(Free Improvisation) [CD] Brotzmann / Sommer / Phillips - Reserve - 1989, FLAC (image+.cue), lossless

Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 24. March 2014, 11:30
Brotzmann, Sommer, Phillips / Reserve
Used drive  : Optiarc DVD RW AD-7170A   Adapter: 0  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 48
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                              : Native Win32 interface for Win NT & 2000
Used output format              : User Defined Encoder
Selected bitrate                : 320 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  |  0:00.00 | 31:05.12 |         0    |   139886
        2  | 31:05.12 | 35:02.45 |    139887    |   297581
        3  | 66:07.57 |  8:35.70 |    297582    |   336276
Range status and errors
Selected range
     Filename K:\ЕАС\Brotzmann, Sommer, Phillips - Reserve.wav
     Peak level 89.0 %
     Extraction speed 2.1 X
     Range quality 99.9 %
     Test CRC 5AA7DF8D
     Copy CRC 5AA7DF8D
     Copy OK
No errors occurred
AccurateRip summary
Track  1  accurately ripped (confidence 1)  [A02B47B2]  (AR v2)
Track  2  accurately ripped (confidence 2)  [CFE70479]  (AR v2)
Track  3  accurately ripped (confidence 2)  [A3221BF4]  (AR v2)
All tracks accurately ripped
End of status report
==== Log checksum 5D60637BDFED94230F763A3363E919D0EB7002FBBC20A20A1D150380D09CA728 ====

REM GENRE Jazz
REM DATE 1989
REM DISCID 33118303
REM COMMENT "ExactAudioCopy v1.0b2"
CATALOG 0000000000000
PERFORMER "Brotzmann, Sommer, Phillips"
TITLE "Reserve"
FILE "Brotzmann, Sommer, Phillips - Reserve.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Reserve"
    PERFORMER "Brotzmann, Sommer, Phillips"
    ISRC 000000000000
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "On Walked Beep"
    PERFORMER "Brotzmann, Sommer, Phillips"
    ISRC 000000000000
    INDEX 01 31:05:12
  TRACK 03 AUDIO
    TITLE "Joya De Nicarugua"
    PERFORMER "Brotzmann, Sommer, Phillips"
    ISRC 000000000000
    INDEX 01 66:07:57

This 1989 recording by the duo of super-lunged saxophonist Peter Brötzman and percussionist Gunter Sommer with bassist supérieur Barre Phillips entering later was a reunion from the Total Music Meetings of the early '80s. None of the trio had played together for five years and -- suddenly -- here they were, together again for what proved to be a 75-minute set of spiritual and musical renewal. Phillips and Brötzman had been active in many ways during the break, but Sommers had explored a different path, one that landed him at the end of critics' barbs. This meeting was a chance to see not only if they could still play together and find the fire necessary to make sculptures of notes in midair, but to showcase how each man had grown as a musician. The first half-hour that comprises the title track has the duo coming out screaming, puncturing the air with ribbons of sound with nails attached. This is where each man establishes the ground he will speak to the others from. Phillips, not yet present, must have been astonished at what he heard from bongos and trap drums to voices. No wonder he wanted in so badly. He enters in the second half on "In Walked Beep." Phillips becomes the bridge by which true communication can happen. His bass playing filters each sound, each utterance, and mirrors it back to another player changed only by his own imagination, which clarifies -- not distorts -- the view of each soloist. This is not a cutting contest; this is a defining moment in the career of Sommers, who has more fire in his belly here that he had exhibited in the previous ten years combined. Phillips is the reason, the waterbearer who offered a safety net and a ledge to walk out on. This is what Coltrane talked about when he spoke of music that transcended music and became a cosmic language. The only difference being that, in these three men, there is no need for the cosmos when the earth is so full of passionate, unspeakable forces that need to be given utterance. By the end of the set, a short eight-minute improv named after some cigars Sommers had given Brötzman, the bridges are built, the towns erected, and the mountains moved. Communication has come from the silences of isolation and entered into the community of sound. Not a miracle, but an accomplishment to be sure.

Double Bass – Barre Phillips
Drums – Günter Sommer
Tenor Saxophone, Alto Saxophone, Bass Saxophone, Bass Clarinet, Design [Booklet] – Peter Brötzmann