(Jazz, Classical, Chamber Music) Protosynthesis Ensemble (with Fred Hersch) - Jazz Classics Classical Jazz (1990) - 1990, APE (image+.cue), lossless

Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 13. December 2011, 11:15
Protosynthesis / Jazz Classics Classical Jazz
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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
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        8  | 38:04.05 |  6:02.65 |    171305    |   198519
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       10  | 47:31.05 |  5:46.55 |    213830    |   239834
       11  | 53:17.60 |  4:32.20 |    239835    |   260254
Track  1
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Track  2
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Track  3
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Track  5
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Track  7
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Track  8
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Track  9
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Track 10
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Track 11
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All tracks accurately ripped
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==== Log checksum 4E3C29BEA339AA0F87F4307AE32D97781213EEE4438342C8896A68FFAFECE014 ====

REM GENRE Jazz
REM DATE 1990
REM DISCID A70D8E0B
REM COMMENT "ExactAudioCopy v1.0b2"
PERFORMER "Protosynthesis"
TITLE "Jazz Classics Classical Jazz"
FILE "01. Con Alma (Gillespie).wav" WAVE
  TRACK 01 AUDIO
    TITLE "Con Alma (Gillespie)"
    PERFORMER "Protosynthesis"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "In Your Own Sweet Way (Brubeck)"
    PERFORMER "Protosynthesis"
    INDEX 00 05:02:05
FILE "02. In Your Own Sweet Way (Brubeck).wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "In a Mist (Beiderbecke)"
    PERFORMER "Protosynthesis"
    INDEX 00 05:06:13
FILE "03. In a Mist (Beiderbecke).wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Line for Lyons (Mulligan)"
    PERFORMER "Protosynthesis"
    INDEX 00 04:07:22
FILE "04. Line for Lyons (Mulligan).wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "Blue in Green (Davis)"
    PERFORMER "Protosynthesis"
    INDEX 00 05:10:00
FILE "05. Blue in Green (Davis).wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Pan Piper (G.Evans)"
    PERFORMER "Protosynthesis"
    INDEX 00 05:16:00
FILE "06. Pan Piper (G.Evans).wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Django (Lewis)"
    PERFORMER "Protosynthesis"
    INDEX 00 05:15:00
FILE "07. Django (Lewis).wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "Fontessa (Lewis)"
    PERFORMER "Protosynthesis"
    INDEX 00 07:51:00
FILE "08. Fontessa (Lewis).wav" WAVE
    INDEX 01 00:00:00
  TRACK 09 AUDIO
    TITLE "Blue Rondo a la Turk (Brubeck)"
    PERFORMER "Protosynthesis"
    INDEX 00 06:01:18
FILE "09. Blue Rondo a la Turk (Brubeck).wav" WAVE
    INDEX 01 00:00:00
  TRACK 10 AUDIO
    TITLE "Chelsea Bridge (Strayhorn)"
    PERFORMER "Protosynthesis"
    INDEX 00 03:22:73
FILE "10. Chelsea Bridge (Strayhorn).wav" WAVE
    INDEX 01 00:00:00
  TRACK 11 AUDIO
    TITLE "'Round Midnight (Monk/Williams/Hanighen)"
    PERFORMER "Protosynthesis"
    INDEX 00 05:44:05
FILE "11. 'Round Midnight (Monk,Williams,Hanighen).wav" WAVE
    INDEX 01 00:00:00

