(Avant-Garde Jazz, Free Improvisation) [WEB] Wolfgang Fuchs, Jacob Lindsay, Damon Smith, Serge Baghdassarians, Boris Baltschun - The Happymakers - 2004/2013, FLAC (tracks), lossless
Wolfgang Fuchs, Jacob Lindsay, Damon Smith, Serge Baghdassarians, Boris Baltschun / The Happymakers
Жанр: Avant-Garde Jazz, Free Improvisation
Страна-производитель диска (релиза): USA
Год издания: 2004 / 2013
Издатель (лейбл): Balance Point Acoustics
Номер по каталогу: BPA008
Страна исполнителя (группы): USA / Germany
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 55:43
Источник (релизер): WEB
Наличие сканов в содержимом раздачи: нетТреклист:01. Ma(R)ker#1 (04.26)
02. Ma(R)ker#2 (04.32)
03. Ma(R)ker#3 (03.24)
04. Ma(R)ker#4 (05.49)
05. Ma(R)ker#5 (06.09)
06. Ma(R)ker#6 (02.59)
07. Ma(R)ker#7 (05.17)
08. Ma(R)ker#8 (04.54)
09. Ma(R)ker#9 (03.36)
10. Ma(R)ker#10 (08.08)
11. Ma(R)ker#11 (05.29)Released March 9, 2013
First edition: Balance Point Acoustics, 2004
Recorded in May 2003 at 1502 8th St, Oakland, CA.
Front cover painting (reproduced above) Fermentation by Lisle Ellis
Liner notes (Lisle Ellis)It has been said that history proves that we learn nothing from the study of history. As arguably true or untrue as that statement may or may not be, the fact remains that history presents us with a preponderance of questions rather than answers.In the field of improvised music, an historical perspective toward an understanding of current trends has become almost as important as the delight we take in the sounds themselves. That is to say, a more comprehensive and substantial meaning, a deeper implication and import may reside within the core of these delectable sonics when listened into with a chronicle ear. Possibly, as the shadow of improvised music history lengthens, it is more imperative now than ever before to acknowledge the tickle of history upon our auditory nerves.Most of us know and concede the fact that the first generation of practitioners of European free/improvised music were initially heavily influenced by the developments made by African –American musicians, particularly, the advancement of the 1960’s free jazz movement. Most, if not all, of the European musical improvisatory luminaries realized that in order to form a music of true consequence and to develop individual and collective authentic visions and original voices, it would be necessary to sever ties with the ubiquitous American ascendency. Exactly how this feat was accomplished is still a subject of much conjecture. I believe it was a quote by Derek Bailey that I came across years ago referring to stylistic differences that developed based upon the general approaches of improvisers of different nationalities: the Germans were referred to as the “blasters,” the Dutch were the “humorists” (or, I have also heard “acrobats”) and the most seemingly complimentary description he reserved for his compatriot Brits “the kaleidoscopists.” Even the American “groovers” were included in Bailey’s inventory. As debatably accurate as these terms may have been twenty years ago, we must admit that much has changed in improvised music on both sides of the Atlantic over the past two decades.I feel the compact disc recording presented here is as great a testament to those changes as any I have ever come across. Witness the mastery of Wolfgang Fuchs whose instrumental voice is unlike anyone else. Fuchs is the epitome of the European improviser regnant and he possesses a sound that is both resplendent in its uniqueness and implies a vital premise with each of his musical choices. A further attestation to the strength of Fuchs’s creative resolve is reflected in his selection of musical collaborators for this CD.Jacob Lindsay and Damon Smith are representative of a new generation of American improvisers whose ideas and influences are markedly different from the generations that preceded them. Smith himself states in his biographical notes that after his initial teen years fascination with punk rock, his world was shaken by a recording he heard of the late, great German bassist Peter Kowald which set his decision toward becoming a master of improvised music. Antecedent American improvisers were often fixated on jazz and its attending pedagogical approaches. Many fans and critics alike argue that a resultant unwavering devotion to specific tenets has led to the ‘death’ of jazz as a vital art form.Outwardly, jazz appears to have won a place among the classical forms and other antiquities of western art but its principles and practices are no longer considered essential to the new, vibrant, and ever-on-going explorations of improvisation. For this current crop of American improvisers, the monumental achievements of the ancestors are revered but rarely, if ever alluded to. For instance, Coltrane, Mingus, and Dolphy may be discussed, but it is the music of Bailey, Parker, and Bennink that is most often cited.Just as Lindsay and Smith represent a potent new force on the American scene, Berliners Boris Baltschun and Serge Baghdassarians are equally distinctive. Each possesses extraordinary improvisational skills and divulge, by way of their aural capacities, a wholly inimitable approach. I feel this recording attests to the fact that we are beholders of a remarkable phase in the development of improvisational music. A global evolution so to speak. These are extraordinary times we live in and here, on this disc, is some commensurably extraordinary music.
