(Free Jazz, Contemporary Jazz, Free Improvisation) Jon Lloyd (Marcio Mattos, Stan Adler, Paul Clarvis) - Four And Five - 1999, FLAC (image+.cue), lossless

Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 4. November 2013, 12:49
Jon Lloyd / Four and Five
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
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        1  |  0:00.00 |  7:33.62 |         0    |    34036
        2  |  7:33.62 | 11:32.00 |     34037    |    85936
        3  | 19:05.62 |  7:57.00 |     85937    |   121711
        4  | 27:02.62 | 10:53.00 |    121712    |   170686
        5  | 37:55.62 |  7:53.00 |    170687    |   206161
        6  | 45:48.62 |  4:30.00 |    206162    |   226411
        7  | 50:18.62 |  5:26.13 |    226412    |   250874
Range status and errors
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     Filename K:\ЕАС\Jon Lloyd - Four and Five.wav
     Peak level 92.7 %
     Extraction speed 1.9 X
     Range quality 100.0 %
     Test CRC D31088DA
     Copy CRC D31088DA
     Copy OK
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AccurateRip summary
Track  1  accurately ripped (confidence 6)  [F5EB2D08]  (AR v1)
Track  2  accurately ripped (confidence 6)  [802D4768]  (AR v1)
Track  3  accurately ripped (confidence 6)  [7D25D638]  (AR v1)
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Track  5  accurately ripped (confidence 6)  [2AE0DEB1]  (AR v1)
Track  6  accurately ripped (confidence 6)  [FD440B76]  (AR v1)
Track  7  accurately ripped (confidence 5)  [482AB98D]  (AR v1)
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==== Log checksum 3230D5FBBD54B0B8821B50CC667C5D30DC59C4CBE23E97E1C2E7AAB59B0D89D7 ====

REM GENRE Jazz
REM DATE 1999
REM DISCID 4F0D1107
REM COMMENT "ExactAudioCopy v1.0b2"
CATALOG 0000000000000
PERFORMER "Jon Lloyd"
TITLE "Four and Five"
FILE "Jon Lloyd - Four and Five.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Jump"
    PERFORMER "Jon Lloyd"
    ISRC CH1319900098
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Four And Five"
    PERFORMER "Jon Lloyd"
    ISRC CH1319900099
    INDEX 01 07:33:62
  TRACK 03 AUDIO
    TITLE "Zilch, Zero, Zed"
    PERFORMER "Jon Lloyd"
    ISRC CH1319900100
    INDEX 01 19:05:62
  TRACK 04 AUDIO
    TITLE "Blues For"
    PERFORMER "Jon Lloyd"
    ISRC CH1319900101
    INDEX 01 27:02:62
  TRACK 05 AUDIO
    TITLE "Method"
    PERFORMER "Jon Lloyd"
    ISRC CH1319900102
    INDEX 01 37:55:62
  TRACK 06 AUDIO
    TITLE "Xis"
    PERFORMER "Jon Lloyd"
    ISRC CH1319900103
    INDEX 01 45:48:62
  TRACK 07 AUDIO
    TITLE "Take The Coltrane"
    PERFORMER "Jon Lloyd"
    ISRC CH1319900104
    INDEX 01 50:18:62

John Lloyd's new quartet, sans the pianistic invention of John Law, is an earful to behold. Gone are the strange punch-drunk duels between the two, and that's not because Lloyd wanted to make his own voice predominant -- far from it, by adding an entirely new lineup save for Marcio Mattos, with Stan Adler on cello and Paul Clarvis on percussion. The astounding bang in the first five seconds of this record is both the acknowledgement of passage and the entrance into the new. Lloyd, who has previously taken his jazz cues from Anthony Braxton and Steve Lacy has shifted his sources of information: While Lacy remains an influence, the conical soprano investigations of Evan Parker are heard in Lloyd's work for the first time, as is the compositional methodology of Ornette Coleman. Where it seemed on previous recordings that Lloyd's primary concern was to dismiss any approximation of melodic invention, here, that very sensibility is at play -- not only as a way for the quartet to jump off into improvisation, but as a way of holding a particular composition's sway over its length and not to become mired within the free flow of ideas between band members ("Zilch, Zero, Zed"). Using Adler and Mattos is ingenious. It's really two cello players in that Mattos plays that instrument primarily. His interaction with Adler then is symbiotic particularly when overtone studies are called for within improvisation; the textural qualities and choices become enormous for both Lloyd and Clarvis to choose from. Improvisation moves deeper into microtonal investigation and the distance between instruments lessens while widening it in sonic terms ("Four and Five"). In a sound world where texture plays the same role as melody and harmony balance offers a kind of freedom to roam that would never be extended otherwise, such as on the flamenco-tinged "Blues For." After five recordings, the artist seems to have finally found his compositional voice -- his solo voice was well established more than a decade ago -- and his authority as a bandleader is more forceful because he is so much less autodidactic. Four and Five is his finest moment yet; it reveals a new Jon Lloyd: a jazz force to be reckoned with and learned from.

Alto Saxophone, Soprano Saxophone – Jon Lloyd
Bass – Marcio Mattos
Cello – Stan Adler
Drums, Percussion – Paul Clarvis