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(Avant-Garde, Modern Jazz, Terrorist Be-Bop) Mostly Other People Do The Killing - Slippery Rock! - 2013, FLAC (tracks+.cue), lossless

(Avant-Garde, Modern Jazz, Terrorist Be-Bop) Mostly Other People Do The Killing - Slippery Rock! - 2013, FLAC (tracks+.cue), lossless
Треклист:
MOSTLY Other PEOPLE DO The Killing
Slippery Rock!
Жанр: Avant-Garde, Modern Jazz, Terrorist Be-Bop
Страна-производитель диска: USA
Год издания: 2013
Издатель (лейбл): Hot Cup Records
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 52:35
Источник (релизер): спасибо flavius
Наличие сканов в содержимом раздачи: front/back
Треклист:
➊ Hearts Content
➋ Can’t Tell Shipp from Shohola
➌ Sayre
➍ President Polk
➎ Yo, Yeo, Yough
➏ Dexter, Wayne and Mobley
➐ Jersey Shore
➑ Paul’s Journey to Opp
➒ Is Granny Spry?
 
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 13. January 2013, 11:49
Mostly Other People Do the Killing / Slippery Rock
Used drive : TSSTcorpCD/DVDW SH-S182M Adapter: 2 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
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 : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\eac-1.0beta3\FLAC\FLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "ALBUM ARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=ivo" %source% -o %dest%
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2 | 6:25.50 | 6:00.38 | 28925 | 55962
3 | 12:26.13 | 7:06.63 | 55963 | 87975
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8 | 40:08.29 | 3:34.70 | 180629 | 196748
9 | 43:43.24 | 8:55.41 | 196749 | 236914
Track 1
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Track 2
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Track 3
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Track 4
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Track 5
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Track 6
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Track 7
Filename E:\igor\eac\07 - Jersey Shore.wav
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Track 8
Filename E:\igor\eac\08 - Paul's Journey To Opp.wav
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Track 9
Filename E:\igor\eac\09 - Is Granny Spry.wav
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End of status report
---- CUETools DB Plugin V2.1.3
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==== Log checksum 8FD67B35015BA6B87D52A3E3B860957A6CB730084DB8CA4FEF0C475F240D6001 ====
 
Содержание индексной карты (.CUE)
REM GENRE "Hot Cup Records 123"
REM DATE 2012
REM DISCID 6D0C5609
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Mostly Other People Do the Killing"
TITLE "Slippery Rock"
FILE "01 - Hearts Content.wav" WAVE
TRACK 01 AUDIO
TITLE "Hearts Content"
PERFORMER "Mostly Other People Do the Killing"
FLAGS DCP
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FILE "02 - Can't Tell Shipp from Shohola.wav" WAVE
TRACK 02 AUDIO
TITLE "Can't Tell Shipp from Shohola"
PERFORMER "Mostly Other People Do the Killing"
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INDEX 01 00:00:00
FILE "03 - Sayre.wav" WAVE
TRACK 03 AUDIO
TITLE "Sayre"
PERFORMER "Mostly Other People Do the Killing"
FLAGS DCP
INDEX 01 00:00:00
FILE "04 - President Polk.wav" WAVE
TRACK 04 AUDIO
TITLE "President Polk"
PERFORMER "Mostly Other People Do the Killing"
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FILE "05 - Yo, Yeo, Yough.wav" WAVE
TRACK 05 AUDIO
TITLE "Yo, Yeo, Yough"
PERFORMER "Mostly Other People Do the Killing"
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FILE "06 - Dexter, Wayne and Mobley.wav" WAVE
TRACK 06 AUDIO
TITLE "Dexter, Wayne and Mobley"
PERFORMER "Mostly Other People Do the Killing"
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FILE "07 - Jersey Shore.wav" WAVE
TRACK 07 AUDIO
TITLE "Jersey Shore"
PERFORMER "Mostly Other People Do the Killing"
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FILE "08 - Paul's Journey To Opp.wav" WAVE
TRACK 08 AUDIO
TITLE "Paul's Journey To Opp"
PERFORMER "Mostly Other People Do the Killing"
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FILE "09 - Is Granny Spry.wav" WAVE
TRACK 09 AUDIO
TITLE "Is Granny Spry?"
PERFORMER "Mostly Other People Do the Killing"
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Об альбоме
 
