(Hard Bop, Post-Bop) Ron Carter - Ron Carter Plays Bach (Japan Edition) - 1991, FLAC (tracks+.cue), lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 25. December 2008, 9:45
Ron Carter / Plays Bach
Used drive  : HL-DT-STDVDRAM GSA-H44N   Adapter: 1  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 667
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
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 320 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files\FLAC\flac.exe
Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  |  0:00.37 |  3:13.38 |        37    |    14549
        2  |  3:14.00 |  1:36.70 |     14550    |    21819
        3  |  4:50.70 |  2:17.05 |     21820    |    32099
        4  |  7:08.00 |  1:51.07 |     32100    |    40431
        5  |  8:59.07 |  1:21.48 |     40432    |    46554
        6  | 10:20.55 |  1:59.25 |     46555    |    55504
        7  | 12:20.05 |  3:00.07 |     55505    |    69011
        8  | 15:20.12 |  4:09.33 |     69012    |    87719
        9  | 19:29.45 |  1:47.20 |     87720    |    95764
       10  | 21:16.65 |  2:39.00 |     95765    |   107689
       11  | 23:55.65 |  2:08.07 |    107690    |   117296
       12  | 26:03.72 |  2:21.70 |    117297    |   127941
       13  | 28:25.67 |  3:23.45 |    127942    |   143211
       14  | 31:49.37 |  2:48.00 |    143212    |   155811
       15  | 34:37.37 |  2:01.23 |    155812    |   164909
       16  | 36:38.60 |  1:29.15 |    164910    |   171599
       17  | 38:08.00 |  2:14.00 |    171600    |   181649
       18  | 40:22.00 |  3:58.65 |    181650    |   199564
       19  | 44:20.65 |  1:49.47 |    199565    |   207786
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REM GENRE Jazz
REM DATE 1985
REM DISCID EA0AD213
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Ron Carter"
TITLE "Plays Bach"
FILE "01 - Suite I- Courante.wav" WAVE
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    TITLE "Suite I: Courante"
    PERFORMER "Ron Carter"
    PREGAP 00:00:37
    INDEX 01 00:00:00
FILE "02 - Suite I- Menuetto I.wav" WAVE
  TRACK 02 AUDIO
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FILE "03 - Suite I- Menuetto II.wav" WAVE
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FILE "04 - Suite I- Gigue.wav" WAVE
  TRACK 04 AUDIO
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FILE "06 - Suite II- Menuetto II.wav" WAVE
  TRACK 06 AUDIO
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FILE "07 - Suite II- Gigue.wav" WAVE
  TRACK 07 AUDIO
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    INDEX 01 00:00:00
FILE "08 - Suite III- Courante.wav" WAVE
  TRACK 08 AUDIO
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    INDEX 01 00:00:00
FILE "09 - Suite III- Bourree I.wav" WAVE
  TRACK 09 AUDIO
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    INDEX 01 00:00:00
FILE "10 - Suite III- Bourree II.wav" WAVE
  TRACK 10 AUDIO
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    INDEX 01 00:00:00
FILE "11 - Suite IV- Bourree I.wav" WAVE
  TRACK 11 AUDIO
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    INDEX 01 00:00:00
FILE "12 - Suite IV- Bourree II.wav" WAVE
  TRACK 12 AUDIO
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FILE "13 - Suite IV- Gigue.wav" WAVE
  TRACK 13 AUDIO
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    INDEX 01 00:00:00
FILE "14 - Suite V- Gigue.wav" WAVE
  TRACK 14 AUDIO
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    PERFORMER "Ron Carter"
    INDEX 01 00:00:00
FILE "15 - Suite VI- Gavotte I.wav" WAVE
  TRACK 15 AUDIO
    TITLE "Suite VI: Gavotte I"
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    INDEX 01 00:00:00
FILE "16 - Suite VI- Gavotte II.wav" WAVE
  TRACK 16 AUDIO
    TITLE "Suite VI: Gavotte II"
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    INDEX 01 00:00:00
FILE "17 - Lute Suite- Praeludium.wav" WAVE
  TRACK 17 AUDIO
    TITLE "Lute Suite: Praeludium"
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    INDEX 01 00:00:00
FILE "18 - Suite II- Sarabande.wav" WAVE
  TRACK 18 AUDIO
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    INDEX 01 00:00:00
FILE "19 - Suite II- Gavotte II.wav" WAVE
  TRACK 19 AUDIO
    TITLE "Suite II: Gavotte II"
    PERFORMER "Ron Carter"
    INDEX 01 00:00:00

auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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Processing file: [01 - Suite I- Courante.wav]
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Detected average lo-boundary frequency: 1.149772e+004 Hz
Detected average hi-cut frequency: 2.177731e+004 Hz
Detected average lo-cut frequency: 9.112119e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 4.556922e-001
First order smothness: 5.928260e-001
Second order smothness: 5.031508e-001
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This track looks like CDDA with probability 100%
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Detected average hi-boundary frequency: 2.001342e+004 Hz
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Detected average hi-cut frequency: 2.173138e+004 Hz
Detected average lo-cut frequency: 7.667462e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.341416e+000
First order smothness: 4.856322e-001
Second order smothness: 5.660920e-001
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This track looks like CDDA with probability 100%
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Detected average lo-boundary frequency: 1.098498e+004 Hz
Detected average hi-cut frequency: 2.175289e+004 Hz
Detected average lo-cut frequency: 8.834276e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 9.503933e-001
First order smothness: 5.447154e-001
Second order smothness: 5.345528e-001
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This track looks like CDDA with probability 100%
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Detected average hi-cut frequency: 2.173861e+004 Hz
Detected average lo-cut frequency: 8.606224e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.020909e+000
First order smothness: 5.472013e-001
