(Hard Bop) [CD] Sonny Rollins - Falling In Love With Jazz - 1990, FLAC (tracks+.cue), lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 22. January 2009, 19:24
Sonny Rollins / Falling In Love With Jazz
Used drive  : PLEXTOR CD-R   PREMIUM2   Adapter: 1  ID: 1
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 30
Overread into Lead-In and Lead-Out          : Yes
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 32 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Programmi\FLAC\flac.exe
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -8" %s
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  |  0:00.00 |  7:42.27 |         0    |    34676
        2  |  7:42.27 |  6:18.65 |     34677    |    63091
        3  | 14:01.17 |  7:41.35 |     63092    |    97701
        4  | 21:42.52 |  4:49.63 |     97702    |   119439
        5  | 26:32.40 |  7:33.12 |    119440    |   153426
        6  | 34:05.52 |  7:03.68 |    153427    |   185219
        7  | 41:09.45 |  5:47.47 |    185220    |   211291
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Track  2
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Track  3
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Track  4
     Filename D:\My Rip\04 - Falling In Love With Love.wav
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Track  5
     Filename D:\My Rip\05 - I Should Care.wav
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Track  6
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Track  7
     Filename D:\My Rip\07 - Amanda.wav
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No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
No errors occurred
End of status report

REM GENRE Jazz
REM DATE 1990
REM DISCID 550B0107
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Sonny Rollins"
TITLE "Falling In Love With Jazz"
FILE "01 - For All We Know.wav" WAVE
  TRACK 01 AUDIO
    TITLE "For All We Know"
    PERFORMER "Sonny Rollins"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Tennessee Waltz"
    PERFORMER "Sonny Rollins"
    INDEX 00 07:41:55
FILE "02 - Tennessee Waltz.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "Little Girl Blue"
    PERFORMER "Sonny Rollins"
    INDEX 00 06:16:65
FILE "03 - Little Girl Blue.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Falling In Love With Love"
    PERFORMER "Sonny Rollins"
    INDEX 00 07:40:20
FILE "04 - Falling In Love With Love.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "I Should Care"
    PERFORMER "Sonny Rollins"
    INDEX 00 04:47:70
FILE "05 - I Should Care.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Sister"
    PERFORMER "Sonny Rollins"
    INDEX 00 07:32:32
FILE "06 - Sister.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Amanda"
    PERFORMER "Sonny Rollins"
    INDEX 00 07:03:45
FILE "07 - Amanda.wav" WAVE
    INDEX 01 00:00:00

This average effort from Sonny Rollins and his regular sextet is most notable for two numbers ("For All We Know" and "I Should Care") that find Branford Marsalis joining Rollins in a quintet with pianist Tommy Flanagan. Unfortunately Marsalis makes the fatal error of trying to imitate Rollins (instead of playing in his own musical personality) and he gets slaughtered. Much better are Rollins's romps on "Tennessee Waltz" and "Falling in Love with Love."
Sonny Rollins had spent the better part of the 1980's pursuing ways in which to mildly introduce electric elements into an essentially acoustic jazz framework. For the most part,these elements were not prominent and the average music listener would probably have to strain to notice it was there. Electric jazz/fusion by that point had developed something of a stigma among acoustic jazz lovers. Especially with the advent of the "young lions". By the time the decade came to a close,it did seem about the right time for all of the sub-genre's of to co exist in a reasonable way. Not sure if that happened. But many artists did try to bridge that gap. And that seems to be just what Sonny tries to do here.
Recorded over what appears to be three separate sessions in the summer/autumn of 1989,with three different sets of musicians this album has a very strong progression about it. On "For All We Know" and "I Should Care" Sonny and Branford Marsalis engage in a couple spirited tenor duets,both on the slower and melodic side. On "Tennessee Waltz" and "Little Girl Blue" Jack DeJohneete is on drums and especially on the former number Jerome Harris's electric guitar actually give the music a mild country-western flavor. After all since that genre is actually about as close to the blues as jazz is that isn't very surprising either. On "Falling In Love With Love" the "third band with only Clifton Davis on trombone as the main instrumental difference is a spirited uptempo number. On the final two featuring that same band,namely "Sister" and "Amanda" Bob Crenshaw's bass pops right out on two heavy duty jazz-funk type numbers.
Interesting thing about this album is how well Sonny himself is about to make himself right at home with whatever is happening around him. And this album does have a good deal of variety in it to be said. I'd think that is was good that a musician of his era would be the person to make a record like this one. A lot of people of earlier and later eras did in fact tend to get a little stuck in certain ways of making music. Louis Armstrong,for example was no fan of be-bop nor were any of the be-boppers a fan of his. Could've been,as the old saying went,that the heroin epidemic among many of the be-boppers "took a lot of the love away". On the other hand everyone from Miles Davis,John Coltrane,Dizzy Gillespie and Sonny Rollins here were all able to more successfully adapt their sounds to the changes of the decades in a manner only really Duke Ellington had before them. And to my ears this album and others like it are a very good example of this.