СоставWolfgang Fuchs, sopranino saxophone, bass clarinet;
Jacob Lindsay, Ab, Bb and bass clarinet;
Damon Smith, double bass;
Serge Baghdassarians, guitar, electronics;
Boris Baltschun, electronics
Лог проверки качества
-----------------------DON'T MODIFY THIS FILE-----------------------PERFORMER: auCDtect Task Manager, ver. 1.6.0 RC1 build 1.6.0.1Copyright (c) 2008-2010 y-soft. All rights reservedhttp://y-soft.orgANALYZER: auCDtect: CD records authenticity detector, version 0.8.2Copyright (c) 2004 Oleg Berngardt. All rights reserved.Copyright (c) 2004 Alexander Djourik. All rights reserved.FILE: 11 Ma(R)ker # 11.flac Size: 26200264 Hash: A49DB1B34EFB616FE0280F6481315D5E Accuracy: -m0 Conclusion: CDDA 92% Signature: 432DB55648AB75255C9EBE5E211373F82CBCBE0BFILE: 10 Ma(R)ker # 10.flac Size: 36853325 Hash: 14B21120CF2D307C4847C1A5F63C56A3 Accuracy: -m0 Conclusion: CDDA 100% Signature: C110F183F288E95E6784DF1B3BDE6590427BCAA4FILE: 09 Ma(R)ker # 9.flac Size: 14195127 Hash: 473096FFF9172D1580F9C26ED15C5568 Accuracy: -m0 Conclusion: CDDA 99% Signature: 2462D23751AAE11939E0F59BA2F5FCA963CDDE9BFILE: 08 Ma(R)ker # 8.flac Size: 23306861 Hash: F134D28E4F8448834ADBC937AA767FF2 Accuracy: -m0 Conclusion: CDDA 99% Signature: A83ABC742AEDC4BD27D5F16C10F7A98A8D332BE3FILE: 07 Ma(R)ker # 7.flac Size: 26265290 Hash: 8103C033288051A652FC89471FE48FDF Accuracy: -m0 Conclusion: CDDA 100% Signature: A62B5DD892AC02F0FC0C9C093263C3532077C262FILE: 06 Ma(R)ker # 6.flac Size: 13924065 Hash: 517DD9364E38670F8797057E0789ADB8 Accuracy: -m0 Conclusion: CDDA 99% Signature: 4B180104C631C778EA6EE0A0C91FCC5E3E19C1F5FILE: 05 Ma(R)ker # 5.flac Size: 23700369 Hash: 7BB47C8C2124EC45E3E71B228D7778EC Accuracy: -m0 Conclusion: CDDA 43% Signature: 671681C29F030B9CC674849FD2D8813B179C00D8FILE: 04 Ma(R)ker # 4.flac Size: 25084809 Hash: FEF569464C8D5B02BB076B60B43A8CED Accuracy: -m0 Conclusion: CDDA 99% Signature: 8D33E55E78BAE5EBF56896F42BF05BAC1A023E56FILE: 03 Ma(R)ker # 3.flac Size: 14701721 Hash: 9003CC2BD2FA5B7EAEF267D9D0ADF935 Accuracy: -m0 Conclusion: CDDA 100% Signature: C5BE15801ACACFF2F3BA548C2FFD84ED67465453FILE: 02 Ma(R)ker # 2.flac Size: 23808035 Hash: C5D6F498BC340B93C50E3A840FEB6801 Accuracy: -m0 Conclusion: CDDA 100% Signature: 3612DA183468162FF811BD7C3093B752C45E0A2BFILE: 01 Ma(R)ker # 1.flac Size: 17405797 Hash: B0468BAD26841F2C557B1FE0EC798940 Accuracy: -m0 Conclusion: CDDA 100% Signature: D70004D030ECC0FA0FF86FDD8D2CDCFE2725CEDB
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