(jazz, third stream, modern creative, piano) Ran Blake - All That Is Tied - 2006, FLAC (tracks), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 31. December 2011, 15:09
Ran Blake / All That Is Tied
Used drive  : ATAPI   iHAS124   A   Adapter: 0  ID: 1
Read mode               : Secure
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Defeat audio cache      : Yes
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Read offset correction                      : 6
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
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       12  | 38:25.40 |  4:50.50 |    172915    |   194714
Track  1
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All tracks accurately ripped
No errors occurred
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==== Log checksum F0CA005BD672746522DD5A02843D5516865BDB413D002608DDB101C04E51B4A2 ====

небыло в релизе.

Of the plethora of pianist/composers who have extended the style of Thelonious Monk, none has been as relentlessly exploratory and consistently thoughtful in his experiments as Ran Blake. On this session recorded four decades after his first solo piano album on ESP, Blake revisits material he's recorded in the past, but Blake has never remotely repeated his interpretations routinely. At the age of 70, he will hardly routinize his repetoire now.
Blake performs the twelve numbers with characteristic daring. The Monk influence has grown refined over the deacdes. It began with a foregrounding of Monk's surprising dissonances and a widening of Monk's oddly placed silences. But unlike Monk, Blake brings a kind of European classical sensibility, both melodically and harmonically, to his improvisations. I've always thought he created a unique fusion of Schoenberg and Webern with Monk and black gospel. This disc adds strength to my conviction. It's austere and dramatic as only the twelve-tone row composers could be—but funny and quirky as only Monk could be.
This probably explains why Ran Blake has never remotely received the recognition that he has deserved. His music plays at the margins of what jazz piano has been historically. In a healthier cultural climate for jazz, this would be acclaimed as genius. But in today's rigidly conservative cultural atmosphere, Blake doesn't cause the needle on Wynton's "Swing-o-Meter" to wobble. Blake's music doesn't so much conventionally swing as tell a phantasmagoric tale impressionistically. The twelve compositions on this disc run together in my mind as a series of fantastic dreams flowing timelessly forward. It is a lovely introduction for those unlucky souls who haven't heard Ran Blake before—and an ideal career retrospective for those who have.
My only minor caveat is that I don't like how the recording engineer captured Blake's piano. In fact, the so-so recorded sound brings to mind that Ran Blake's first solo album forty years ago also suffered from sub-par sound quality, although many ESP releases did. I wish ECM had recorded Blake and would do so now.
http://www.allmusic.com/album/all-that-is-tied-r819654
Since the 1950s, Boston-based third stream jazz pianist Ran Blake has made some of the most cerebral piano jazz albums around. Most effective in a solo or duo format (his most famous records were made with the late singer Jeanne Lee), Blake's style is marked by alternating stretches of near-ambient minimalism and choppy, percussive runs that he aptly terms "outbursts." Yet his playing never sounds over-studied or quirky, and unlike many avant-garde jazz hands, he's maintained a connection to the music's roots, as shown on the downright funky boogie-woogie "Latter Rain Christian Fellowship." A solo record recorded in 2005 to celebrate Blake's 70th birthday, All That Is Tied touches on every facet of Blake's unique piano style, summing up this underrated composer and educator's career in the space of 12 brief original compositions.