(Electronic, Jazz, Reggae, Dub, World music) [CD] The Ripple Effect - Hybrids - 2005, FLAC (image+.cue), lossless
The Ripple Effect / Hybrids
Жанр: Electronic, Jazz, Reggae, Dub, World music
Носитель: CD
Страна-производитель диска (релиза): New York, USA
Год издания: 2005
Издатель (лейбл): GOLDEN BEAMS
Страна исполнителя (группы): USA
Аудиокодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 1:02:25
Источник (релизер): собственный рип
Наличие сканов в содержимом раздачи: нет
Треклист:
01 - Ancient Techno (9:10)
02 - Na Na Nai (8:55)
03 - Worldwide Funk (6:16)
04 - Rose Garden (8:27)
05 - Dubwise (6:07)
06 - Ocean Wave (8:53)
07 - Corn Song (7:56)
08 - The Just-Us Department (6:22)
Отчёт EAC
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 29. January 2015, 20:08
The Ripple Effect / Hybrids
Used drive : PIONEER BD-RW BDR-207 Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 667
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 : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\flac-1.3.1-win\win64\flac.exe
Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%
TOC of the extracted CD
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1 | 0:00.00 | 9:11.46 | 0 | 41370
2 | 9:11.46 | 9:00.01 | 41371 | 81871
3 | 18:11.47 | 6:19.43 | 81872 | 110339
4 | 24:31.15 | 8:30.21 | 110340 | 148610
5 | 33:01.36 | 6:07.46 | 148611 | 176181
6 | 39:09.07 | 8:55.74 | 176182 | 216380
7 | 48:05.06 | 7:57.36 | 216381 | 252191
8 | 56:02.42 | 6:22.64 | 252192 | 280905
Range status and errors
Selected range
Filename C:\Users\VP\Desktop\The Ripple Effect\2005 - Hybrids\The Ripple Effect - 2005 - Hybrids.wav
Peak level 98.7 %
Extraction speed 7.8 X
Range quality 100.0 %
Test CRC 6414899E
Copy CRC 6414899E
Copy OK
No errors occurred
AccurateRip summary
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Track 2 accurately ripped (confidence 2) [538D84AD] (AR v1)
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Содержание индексной карты (.CUE)
REM GENRE Electronic
REM DATE 2005
REM DISCID 740EA108
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PERFORMER "The Ripple Effect"
TITLE "Hybrids"
FILE "The Ripple Effect - 2005 - Hybrids.flac" WAVE
TRACK 01 AUDIO
TITLE "ancient techno"
PERFORMER "The Ripple Effect"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "na na nai"
PERFORMER "The Ripple Effect"
INDEX 00 09:08:03
INDEX 01 09:11:46
TRACK 03 AUDIO
TITLE "worldwide funk"
PERFORMER "The Ripple Effect"
INDEX 00 18:07:47
INDEX 01 18:11:47
TRACK 04 AUDIO
TITLE "rose garden"
PERFORMER "The Ripple Effect"
INDEX 00 24:28:60
INDEX 01 24:31:15
TRACK 05 AUDIO
TITLE "dubwise"
PERFORMER "The Ripple Effect"
INDEX 00 32:58:31
INDEX 01 33:01:36
TRACK 06 AUDIO
TITLE "ocean wave"
PERFORMER "The Ripple Effect"
INDEX 01 39:09:07
TRACK 07 AUDIO
TITLE "corn song"
PERFORMER "The Ripple Effect"
INDEX 00 48:02:64
INDEX 01 48:05:06
TRACK 08 AUDIO
TITLE "the just-us departament"
PERFORMER "The Ripple Effect"
INDEX 00 56:01:60
INDEX 01 56:02:42
audiochecker
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
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Path: ...\2005 - Hybrids
1 -=- The Ripple Effect - 2005 - Hybrids.flac -=- CDDA (100%)
136801604
Об альбоме
Jack DeJohnette’s imprint Golden Beams Productions Goes Electronic with the introduction of A new group — The Ripple Effect — and the group’s debut album Hybrids
With 50 years of drumming behind him, innovative jazz pioneer Jack DeJohnette introduces Hybrids, the debut album by The Ripple Effect, his latest collaborative project to be released on his own Golden Beams Productions on October 4, 2005. Featuring seven interpretations of previously recorded material (three of which have never been released) and one brand new track, Hybrids is a continuation of what DeJohnette has been accomplishing for a half-century: inspiring and creating music without boundaries. Produced and remixed by sound engineer Ben Surman, with guidance by DeJohnette himself, Hybrids launches jazz into the 21st century.
