(Latin Jazz, Soul-Jazz, Modal) [CD] Fernando Gelbard - Didi - 1974 (2002), FLAC (tracks+.cue), lossless

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 14. February 2017, 0:49
Fernando Gelbard / Didi
Used drive : ATAPI iHAS124 W Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
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 : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\FLAC Frontend\tools\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 8:32.01 | 0 | 38400
2 | 8:32.01 | 9:04.42 | 38401 | 79242
3 | 17:36.43 | 2:02.10 | 79243 | 88402
4 | 19:38.53 | 5:42.37 | 88403 | 114089
5 | 25:21.15 | 7:27.41 | 114090 | 147655
6 | 32:48.56 | 5:37.68 | 147656 | 172998
Track 1
Filename H:\#flac rips\01 Fernando Gelbard - Didi.wav
Pre-gap length 0:00:02.00
Peak level 100.0 %
Extraction speed 3.4 X
Track quality 100.0 %
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Track 2
Filename H:\#flac rips\02 Fernando Gelbard - El señor mayor.wav
Pre-gap length 0:00:02.60
Peak level 100.0 %
Extraction speed 4.2 X
Track quality 100.0 %
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Track 3
Filename H:\#flac rips\03 Fernando Gelbard - Mojo uno.wav
Pre-gap length 0:00:02.60
Peak level 95.1 %
Extraction speed 2.7 X
Track quality 99.9 %
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Track 4
Filename H:\#flac rips\04 Fernando Gelbard - Alevacolariea.wav
Pre-gap length 0:00:02.60
Peak level 99.9 %
Extraction speed 4.7 X
Track quality 100.0 %
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Track 5
Filename H:\#flac rips\05 Fernando Gelbard - Sombrero de flores.wav
Pre-gap length 0:00:02.60
Peak level 96.2 %
Extraction speed 4.6 X
Track quality 99.9 %
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Track 6
Filename H:\#flac rips\06 Fernando Gelbard - Chau, Ambrosio.wav
Pre-gap length 0:00:02.60
Peak level 96.9 %
Extraction speed 5.4 X
Track quality 100.0 %
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None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
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[CTDB TOCID: X49fWCPpEQ4XUOpQV3FVgNr93ko-] disk not present in database
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==== Log checksum 1C7279478C2B168EF141941963B9FED214A98D8D4D6DE5A0DC4F3E967B3F0722 ====

REM GENRE Jazz
REM DATE 1974
REM DISCID 40090206
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "Fernando Gelbard"
TITLE "Didi"
FILE "01 - Hola Didi.wav" WAVE
TRACK 01 AUDIO
TITLE "Hola Didi"
PERFORMER "Fernando Gelbard"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "El senor mayor"
PERFORMER "Fernando Gelbard"
INDEX 00 08:29:31
FILE "02 - El senor mayor.wav" WAVE
INDEX 01 00:00:00
TRACK 03 AUDIO
TITLE "Mojo uno"
PERFORMER "Fernando Gelbard"
INDEX 00 09:01:72
FILE "03 - Mojo uno.wav" WAVE
INDEX 01 00:00:00
TRACK 04 AUDIO
TITLE "Alevacolariea"
PERFORMER "Fernando Gelbard"
INDEX 00 01:59:40
FILE "04 - Alevacolariea.wav" WAVE
INDEX 01 00:00:00
TRACK 05 AUDIO
TITLE "Sombrero de flores"
PERFORMER "Fernando Gelbard"
INDEX 00 05:39:67
FILE "05 - Sombrero de flores.wav" WAVE
INDEX 01 00:00:00
TRACK 06 AUDIO
TITLE "Chau, Ambrosio"
PERFORMER "Fernando Gelbard"
INDEX 00 07:24:71
FILE "06 - Chau, Ambrosio.wav" WAVE
INDEX 01 00:00:00

