(Avant-Garde Jazz) Henry Threadgill Zooid - This Brings Us To. Volume 1 - 2009, FLAC (tracks+.cue), lossless
Треклист:
Henry Threadgill Zooid - This Brings Us To. Volume 1
Жанр: Avant-Garde Jazz
Год выпуска диска: 2009
Страна: USA (Chicago, Illinois)
Производитель диска: Pi Recordings (PI31)
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 39:03
Релиз: redhat релиз взят с другого трекера
Список песен:
01. (04:58) White Wednesday
02. (08:41) To Undertake My Corners Open
03. (07:45) Chairmaster
04. (05:37) After Some Time
05. (08:43) Sap
06. (03:20) Mirror Mirror the Verb
Состав группы:
Jose Davila - Trombone, Tuba
Liberty Ellman - Guitar, Producer, Mixing
Steve Fallone - Mastering
Elliot Humberto Kavee - Drums
Seth Rosner - Executive Producer
Stomu Takeishi - Bass, Guitar (Bass)
Andy Taub - Engineer
Henry Threadgill - Flute, Saxophone, Sax (Alto), Concept
Yulun Wang - Executive Producer
Жанр: Avant-Garde Jazz
Год выпуска диска: 2009
Страна: USA (Chicago, Illinois)
Производитель диска: Pi Recordings (PI31)
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 39:03
Релиз: redhat релиз взят с другого трекера
Список песен:
01. (04:58) White Wednesday
02. (08:41) To Undertake My Corners Open
03. (07:45) Chairmaster
04. (05:37) After Some Time
05. (08:43) Sap
06. (03:20) Mirror Mirror the Verb
Состав группы:
Jose Davila - Trombone, Tuba
Liberty Ellman - Guitar, Producer, Mixing
Steve Fallone - Mastering
Elliot Humberto Kavee - Drums
Seth Rosner - Executive Producer
Stomu Takeishi - Bass, Guitar (Bass)
Andy Taub - Engineer
Henry Threadgill - Flute, Saxophone, Sax (Alto), Concept
Yulun Wang - Executive Producer
Лог EAC
EAC extraction logfile from 27. October 2009, 0:36 for CD
Henry Threadgill and Zooid / This Brings Us To...Volume 1
Used drive : HP DVD Writer 1170d Adapter: 2 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Used output format : C:\Eac\Codecs\flac.exe (User Defined Encoder)
320 kBit/s
Additional command line options : -8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T "comment=EAC Flac 1.1.2 -8" %s
Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Installed external ASPI interface
Track 1
Filename C:\Documents and Settings\ht\01 - White Wednesday.wav
Pre-gap length 0:00:02.00
Peak level 94.0 %
Track quality 100.0 %
Test CRC 7119498D
Copy CRC 7119498D
Copy OK
Track 2
Filename C:\Documents and Settings\ht\02 - To Undertake My Corners Open.wav
Peak level 99.3 %
Track quality 100.0 %
Test CRC ED3B7D62
Copy CRC ED3B7D62
Copy OK
Track 3
Filename C:\Documents and Settings\ht\03 - Chairmaster.wav
Pre-gap length 0:00:00.45
Peak level 99.3 %
Track quality 100.0 %
Test CRC 03F36F3F
Copy CRC 03F36F3F
Copy OK
Track 4
Filename C:\Documents and Settings\ht\04 - After Some Time.wav
Pre-gap length 0:00:02.00
Peak level 99.3 %
Track quality 100.0 %
Test CRC AC18EC20
Copy CRC AC18EC20
Copy OK
Track 5
Filename C:\Documents and Settings\ht\05 - Sap.wav
Pre-gap length 0:00:02.00
Peak level 99.3 %
Track quality 100.0 %
Test CRC D7A7759A
Copy CRC D7A7759A
Copy OK
Track 6
Filename C:\Documents and Settings\ht\06 - Mirror Mirror the Verb.wav
Pre-gap length 0:00:02.72
Peak level 99.3 %
Track quality 100.0 %
Test CRC 14DB3846
Copy CRC 14DB3846
Copy OK
No errors occured
End of status report
Спектральный анализ
О альбоме
Pi Recordings was founded in 2001 to release a pair of albums by legendary AACM composer/multi-instrumentalist Henry Threadgill, the electric Everybody's Mouth's a Book (with Make a Move) and acoustic Up Popped the Two Lips (with Zooid). This Brings Us To, Volume 1 is his first commercially released recording in eight years—a homecoming of sorts for both Pi and Threadgill.