Second order smothness: 5.112782e-001
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This track looks like CDDA with probability 100%
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Processing file: [05 - Suite II- Menuetto I.wav]
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Detected average lo-boundary frequency: 1.152359e+004 Hz
Detected average hi-cut frequency: 2.174161e+004 Hz
Detected average lo-cut frequency: 7.681854e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.482884e+000
First order smothness: 4.516496e-001
Second order smothness: 6.018203e-001
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This track looks like CDDA with probability 100%
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Processing file: [06 - Suite II- Menuetto II.wav]
Detected average hi-boundary frequency: 1.998229e+004 Hz
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Detected average hi-cut frequency: 2.176555e+004 Hz
Detected average lo-cut frequency: 8.188066e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.536699e+000
First order smothness: 4.747082e-001
Second order smothness: 5.750973e-001
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This track looks like CDDA with probability 100%
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Processing file: [07 - Suite II- Gigue.wav]
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Detected average hi-cut frequency: 2.173649e+004 Hz
Detected average lo-cut frequency: 9.123114e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.160570e+000
First order smothness: 5.703971e-001
Second order smothness: 5.167612e-001
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This track looks like CDDA with probability 100%
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Processing file: [08 - Suite III- Courante.wav]
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Detected average hi-cut frequency: 2.173812e+004 Hz
Detected average lo-cut frequency: 8.917516e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.364007e+000
First order smothness: 5.781832e-001
Second order smothness: 5.111690e-001
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This track looks like CDDA with probability 100%
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Processing file: [09 - Suite III- Bourree I.wav]
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Detected average hi-cut frequency: 2.172709e+004 Hz
Detected average lo-cut frequency: 8.236492e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.355029e+000
First order smothness: 5.203463e-001
Second order smothness: 5.670996e-001
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This track looks like CDDA with probability 100%
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Processing file: [10 - Suite III- Bourree II.wav]
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Detected average lo-boundary frequency: 1.106394e+004 Hz
Detected average hi-cut frequency: 2.168538e+004 Hz
Detected average lo-cut frequency: 8.336252e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 9.923013e-001
First order smothness: 5.087617e-001
Second order smothness: 5.408879e-001
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This track looks like CDDA with probability 100%
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Processing file: [11 - Suite IV- Bourree I.wav]
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Detected average hi-cut frequency: 2.174596e+004 Hz
Detected average lo-cut frequency: 7.772618e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.614547e+000
First order smothness: 4.739130e-001
Second order smothness: 5.934783e-001
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This track looks like CDDA with probability 100%
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Processing file: [12 - Suite IV- Bourree II.wav]
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Detected average hi-cut frequency: 2.174349e+004 Hz
Detected average lo-cut frequency: 8.450691e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.172075e+000
First order smothness: 4.977109e-001
Second order smothness: 5.657292e-001
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This track looks like CDDA with probability 100%
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Processing file: [13 - Suite IV- Gigue.wav]
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Detected average hi-cut frequency: 2.173993e+004 Hz
Detected average lo-cut frequency: 8.768791e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.127119e+000
First order smothness: 5.253078e-001
Second order smothness: 5.316917e-001
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This track looks like CDDA with probability 100%
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Processing file: [14 - Suite V- Gigue.wav]
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Detected average hi-cut frequency: 2.171430e+004 Hz
Detected average lo-cut frequency: 8.228688e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.319013e+000
First order smothness: 5.229409e-001
Second order smothness: 5.483693e-001
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This track looks like CDDA with probability 100%
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Processing file: [15 - Suite VI- Gavotte I.wav]
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Detected average hi-cut frequency: 2.174037e+004 Hz
Detected average lo-cut frequency: 7.733327e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.105686e+000
First order smothness: 5.309870e-001
Second order smothness: 5.501148e-001
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This track looks like CDDA with probability 100%
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Processing file: [16 - Suite VI- Gavotte II.wav]
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Detected average hi-cut frequency: 2.169026e+004 Hz
Detected average lo-cut frequency: 8.436041e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.510102e+000
First order smothness: 4.911550e-001
