(Free Improvisation/Avant-Garde/Free Jazz) Paul Dunmall Octet : The Great Divide : 2001, APE (image+.cue), lossless
Треклист:
Paul Dunmall Octet : The Great Divide
Жанр: Free Improvisation/Avant-Garde/Free Jazz
Год выпуска диска: 2001
Производитель диска: Cuneiform Records, USA, Rune 142
Аудио кодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 54'47''
Трэклист:
1. Part 1
2. Part 2
3. Part 3
4. Part 4
5. Part 5
6. Passage Through The Great Divide
Доп. информация: Dunmall Octet: Paul Dunmall, Simon Picard (tenor saxophone); Gethin Liddington (trumpet); Paul Rutherford, Hilary Jeffries (trombone); Keith Tippett (piano); Paul Rogers (bass); Tony Levin (drums).
Additional persons: Elton Dean, Lee Goodsall (alto saxophone); Evan Parker, Howard Cottie (tenor saxophone); Jon Corbett (cornet); Oren Marshall (tuba); John Adams (guitar); Mark Sanders (drums).
Recorded at Gateway Studios, Kingston, England on March 26, 2000.
Рип сделан с фирменного диска.
Жанр: Free Improvisation/Avant-Garde/Free Jazz
Год выпуска диска: 2001
Производитель диска: Cuneiform Records, USA, Rune 142
Аудио кодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 54'47''
Трэклист:
1. Part 1
2. Part 2
3. Part 3
4. Part 4
5. Part 5
6. Passage Through The Great Divide
Доп. информация: Dunmall Octet: Paul Dunmall, Simon Picard (tenor saxophone); Gethin Liddington (trumpet); Paul Rutherford, Hilary Jeffries (trombone); Keith Tippett (piano); Paul Rogers (bass); Tony Levin (drums).
Additional persons: Elton Dean, Lee Goodsall (alto saxophone); Evan Parker, Howard Cottie (tenor saxophone); Jon Corbett (cornet); Oren Marshall (tuba); John Adams (guitar); Mark Sanders (drums).
Recorded at Gateway Studios, Kingston, England on March 26, 2000.
Review
Ostensibly a collective venture, with the Octet augmented by a further octet on one track, this does allow a lot of space for individual voices within Dunmall’s compositions. They may all kick off together on the furious opening section of the first track, with Keith Tippett powering along under horns that soon dissolve into some furious blowing. But gradually it abandons this collective force and lets Tippett, Tony Levin and Paul Rogers explore the more contemplative areas of their instruments. There are moments of great delicacy and restraint set against the power of the ensemble. And this is only one track.
Simon Picard’s tenor takes a dominant role on Part Two, again with support and collaboration from drums and bass. His voice shifts easily from brooding to mercurial. At times I was even reminded of Albert Ayler, though probably no one else will be! This is effectively another trio outing that includes a few sparse figures from the horns towards the end. Rogers gets a chance to scrape and bow a solo with a minimal, but effective, overlay of the brass again. This is one of the prominent features of Dunmall’s writing on the album; foregrounding certain players whilst using the brass to highlight or add specific colour. Pieces segue in this way and overall there is the sense of a cohesive unit rather than a collection of separate tracks.
Part Four allows Gethin Liddington’s trumpet a chance to stretch out over John Adams’ choppy guitar and the controlled thunder of Levin’s drumming. It is a real pleasure to hear these clean, sharp lines, which cut through with authority, and still be aware of each tiny brush stroke from the cymbal . Trombonist, Hilary Jeffries takes over as main voice, growling and mumbling darkly, until those perfectly restrained brass voices graft on a concluding statement.
Part Five pins you back in your seat as Dunmall solos after Tippett’s short opening figure. Someone once described Coltrane as a big man with a big sound and I would not hesitate to use those terms here too. Dunmall unleashes passionate torrents of improvisation without descending into mere sound and fury. There is always a sense of control. He urgently packs his many ideas into a well defined area of exploration. No room for sloppy self-indulgence. Needless to say the contributions of the other players are tight and inventive. This piece again mutates into a section for other individual voices, this time those of Tippett and stalwart trombonist, Paul Rutherford. Adams’ guitar chops and chatters around them.
The final part, A Passage Through The Great Divide, is probably the most powerful statement Dunmall has recorded. It features all the Octet plus the saxes of Elton Dean, Evan Parker, Lee Goodall and Howard Cottle, tuba, cornet and drums. This is a culmination of all that has happened so far on the album ; voices come, briefly, to the fore while a welter of sound boils around them. It is the essence of the first five tracks expanded and amplified to titanic proportions. From the dark collective opening statement to the three final blasts it grips you. You may not hear a more thrilling and terrifying sound on a jazz recording this year.
