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(Modern Creative, Avant-Garde Jazz) Gerry Hemingway Quintet (Ellery Eskelin, Oscar Noriega, Terrence McManus, Kermit Driscoll) - Riptide - 2011, WEB, FLAC (tracks), lossless

(Modern Creative, Avant-Garde Jazz) Gerry Hemingway Quintet (Ellery Eskelin, Oscar Noriega, Terrence McManus, Kermit Driscoll) - Riptide - 2011, WEB, FLAC (tracks), lossless
Треклист:
Gerry Riptide
Hemingway
Quintet
Жанр: Modern Creative, Avant-Garde Jazz
Год издания: 2011
Издатель (лейбл): Clean Feed
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 68:00
Наличие сканов в содержимом раздачи: front
Источник (релизер): WEB (я)
Треклист:
➊ Sumna
➋ Riptide
➌ Gitar
➍ At Anytime
➎ Asamine
➏ Holler Up
➐ Meddle Music
➑ Backabacka
➒ Chicken Blood

Gerry Hemingway - drums
Ellery Eskelin - tenor saxophone;
Oscar Noriega - alto saxophone, clarinet, bass clarinet
Terrence McManus - guitar
Kermit Driscoll - bass
 
Лог Audiochecker
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
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Started at: четверг, 29. 03. 2012. - 19:31.24
9 files found
1 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\01 - Sumna.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
2 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\02 - Riptide.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
3 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\03 - Gitar.flac
Extracted successfully
Conclusion: this track is CDDA with probability 99%
Tempfile successfully deleted.
4 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\04 - At Anytime.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
5 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\05 - Asamine.flac
Extracted successfully
Conclusion: this track is CDDA with probability 99%
Tempfile successfully deleted.
6 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\06 - Holler Up.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
7 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\07 - Meddle Music.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
8 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\08 - Backabacka.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
9 -===- C:\Users\пользователь\DoctorWeb\Desktop\Gerry Hemingway Quintet - Riptide (2011)\09 - Chicken Blood.flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
Finished at: четверг, 29. 03. 2012. - 19:37.57 (operation time: 0:06.32)
 
Reviews
 
Clean Feed
This new quintet lead by Gerry Hemingway has evolved from Hemingway's long standing compositional platform that began in 1985 with the recording of "Outerbridge Crossing" and has enjoyed numerous incarnations while retaining its penchant for an integrative compositional/improvisational ensemble approach. What that adds up to is a compositional practice that has refined a way to frame the individual member's unique sonic, interpretive and improvisational vocabulary with pieces that are detailed, structured and rich with content. The character of the music is multi-faceted, from coloristic subtlety to visceral intensity, sometimes the groove is deep and other times the rhythmic interplay is elaborate and mischievous. The group mixes well established players with some of the most exciting emerging talent of the New York scene including multi-reedist Oscar Noriega, guitarist Terrence McManus who join Hemingway's long time associates, Ellery Eskelin on tenor saxophone and Kermit Driscoll on both acoustic bass and electric bass guitar. The material from this CD mixes new settings of two previously recorded quintet works with seven new works. For those unfamiliar with the legacy of Gerry Hemingway's extraordinary quintet work, now spanning twenty-six years, "Riptide" will serve as a wonderful introduction, and for those who have followed his past work will be more than delighted with this new quintet setting. With intelligent and insightful notes by writer Brian Morton and meticulously produced by Hemingway this richly detailed recording is a must-have CD to any collector of today's creative music.
 
Аllaboutjazz
Over the past 25 years, the lineup of drummer/percussionist Gerry Hemingway's quintet might have changed, but his central organizing concepts have remained constant. Like a working dog, specifically a shepherd, he always seems to be organizing chaos and safeguarding melody. Well, that is, when he isn't inciting the tumult.
The most recent variation of his quintet floats a two-horn, Oscar Noriega and Ellery Eskelin frontline, along with Hemmingway's his recent favorite collaborator, guitarist Terrence McManus, and bassist Kermit Driscoll.
The percussionist's fame might have come by way of his membership in the prestigious Anthony Braxton Quartet of the 1980s and '90s. But his post-Braxton work in the WHO trio, BassDrumBone, his Quartets and Quintets, solo performance, and duos with the likes of Marilyn Crispell, Ivo Perelman, John Butcher, and has elevated Hemmingway's status to master musician.
Riptide opens with the light-treading "Sumna," with Hemingway working the brushes against Driscoll's acoustic pulse and the clarinet/tenor saxophone dance of Noriega and Eskelin. With McManus plucking tight ebullient patterns, the quintet announces that these blues are not to be drawn from an atrabilious well. Like the title track suggests, each piece flows continuously into the next, as if the music, although of differing temperatures and currents, is part of one ocean of sound. The fevered pitch of the title track swaps roles, with the two horns creating the pulse while Hemingway, McManus, and Driscoll tear off chunks of notes.
From this frenzied piece the disc sails into calmer and varied seas; from the gentle, almost folkloric gliding "At Anytime" to the funked0up "Meddle Music," the quintet seems to signal that musical genres are no longer an inhibitor to creation. The quintet takes a trip to the Caribbean on "Backabacka," and dreamland with "Holler Up," where McManus sets up the sweet dance of Noriega's bass clarinet and Eskelin's tenor saxophone gambol.
The overriding feel of Riptide is one of unabated joy. ~ Mark Corroto
 
Jazztimes
With one very obvious exception, all the tracks on Riptide flow together without a break, often making it hard to distinguish if a mood shift comes in the middle of a piece or if it cues the next composition. Tense, repetitive licks give way to murky drones or moments where all five musicians seem to be improvising independently. But even at its busiest, the music sustains its focus and indicates that Gerry Hemingway’s writing can stand side-by-side with his recorded history as a wild, propulsive drummer.
Longtime collaborators Ellery Eskelin (tenor saxophone) and Kermit Driscoll (alternating acoustic bass and electric bass guitar) join Hemingway, along with guitarist Terrence McManus and Oscar Noriega, the latter of whom adds a piquant texture to the music on clarinet, bass clarinet and alto saxophone. The leader blows some murky harmonica to unwrap “Gitar,” a 12-minute piece that builds up from this swampy sound into a spare spotlight for Eskelin’s dynamic vocabulary. This contrasts with “Meddle Music,” a shorter piece which McManus shapes into a strong slab of overdriven psych-rock. The minute-long gap between the last two tracks was a wise choice since they’re similar and represent a big departure from the program. “Backabacka” finds the drummer playing a straight 4/4 African kwela groove—which resembles ska thanks to the off-beat horn riff—but drags on just a little too long. “Chicken Blood” is also repetitive, but has a bit more variety with its parallel guitar and horn melodies. Somehow Hemingway makes these contrasts, and the false ending, make sense in the context of this strong release. ~ Mike Shanley
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