Second order smothness: 5.359001e-001
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This track looks like CDDA with probability 100%
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Processing file: [17 - Lute Suite- Praeludium.wav]
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Detected average lo-boundary frequency: 1.075532e+004 Hz
Detected average hi-cut frequency: 2.174287e+004 Hz
Detected average lo-cut frequency: 1.008685e+004 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.740823e+000
First order smothness: 5.232155e-001
Second order smothness: 5.613306e-001
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This track looks like CDDA with probability 100%
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Processing file: [18 - Suite II- Sarabande.wav]
Detected average hi-boundary frequency: 1.998011e+004 Hz
Detected average lo-boundary frequency: 1.167657e+004 Hz
Detected average hi-cut frequency: 2.173674e+004 Hz
Detected average lo-cut frequency: 7.652847e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.326533e+000
First order smothness: 4.175739e-001
Second order smothness: 6.146967e-001
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This track looks like CDDA with probability 100%
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Detected average hi-boundary frequency: 2.000863e+004 Hz
Detected average lo-boundary frequency: 1.146147e+004 Hz
Detected average hi-cut frequency: 2.177148e+004 Hz
Detected average lo-cut frequency: 1.159914e+004 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.460900e+000
First order smothness: 6.318914e-001
Second order smothness: 4.970314e-001
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This track looks like CDDA with probability 99%

By frankp93 "frankp93" (Connecticut United States)
Ron seems to have ruffled some feathers among the self-annointed Keepers of Conventional Practice. How dare this Eastman/Mahattan School masters graduate set foot in the rarified halls of AUTHENTICITY!
Having sat through more than my share of sewing-machine baroque-ishness by performers whose primary claim to fame seems to be looking good in a strapless gown, Ron's interpretations bring something to the table that's worth being open to.
Classically trained musicians - particularly those with no ability whatsoever to improvise (unlike J.S. himself, Mozart, Schubert, et al.) can learn something from a jazz musician's sense of linear forward motion in the service of functional harmony along with polyrhythmic superimposition. If it's ok for Casals to contract half-steps practically to the point of "out-of-tuneness" because he understood it hightened tension, why must it be such a stretch to hear the same in jazz?
Is this "Definitive Bach"? Of course not, such a thing doesn't exist. That's why this music has endured for centuries and continues to speak to us and invite musicians of all stripes to commune with it.
By K. MIURA "koshiro" (Japan)
I thought, that the African-American could not play European dance music. But I was wrong. Ron's play tought it to me. I respect his research of Bach. And after all his play is successfully done. He is a nice interpreter of the melody, harmony and rhythm of Bach's Cello Suites. I like Ron's Bach more than many recordings of classical musicians, for it is one of the minor cases for me, that do not make me bored.
Recorded 1985
By Leonardo Burci (Kronberg, Germany)
Unfortunately the first two reviewers are spot on.
Carter plays these wonderful pieces in a casual almost sluggish way. It is hard not to associate a beginner struggling with his instrument while trying to play a piece to difficult for his abilities. This is not a question regarding the preference of an interpretational style over the other. The disappointing fact is that Carter doesn't play any Bach at all. Not on this record. Carter is a wonderful Jazz bassist - how sad to hear this nonsense from him.
By tom (Scottsdale, AZ, United States)
If classical music were a religion, its adherents would find this recording to be the most offensive and degrading sacrilege imaginable. Fortunately, it is not, and all Ron has managed to offend here are the musical sensibilities of his listeners.
No need to go into details; they might distract from the point. Ron is not capable of playing this kind of music, and he should stop trying to do so outside his own practice room. I like to sing in the shower, but I wouldn't misuse any fame I have to release my own album of arias. Mr. Carter lacks such restraint.
If you're aware of Mr. Carter's tendency to speak of himself as a classical bassist, whining that racism in the classical community prevented him from having a career, it might actually be worth your time to check these recordings out. He somehow fails to understand that the real reason he couldn't make the Philharmonic is that he sounds utterly terrible; in missing this obvious point, Mr. Carter does a disservice to those who actually have faced such struggles.
But I digress: Mr. Carter's Bach albums have value only as novelty items, to gawk at with other musicians who are aware of his great accomplishments in jazz. Shame on Universal, Blue Note Records, and any other company that affords this deluded old jazz legend the chance to make an ass of himself.
By Vincent Osborn "Vince" (Duluth, MN)
When I first heard about this CD I couldn't wait to get it - after I got it, I couldn't listen to it. This CD is just awful. Ron Carter is a fabulous jazz bassist, but he has no business recording Bach and trying to tell us it is something of quality. It is an insult to all the great and aspiring classical bassists who can really play these works. Then, if this recording isn't bad enough - he follows it with another: Ron Carter Meets Bach, which is worse than this one. Shame on Ron Carter and Philips - they should know better than to distribute this garbage. If you're interested in hearing the Bach Cello Suites on the bass, check out the recordings by: Gary Karr, Edgar Meyer, Owen Lee, or Mark Bernat. You will be amazed at how really wonderful a bass can sound.