(Free Jazz) Sunny Murray - Perles Noires Vol. II - 2005, FLAC (tracks+.cue) lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 15. March 2011, 12:52
Sunny Murray / Perles Noires Vol. II
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        1  |  0:00.00 | 13:57.51 |         0    |    62825
        2  | 13:57.51 | 12:21.06 |     62826    |   118406
        3  | 26:18.57 | 10:26.05 |    118407    |   165361
        4  | 36:44.62 | 12:45.61 |    165362    |   222797
        5  | 49:30.48 | 13:03.64 |    222798    |   281586
        6  | 62:34.37 |  3:35.21 |    281587    |   297732
        7  | 66:09.58 |  8:26.14 |    297733    |   335696
Track  1
     Filename C:\! UPLOAD\Sunny Murray - Sabir Mateen - Perles Noires Vol. II (2005) [FLAC]\01 - No U-Turns Today.wav
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Track  2
     Filename C:\! UPLOAD\Sunny Murray - Sabir Mateen - Perles Noires Vol. II (2005) [FLAC]\02 - Philly Sure has Changed.wav
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Track  3
     Filename C:\! UPLOAD\Sunny Murray - Sabir Mateen - Perles Noires Vol. II (2005) [FLAC]\03 - Sundance at Night.wav
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Track  4
     Filename C:\! UPLOAD\Sunny Murray - Sabir Mateen - Perles Noires Vol. II (2005) [FLAC]\04 - Changing Times I.wav
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Track  5
     Filename C:\! UPLOAD\Sunny Murray - Sabir Mateen - Perles Noires Vol. II (2005) [FLAC]\05 - Changing Times II.wav
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Track  6
     Filename C:\! UPLOAD\Sunny Murray - Sabir Mateen - Perles Noires Vol. II (2005) [FLAC]\06 - Nostalgia.wav
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Track  7
     Filename C:\! UPLOAD\Sunny Murray - Sabir Mateen - Perles Noires Vol. II (2005) [FLAC]\07 - Now You Hear It, Now You Don't.wav
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REM GENRE Jazz
REM DATE 2004
REM DISCID 6B117B07
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Sunny Murray"
TITLE "Perles Noires Vol. II"
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FILE "02 - Philly Sure has Changed.wav" WAVE
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FILE "03 - Sundance at Night.wav" WAVE
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FILE "04 - Changing Times I.wav" WAVE
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  TRACK 05 AUDIO
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FILE "06 - Nostalgia.wav" WAVE
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FILE "07 - Now You Hear It, Now You Don't.wav" WAVE
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Sunny Murray is widely credited with being the first drummer to fully liberate the kit, developing a form of omni-directional accompaniment that dissolved the distinction between supporting and leading and helped spark the free jazz revolution that took place in the early 60s. Indeed, Murray spent time with most of the new music's major theorists, including both Cecil Taylor and Albert Ayler. But in recent years he hasn't seemed like quite the drummer he was, lacking the focus and (perhaps more inevitably) some of the power of his earlier performances. Both volumes of Perles Noires, then, come as a real slap around the head. Both discs document the core duo of Murray and saxophonist Sabir Mateen, best known as a member of NY guerrilla jazz outfit Test, alone and in the company of various guests, including pianists Dave Burrell and John Blum, saxophonist Louis Belogenis and bassist Alan Silva. Murray is on fierce, articulate form and he makes with some wild solo statements, building compulsive tattoos from associative percussive strategies, as well as moments of pure, straight-ahead thump. Mateen's formulations are just as spontaneously charged, roaring out of the gate with a screaming, vocalised sound before dropping to moonbeams of late-night melody. A beauty.
-- David Kennan, Scotland Sunday Herald

Much has been said in even more recent times about how happy & chilled Sunny is in Europe...The same spirit infuses much of the music on these more recent duo-plus-guests dates. The exception is a slightly fraught reunion with pianist Dave Burrell on the three parts of "Fox Hunting In Manhattan," & the tellingly named "Three Is A Crowd" (recorded at Tonic & all on Volume one), where there is definitely gunpowder in the air. Murray plays quietly for the most part, but with a constant threat lying below the surface. The only duet with Mateen, "Top Dogs Boggie," is a career highlight & an ideal place to study Murray's close attention to horn lines, which he seems able to duplicate precisely. The remaining material comes from a quartet date with saxophonist Louis Belogenis & bassist Alan Silva at the Unitarian Meetinghouse. They start with a subtle, moving version of Ornnete Coleman's "Lonely Woman," followed by a brief, oddly uncertain "Trail of Tears," which casts a slight shadow over Eremite's insistence that there was more than enough material available from Murray's Northeastern tour (inconsistently dated autumn 2003 & autumn 2004 in the sleeve notes) for two CDs. Volume two has some of the best music, but again is marred by the uncertainty of reedsman Oluyemi Thomas, who hadn't worked with this pairing before & sounds awkward. Add to that the unfamiliar pitch & attack of his C melody saxophone & the chemistry is just slightly off. By contrast, pianist John Blum fits in beautifully, & "Changing Times II" shows off Murray's gift for working with piano players as well, taking keyboard phrases & blending them to his own idiom. "Nostalgia" sees Mateen keep to the background after a fine alto opening, but he's back in force on the closing "Now You Hear It, Now You Don't." Of the tracks recorded the day before with Thomas, only "Philly Sure Has Changed" is completely successful. Mateen's tenor is in great voice & Thomas has found his place in the mix. Murray puts in some Blackfoot figures towards the end & then comments wryly, "Sometimes it's nice to be with cowboys & Indians." Typically, he then changes the pace entirely with "Sundance at Midnight," a lyrical interlude, & on "Changing Times I" where he plays be-bop with dizzying ease.
-- Brian Morton, The Wire

Sunny Murray - drums
Sabir Mateen - alto & tenor saxophones, clarinet
Oluyemi Thomas bass clarinet & c-melody saxophone (1-4)
John Blum piano (5-7)