When 'Didi' was recorded in Buenos Aires during August 1974, five Argentineans and one Uruguayan landed at Music Hall recording studios. Their leader was Fernando Gelbard, an Argentinean pianist, flautist, composer and record producer.
1974 was a time when neither synthesizers (like the Moog) nor Fender Rhodes pianos were usual in Buenos Aires. Nevertheless, Fernando Gelbard chose to forgo his acoustic instruments in making 'Didi', thus becoming the first musician in Argentina to make a jazz record exclusively on the new electronic instruments. This is a pioneering project in more than one way. Through the use, for instance, of two percussionists in all the tunes - with the exception of two pieces recorded one with Moog only and one with Moog and Fender Rhodes. I don't think many Argentinean jazz musicians of the time relied so much on electronic instruments and percussion. There is also a saxophone player on three of the tunes and there is a drummer in two tracks. Gelbard's work of 1974, with its all-pervading percussion and rhythms from Latin America or, better, Latin Afro-America, would be labeled today world music or world jazz. World jazz or whatever you call it, it is nonetheless a jazz work firmly rooted in be-bop and post-bop with a strong electronic and Latin jazz side to it.
Latin? What kind of Latin exactly? Two bossa nova tunes in it: 'Didi', with its catchy melodic line, and 'Flowers'. Bossa they are, but the many rhythms played and/or implied by the percussionists give it a very special flavour: you've seldom heard that special kind of bossa. The way the two percussionists intertwine creates that particular flavour and colour. One of them, Ruben Rada, from Uruguay, playing mostly congas here, was later to gain wide popularity through his very personal, lively and modern version of the candombe, an Uruguayan Black mixture of religion, traditions, dance and music. Here he gives a beautiful example of his approach on 'Alevacolariea'. His chanting at the beginning and the end of the piece is something you find all over the Americas in the afro-american traditions. But your ear will convince you of his original approach to it. The dialogue between the two percussionists, throughout the album, will tell you that the other one, Miguel 'Chino' Rossi, is a perfect match for Rada. The precise bass lines on this cut were overdubbed by Gelbard on the Moog, and the Fender Rhodes and tenor sax solos (Gelbard & Borraro) add a pure virtuoso be-bop flavour to this bouillabaise of sounds. Unexpected flavours and colours, that's what 'Didi' is about.
A master colourist, Duke Ellington, said of one of his compositions with "colour" in its title: "It's not a colour, it is a hint of a tint." Hints of tints, hues, colours in this record owe a lot to the percussionists, but not only to them. There's also the delicate balance between the electronic instruments used by Gelbard (Fender Rhodes piano, Moog synthesizer, Wa-Wa and Ring Modulator) and the percussionists and the bass player (and in two pieces, the drummer too), a mixing balance achieved through hard and meticulous work when it came to editing the songs in the studio. Like the tenor saxophone solo in 'El Señor mayor' ('The Elder One'): different takes are combined so that it sounds as though three saxophones were playing simultaneously. In 'Chau, Ambrosio' ('Bye, Ambrosio'), the most conventional jazz number in the album, the tenor's blowing is recorded straight ahead. Horacio Borraro's tenor solos provide a short introduction to the jazz creativeness of one of the founding fathers of modern jazz in Argentina, who is also an architect, painter and slang creator. Pity no recording, as far as I know, ever caught the beauty of his sense of humour and his very personal slang.
The bass player Ricardo Salas has always ranked among the best in Argentina and Norberto Minichilo, the drummer, has been for years consistently proving his exceptional musicianship.
And last but by no means least, Fernando Gelbard conceived the whole thing. Besides his contributions as the composer, Fender Rhodes pianist and Moogist in the band, he's a soloist to listen to. Don't miss the pleasure. Let me recommend you listen to 'Mojo Uno', recorded at his home in Buenos Aires by just himself on the Moog. Or his guitar-like second Moog solo on 'Flowers'. By then you would be probably listening to this album for the second or third time and you'd be telling friends and acquaintances: "Hey, have you heard this 1974 record made in Argentina? We've been missing something!"