Blending shades of African jazz, reggae and dance music into DeJohnette’s already groove-heavy rhythmic patterns, The Ripple Effect’s Hybrids is an eclectic foray into numerous disciplines that works as a whole. Borrowing heavily from Music from the Hearts of the Masters, his 2005 release alongside Gambian kora master Foday Musa Suso, the African influence is tempered by the gorgeous vocals of Marlui Miranda, the most acclaimed and recognized performer and researcher of Brazilian Indian music. Multi-instrumentalist John Surman adds lilting strains of clarinet, saxophone and recorder, while Big Al polishes the project with effervescent guitar riffs. The ingenuity of each song lends itself to a broad audience.
“It can fit into a lot of different programs, ” says DeJohnette, “from college radio to commercial jazz stations, and more esoteric channels. I think it will allow programmers to stretch a little bit.” This is an understatement for the drummer, whose classic work on Miles Davis’ Bitches Brew (as well as performing alongside John Coltrane, Ornette Coleman, Sun Ra, Thelonious Monk, Bill Evans and countless others) have solidified him as “one of the most important musicians in the last 40 years of jazz” (Ben Ratliff, The New York Times). His entire career has been about stretching what fits within jazz constraints. With one of the most impressive resumes in the genre, he has proven time and again that no boundaries exist.
With the opening “Ancient Techno, ” from his collaboration with Suso, the mere song title hints at a connective tissue between past and future. Originally an acoustic display of astute showmanship, Suso’s intricate kora patterns swerved fluidly between DeJohnette’s perfect cadence. The result was a trance-inducing masterpiece of an exchange of human energy – the very root of ceremonial African music. With Surman’s digital texturing, the prevalent hi-hat stays while a tasteful breakbeat adds extra octane to the groove. Synthesizers only add to the mix, with nothing distracting from the fact that this is ritual music.
“I was trying to stay true to the originals, ” says Surman. “I wanted to extract some of the grooves and melodies that I was drawn to and use them in a different context, retaining the groove and feel but placing it in a different musical setting. I wanted to move outside of the more traditional acoustic approach and add elements you wouldn’t normally find in jazz.”
Staying true to much of the African-inspired work DeJohnette is cultivating, Surman reworked four of Music from the Hearts of the Masters' originals: “Ancient Techno, ” “Worldwide Funk, ” “Rose Garden” and “Ocean Wave.” Each is an example of Surman’s forward-thinking perspective of DeJohnette’s work, whom he has known since birth (Ben is the son of longtime DeJohnette collaborator John Surman). Ben adds a youthful dynamic, be it dub-heavy bass lines or speeded up drumbeats, spanning generations of sound.
“Ben is a very sensitive and highly creative sound engineer, ” says DeJohnette. “He asked me if he could play around with some of the main tracks, and that was something I wanted to do — get into electronica and remixes. Ben recreates musical soundscapes that are always changing. Sometimes he draws you in and just when you think it has settled, he moves you, sometimes abruptly, sometimes very subtly. It enhances the creative aspect of improvisation that I do when I play. Most people listen to it and their faces light up and they start smiling.”
Smiles continue with the heavy reggae influence on “Dubwise, ” featuring Miranda’s sailing vocals. As in 1970s Jamaica, nothing is straightforward: Surman splices and dices her voice, making lyrics more layered than upfront, relying on the slow rhythm to seduce and penetrate the listener. The two other songs featuring Miranda – “Na Na Nai” and “Corn Song” – also make her voice larger than life (even if studio tampering wasn’t needed). The final song, “The Just-Us Department, ” is a new track specially made for Hybrids by DeJohnette and Surman. In many ways, it is the most club-friendly track, turning up the bass and letting the rhythm drift into blatant dance territory.
“It’s not specifically aimed at a club vibe, ” says Surman. “Although some of the production values sound like club music – the bass is pushed forward and there are heavy rhythmically signatures – there are also intricate time signatures that change often. Some of the elements are rather fluid, though. I wanted to stay true to the depth inherent within each song.”
With a broad array of upcoming projects, DeJohnette launched Golden Beams Productions in order to have full control over the material he was releasing. The Ripple Effect’s Hybrids follows Music from the Hearts of the Masters and Music in the Key of OM, a meditation-inspired CD. With such variety and depth to each, DeJohnette is empowering younger generations of musicians by example, staying true to his legendary musical integrity by following his heart and not catering to predetermined formats.
“Everything we do on the label is coming from that place of presenting music that is in tune with the cosmic laws of the universe – diversified, collective yet has its individuality and can inspire listeners and take them to a level of clarity, ” DeJohnette says. “Humanity is waking up from sleepwalking, to a more aware and enlightened consciousness. Golden Beams sends out good energy, of healing and joy and peace and reconciliation.”
source :: jazz press service
© 2005 jazz news :: home page
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