AllAboutJazz
Mostly Other Peopele Do the Killing is back! And with it the rightly slandered genre of smooth jazz. This quintet's fifth studio album was penned by MOPDtK bassist Moppa Elliot after a lengthy immersion in the smooth jazz recordings of the late 1970s and '80s. Elliott extracted certain idiomatic phrases, harmonies and embellishments from this superficial and commercial style, incorporated into his own compositions and used all the quartet members' encyclopedic knowledge to shed new light on this often maligned sub-genre.
Fortunately, Elliot and the other virtuoso co-conspirators of MOPDtK— trumpeter Peter Evans, saxophonist Jon Irabagon and drummer Kevin Shea—never surrender to smooth jazz clichés or conventions, except for the shocking colors of their suits, captured on the sleeve photos. The group capitalizes on almost a decade as a working band, enjoys breaking down structural elements, sudden changes in tempo, feel and meter, and sneaking in some surprising references, this time ranging from composer Joseph Haydn to minimalist icon Philip Glass.
As on its previous studio albums, MOPDtK opens with a drum solo over a vamp on "Hearts Content," later turned into a fiery call-and-response between the two horns. On this composition already MOPDtK signal that it is about to trash any known Kenny G clichés and expand the vocabulary of the genre to unimaginable territories. The composition titles are still inspired by the funny names of towns in Pennsylvania, as "Sayre," that was founded by relatives of Elliot, a compositions based loosely on transparent compositional conventions of smooth jazz, but the quartet's tight, often chaotic interplay avoids of turning these conventions into a caricature.
Other compositions are kind of left-of-center tributes. "President Polk" draws inspiration from R &B artists like Prince and R. Kelly, but mutate the idiomatic use of extreme high registers to connote emotionality in this genre with inventive and playful solos from Evans, on piccolo trumpet, and Irabagon, on sopranino sax. The energetic, Lenny Pickett-inspired "Yo, Yeo, Yough" features solos from everyone in the quartet, while "Dexter, Wayne and Mobley"—obviously another tribute to great saxophonists Dexter Gordon, Wayne Shorter and Hank Mobley—is but a platform to express Evans and Irabagon's innovative language and extended techniques.
MOPDtK even mange to root "Paul's Journey to Opp" in a muscular, swinging four-bar vamp, rare in its repertoire—or, for that matter, in smooth jazz. Elliot's schizophrenic compositional style is emphasized on "Is Granny Spry?," jumping from a typical smooth jazz vamp to Evans' clever quotes from Haydn's Trumpet Concerto, spiced with Irabagon's nervous sax squawks.
This wild and playful reinvention of the often dismissed genre of smooth jazz takes its clichés to another level. But more important it establishes MOPDtK as one of the most original and resourceful bands of our day. (Eyal Hareuveni)
 
freejazz-stef
I'm obviously late to the Mostly Other People Do the Killing party. I have covered several of the individual musicians on their own recording and in other groups, but while I knew MOPDtK was out there, I was not in the know. But, I'll stop this now, this review isn't about me, it's about New York based group and their unique approach to creating some incredibly complex and fun music.
Their 5th studio release (6th counting a recent live album), Slippery Rock, begins with 'Hearts Content' which kicks off with a slippery groove from the bass and drums. Quickly, the straight ahead rock beat splinters into fragments that you can hardly count along to, only to suddenly coming back together in time for some strident but slightly askew horn lines.
As the charged melodic lines give way to some heated improvisation there is suddenly a whiff of 'Dueling Banjos', just for a moment and now are onto something else - I think the hook from the very un-free jazz 'Celebration'. By the end of the first tune, after all the rhythmic displacements and tempo and slight stylistic shifts, you're in for it. It's a juxtaposition exhibition and you know you are in for great musical ride with filled with sly humor, tongue-in-cheek musical quotes and telepathic playing.
The premise of the album is that composer Moppa Elliot found inspiration rooted in the smooth jazz of the 70's and 80's. Maybe I'm not well enough versed in that genre, but the influence has to be so subtle and abstracted that all I can do is throw up his hands and say "ok, if you say so." I suppose if you listen closely you do hear the R&B influence in the harmonic rhythm of "President Polk" before the brilliant use of the high pitched woodwinds work into a well assembled pastiche of old-timey jazz mixed with more modern atonality. "Sayre", one of the many songs named after a town in Pennsylvania (a state that does provide a rich assortment to chose from, but I feel one could do this with New Jersey as well, Manunka Chunk or HoHoKus seem like a good choices too) begins with a jaunty syncopated horn line and over its seven minute course offers fiery solos from trumpeter Peter Evans and saxophonist Jon Irabagon. "Can't Tell Shipp from Shohola" is cleverly titled and quite an emotive piece. Irabagon's interactions with drummer Kevin Shea and layered with Evans' contributions feels quite poignant here. Bassist and band leader Elliot's compositions are so well thought out that they hardly reveal the shifts in style that MOPDtK is known for (or so I have come to believe after reading some other reviews).
This is jazz for a mashup generation. Rapid fire ideas coming from all directions at all times, fitting together perfectly in puzzlingly intelligent manner. All this data, and all of its corresponding information and meanings -- encoded in the licks, styles, tempos -- are seamlessly woven into a cohesive and exciting set of songs.
And yes, I know I'm late to this party. You, dear readers, already know all of this. You're just nodding your heads and thinking "yeah buddy, that's what we've been talking about all along." (Paul Acquaro)
 
