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(Avant-Garde Jazz, Post-Bop) [CD] Ran Blake - Driftwoods - 2009, FLAC (tracks), lossless

Треклист:
Ran Blake - Driftwoods
Жанр: Avant-Garde Jazz, Post-Bop
Носитель: CD
Страна-производитель диска: США
Год издания: 2009
Издатель (лейбл): Tompkins Square
Номер по каталогу: TSQ 2097 CD
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 41:47
Источник (релизер): Count5 (what)
Наличие сканов в содержимом раздачи: сетевые
Треклист:
01. Driftwood (Goodman-Udell) - 4:24
02. Dancing in the Dark 2 (Dietz-Schwartz) - 4:20
03. Dancing in the Dark 1 (Dietz-Schwartz) - 2:25
04. Lost Highway (Payne) - 2:03
05. Unforgettable (Gordon) - 2:57
06. Cancao do Sol (Nascimento) - 3:38
07. No More (Camarata-Russell) - 3:09
08. I Loves You, Porgy (Gershwin-Gershwin) - 3:52
09. Strange Fruit (Allan) - 2:17
10. Pawnbroker (Jones) - 2:51
11. There's Been a Change (Powell) - 2:24
12. Portrait (Mingus) - 3:01
13. I'm Going to Tell God (McKinney) - 3:02
14. You Are My Sunshine (Davis-Mitchell) - 1:24
Состав:
Ran Blake - piano
Recorded in Mabuse Studios, Brookline, MA.
 
Лог создания рипа
X Lossless Decoder version 20100926 (123.1)
XLD extraction logfile from 2010-09-27 21:59:08 -0700
Ran Blake / Driftwoods
Used drive : MATSHITA DVD-R UJ-867 (revision HA13)
Use cdparanoia mode : YES (CDParanoia III 10.2 engine)
Disable audio cache : OK for the drive with cache less than 2750KB
Make use of C2 pointers : NO
Read offset correction : 102
Max retry count : 100
Gap status : Analyzed, Appended
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 00:00:00 | 04:24:05 | 0 | 19804
2 | 04:24:05 | 04:19:45 | 19805 | 39274
3 | 08:43:50 | 02:24:40 | 39275 | 50114
4 | 11:08:15 | 02:03:27 | 50115 | 59366
5 | 13:11:42 | 02:57:00 | 59367 | 72641
6 | 16:08:42 | 03:38:26 | 72642 | 89017
7 | 19:46:68 | 03:08:51 | 89018 | 103168
8 | 22:55:44 | 03:52:00 | 103169 | 120568
9 | 26:47:44 | 02:16:74 | 120569 | 130842
10 | 29:04:43 | 02:51:25 | 130843 | 143692
11 | 31:55:68 | 02:23:62 | 143693 | 154479
12 | 34:19:55 | 03:01:03 | 154480 | 168057
13 | 37:20:58 | 03:02:06 | 168058 | 181713
14 | 40:22:64 | 01:23:45 | 181714 | 187983
All Tracks
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Track 01
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Track 02
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Track 03
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Track 04
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Track 05
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Track 06
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Track 07
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Track 08
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Track 09
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Track 10
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Track 11
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->Accurately ripped! (confidence 4)
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No errors occurred
End of status report
 
Лог проверки качества
-----------------------
DON'T MODIFY THIS FILE
-----------------------
PERFORMER: auCDtect Task Manager, ver. 1.6.0 RC1 build 1.6.0.1
Copyright (c) 2008-2010 y-soft. All rights reserved
http://y-soft.org
ANALYZER: 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.
FILE: 14 - You Are My Sunshine.flac
Size: 5313042 Hash: A6102ACDA6CA371FF5AE411F2E820B6D Accuracy: -m0
Conclusion: CDDA 100%
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FILE: 13 - I'm Going to Tell God.flac
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Conclusion: CDDA 100%
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FILE: 12 - Portrait.flac
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FILE: 11 - There's Been a Change.flac
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FILE: 10 - Pawnbroker.flac
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FILE: 09 - Strange Fruit.flac
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FILE: 08 - I Loves You, Porgy.flac
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FILE: 07 - No More.flac
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FILE: 06 - Cancao do Sol.flac
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FILE: 05 - Unforgettable.flac
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FILE: 04 - Lost Highway.flac
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FILE: 03 - Dancing in the Dark 1.flac
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FILE: 02 - Dancing in the Dark 2.flac
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Conclusion: CDDA 100%
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FILE: 01 - Driftwood.flac
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Conclusion: CDDA 100%
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Review by Thom Jurek
Pianist, educator, improviser, and composer Ran Blake has made 39 albums since 1961. He has recorded in many settings from solo to big band, and like any true jazz musician worth his salt, he has embraced the entire historical lineage of the music from New Orleans through bebop to the avant-garde and beyond, creating a very personal signature in his playing and in his recordings. Blake has recorded for over a dozen labels in his long career, and his most recent tenure with New York's tiny Tompkins Square imprint -- better known for its recordings of acoustic guitarists and obscure folk and country musicians -- has yielded astonishing results, as evidenced by 2006's All That Is Tied. Driftwoods is his second offering for the label, and stands both in sharp contrast to the previous offering and as a logical extension of it. Like its predecessor -- and indeed most of Blake's recorded work -- this is a solo offering. He returns to one of his favorite themes, the influence of great singers on his improvisational voice, though it can easily be argued that his other obsession -- the importance of the cinematic noir image from Hollywood's golden era -- is relied on here just as heavily.
The set opens with the first elliptical notes of the title track, a ballad written by Peter Udell and Tommy Goodman and recorded by vocalist Chris Connor. Blake sticks remarkably close to the text of the tune, but finds in its cracks and spaces a much more subtle world of dynamic and tension that serves to illuminate the tune from the inside out. There are two versions of the Arthur Schwartz-Howard Dietz tune "Dancing in the Dark," as immortalized by Sarah Vaughan with the Hal Mooney Orchestra. Blake showcases the tune in different registers and accents as it shifts its minor shadings and its lyricism, improvising on the harmony more in the first take and on the melody itself more in the second. The reading of Leon Payne's "Lost Highway" here will be unrecognizable to some at first, but Blake's move on the melody is so full of elliptical mystery and space that it is as if he is illuminating the image Hank Williams sang about quite literally, decorating some of the minor funereal phrases with elements of rag and blues. Blake's sense of restraint, even in the most deliberate of his improvised readings such as on Lewis Allan's "Strange Fruit," Quincy Jones' theme from The Pawnbroker, Milton Nascimento's "Cançao do Sol," and even Gershwin's "I Loves You, Porgy," offers such distinctive readings of these tunes rhythmically, harmonically, and lyrically that it's difficult after a while to see where the body of the original composition ends and Blake begins. This is not to say they are definitive instrumental readings of these tunes, because as standards, the last chapter can never be written. Blake's achievement is that he simply re-inscribes their images in a new way, placing his lovingly individualistic stamp of musical recognition on them as sophisticated, singular moments in the history of song.
В раздаче есть CUE от образа.
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