(Free Improvisation) Leroy Jenkins' Driftwood - The Art Of Improvisation - 2005, FLAC (tracks+.cue) lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 11. December 2010, 21:18
Leroy Jenkins' Driftwood / The Art Of Improvisation
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REM GENRE "Free Jazz"
REM DATE 2005
REM DISCID 2C09F304
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Leroy Jenkins' Driftwood"
TITLE "The Art Of Improvisation"
FILE "01 - To Live - Allegro Moderato.wav" WAVE
  TRACK 01 AUDIO
    TITLE "To Live - Allegro Moderato"
    PERFORMER "Leroy Jenkins' Driftwood"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "To Sing - Andante Cantabile"
    PERFORMER "Leroy Jenkins' Driftwood"
    INDEX 00 10:41:11
FILE "02 - To Sing - Andante Cantabile.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "To Run - Vivace"
    PERFORMER "Leroy Jenkins' Driftwood"
    INDEX 00 18:00:04
FILE "03 - To Run - Vivace.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "To Believe - Pure Motion"
    PERFORMER "Leroy Jenkins' Driftwood"
    INDEX 00 05:02:35
FILE "04 - To Believe - Pure Motion.wav" WAVE
    INDEX 01 00:00:00

Born in Chicago, composer and violinist Leroy Jenkins was one of the most important musicians to emerge from the AACM (Association for the Advancement of Creative Musicians), the legendary collective of which he was a member until his death in 2007. Like many of the Association's members, Jenkins studied under the legendary Walter Dyett at DuSable High School, where he learned the alto saxophone.
He received a music degree (in violin) from Florida A&M University, where he studied composition and the classical masters of the violin. Subsequently, he taught music both in Mobile, Alabama (1961-5) and in the Chicago schools (1965-9). During the latter period, Jenkins joined the AACM. He made his first recording with Muhal Richard Abrams, Anthony Braxton, and Leo Smith in the sixties before achieving international acclaim in Paris along with Braxton, Smith, and the Art Ensemble of Chicago. In 1970 Jenkins moved to New York, where he founded the Revolutionary Ensemble, the critically acclaimed ensemble which recorded 7 albums and toured North America and Europe.
When many of the AACM musicians left during 1969, Jenkins went to Europe with Anthony Braxton & Leo Smith. There, with drummer Steve McCall, they were called the Creative Construction Company. He also played with Ornette Coleman, whose house he & Braxton stayed at when they subsequently moved to New York City.
Playing with Taylor (1970) and Braxton (1969-72), he also worked with Albert Ayler, Cal Massey, Alice Coltrane, Archie Shepp & Rahsaan Roland Kirk. Between 1971-7, he played in his Revolutionary Ensemble, a trio featuring Sirone (Norris Jones) on bass & trombone, and drummer/pianist Jerome Cooper. Thereafter, he toured the US & Europe, led the Mixed Quintet (Jenkins and 4 woodwind players), a blues-based band called Sting, and again played with Cecil Taylor.
Jenkins continually reinvented his own language in music. His was an extraordinary bonding of a variety of sounds associated with the black music tradition, while simultaneously bridging with European styles. His intermeshing of jazz and classical influences left critics wondering at his musical identity; however, as one San Francisco Chronicle critic said, "Jenkins is a master who cuts across all categories."
Jenkins received a number of major commissions and was in demand for experimental and theater-based work. Mother of Three Sons, a dance-opera collaboration with Bill T. Jones, premiered in Aachaen, Germany and had ten performances. The Rockefeller Foundation, National Endowment for the Arts, Meet the Composer, and Mutable Music awarded him numerous commissioning funds and grants to support several new theater works. Among them are Fresh Faust (a jazz-rap opera), which was performed in workshops in Boston at the Institute of Contemporary Arts; The Negro Burial Ground (a cantata), performed at The Kitchen, New York City; and The Three Willies (a multimedia opera), performed at the Painted Bride, Philadelphia. He was also commissioned to create new works for the Brooklyn Philharmonic, the Cleveland Symphony Orchestra, the Albany Symphony, the Lincoln Center Out of Doors, and the Kronos Quartet.
Among his recordings are 3 Compositions of New Jazz (1968; Delmark); Lifelong Ambitions (1977; Black Saint; with Muhal Richard Abrams); Space Minds, New Worlds, Survival America (1978; Tomato); Live (1992, Black Saint); Carla Bley's Escalator Over The Hill and Braxton's Three Compositions Of New Jazz.
Leroy Jenkins died on February 24, 2007, in Brooklyn, NY.
Min Xiao-Fen was a pipa soloist for the famed Nanjing Traditional Music Orchestra of China for more than ten years. She learned the pipa with her father Min Ji-Qian, a professor and pipa master at Nanjing University. Internationally known for her virtuosity and fluid style, she has received high acclaim for her classical, new music, and jazz performances.
Denman Maroney's music is inspired by the sound of crickets and power tools among other things and by the music of John Cage, Ornette Coleman, Henry Cowell, Charles Ives, Olivier Messiaen, Thelonius Monk, Conlon Nancarrow, and Karlheinz Stockhausen among others. Maroney approaches the piano as a stringed as well as percussion instrument. Like any string player (and unlike any piano player), he can produce slow as well as fast attack envelopes, sustain as well as decay envelopes, moving as well as fixed pitches, unequal as well as equal tempered intervals, and manifold timbres.
The multi-facets of Rich O'Donnell span 45 years as virtuoso percussionist, composer, designer and builder of percussion and electronic instruments, teacher and writer. He is director of the Electronic Music Studio at Washington University, head of the Washington University Percussion Department, and music director of New Music Circle. He was 43 years with the St. Louis Symphony Orchestra, most of them as principal percussionist.

New methods of structuring improvisations are devised daily; but rhythm remains one of the most reliable. It is open-ended, as it does not address pitch or timbre; at the same time, rhythm is a catalyst that assures at least an initial continuity. Violinist Leroy Jenkins uses this approach with brilliant results on the debut of Driftwood, a quartet with pipa player Min Xiao-Fen, pianist Denman Maroney, and percussionist Rich O'Donnell. The parameters of each of the four movements are set with infinitive verb, a tempo description and a metronome setting ­ i.e.: To Sing ­ Andante Cantabile (quarter note symbol) = 80. Taking the prompts of each movement to heart ­ especially the intriguing To Believe ­ Pure Motion ­ (quarter note symbol) = 0 ­ Jenkins and his collaborators almost instantly coalesce as ensemble, while giving each musician enough space on an ongoing basis to truly add to the unfolding music. The ensemble's complementary textures ­ the sustain of Jenkins bowing, the quick decay of the pipa, the shimmering metallic highlights of Maroney¹s preparations, and the small details of O'Donnell's percussion ­ also play a large role creating and sustaining the musics momentum. Yet, Driftwood's most admirable quality is their restraint. Each of its members are virtuosos (for those not familiar with O'Donnell, he is the former principal percussionist with the St. Louis Symphony Orchestra), but they never disrupt the collectively articulated equilibrium

Min Xiao-Fen - pipa
Denman Maroney - piano
Rich O'Donnell - percussion
Leroy Jenkins - violin