(Avant-Garde Jazz, Post-Bop) [CD] Andrew Hill - Point of Departure - 1964 (2003 Japan RVG Edition), FLAC (tracks+.cue), lossless

Exact Audio Copy V1.1 from 23. June 2015
EAC extraction logfile from 6. March 2016, 13:44
Andrew Hill / Point Of Departure
Used drive  : HL-DT-STDVD+-RW GS30N   Adapter: 1  ID: 0
Read mode               : Secure
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Defeat audio cache      : Yes
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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
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Gap handling                                : Appended to previous track
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TOC of the extracted CD
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        2  | 12:16.45 |  7:05.05 |     55245    |    87124
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        8  | 50:15.69 |  7:01.03 |    226194    |   257771
Track  1
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     Cannot be verified as accurate (confidence 34)  [665340FD], AccurateRip returned [D1F54116]  (AR v2)
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Track  2
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Track  3
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Track  4
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Track  5
     Filename D:\music\Andrew Hill - Point Of Departure\05. Andrew Hill - Dedication.wav
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Track  6
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Track  7
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Track  8
     Filename D:\music\Andrew Hill - Point Of Departure\08. Andrew Hill - Dedication (Alt. Tk.).wav
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     Peak level 97.1 %
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No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
No errors occurred
End of status report
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==== Log checksum 22C210622F7FCC1262933EB2C2268375EB83736FF60083B179EEC1D564E9D472 ====

REM GENRE Jazz
REM DATE 1964
REM DISCID 670D6C08
REM COMMENT "ExactAudioCopy v1.1"
CATALOG 4988006805149
PERFORMER "Andrew Hill"
TITLE "Point of Departure"
FILE "01 - Refuge.wav" WAVE
  TRACK 01 AUDIO
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    PERFORMER "Andrew Hill"
    ISRC USBN29801094
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "New Monastery"
    PERFORMER "Andrew Hill"
    ISRC USBN29801095
    INDEX 00 12:12:42
FILE "02 - New Monastery.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
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    PERFORMER "Andrew Hill"
    ISRC USBN29801096
    INDEX 00 07:00:39
FILE "03 - Spectrum.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Flight 19"
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    ISRC USBN29801097
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FILE "04 - Flight 19.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "Dedication"
    PERFORMER "Andrew Hill"
    ISRC USBN29801098
    INDEX 00 04:10:28
FILE "05 - Dedication.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
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    PERFORMER "Andrew Hill"
    ISRC USBN29801099
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FILE "06 - New Monastery (alternate take).wav" WAVE
    INDEX 01 00:00:00
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FILE "07 - Flight 19 (alternate take).wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
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    PERFORMER "Andrew Hill"
    ISRC USBN29801101
    INDEX 00 03:45:22
FILE "08 - Dedication (alternate take).wav" WAVE
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Pianist and composer Andrew Hill is perhaps known more for this date than any other in his catalogue -- and with good reason. Hill's complex compositions straddled many lines in the early to mid-1960s and crossed over many. Point of Departure, with its all-star lineup (even then), took jazz and wrote a new book on it, excluding nothing. With Eric Dolphy and Joe Henderson on saxophones (Dolphy also played clarinet, bass clarinet, and flute), Richard Davis on bass, Tony Williams on drums, and Kenny Dorham on trumpet, this was a cast created for a jazz fire dance. From the opening moments of "Refuge," with its complex minor mode intro that moves headlong via Hill's large, open chords that flat sevenths, ninths, and even 11ths in their striding to move through the mode, into a wellspring of angular hard bop and minor-key blues. Hill's solo is first and it cooks along in the upper middle register, almost all right hand ministrations, creating with his left a virtual counterpoint for Davis and a skittering wash of notes for Williams. The horn solos in are all from the hard bop book, but Dolphy cuts his close to the bone with an edgy tone. "New Monastery," which some mistake for an avant-garde tune, is actually a rewrite of bop minimalism extended by a diminished minor mode and an intervallic sequence that, while clipped, moves very quickly. Dorham solos to connect the dots of the knotty frontline melody and, in his wake, leaves the space open for Dolphy, who blows edgy, blue, and true into the center, as Hill jumps to create a maelstrom by vamping with augmented and suspended chords. Hill chills it out with gorgeous legato phrasing and a left-hand ostinato that cuts through the murk in the harmony. When Henderson takes his break, he just glides into the chromatically elegant space created by Hill, and it's suddenly a new tune. This disc is full of moments like this. In Hill's compositional world, everything is up for grabs. It just has to be taken a piece at a time, and not by leaving your fingerprints all over everything. In "Dedication," where he takes the piano solo further out melodically than on the rest of the album combined, he does so gradually. You cannot remember his starting point, only that there has been a transformation. This is a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz.