(ECM, Modern Creative, Jazz Fusion) [CD] Miroslav Vitous Group (John Surman, Kenny Kirkland, Jon Christensen) - Miroslav Vitous Group (1980) - 2014, FLAC (tracks+.cue), lossless
miroslav vitous
group
Жанр: Modern Creative, Jazz Fusion
Страна-производитель диска: Germany
Год издания: 2014
Издатель (лейбл): ECM Records
Номер по каталогу: 1185
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 47:50
Источник (релизер): спасибо sddd
Наличие сканов в содержимом раздачи: нетТреклист:
1. When Face Gets Pale
2. Second Meeting
3. Number Six
4. Inner Peace
5. Interplay
6. Gears
7. Sleeping Beauty
8. Eagle
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011EAC extraction logfile from 14. February 2014, 21:42Miroslav Vitous / Miroslav Vitous GroupUsed drive : Optiarc DVD RW AD-7240S Adapter: 3 ID: 1Read mode : SecureUtilize accurate stream : YesDefeat audio cache : YesMake use of C2 pointers : NoRead offset correction : 48Overread into Lead-In and Lead-Out : NoFill up missing offset samples with silence : YesDelete leading and trailing silent blocks : NoNull samples used in CRC calculations : YesUsed interface : Installed external ASPI interfaceGap handling : Appended to previous trackUsed output format : User Defined EncoderSelected bitrate : 896 kBit/sQuality : HighAdd ID3 tag : NoCommand line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exeAdditional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "TOTALTRACKS=%numtracks%" -T "GENRE=%genre%" -T "ALBUMARTIST=%albumartist%" -T "ALBUM ARTIST=%albumartist%" -T "COMMENT=EAC Secure Mode, Test & Copy, AccurateRip, FLAC -8" %source%TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 5:56.36 | 0 | 26735 2 | 5:56.36 | 4:56.45 | 26736 | 48980 3 | 10:53.06 | 5:54.06 | 48981 | 75536 4 | 16:47.12 | 7:25.09 | 75537 | 108920 5 | 24:12.21 | 10:00.37 | 108921 | 153957 6 | 34:12.58 | 6:35.17 | 153958 | 183599 7 | 40:48.00 | 5:02.35 | 183600 | 206284 8 | 45:50.35 | 2:00.32 | 206285 | 215316Track 1 Filename F:\AneL\MY RIPS\01 - When Face Gets Pale.wav Pre-gap length 0:00:02.00 Peak level 63.5 % Extraction speed 2.5 X Track quality 100.0 % Test CRC 49C83B72 Copy CRC 49C83B72 Accurately ripped (confidence 1) [BAD8D555] (AR v2) Copy OKTrack 2 Filename F:\AneL\MY RIPS\02 - Second Meeting.wav Peak level 59.1 % Extraction speed 2.9 X Track quality 100.0 % Test CRC 038CF836 Copy CRC 038CF836 Accurately ripped (confidence 1) [AF78327B] (AR v2) Copy OKTrack 3 Filename F:\AneL\MY RIPS\03 - Number Six.wav Peak level 63.7 % Extraction speed 3.2 X Track quality 100.0 % Test CRC 8506F3AE Copy CRC 8506F3AE Accurately ripped (confidence 1) [98FB4CCB] (AR v2) Copy OKTrack 4 Filename F:\AneL\MY RIPS\04 - Inner Peace.wav Peak level 58.9 % Extraction speed 3.6 X Track quality 100.0 % Test CRC 805C8BA4 Copy CRC 805C8BA4 Accurately ripped (confidence 1) [A4705EFA] (AR v2) Copy OKTrack 5 Filename F:\AneL\MY RIPS\05 - Interplay.wav Peak level 55.4 % Extraction speed 4.1 X Track quality 100.0 % Test CRC 0969BC43 Copy CRC 0969BC43 Accurately ripped (confidence 1) [359CB0D9] (AR v2) Copy OKTrack 6 Filename F:\AneL\MY RIPS\06 - Gears.wav Peak level 70.0 % Extraction speed 4.3 X Track quality 100.0 % Test CRC A0381C74 Copy CRC A0381C74 Accurately ripped (confidence 1) [D12538BC] (AR v2) Copy OKTrack 7 Filename F:\AneL\MY RIPS\07 - Sleeping Beauty.wav Peak level 49.8 % Extraction speed 4.0 X Track quality 99.9 % Test CRC 07D9BA5B Copy CRC 07D9BA5B Accurately ripped (confidence 1) [FC5E1B16] (AR v2) Copy OKTrack 8 Filename F:\AneL\MY RIPS\08 - Eagle.wav Peak level 28.8 % Extraction speed 3.9 X Track quality 100.0 % Test CRC F8B856B8 Copy CRC F8B856B8 Accurately ripped (confidence 1) [DF8EAFE7] (AR v2) Copy OKAll tracks accurately rippedNo errors occurredEnd of status report==== Log checksum 51B00FBC935D6EC4C55A0BAF17200386BC89297AA881E598C93BCC6C80D7F4B2 ====
Содержание индексной карты (.CUE)
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Об альбомеBetween 1979 and 1982, the Miroslav Vitous quartet was the primary outlet for the abundant improvisational skills of leader Vitous and saxophonist John Surman. They made three ECM albums: this eponymously-titled Miroslav Vitous Group - now being issued on CD for the first time - is the middle one.Vitous and Surman were well-matched in lots of ways, with roots and influences that extended beyond jazz, a love of playing freely, a commitment to using all the sound potential of their respective instruments: Surman singing at the top of the baritone sax's range to match Miroslav's fiddle-like arco flourishes on the double bass. The redoubtable Jon Christensen shared their passion for playing, as did Kenny Kirkland, just 24 at the time of this session, on his way to becoming one of modern jazz's outstanding pianists. Repertoire includes classic Miroslav pieces ("When Face Gets Pale"), collective improvising, and an early sighting of Surman's relentlessly driving "Number Six".At the beginning of 2014, ECM issues seven important recordings from its back catalogue, all on 180g vinyl and CD, most of which have been out of stock for many years. For both CD and LP versions, the original