It has been said that Jazz is America's classical music. I don't know who said it first, or when; but during the dear departed decade of the Eighties (a period, incidentally, when jazz reasserted itself in manifold ways, from reissues to a new wave of solidly rooted young players) the oft-echoed phrase was one that many enlightened thinkers took seriously.
Mike Berniker, who conceived and produced this album, set out to find "those jazz compositions that worked well in classical contexts but were strong jazz pieces to begin with; pieces that would transfer well in classical references."
Each piece refers not to any one classical composer, but to several. Though all suggest a classical ethos, it isn 't adhered to rigidly. For this project, which Berniker characterizes as "the first of this kind of synthesis'' (hence the title Protosynthes/s), he enlisted the services of three arrangers. Each one brought his own compositional and orchestral talents to the enterprise, and Berniker assigned pieces to each based upon his special gifts.
For Dizzy Gillespie's Con Alma (first recorded in 1954), arranger Brad Dechter drew upon Villa-Lobos's Bach/ana brasileira No. 5, written originally for soprano voice and eight celli and here adapted for guitar and string quartet.
Arranger Byron Olson describes Dave Brubeck as "one of the first crossover composers," and while not neglecting Brubeck's harmonies on In Your Own Sweet Way (first recorded in 1956), he adds the French Impressionism of Ravel to impart a feeling of wistful beauty, through the combination of a classical woodwind quintet with piano.
Bix Beiderbecke wrote In a Mist as a piano piece and recorded it at the keyboard himselfin 1927. "I wanted to get it away from the piano," says Hersch, "butthisis literally Bix—almost a transcription, but for string quartet. It's like a ragtime piece or a piano prelude and still has the flavor of the period when Bix was listening to, among others, Ravel, Debussy and Gershwin."
Mike Berniker suggested the fugue, theme and variation for Gerry Mulligan's Line for Lyons (1952) to arranger Brad Dechter, who put it into three movements. All three are built on phrases as melodic motifs. The first movement is in Bachian fugal style, with flute, oboe, clarinet, bassoon and harpsichord; the second, 16th-century and Mozart with a woodwind quintet and French horn; the third, 19th-century and Beethoven with French horn, clarinet and bassoon.
Samuel Barber's Adagio for Strings crept into arranger Byron Olson's consciousness for his interpretation of Miles Davis/Bill Evans's Blue in Green. He retained the harmonies from the Hiies Davis recording on Kind of Blue (J959) but added classical harmony to give it a chamber feeling.
For Pan Piper, Dechter took Gil Evans's arrangement from Miles Davis's Sketches of Spain (1960) as the basis for his collaboration with drummer-writer Frank Bennett. The treatment of the old Spanish folk song contains references to De Falla and to Ravel's Rapsodie espagnole. It is played by the same chamber ensemble heard on 8/ue in Green.
Fred Hersch's adaptation of John Lewis's Django (first recorded by the Modern Jazz Quartet in 1954) is divided into four movements, played by oboe, cello, violin and harpsichord. "The first movement," Hersch explains, "is the piece set in a Baroque style. Movements two and four are based on the first motif of the piece. The third, a Largo, derives from a two-note figure from the 8 section." This is plaintive, thematic writing. Fred Hersch adds, "My heroes are those who play compositionally—Monk, Sonny, Ornette, Miles—and I like to compose like a player."
John Lewis's Fontesso (1956) was originally in four movements. Arranger Byron Olson retained material from the first three movements and used his own introduction and interludes at points within the movements. The more dissonant moments of plucking and sliding by the string quartet recall Bartok.
The small chamber orchestra returns for Brubeck's Blue Rondo a la Turk (1959), written, as the title implies, in rondo form. "Being such a strict rhythm," explains Byron Olson, "made it extremely difficult to record, so I brought in 4/4 to break up the 9/8. It has that Gershwinesque piano thing but it's still really the blues" — with, I might add, some Stravinsky references as well.
The ambiguity of the harmony led arranger Brad Dechter to take a Ravel approach on Billy Strayhorn's Chelsea Bridge (recorded by Ellington in 1941). This is not surprising given the piece's Impressionist origins: Strayhorn once revealed that its inspiration was a Whistler painting.
Fred Hersch's solo on 'Round Midnight (a piece first recorded by Cootie Williams's band in 1944, but probably composed by Thelonious Monk several years earlier) was written by Brad Dechter. His references are the harmonies of Gershwin's piano preludes and Erik Satie who, like Monk, according to Dechter, "was such a sparse writer that the space meant as much as the notes did.''
As Mike Berniker says, "With Protosynthesis, what we're saying is that wonderful music may be approached in any number of ways.''
Approach and recognize. — IRA GITLER

Colin Green guitar
Christopher Warren-Green violin
Fred Hersch piano, arranger
Brad Dechter arranger
Byron Olson arranger
Conceived and Produced by Mike Berniker