(Post-Bop, African Jazz) [CD] Randy Weston - Blue Moses - 1972 (2013 Japan Edition), FLAC (tracks+.cue), lossless

X Lossless Decoder version 20140504 (147.0)
XLD extraction logfile from 2014-08-11 18:32:51 -0400
Various Artists / Blue Moses
Used drive : HL-DT-ST DVDRW  GS23N (revision SB03)
Media type : Pressed CD
Ripper mode             : XLD Secure Ripper
Disable audio cache     : OK for the drive with a cache less than 1375KiB
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Gap status              : Analyzed, Appended
TOC of the extracted CD
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    ---------------------------------------------------------
        1  | 00:00:00 | 05:16:35 |         0    |    23734
        2  | 05:16:35 | 12:30:16 |     23735    |    80000
        3  | 17:46:51 | 06:50:02 |     80001    |   110752
        4  | 24:36:53 | 12:17:31 |    110753    |   166058
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Track 01
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Track 02
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Track 03
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Track 04
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TITLE "Blue Moses"
PERFORMER "Randy Weston"
REM GENRE "Jazz"
REM DATE "1972"
REM DISCID 3108A604
REM REPLAYGAIN_ALBUM_GAIN -4.31 dB
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REM COMPILATION TRUE
FILE "01 - Ifrane.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Ifrane"
    REM REPLAYGAIN_TRACK_GAIN -4.96 dB
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    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Ganawa (Blue Moses)"
    REM REPLAYGAIN_TRACK_GAIN -5.16 dB
    REM REPLAYGAIN_TRACK_PEAK 1.000000
    INDEX 00 05:15:13
FILE "02 - Ganawa (Blue Moses).flac" WAVE
    INDEX 01 00:00:00
FILE "03 - Night in Medina.flac" WAVE
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    TITLE "Night in Medina"
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  TRACK 04 AUDIO
    TITLE "Marrakesh Blues"
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FILE "04 - Marrakesh Blues.flac" WAVE
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Recorded in 1972, Blue Moses, the most commercially successful album in pianist/composer Randy Weston's catalog remains one of his most controversial due to his conflicted feelings about the final product, which he feels is too polished and too far from his original intent for the project. Indeed, appearing on Creed Taylor's CTI imprint was an almost certain guarantee of polished production. Weston plays both acoustic and Rhodes piano here; he was backed by a band of CTI's star-studded stable: trumpeter Freddie Hubbard, tenor saxophonist Grover Washington, flutists Hubert Laws and Romeo Penque, drummer Billy Cobham, alternate bassists Ron Carter and Bill Wood, and percussionists Phil Kraus, Airto Moreira, and Weston's son Azzedin. This group was backed by a punchy Don Sebesky-arranged horn section. Blue Moses, consists of four compositions; it was an attempt by Weston to showcase the influence "Ganawa" music from Morocco had on him as a composer. "Ganawa (Blues Moses)," with its frenetic, minor-key piano lines, knotty, Middle Eastern Eastern-sounding charts, and skittering North African rhythms push the listener into a new space, one that stands outside of CTI's usual frame in, and into, the exotic. The brass is aggressive, and while that might overshadow some recordings of lesser substance, Sebesky knew what he had in Weston's tunes, and reigned his players in just enough to keep the dynamics fresh, open, and full of engaged call-and- response playing between Weston, Hubbard, and Laws. So too, album closer "Marrakesh Blues," with wordless backing vocals by Madame Meddah, twinned trumpet and flute lines, gorgeous electric piano solos, and a deep, strolling bassline. It's an Eastern modal blues with the sound of a horn section to boost its drama."Night in the Media" is a labyrinthine, more abstract piece, but utterly atmospheric and colorful in its arrangement, with exciting interplay between Weston's enormous chords and Washington's swinging, soulful saxophone and percussion instruments that create a lithe, spiritual jazz groove. No matter how Weston ultimately feels about Blue Moses, this date succeeds on all levels. Creating a commercially viable recording from the elements presented must not have been easy, but Taylor rose to the occasion and delivered a grooving beauty of an album without compromising Weston's genius.