(Free Jazz, Free Improvisation) John Tchicai - Archie Shepp - Rufus - 1990, FLAC (tracks+.cue), lossless

John Tchicai - Archie Shepp - Rufus Жанр: Free Jazz, Free Improvisation Страна-производитель диска: Japan Год издания: 1990 Издатель (лейбл): Fontana Номер по каталогу: PHCE-1002 Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Битрейт аудио: lossless Продолжительность: 48:20 Источник (релизер): собственный рип с оригинального диска. Наличие сканов в содержимом раздачи: даТреклист: 01. Rufus 02. Nettus 03. Hoppin' 04. For Helved 05. Funeral  Лог создания рипа Exact Audio Copy V1.0 beta 3 from 29. August 2011EAC extraction logfile from 1. October 2012, 18:03John Tchicai - Archie Shepp / RufusUsed drive : TSSTcorpCDDVDW SH-S222A Adapter: 1 ID: 0Read mode : SecureUtilize accurate stream : YesDefeat audio cache : YesMake use of C2 pointers : NoRead offset correction : 6Overread into Lead-In and Lead-Out : NoFill up missing offset samples with silence : YesDelete leading and trailing silent blocks : NoNull samples used in CRC calculations : YesUsed interface : Native Win32 interface for Win NT & 2000Gap handling : Appended to previous trackUsed output format : User Defined EncoderSelected bitrate : 896 kBit/sQuality : HighAdd ID3 tag : NoCommand line compressor : C:\Tool\CD\EAC10\FLAC\FLAC.EXEAdditional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "ALBUM ARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=EAC V1.0 beta 3, Secure Mode, Test & Copy, AccurateRip, FLAC -8" %source% -o %dest%TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 11:17.45 | 0 | 50819 2 | 11:17.45 | 12:35.62 | 50820 | 107506 3 | 23:53.32 | 7:09.50 | 107507 | 139731 4 | 31:03.07 | 12:16.20 | 139732 | 194951 5 | 43:19.27 | 5:03.63 | 194952 | 217739Track 1 Filename C:\! LUSHLIFE\UL\John Tchicai - Archie Shepp - Rufus (1990) [FLAC] {Fontana PHCE-1002}\01 - Rufus.wav Pre-gap length 0:00:02.00 Peak level 90.3 % Extraction speed 3.4 X Track quality 99.9 % Test CRC 8D362FB4 Copy CRC 8D362FB4 Accurately ripped (confidence 1) [E833F973] (AR v1) Copy OKTrack 2 Filename C:\! LUSHLIFE\UL\John Tchicai - Archie Shepp - Rufus (1990) [FLAC] {Fontana PHCE-1002}\02 - Nettus.wav Pre-gap length 0:00:02.20 Peak level 82.4 % Extraction speed 3.7 X Track quality 100.0 % Test CRC 3F018CEC Copy CRC 3F018CEC Accurately ripped (confidence 1) [9CA983EC] (AR v1) Copy OKTrack 3 Filename C:\! LUSHLIFE\UL\John Tchicai - Archie Shepp - Rufus (1990) [FLAC] {Fontana PHCE-1002}\03 - Hoppin'.wav Pre-gap length 0:00:01.72 Peak level 67.3 % Extraction speed 3.6 X Track quality 100.0 % Test CRC 0922EF2F Copy CRC 0922EF2F Accurately ripped (confidence 1) [A5F87BB3] (AR v1) Copy OKTrack 4 Filename C:\! LUSHLIFE\UL\John Tchicai - Archie Shepp - Rufus (1990) [FLAC] {Fontana PHCE-1002}\04 - For Helved.wav Pre-gap length 0:00:02.57 Peak level 68.5 % Extraction speed 3.7 X Track quality 100.0 % Test CRC 6E5600DE Copy CRC 6E5600DE Accurately ripped (confidence 1) [BE027D2C] (AR v1) Copy OKTrack 5 Filename C:\! LUSHLIFE\UL\John Tchicai - Archie Shepp - Rufus (1990) [FLAC] {Fontana PHCE-1002}\05 - Funeral.wav Pre-gap length 0:00:02.35 Peak level 54.3 % Extraction speed 3.3 X Track quality 100.0 % Test CRC 93A354D8 Copy CRC 93A354D8 Accurately ripped (confidence 1) [1E3532C8] (AR v1) Copy OKAll tracks accurately rippedNo errors occurredEnd of status report---- CUETools DB Plugin V2.1.3[CTDB TOCID: L6LxI4jCDcpyrvAGnhJBOglVqRg-] disk not present in database, Submit result: L6LxI4jCDcpyrvAGnhJBOglVqRg- has been uploaded==== Log checksum 83B766773DB71750D51881DE7D525E99EEF807F68C217CAD80651F8FF0676DB8 ====  Содержание индексной карты (.CUE) REM GENRE JazzREM DATE 1990REM DISCID 420B5705REM COMMENT "ExactAudioCopy v1.0b3"PERFORMER "John Tchicai - Archie Shepp"TITLE "Rufus"FILE "01 - Rufus.wav" WAVE TRACK 01 AUDIO TITLE "Rufus" PERFORMER "John Tchicai - Archie Shepp" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Nettus" PERFORMER "John Tchicai - Archie Shepp" INDEX 00 11:15:25FILE "02 - Nettus.wav" WAVE INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "Hoppin'" PERFORMER "John Tchicai - Archie Shepp" INDEX 00 12:33:65FILE "03 - Hoppin'.wav" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "For Helved" PERFORMER "John Tchicai - Archie Shepp" INDEX 00 07:06:68FILE "04 - For Helved.wav" WAVE INDEX 01 00:00:00 TRACK 05 AUDIO TITLE "Funeral" PERFORMER "John Tchicai - Archie Shepp" INDEX 00 12:13:60FILE "05 - Funeral.wav" WAVE INDEX 01 00:00:00 Доп. информация: Recorded in New York City on August 23, 1963.  