(Cool) Dave Brubeck - Jazz: Red Hot & Cool - 1955, FLAC (image+.cue), lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 24. July 2008, 20:53
The Dave Brubeck Quartet / Jazz: Red Hot & Cool
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Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 102
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
Used output format : Internal WAV Routines
Sample format      : 44.100 Hz; 16 Bit; Stereo
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        2  |  5:08.00 | 10:39.67 |     23100    |    71091
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        7  | 37:15.00 |  8:47.07 |    167625    |   207156
        8  | 46:02.07 |  4:12.08 |    207157    |   226064
        9  | 50:14.15 |  6:57.05 |    226065    |   257344
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     Filename F:\The Dave Brubeck Quartet - Jazz  Red Hot & Cool.wav
     Peak level 100.0 %
     Range quality 100.0 %
     Copy CRC DC5B8712
     Copy OK
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REM GENRE Jazz
REM DATE 1955
REM DISCID 780D6709
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "The Dave Brubeck Quartet"
TITLE "Jazz: Red Hot & Cool"
FILE "The Dave Brubeck Quartet - Jazz  Red Hot & Cool.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Lover"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM19922765
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Little Girl Blue"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM10016652
    INDEX 01 05:08:00
  TRACK 03 AUDIO
    TITLE "Fare Thee Well, Annabelle"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM10016651
    INDEX 01 15:47:67
  TRACK 04 AUDIO
    TITLE "Somteimes I'm Happy"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM10016650
    INDEX 01 23:11:00
  TRACK 05 AUDIO
    TITLE "The Duke"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM10016649
    INDEX 01 28:33:70
  TRACK 06 AUDIO
    TITLE "Indiana"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM10016648
    INDEX 01 31:20:07
  TRACK 07 AUDIO
    TITLE "Love Walked in"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM10016653
    INDEX 01 37:15:00
  TRACK 08 AUDIO
    TITLE "Taking a Chance on Love"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM10018747
    INDEX 01 46:02:07
  TRACK 09 AUDIO
    TITLE "Closing Time Blues"
    PERFORMER "The Dave Brubeck Quartet"
    ISRC USSM10018748
    INDEX 01 50:14:15

Recorded during three different stays at New York's Basin Street, Jazz: Red, Hot and Cool is making its first appearance in the U.S. on CD. It documents -- with the addition of two additional performances that were previously unissued -- the original Brubeck quartet in its final years. In 1956 Joe Morello would replace Joe Dodge, and in 1958 Eugene Wright would take over the bass chair from Bob Bates. What strikes the listener about this band, is a having been seasoned for five years when the first of these performances were recorded, the Brubeck quartet was far more immersed in the blues than anyone -- at least the critics of the time -- had given them credit for. Paul Desmond's alto tone had yet to take on the dry martini velvety texture that became his trademark, and Brubeck was not yet inserting the totality of his classical ideas about the extrapolation of dissonance from consonance and its resulting harmonic theory that was built on an elaborate contrapuntal system. These ideas, that were introduced to him by the French composer and instructor Darius Milhaud and the music of Shostakovich and Stravinsky would later result in the wildly inventive tonal identity expressed in his compositions on Jazz Impressions of Eurasia, Jazz Impressions of New York, and even Time Out. On this set, while Brubeck is playing with large augmented chords and without the use of arpeggios, his strident melodic sense keeps him rooted in the American vernacular musically. There is the gorgeous, post-bop blues in "Lover," and the Gershwin-esque balladic structure employed in "Little Girl Blue." Desmond, for his part was a constant, the most rock steady part of the band. His solos were the epitome of melodic improvisation even then. His break on "Fare the Well, Annabelle," carries the melody and harmony in its venturing. Brubeck, never content to just comp, offers Desmond a few additions on the diminished seventh and he goes for them stitching his counterpoint through them, taking the tune's body into an entirely new intervallic mode. Brubeck's solo quotes Mozart's "Eine Kleine Nacht Musik," Pachelbel's "Canon," and variations on a classical theme from the Orient -- Korea, in fact, which was provocative, given the time. The beautiful reading given here of "Love Walked In" is worthy of note because it features the band at its most intimate, hunkered down inside the tune's melody, reworking it to close it off even more from undue influence while re-creating its harmonic architecture. And then there's "The Duke," offered to Gil Evans, a simple stroll through the blues with a nod to both Gershwin and Rogers & Hart. As the band launches into "Indiana" the classic quartet flourish becomes evident; the rhythm section keeps it all steady no matter what happens, and, in Desmond's solo, crossing rhythmic patterns, full time signatures, and meter at lightning speed, this was no mean feat. The two added performances "Taking a Chance on Love" and "Closing Time Blues" were recorded a month after the previous four in August of 1955. Both of them display Brubeck's now trademark two-part counterpoint and Desmond's "in flight" manner of response. They are worthy additions to a record that was already wonderful for its inspiration and the way in which it displayed the band's innovative energy that was unique to live situations.