(Post-Bop) Massimo Urbani Quartet - 360 Aeutopia - 1979, FLAC (image+.cue), lossless

EAC extraction logfile from 31. December 2005, 19:31 for CD
Massimo Urbani / 360 Aeutopia
Used drive  : SAMSUNG DVD R/RW SH-W08A   Adapter: 2  ID: 0
Read mode   : Secure with NO C2, accurate stream, disable cache
Read offset correction : 116
Overread into Lead-In and Lead-Out : No
Used output format : Internal WAV Routines
                     44.100 Hz; 16 Bit; Stereo
Other options      :
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    Delete leading and trailing silent blocks : No
    Installed external ASPI interface
Range status and errors
Selected range
     Filename C:\Eac-extract\Massimo Urbani - 360 Aeutopia.wav
     Peak level 100.0 %
     Range quality 100.0 %
     CRC D6C9E694
     Copy OK
No errors occured
End of status report

REM GENRE Jazz
REM DATE 1994
REM DISCID 4009D106
REM COMMENT "ExactAudioCopy v0.95b3"
PERFORMER "Massimo Urbani"
TITLE "360 Aeutopia"
FILE "Massimo Urbani - 360 Aeutopia.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Cherokee"
    PERFORMER "Massimo Urbani"
    INDEX 00 00:00:00
    INDEX 01 00:00:33
  TRACK 02 AUDIO
    TITLE "Tender Song"
    PERFORMER "Massimo Urbani"
    INDEX 01 04:53:33
  TRACK 03 AUDIO
    TITLE "Solar"
    PERFORMER "Massimo Urbani"
    INDEX 01 13:31:45
  TRACK 04 AUDIO
    TITLE "Rip the Ripper"
    PERFORMER "Massimo Urbani"
    INDEX 01 20:20:13
  TRACK 05 AUDIO
    TITLE "Ballad for a Child"
    PERFORMER "Massimo Urbani"
    INDEX 01 27:41:05
  TRACK 06 AUDIO
    TITLE "Diddy for Biddy"
    PERFORMER "Massimo Urbani"
    INDEX 01 35:51:58

[CUETools log; Date: 11.12.2012 12:58:03; Version: 2.1.4]
Pregap length 00:00:33.
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[AccurateRip ID: 0009e6bf-00357569-4009d106] found.
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This early effort shows the great promise of this Italian Lion, who burst forth on the jazz scene with incredible technique and a seemingly endless flow of ideas. Urbani was later to record mostly with his countrymen; here, he is backed by an all-star American rhythm trio of pianist Ron Burton, bassist Cameron Brown, and drummer Beaver Harris. Urbani mesmerizes on "Cherokee," which is taken at a blazing pace. The pace then slackens, and the saxophonist tries his hand at a couple of ballads ("Tender Song" and "Ballad for a Child"), that lack some of the later warmth that he was to later develop. Even here, though, Urbani displays the qualities that mark his distinct style: a towering command of the bop vocabulary; a seemingly ease of delivery; the use of split tones; a tendency toward excess; and a frightening technique.