Об альбоме (Victor Schonfield)Linernote Since the end of the 1950's the dominant approach to improvising music has been that of "The New Thing". The generation of players sired by Ornette Coleman and Cecil Taylor has successfully asserted the right of the artist to abandon metrical form and fixed tempi, to dispense with the restrictions of tonality, and to play notes which have no place in the European scale. Judging the "New Thing" school on the basis of its words, free improvisation of this kind might sound like artistic irresponsibility - or else an assertion that all sounds have an equal claim to our attention. Judging it on its deeds, however, one is struck by the way its members have shied away from such implications. Every player has voluntarily limited his means of expression, selected a particular musical vision as the pattern to which his work shall conform, and then tried to perfect his work inside comparatively narrow limits. In fact the rules have not been renounced but recreated, with the difference that the new rules are chosen to meet individual needs and make no pretensions to universal significance. Archie Shepp and John Tchicai possess strongly contrasted conceptions of musical order, and these conceptions had crystallised by the time they toured Scandinavia in late 1963 as members of the New York Contemporary Five. ("Consequences", an LP by that gr oup, is also available on Fontana). At the end of the tour the group, with the exception of trumpeter Don Cherry, made this LP. Thereafter the difference in approach between the two saxophonists took their careers in opposite directions, leading to their present eminence as two of the principal improvisers and composer-leaders in "The New Thing". This LP, however, presents them side by side, and the contrast between their approaches illuminates the playing of both musicians. Shepp's dramatic style emphasises the descent of the music from jazz; it has also helped him to become the first "New Thing"-player to enjoy widespread success with jazz audiences. His hairy-chested manner is full of references to the more extrovert jazz tenor saxophonists. A fondness for tempering a full, rich sound with breathy intimacies, growling ferocities, and slurs and swoops in the manner of Lockjaw Davis and Ben Webster goes hand in hand with hard-toned, implacable passages recalling Sonny Rollins and John Coltrane, and with raucous honking and a raw, folk quality in the rhythm-and-blues tradition. His melodic shapes seem equally orthodox to jazz ears - a collage of loosely related or discontinuous phrases held together by a directly emotional a ppeal and capable of generating enormous impetus and excitement, as happens notably towards the end of "For Helved". Yet another link with the past is Shepp's fierce rhythmic attack and his preference for a direct and swinging accompaniment from bass and drums, the kind to be heard on the first four tracks of this LP. The uniquely gifted Tchicai adopts a totally opposite approach. His attractively reedy and liquid timbre is unlike that of any other alto saxophonist. His stance is intimate rather than rhetorical and he makes no attempt to communicate any specific state of mind; the high degree of urgency and expressiveness in his work seems to derive from intellectual passion. Tchicai uses a method of construction analagous to that of classical European composers; each solo is a closely argued discourse in which a single motif is developed, transformed and often repeated, the whole making rigorous sense as a self-contained melodic line. He is also a more strictly linear improviser than Shepp, as can be gathered from his later work with the New York Art Quartet ("Mohawk" , for example, also on Fontana). The lyrical simplicity of his phrases and his generous use of rests seem to invite the supporting bass and drums to join in with him, and his airy, floating rhythms do not really need the lusty and straightforward time-keeping to be found here. (The remarkable New York Art Quartet concerns itself solely with true collective improvisation at constantly varying tempi, the distinction between soloist and accompanist, so pronounced here, vanishing yet without submerging the gifts of the separate members.) The value of most of this record, therefore, resides in the individual contributions. "Funeral", however, is an exception. Four strong identities come together in this poignant lament for Medgar Evers, the Mississippi civil rights leader who was assassina ted in 1963. For these men to be able to conceive and execute the work in a fashion so worthy of its subject only underlines the talent they display throughout the rest of the LP.  СоставArchie Shepp - tenor sax John Tchicai - alto sax Don Moore - bass J.C. Moses - drums