Liner Notes
Hot Cup Records is proud to release Slippery Rock, the fifth studio album by the acclaimed quartet, Mostly Other People Do the Killing (MOPDtK). This new group of compositions penned by bassist/composer/ bandleader Moppa Elliott, were inspired by a lengthy immersion in the smooth jazz recordings of the late 1970s and 1980s. While many purists, academics, fans, and the members of this ensemble dismiss much of this music as superficial, commercial, and pandering, there are musical elements present that are unique to the genre. In order to expand the range and repertoire of the ensemble, Elliott extracted certain idiomatic phrases, harmonies and embellishments to incorporate into his own compositions.
Several consistent elements of Elliott's compositional style are conserved here, such as rhythmic displacement and lyrical melodies, as well as the practice of naming the tunes after towns in his native Pennsylvania. While the source material may derive from the most unlikely of places, the performances are undoubtedly by MOPDtK. Rigid structural elements are broken down at will, anachronistic changes in tempo, feel, and meter occur frequently, and the members of the ensemble capitalize on almost a decade of collective performance as a quartet. This long ensemble history provides the members of the group with a confidence and rapport rarely found in today's jazz ensembles. As always, references to a wide range of styles, performers and composers are present in the music, ranging from Haydn to Kool and the Gang, Arthur "Guitar Boogie" Smith to Philip Glass.
Slippery Rock, like the previous MOPDtK studio albums, opens with a drum solo over a vamp, leading into the opening tune, "Hearts Content." After an initial melody deeply rooted in the blues, the ensemble transitions to a bi-tonal bridge featuring call-and-response between the two horns. A driving coda leads back to the opening section for solos, and recurs at the end of the piece.
"Can't Tell Shipp from Shohola" is a mellow tune in 9/8 showcasing the sensitive side of the ensemble. The original AABA-Coda form is twisted and expanded by the ensemble's improvisation and a final A section ends the piece.
"Sayre" is based on the compositional clichés of 1980s smooth jazz. Sayre is the family name of composer Elliott's mother's family, and the town of Sayre, PA was founded by distant relatives of the composer.
The slow-jam, "President Polk" draws inspiration from Prince, R. Kelly and other R&B artists of the latter 20th century. The idiomatic use of extreme high registers to connote emotionality in this genre is taken to its logical extreme by the inclusion of piccolo trumpet and sopranino saxophone.
"Jersey Shore" utilizes triadic harmony in non-functional sequences. Two melodic themes are sandwiched between three triadic vamps which serve as the primary improvisational fodder.
"Yeo, Yough, Yo" is a Lenny Picket inspired free-for-all. This high-energy composition is relentless and spirited throughout with each member of the ensemble aggressively jockeying for the spotlight.
"Dexter, Wayne and Mobley" is a nine-bar repeating form with several interlocking melodies woven into it. The horn players shift fluidly between written material and improvised sections and the performance builds in intensity, culminating when Shea abandons his drum machine-like groove for more open playing.
"Paul's Journey to Opp" was inspired by Elliott's friend and co-worker Paul Lindner's whimsical college journey to the town of Opp with several friends in the 1970s. The composition has several disparate themes and two open sections, the latter a four-bar vamp of sustained 4/4 swing, a sound rare on this particular album.
"Is Granny Spry?" begins and ends with a smooth jazz vamp interspersed with several different melodic and harmonic sections. The final vamp and fade features elements that each horn player included throughout the piece (saxophone squawks and the Haydn trumpet concerto).
Trumpeter Peter Evans continues to garner accolades for his virtuosic playing and seamless incorporation of extended techniques into his playing. In 2010 Evans had compositions premiered at the Darmstadt and Donaueschingen Musiktage Festivals, and was named as one of the top 5 "Musicians of the Year" for the
second year in a row by the New York City Jazz Record. Evans performs with two collaborative trios (Mary Halvorson and Weasel Walter, and Tim Dahl and Mike Pride), his own quartet and quintet, and a variety of other ensembles in addition to releasing music on his own label, More is More Records.
Saxophonist Jon Irabagon, winner of the 2008 Thelonious Monk International Jazz Competition, recently launched Irabagast Records, his own label. The second album with drummer Mike Pride and guitarist Mick Barr entitled Appalachian Haze as well as the second album by his quintet Outright! were both released in
