(Free Jazz, Avant-Garde Jazz) Richard Teitelbaum & Anthony Braxton - Time Zones - 1977, APE (tracks), lossless
Треклист:
Richard Teitelbaum & Anthony Braxton / Time Zones
Жанр: Free Jazz, Avant-Garde Jazz
Год издания: 1977
Издатель (лейбл): Freedom
Номер по каталогу: CD 741037
Аудиокодек: APE (*.ape)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 45:55
Источник (релизер): сетЪ (barin99)
Наличие сканов в содержимом раздачи: да
Треклист:
1 Crossing 24:00
2 Behemoth Dreams 19:00
Доп. информация:
Crossing recorded live in concert on June 10, 1976 at the Creative Music Festival, Mt. Temper, New York and mixed at Sound Ideas, New York City.
Behemoth Dreams recorded on September 16, 1976 at Bearsville Sound, Woodstock, New York.
Жанр: Free Jazz, Avant-Garde Jazz
Год издания: 1977
Издатель (лейбл): Freedom
Номер по каталогу: CD 741037
Аудиокодек: APE (*.ape)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 45:55
Источник (релизер): сетЪ (barin99)
Наличие сканов в содержимом раздачи: да
Треклист:
1 Crossing 24:00
2 Behemoth Dreams 19:00
Лог создания рипа
нет
Лог проверки качества
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== НЕ РЕДАКТИРУЙТЕ ЭТОТ ФАЙЛ! ===-
Путь: ...\1976-Time Zones [Freedom]
1 -=- 01-Crossing.ape -=- CDDA (100%)
2 -=- 02-Behemoth Dreams.ape -=- CDDA (100%)
Сводка 100,00% CDDA
257628820
Crossing recorded live in concert on June 10, 1976 at the Creative Music Festival, Mt. Temper, New York and mixed at Sound Ideas, New York City.
Behemoth Dreams recorded on September 16, 1976 at Bearsville Sound, Woodstock, New York.
Об альбоме (сборнике)
AMG:
"With Anthony Braxton" was a credit printed on this album's front and back cover in a typeface only a notch smaller than Richard Teitelbaum's name. Braxton is everywhere here, and has everything to do with this album. He plays in duo with Teitelbaum the electronics maestro on the entire album, and surely engineered the deal to make it possible for his buddy to release the record on Arista, which at that point held an exclusive contract with Braxton himself. It was also Braxton who basically promoted Teitelbaum within the confines of the avant-garde free jazz scene, talking him up in interviews and fitting pieces involving him into several different recording projects. There are tastes of the duos these artists have created splashed through the Braxton discography like ice cream stains on a rumpus room rug. This album combines a summer's evening live concert with a studio session cut the following fall, and is quite an accurate document of their work together in the '70s, complete with Braxton's usual dedications, this time to Roscoe Mitchell and Maryanne Amacher. This duo was one of the great instrumental combinations of the '70s, the reed arsenal of Braxton and seemingly unlimited sonic arsenal of Teitelbaum coming together like two great French chefs with a hall full of guests to feed. Each man never seems to stop listening, not only to each other but to a greater force as well, as if in complete understanding of the ramifications of each development. This album should satisfy a listener's desire to hear truly imaginative and successful improvisation involving both electronic and acoustic instruments. The album was later reissued, under Braxton's name, as part of a Black Lion package."
"With Anthony Braxton" was a credit printed on this album's front and back cover in a typeface only a notch smaller than Richard Teitelbaum's name. Braxton is everywhere here, and has everything to do with this album. He plays in duo with Teitelbaum the electronics maestro on the entire album, and surely engineered the deal to make it possible for his buddy to release the record on Arista, which at that point held an exclusive contract with Braxton himself. It was also Braxton who basically promoted Teitelbaum within the confines of the avant-garde free jazz scene, talking him up in interviews and fitting pieces involving him into several different recording projects. There are tastes of the duos these artists have created splashed through the Braxton discography like ice cream stains on a rumpus room rug. This album combines a summer's evening live concert with a studio session cut the following fall, and is quite an accurate document of their work together in the '70s, complete with Braxton's usual dedications, this time to Roscoe Mitchell and Maryanne Amacher. This duo was one of the great instrumental combinations of the '70s, the reed arsenal of Braxton and seemingly unlimited sonic arsenal of Teitelbaum coming together like two great French chefs with a hall full of guests to feed. Each man never seems to stop listening, not only to each other but to a greater force as well, as if in complete understanding of the ramifications of each development. This album should satisfy a listener's desire to hear truly imaginative and successful improvisation involving both electronic and acoustic instruments. The album was later reissued, under Braxton's name, as part of a Black Lion package."
Состав
Anthony Braxton - Sax (Alto), E Flat Clarinet, Sax (Sopranino)
Richard Teitelbaum - Synthesizer, Modular Moog
Richard Teitelbaum - Synthesizer, Modular Moog