(Free Improvisation, Experimental, Avant-Garde Jazz) John Edwards & Okkyung Lee - White Cable, Black Wires - 2013, FLAC (tracks+.cue), lossless
Треклист:
John Edwards • Okkyung Lee
White Cable, Black Wires
Жанр: Free Improvisation, Experimental, Avant-Garde Jazz
Страна-производитель диска: UK
Год издания: 2013
Издатель (лейбл): Fataka
Номер по каталогу: 3
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 46:20
Источник (релизер): спасибо 6060842
Наличие сканов в содержимом раздачи: нет
Треклист:
1. WCBW I • 2. WCBW II • 3. WCBW III • 4. WCBW IV • 5. WCBW V
White Cable, Black Wires
Жанр: Free Improvisation, Experimental, Avant-Garde Jazz
Страна-производитель диска: UK
Год издания: 2013
Издатель (лейбл): Fataka
Номер по каталогу: 3
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 46:20
Источник (релизер): спасибо 6060842
Наличие сканов в содержимом раздачи: нет
Треклист:
1. WCBW I • 2. WCBW II • 3. WCBW III • 4. WCBW IV • 5. WCBW V
Лог создания рипа
X Lossless Decoder version 20130602 (143.2)
XLD extraction logfile from 2013-07-12 00:52:58 +0400
John Edwards, Okkyung Lee / White Cable, Black Wires
Used drive : HL-DT-ST DVDRW GX30N (revision RP09)
Media type : Pressed CD
Ripper mode : XLD Secure Ripper
Disable audio cache : OK for the drive with a cache less than 1375KiB
Make use of C2 pointers : NO
Read offset correction : 6
Max retry count : 100
Gap status : Analyzed, Appended (except HTOA)
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
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2 | 10:48:46 | 11:05:73 | 48646 | 98593
3 | 21:54:44 | 09:47:05 | 98594 | 142623
4 | 31:41:49 | 05:44:02 | 142624 | 168425
5 | 37:25:51 | 08:56:72 | 168426 | 208697
AccurateRip Summary
Disc not found in AccurateRip DB.
All Tracks
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Peak : 0.977325
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Track 01
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Track 05
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Содержание индексной карты (.CUE)
TITLE "White Cable, Black Wires"
PERFORMER "John Edwards, Okkyung Lee"
REM GENRE "Free Jazz"
REM DATE "2012"
REM DISCNUMBER 1
REM TOTALDISCS 1
REM DISCID 340ADE05
REM REPLAYGAIN_ALBUM_GAIN -7.07 dB
REM REPLAYGAIN_ALBUM_PEAK 0.977325
FILE "01 - WCBW I.flac" WAVE
TRACK 01 AUDIO
TITLE "WCBW I"
PERFORMER "John Edwards, Okkyung Lee"
REM REPLAYGAIN_TRACK_GAIN -6.02 dB
REM REPLAYGAIN_TRACK_PEAK 0.975891
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "WCBW II"
PERFORMER "John Edwards, Okkyung Lee"
REM REPLAYGAIN_TRACK_GAIN -7.65 dB
REM REPLAYGAIN_TRACK_PEAK 0.977325
INDEX 00 10:46:47
FILE "02 - WCBW II.flac" WAVE
INDEX 01 00:00:00
FILE "03 - WCBW III.flac" WAVE
TRACK 03 AUDIO
TITLE "WCBW III"
PERFORMER "John Edwards, Okkyung Lee"
REM REPLAYGAIN_TRACK_GAIN -7.14 dB
REM REPLAYGAIN_TRACK_PEAK 0.977325
INDEX 01 00:00:00
FILE "04 - WCBW IV.flac" WAVE
TRACK 04 AUDIO
TITLE "WCBW IV"
PERFORMER "John Edwards, Okkyung Lee"
REM REPLAYGAIN_TRACK_GAIN -6.89 dB
REM REPLAYGAIN_TRACK_PEAK 0.975128
INDEX 01 00:00:00
FILE "05 - WCBW V.flac" WAVE
TRACK 05 AUDIO
TITLE "WCBW V"
PERFORMER "John Edwards, Okkyung Lee"
REM REPLAYGAIN_TRACK_GAIN -6.75 dB
REM REPLAYGAIN_TRACK_PEAK 0.976715
INDEX 01 00:00:00
Об альбоме
AllAboutJazz
After its impressive debut, it is gratifying to report that the Fataka label seems set to continue in similar vein. Recorded by Sebastian Lexer in May 2011, White Cable, Black Wires follows the pattern of the first two Fataka releases, featuring a small, intimate setting involving a key London improviser— this time, bassist John Edwards paired with Korean-born cellist Okkyung Lee. Across five pieces ranging in length from just under six to just over eleven minutes, the pair thrives in the comparatively rare context of an improvising string duo.
Although Edwards and Lee are both accomplished duo players with other instruments, it is hard to recall either previously dueting with another string player. However, Edwards is a member of the Stellari String Quartet which recorded Gocce Stellari (Emanem, 2009), a textbook example of an all-strings improvising ensemble. Any such grouping (and Barrelhouse Chuck is another obvious example) inevitably faces the issue of avoiding the language—in particular, the clichés—of chamber music.