2012. Irabagon continues to perform with legendary drummer Barry Altschul in duo and trio settings and recently became part of trumpeter and composer Dave Douglass' new quintet.
Bandleader, bassist, and composer, Moppa Elliott spends most of his time inculcating musical knowledge to his students at St. Mary's High School. In addition to his duties as a teacher and coach, Elliott produces albums for his Hot Cup label, leads MOPDtK, and performs with many other NYC-based ensembles such as
Wildlife Control, Alice., and Jon Lundbom and Big V Chord. He has appeared in the DownBeat Critics' Poll several times as a "Rising Star Composer".
Drummer Kevin Shea has been a mainstay on the experimental music scene since the mid 1990s. His duo, "Talibam!" with Matt Mottel has released two recent albums, Atlantass, a theatrical piece featuring Sam Kulik, and Puff Up the Volume, a foray into the world of rap and hip-hop. Shea was recently named "Best Drummer" in the Village Voice’s Best of NYC issue for 2012, a title he has deserved for over a decade.
An artist must often move backward in order to look forward. Too often the demands of career and image impede the artistic development of our nation's brightest musical stars. The blinding lights of fame can obscure the artistic vision. By seeking to learn important lessons and profound truths from those who came before, it is possible for individuals to advance the cause of artistic greatness. Many talented young musicians have chosen to ignore the lessons of history, forsake the hard won knowledge of their forbears, and dismiss the work of the giants on whose shoulders they stand.
In the early days of Jazz--a music born as instrumentalists freed themselves from the restraints of rock and roll--commercial success and artistic integrity were not mutually exclusive terms. Classic early jazz albums such as "Breezin'" and "Mr. Magic" topped the charts in a variety of categories while boldly forging a new paradigm in American music: a combination of sonorous sensuality and infectious rhythms. An instrumental art form: Jazz
As this new "Jazz" music began to top the charts, younger musicians, versed in folk forms such as blues and swing, began to pull the hard-won fruits of this revolution out of the mainstream and into the concert hall. By the late 1990s Jazz had all but disappeared from the airwaves as hip-hop, a form of music lacking traditional instrumental technique, displaced true musicianship from one side, and the most talented players were drawn to the newly expanding genre of "straight jazz" on the other. Jazz's smoothness was lost to the seething intensity, unpolished technique, and primitive visceral histrionics of musicians who alienated the Jazz audience.
"Slippery Rock," the newest album by the collective of visionaries known as Mostly Other People Do the Killing (MOPDtK), harks back to an earlier time....the heyday of Jazz as popular music. By delving into the classic recordings of the 70's and 80's a new context for their virtuosic individuality has been discovered. Eschewing the trend-chasing tendencies of the majority of their peers, MOPDtK have nobly chosen to preserve this earlier style of Jazz to the benefit of audiences throughout the world.
Witness the raw clarion sound of Peter Evans as he floats majestically over a sterile groove. Listen with rapt attention to the heart-rending cries of Jon Irabagon as his saxophone seductively swirls around a mechanical hi-hat. Feel the relentless pulse and throb of Moppa Elliott's bass as he grinds out metrically perfect crotchets for minutes on end. Take heed of the crisp clean confabulation of rhythm unwaveringly cascading from Kevin Shea's drums. These are sounds not often heard in contemporary Jazz since its heyday in 1986!
A once pristine and enjoyable, not to mention lucrative, genre has fallen out of favor, only to be resuscitated by MOPDtK. This quartet has boldly responded to the overly-emotive and needlessly expressive Jazz of contemporary art house society by getting back to the roots: the singable melodies, the unwavering rhythm section, triadic harmonies, and smooth improvisations. "Slippery Rock" is the first brick in the slowly forming "Wall of Jazz," a structure that must be built by molding the clay of history into the stones of its own preservation. By fortifying traditional Jazz and steadfastly patrolling its ramparts, MOPDtK have stemmed the tide of contemporary apathy and reclaimed the lost land of true Jazz! (Leonardo Featherweight)
 
Состав
Jon Irabagon - tenor, alto, soprano and sopranino saxophones, flute
Peter Evans - trumpet, piccolo trumpet, slide trumpet
Moppa Elliott - bass
Kevin Shea - drums, percussion
09:37
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