analog recordings are issued in deluxe cardboard sleeves.With the ongoing demand for historic titles to see first-time CD issue, ECM has raised the ante even further with Re:solutions: seven classic recordings, released on CD (four available for the first time and one previously only available for a limited time in Japan), vinyl and high resolution digital formats. They're all important, but 1981's Miroslav Vitous Group stands out as one of the most significant, completing, as it does—and more than three decades after the fact—the Czech bassist's early '80s triptych that began with 1980's First Meeting and ended with 1983's Journey's End.First Meeting was a momentous album for the Weather Report co-founder, who left the fusion supergroup in 1973, as his two post-WR recordings for other labels were largely unfocused affairs that tried to be exactly what Vitous was not: a jazz-rock/fusion bassist—and, in particular, a credible electric bassist. That all changed with Rypdal Vitous DeJohnette (ECM, 1979), the bassist's ECM debut and the first of two exceptional collaborations with Norwegian guitarist Terje Rypdal and American drummer Jack DeJohnette. Vitous' writing had evolved significantly in the decade since his particularly fine contributions to Weather Report's eponymous 1971 Columbia Records debut; between his compositional acumen and his pliant, lyrically charged double bass playing, it seemed only a matter of time before ECM would invite the bassist to record for the label under his own name.First Meeting was, indeed, the first of three recordings to feature a lineup that, with the exception of the piano chair, remained constant throughout: British saxophonist/bass clarinetist John Surman, already a fledgling ECMer, was joined by Norway's Jon Christensen—one of ECM's two drummers of choice (DeJohnette was the other)—while American pianist Kenny Kirkland proved the biggest surprise of the quartet's first two recordings, ultimately replaced by England's John Taylor for Journey's End. Kirkland was, in fact, the group's real wildcard; collaborating with Vitous for the first time on the Japanese-only Guardian Angels (Trio Records, 1978)—the better of Vitous' post-WR solo records—First Meeting revealed an unexpectedly versatile pianist who would ultimately become much in demand with everyone from Branford Marsalis to Sting until his untimely passing in 1998 at the age of 43. First Meeting was undeniably the first album to demonstrate—and deliver upon—Kirkland's tremendous potential.While all of First Meeting was composed by Vitous, with the exception of the brief free improvisation of the title track, Miroslav Vitous Group is a far more egalitarian affair, with Surman and Kirkland each contributing a single composition (the saxophonist's circular breathing-driven "Number Six" a frenetic contrast to Kirkland's darkly pastoral, rubato tone poem "Inner Peace," reprised from Guardian Angels), along with two free improvisations ("Second Meeting" and "Interplay") that take up nearly 15 minutes of the album's nearly fifty-minute running time, and demonstrate just how much more intimate the group's language and interaction had become, 14 months after First Meeting was recorded in May, 1979.Vitous revisits "When Face Gets Pale," first heard on his leader debut, Infinite Search (Embyro, 1970), but this time its intrinsic lyricism is front-and-center, with Vitous' singable theme setting the stage for a bar-setting first solo that's effortlessly matched by Kirkland. But it's when Surman enters on baritone saxophone, for an early album high point, that things really take off, with Christensen—clearly at the peak of his prowess during this period—creating a perfect marriage of color and pulse.The lineup may be largely European, but Miroslav Vitous Group is also significant as a recording that perfectly exemplifies ECM's description of the entire Re:solutions series: "There was Classical Music. There was Jazz. There even was Rock. Then there was one record company that didn't care. It devoted itself to all kinds of music, as long as it was good." In exploring a multiplicity of reference points, from the neo-classical leanings of the closing "Eagle," where Vitous' warm arco blends with Surman's gently searching bass clarinet, to the dark-hued cinematics of "Sleeping Beauty" and swinging but temporally shifting "Gears," where Vitous delivers one of his most impressive pizzicato solos of the set, Miroslav Vitous Group is unequivocally a jazz record, but one whose multiplicity of stylistic touchstones also makes it a long overdue release that is, indeed, informed by all kinds of music. And it's good, too—exceptionally good, in fact. (John Kelman, AllAboutJazz)
СоставMiroslav Vitous - double bass
John Surman - soprano & baritone saxophones, bass clarinet
Kenny Kirkland - piano
Jon Christensen - drums
Альбом был записан в июле 1980-го года в Осло. Однако только сейчас, в январе 2014-го он впервые издан на СD в рамках ECM-овской серии "Re:solutions", и соответственно он первый раз представлен здесь в lossless-качестве (оцифровок с винила также не было).