(Post Bop, Modal) [CD] Charles Lloyd - In Europe - 1966 (2013 Japan Edition), FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 6 from 9. April 2015
EAC extraction logfile from 5. January 2016, 22:05
Charles Lloyd / In Europe
Used drive  : Optiarc DVD RW AD-7260S   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
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Null samples used in CRC calculations       : Yes
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Gap handling                                : Appended to previous track
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Quality                         : High
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TOC of the extracted CD
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Track  1
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Track  2
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Track  3
     Filename C:\!EAC Rips\Charles Lloyd - In Europe (2013) [CD-FLAC]\03 - Little Wahid's Day.wav
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Track  4
     Filename C:\!EAC Rips\Charles Lloyd - In Europe (2013) [CD-FLAC]\04 - Manhattan Carousel.wav
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Track  5
     Filename C:\!EAC Rips\Charles Lloyd - In Europe (2013) [CD-FLAC]\05 - European Fantasy.wav
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Track  6
     Filename C:\!EAC Rips\Charles Lloyd - In Europe (2013) [CD-FLAC]\06 - Hej Da!.wav
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All tracks accurately ripped
No errors occurred
End of status report
---- CUETools DB Plugin V2.1.6
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Submit result: 14F6gKmQjBxsLe85noxOWw1BlX4- has been confirmed
Track | CTDB Status
  1   | (6/6) Accurately ripped
  2   | (6/6) Accurately ripped
  3   | (6/6) Accurately ripped
  4   | (6/6) Accurately ripped
  5   | (6/6) Accurately ripped
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==== Log checksum 8658478D3BA3E43B6BF723E3EF232412D3508BD8D0D8B2F791739415ED651B6B ====

REM GENRE Jazz
REM DATE 1966
REM DISCID 4D090006
REM COMMENT "ExactAudioCopy v1.0b6"
CATALOG 4943674129898
PERFORMER "Charles Lloyd"
TITLE "In Europe"
FILE "01 - Tagore.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Tagore"
    PERFORMER "Charles Lloyd"
    ISRC USAT20105165
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Karma"
    PERFORMER "Charles Lloyd"
    ISRC USAT20105166
    INDEX 00 10:05:56
FILE "02 - Karma.wav" WAVE
    INDEX 01 00:00:00
FILE "03 - Little Anahid's Day.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Little Anahid's Day"
    PERFORMER "Charles Lloyd"
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    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Manhattan Carousel"
    PERFORMER "Charles Lloyd"
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    INDEX 00 06:26:17
FILE "04 - Manhattan Carousel.wav" WAVE
    INDEX 01 00:00:00
FILE "05 - European Fantasy.wav" WAVE
  TRACK 05 AUDIO
    TITLE "European Fantasy"
    PERFORMER "Charles Lloyd"
    ISRC USAT20105169
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Hej Da!"
    PERFORMER "Charles Lloyd"
    ISRC USAT20105170
    INDEX 00 05:48:62
FILE "06 - Hej Da!.wav" WAVE
    INDEX 01 00:00:00

[CUETools log; Date: 09.01.2016 9:41:28; Version: 2.1.5]
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  5   | (7/7) Accurately ripped
  6   | (7/7) Accurately ripped
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Before his great quartet split at the end of 1968, Charles Lloyd took this band literally to the ends of the earth. As a quartet, they had grown immensely from that first astonishing spark when they toured the summer festivals in 1966. Here they are a seasoned unit, full of nuance, elegance, and many surprises, while having moved their entire musical center over to the pursuit of Lloyd's obsession -- incorporating the music of the East into Western jazz. This show in Norway, which featured the original band of Lloyd on flute and saxes, Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums and percussion, took the idiom begun by John Coltrane and Yusef Lateef and moved it into places even they hadn't imagined. The set starts with "Tagore," a gorgeous flute piece for Lloyd with stunningly ornate percussion from DeJohnette. There is plenty of mystery but there are no edges in this tune, as the two men move from point to counterpoint to mode without seams. Just as quickly, Keith Jarrett enters the picture playing the inside of the piano and a few chords just to lend texture as Lloyd takes it out as softly as he whispered it in. "Karma" is a more conventional piece in that Jarrett creates a gently spiraling harmonic tower for Lloyd to float down from after he climbs it with gorgeous swells and a mournfully beautiful legato. The set ends with "European Fantasy" and "Hej Daj." The first is a slow modal blues, carried out by exquisitely complex harmonics created by Jarrett for both McBee and Lloyd to find their way into. Jarrett gives up nothing in his mystery. Lloyd floats along, touching points here and there before winding it out with the little flute piece at the end, which leaves the audience -- and listeners alike -- stunned.