Threadgill's longstanding quintet features Liberty Ellman (acoustic guitar), Jose Davila (trombone and tuba), Stomu Takeishi (acoustic bass guitar) and Elliot Humberto Kavee (drums). Zooid has been Threadgill's primary working ensemble since the beginning of the Millennium, replacing the electrified Very Very Circus and Make a Move bands of the nineties. Revealing a studied rapport, each member of the quintet has longstanding ties to the leader; all are veteran members of Zooid except for Takeishi, who was in Make a Move.
A Zooid is "a cell capable of independent motion within a living organism." Transposing the concept to his expansive writing, Threadgill assigns separate interval blocks to each musician, allowing them to operate independently of the group while collectively maintaining an overall sense of melodic, harmonic and rhythmic structure.
Complementing these contrapuntal themes is a bevy of intricate, multi-layered rhythms. Though the downbeats are far from obvious, the polyrhythmic undercurrent is relentless, stirring even in the sparest setting. Informed by years of experience, Davila, Takeishi and Kavee negotiate the unusual meters and thorny contours of these labyrinthine structures with aplomb.
Equally inspired by the work of the Western neo-classicists as Afro-Cuban rhythms and traditional Javanese Gamelan, Threadgill brings a rhythmically charged, theatrical air to his bluesy, R&B inflected compositions. Arranging the album's six songs into a dramatic arc, the set progressively intensifies, mirroring Threadgill's switch from flute to alto. Opening and closing the album at extreme ends of the spectrum, "White Wednesday Off the Wall" embodies the pastoral qualities of pointillist chamber music while "Mirror Mirror the Verb" is a terse exercise in fractious abstraction. In-between, the brisk flute driven numbers "To Undertake My Corners Open" and "Chairmaster" careen with quicksilver precision, while the vociferous "After Some Time" and "Sap" exude a raw, primal quality.
Ellman and Threadgill share the spotlight as the quintet's primary soloists, alternating circuitous statements with ebullient glee. Unleashing blistering salvos that encompass a multitude of Eastern and Western traditions, Ellman's splintery acoustic fretwork offers a rich contrast to the leader's sonorous phrasing. Threadgill unfurls fluid variations from his vocally expressive flute on the first half of the album, tortuous bluesy cadences from his acerbic alto on the second.
Despite its relatively brief duration (39 minutes), This Brings Us To, Volume 1 is a spectacular return from an important jazz composer, and is hopefully an indicator of more to come from Threadgill and Zooid.
(c) allaboutjazz.com
Threadgill's longstanding quintet features Liberty Ellman (acoustic guitar), Jose Davila (trombone and tuba), Stomu Takeishi (acoustic bass guitar) and Elliot Humberto Kavee (drums). Zooid has been Threadgill's primary working ensemble since the beginning of the Millennium, replacing the electrified Very Very Circus and Make a Move bands of the nineties. Revealing a studied rapport, each member of the quintet has longstanding ties to the leader; all are veteran members of Zooid except for Takeishi, who was in Make a Move.
A Zooid is "a cell capable of independent motion within a living organism." Transposing the concept to his expansive writing, Threadgill assigns separate interval blocks to each musician, allowing them to operate independently of the group while collectively maintaining an overall sense of melodic, harmonic and rhythmic structure.
Complementing these contrapuntal themes is a bevy of intricate, multi-layered rhythms. Though the downbeats are far from obvious, the polyrhythmic undercurrent is relentless, stirring even in the sparest setting. Informed by years of experience, Davila, Takeishi and Kavee negotiate the unusual meters and thorny contours of these labyrinthine structures with aplomb.
Equally inspired by the work of the Western neo-classicists as Afro-Cuban rhythms and traditional Javanese Gamelan, Threadgill brings a rhythmically charged, theatrical air to his bluesy, R&B inflected compositions. Arranging the album's six songs into a dramatic arc, the set progressively intensifies, mirroring Threadgill's switch from flute to alto. Opening and closing the album at extreme ends of the spectrum, "White Wednesday Off the Wall" embodies the pastoral qualities of pointillist chamber music while "Mirror Mirror the Verb" is a terse exercise in fractious abstraction. In-between, the brisk flute driven numbers "To Undertake My Corners Open" and "Chairmaster" careen with quicksilver precision, while the vociferous "After Some Time" and "Sap" exude a raw, primal quality.
Ellman and Threadgill share the spotlight as the quintet's primary soloists, alternating circuitous statements with ebullient glee. Unleashing blistering salvos that encompass a multitude of Eastern and Western traditions, Ellman's splintery acoustic fretwork offers a rich contrast to the leader's sonorous phrasing. Threadgill unfurls fluid variations from his vocally expressive flute on the first half of the album, tortuous bluesy cadences from his acerbic alto on the second.
Despite its relatively brief duration (39 minutes), This Brings Us To, Volume 1 is a spectacular return from an important jazz composer, and is hopefully an indicator of more to come from Threadgill and Zooid.
(c) allaboutjazz.com