pontecorvo: Kapo (1960) (1), La Grande Strada Azzurra / The Wide Blue Road (1957), Quiemada / Burn! (1969)
Music by Tiziano Tononi
Produced by Fabio Francione and Peppo Spagnoli
Recorded live at the Teatro alle Vigne, 26 March 2000
Sound engineer: Enrico Balconi
Cover and booklet design: Luigi Naro
Liner notes: Luigi Onori, english texts: Pete Kercher
Liner notes: Tiziano Tononi
Photo: Alessandro Botticelli
Concept and production: Fabio Francione for Lodi Citta Film Festival
Quite a change from his last major undertaking, We Did It, We Did It, a three-CD salute to Rahsaan Roland Kirk, which seemed to involve most members of the Italian musicians' union, this session presents a different, imaginative viewing of Milan-native Tiziano Tononi's considerable talents as composer and percussionist. Partnered only by pianist Alberto Tacchini, the disc, recorded live at the Lodi (Italy) Città Film Festival reproduces Tononi's reimagining of music for three of the major films of Italian director Gillo Pontecorvo. Pontecorvo, a Marxist, who spent the Second World War as a liaison between the Italian and French resistance and is best-known for his highly political The Battle of Algiers, was nominated for two academy awards, even though his 1960s movies were resolutely anti-capitalist and anti-colonialist.
Kapò (1960), which tells the tale of a young girl in the concentration camps who becomes a Nazi collaborator, is given a new minimalist, mechanized melody here with Tacchini -- who also participated in We Did It -- improvising inside and outside the piano. Encompassing a style that seems to rely in equal parts on resonating isolated phrases and packed note clusters, the pianist creates a muted soundscape, with only the odd melody line escaping until a protracted child-like air appears at the end. Some heavy-handed Keith Jarretisms mar that ending, though. Amplifying this quiescence, Tononi seems to do most of his work on oddball percussion as varied as scratched and resonated cymbals, shaken bells, tingled triangle and tuned drums bits. Far better known, The Wide Blue Road (1957). It stars Yves Montand as a individualistic fisherman living on an island off Italy's Dalmatian coast who scorns his neighbors attempts at organizing a coop. Tononi's new score, imbued with free-flowing but repetitive liquid melancholy, is characterized most clearly by Tacchini's impressionistic Bill Evans-like pianisms as the theme. Retreating further into the background on this track, the percussionist confines himself to cymbal shimmers and tranquil snare and tom patterns, which give the proceedings more of a relaxed, club jazz feel.
Most celebrated of the lot, 1970's Burn! is a Viet Nam era parable starring Marlon Brando as a 19th century British spy who supports a Caribbean slave rebellion, only to violently put down the victorious rebels years later when they endanger English interests. Initially created with a haunting Ennio Morricone soundtrack, the percussionist's challenge was to replace that music with something equally memorable of his own. He does. Using a variety of ethnic percussion, among which appear to be the tumbadoras, a mbira and a birimbau plus gongs, bells, congas, scrapers, maracas, different bongos, congas, and the like, Tononi illuminates a domain of deconstructed Latinesque and Caribbean abstractions. As his rhythms serve to personify the rebel islanders, Tacchini's piano does the same for the Europeans. Beginning with muffled, "prepared" keystrokes that could easily come from a toy piano, he soon slithers onto the full 88 keys, producing a theme of underlying menace. Parrying and thrusting with Tononi's bass drum-led West Indian sounds, a simple impressionistic melody finally emerges from the piano. Deferentially accompanied by the drum kit, it, like the colonialists in developing nations, finally subsumes the non-European percussion.
In attendance at Lodi, Pontecorvo himself was impressed with how these new scores complemented his films, while expressing the freedom of the musicians' thoughts. Lacking the visuals, we can only marvel at Tononi's -- and Tacchini's -- exceptional instrumental work. -- Ken Waxman
Tiziano Tononi: percussion
Alberto Tacchini: piano
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