For various reasons, this duo seems not to find that a problem. As improvisers, Edwards and Lee are too inventive and savvy to get sucked into conventional patterns of playing, instead preferring to create their own rather than borrow anyone else's. Also, the pairing of double bass with cello is so uncommon that clichés for the combination do not yet exist. Well matched, Edwards and Lee soon get stuck into what they do best; each of them is an energetic and physical player, capable of extracting a wealth of sounds—conventional and otherwise— from their instrument. From the off, that is exactly what they both do, simultaneously trading ideas and phrases which pass backwards and forwards between them, constantly evolving and coalescing into a fluid soundscape all their own. In that, they are greatly aided by the sounds of their instruments, which are distinct enough to be easily separable but close enough to fit together and complement each other, at times sounding like a composite of the two.
Across these five tracks, the pair produces music of contrasting moods and intensities, both within tracks and between them. So, "WCBW I" opens relatively quietly and steadily, then builds momentum and volume until it is bursting with barely contained energy. The level drops as both players shift down a gear, only for the build up to begin again just as effectively as before. Thrilling stuff, but far more than just thrills—including rhythmic sophistication, rich melodic invention and empathetic interplay. A duo to cherish. (John Eyles)
Although Edwards and Lee are both accomplished duo players with other instruments, it is hard to recall either previously dueting with another string player. However, Edwards is a member of the Stellari String Quartet which recorded Gocce Stellari (Emanem, 2009), a textbook example of an all-strings improvising ensemble. Any such grouping (and Barrelhouse Chuck is another obvious example) inevitably faces the issue of avoiding the language—in particular, the clichés—of chamber music.
For various reasons, this duo seems not to find that a problem. As improvisers, Edwards and Lee are too inventive and savvy to get sucked into conventional patterns of playing, instead preferring to create their own rather than borrow anyone else's. Also, the pairing of double bass with cello is so uncommon that clichés for the combination do not yet exist. Well matched, Edwards and Lee soon get stuck into what they do best; each of them is an energetic and physical player, capable of extracting a wealth of sounds—conventional and otherwise— from their instrument. From the off, that is exactly what they both do, simultaneously trading ideas and phrases which pass backwards and forwards between them, constantly evolving and coalescing into a fluid soundscape all their own. In that, they are greatly aided by the sounds of their instruments, which are distinct enough to be easily separable but close enough to fit together and complement each other, at times sounding like a composite of the two.
Across these five tracks, the pair produces music of contrasting moods and intensities, both within tracks and between them. So, "WCBW I" opens relatively quietly and steadily, then builds momentum and volume until it is bursting with barely contained energy. The level drops as both players shift down a gear, only for the build up to begin again just as effectively as before. Thrilling stuff, but far more than just thrills—including rhythmic sophistication, rich melodic invention and empathetic interplay. A duo to cherish. (John Eyles)
freejazzblog
Double bass and cello: a celebration of the bass clef if there ever was one! And with John Edwards and Okkyung Lee, no typical exercise in the art of the low-end. White Cable, Black Wires is nothing short of a symphony of percussive clatter, tweaked harmonics, rumbling clangor, buzzing strings, hollow woody thumps, and stuttering dances of bow and fingers. While a good portion of freely improvised music has retreated into hideaways of tiny detail or obscured instrumentation, White Cable, Black Wires remains refreshingly connected to the cathartic, embodied heft of free jazz, an unmistakably human act of passion and musicianship. It's a collection of improvisations that cannot fail to remind the listener of the sweaty, physical nature of playing these large instruments.
There's a heart-pumping, driving energy to White Cable, Black Wires that hardly subsides for the duration of its 45 minute running time. “WCBW II” erupts into streaming trails of high-pitched notes, like the peals of bottlerockets launching skyward. “WCBW III” starts at a slower pace, but the level of energy remains: a taut, hair-raising tension that increases with each guttural drag of the bow. As the piece falls away to near silence halfway through, you're left with the pounding of the blood in your temples, holding your breath in anticipation as the activity slowly returns to a boil. Later, “WCBW V” stumbles to a close with quivering runs of cello over muted, low bass thrums that sound seismic, deeply subterranean.
White Cable, Black Wires frontlines two obscenely talented improvisers who can sometimes take a backseat next to the “big names” they keep company with. If you're anything like me, though, theirs are the names that draw your eye when seeking out exhilarating music. It also marks another resounding success for Fataka, quickly becoming a label to watch on the improv scene. (Dan Sorrells)
There's a heart-pumping, driving energy to White Cable, Black Wires that hardly subsides for the duration of its 45 minute running time. “WCBW II” erupts into streaming trails of high-pitched notes, like the peals of bottlerockets launching skyward. “WCBW III” starts at a slower pace, but the level of energy remains: a taut, hair-raising tension that increases with each guttural drag of the bow. As the piece falls away to near silence halfway through, you're left with the pounding of the blood in your temples, holding your breath in anticipation as the activity slowly returns to a boil. Later, “WCBW V” stumbles to a close with quivering runs of cello over muted, low bass thrums that sound seismic, deeply subterranean.
White Cable, Black Wires frontlines two obscenely talented improvisers who can sometimes take a backseat next to the “big names” they keep company with. If you're anything like me, though, theirs are the names that draw your eye when seeking out exhilarating music. It also marks another resounding success for Fataka, quickly becoming a label to watch on the improv scene. (Dan Sorrells)
Состав
John Edwards bass • • • Okkyung Lee cello