So, Paul Dunmall and his associates have delivered another powerful piece of composed/improvised music which builds on the achievements of the previous cd ‘Bebop Starburst’. This, once again, sets them at the forefront of British jazz and showcases a plethora of exciting voices that, individually and collectively, demand to be heard.
Simon Picard’s tenor takes a dominant role on Part Two, again with support and collaboration from drums and bass. His voice shifts easily from brooding to mercurial. At times I was even reminded of Albert Ayler, though probably no one else will be! This is effectively another trio outing that includes a few sparse figures from the horns towards the end. Rogers gets a chance to scrape and bow a solo with a minimal, but effective, overlay of the brass again. This is one of the prominent features of Dunmall’s writing on the album; foregrounding certain players whilst using the brass to highlight or add specific colour. Pieces segue in this way and overall there is the sense of a cohesive unit rather than a collection of separate tracks.
Part Four allows Gethin Liddington’s trumpet a chance to stretch out over John Adams’ choppy guitar and the controlled thunder of Levin’s drumming. It is a real pleasure to hear these clean, sharp lines, which cut through with authority, and still be aware of each tiny brush stroke from the cymbal . Trombonist, Hilary Jeffries takes over as main voice, growling and mumbling darkly, until those perfectly restrained brass voices graft on a concluding statement.
Part Five pins you back in your seat as Dunmall solos after Tippett’s short opening figure. Someone once described Coltrane as a big man with a big sound and I would not hesitate to use those terms here too. Dunmall unleashes passionate torrents of improvisation without descending into mere sound and fury. There is always a sense of control. He urgently packs his many ideas into a well defined area of exploration. No room for sloppy self-indulgence. Needless to say the contributions of the other players are tight and inventive. This piece again mutates into a section for other individual voices, this time those of Tippett and stalwart trombonist, Paul Rutherford. Adams’ guitar chops and chatters around them.
The final part, A Passage Through The Great Divide, is probably the most powerful statement Dunmall has recorded. It features all the Octet plus the saxes of Elton Dean, Evan Parker, Lee Goodall and Howard Cottle, tuba, cornet and drums. This is a culmination of all that has happened so far on the album ; voices come, briefly, to the fore while a welter of sound boils around them. It is the essence of the first five tracks expanded and amplified to titanic proportions. From the dark collective opening statement to the three final blasts it grips you. You may not hear a more thrilling and terrifying sound on a jazz recording this year.
So, Paul Dunmall and his associates have delivered another powerful piece of composed/improvised music which builds on the achievements of the previous cd ‘Bebop Starburst’. This, once again, sets them at the forefront of British jazz and showcases a plethora of exciting voices that, individually and collectively, demand to be heard.
отчет EAC
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
Отчёт EAC об извлечении, выполненном 4. марта 2010, 22:11
Dunmall Paul Octet / The Great Divide
Дисковод: TSSTcorpCDDVDW SH-S203D Adapter: 3 ID: 0
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Установленный внешний ASPI-интерфейс
Выходной формат : Внутренние WAV-операции
Формат сэмплов : 44.100 Гц; 16 бит; стерео
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 9:39.00 | 0 | 43424
2 | 9:39.00 | 6:52.26 | 43425 | 74350
3 | 16:31.26 | 3:50.65 | 74351 | 91665
4 | 20:22.16 | 11:22.60 | 91666 | 142875
5 | 31:45.01 | 11:16.62 | 142876 | 193637
6 | 43:01.63 | 11:41.12 | 193638 | 246224
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла E:\FOS\MISIC\Paul Dunmall\Dunmall Paul Octet - The Great Divide - 2001\Dunmall Paul Octet - The Great Divide.wav
Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC копии A5A68B8B
Копирование... OK
Ошибок не произошло
Конец отчёта
Отчёт EAC об извлечении, выполненном 4. марта 2010, 22:11
Dunmall Paul Octet / The Great Divide
Дисковод: TSSTcorpCDDVDW SH-S203D Adapter: 3 ID: 0
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Установленный внешний ASPI-интерфейс
Выходной формат : Внутренние WAV-операции
Формат сэмплов : 44.100 Гц; 16 бит; стерео
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 9:39.00 | 0 | 43424
2 | 9:39.00 | 6:52.26 | 43425 | 74350
3 | 16:31.26 | 3:50.65 | 74351 | 91665
4 | 20:22.16 | 11:22.60 | 91666 | 142875
5 | 31:45.01 | 11:16.62 | 142876 | 193637
6 | 43:01.63 | 11:41.12 | 193638 | 246224
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла E:\FOS\MISIC\Paul Dunmall\Dunmall Paul Octet - The Great Divide - 2001\Dunmall Paul Octet - The Great Divide.wav
Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC копии A5A68B8B
Копирование... OK
Ошибок не произошло
Конец отчёта