(Progressive Big Band, Avant-Garde) [CD] Vienna Art Orchestra - Duke Ellington's Sound Of Love Vol. 2 - 2003, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 17. November 2011, 17:15
Vienna Art Orchestra / Duke Ellington's Sound of Love Vol. 2
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Read mode               : Secure
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Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
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Gap handling                                : Appended to previous track
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        1  |  0:00.00 |  2:31.27 |         0    |    11351
        2  |  2:31.27 |  2:57.08 |     11352    |    24634
        3  |  5:28.35 |  3:54.00 |     24635    |    42184
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        7  | 20:00.67 |  6:27.50 |     90067    |   119141
        8  | 26:28.42 |  3:34.33 |    119142    |   135224
        9  | 30:03.00 |  5:48.52 |    135225    |   161376
       10  | 35:51.52 |  3:35.03 |    161377    |   177504
       11  | 39:26.55 |  4:23.55 |    177505    |   197284
       12  | 43:50.35 | 10:48.12 |    197285    |   245896
       13  | 54:38.47 |  5:51.65 |    245897    |   272286
Track  1
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Track  2
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Track  3
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Track  4
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Track  5
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Track  6
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Track  7
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Track  8
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Track  9
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Track 10
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Track 11
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Track 12
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Track 13
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12 track(s) accurately ripped
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No errors occurred
End of status report
---- CUETools DB Plugin V2.1.3
[CTDB TOCID: .Krye99TA1SC7JIlTrJMoTYc0MQ-] disk not present in database, Submit result: .Krye99TA1SC7JIlTrJMoTYc0MQ- has been uploaded
==== Log checksum BB7D9CD5BC07A108931A60CBC32C62D426DE74FA791FFBD60FDD759172070222 ====

REM GENRE Jazz
REM DATE 2003
REM DISCID 9A0E2E0D
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Vienna Art Orchestra"
TITLE "Duke Ellington's Sound of Love Vol. 2"
FILE "Vienna Art Orchestra - Duke Ellington's Sound of Love Vol. 2 (2003) [FLAC]\01. Such Sweet Thunder.wav" WAVE
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FILE "Vienna Art Orchestra - Duke Ellington's Sound of Love Vol. 2 (2003) [FLAC]\02. Very Special.wav" WAVE
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FILE "Vienna Art Orchestra - Duke Ellington's Sound of Love Vol. 2 (2003) [FLAC]\03. Rem Blues.wav" WAVE
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FILE "Vienna Art Orchestra - Duke Ellington's Sound of Love Vol. 2 (2003) [FLAC]\04. After All.wav" WAVE
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FILE "Vienna Art Orchestra - Duke Ellington's Sound of Love Vol. 2 (2003) [FLAC]\08. Blues in Blueprint.wav" WAVE
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http://www.vao.at/v2/display.php?id=92
The Vienna Art Orchestra, one of Europe’s leading big bands, was created in Vienna in 1977 by mathias rüegg. After a short but intensively "activist" beginning, the young sound "phenomenon" conquered the concert halls of Europe with its audacious post-modern style, which encompassed the extremes of avantgarde and idiosyncratic Viennese Schmäh, as exemplified by the early recordings Tango from Obango, From No Time to Rag Time and The Minimalism of Erik Satie. In the late 1980s, the original 10-year-old line-up - which included Wolfgang Puschnig, Lauren Newton, Roman Schwaller, Wolfgang Reisinger, John Sass and Christian Radovan - gradually fell apart. A period of re-orientation followed, which only came to an end in 1992, with the success of the programs Fe&Males and La Belle et la Bête. A second generation formed the core of the orchestra thereafter, including: Matthieu Michel, Andy Scherrer, Klaus Dickbauer and Florian Bramböck, together with Bumi Fian and Harry Sokal.
In 1997, the VAO played with a smaller line-up after long-term members such as Herbert Joos, Uli Scherer and Heiri Känzig left the band. In 1998, thanks to Thorsten Benkenstein, it was enlarged to form a big band. Moving beyond its early avantgarde days, it evolved into a mature musical ensemble which ever since has consistently focused on developing well-planned programs in which dramaturgical and visual aspects are incorporated from beginning to end, with due respect paid to both European and American jazz traditions. Over the years, rüegg has sometimes spent less time composing and more time arranging thematic programs, such as the European Songbook, Nine Immortal (Non)Evergreens for Eric Dolphy, Ballads, American Rhapsody, Duke Ellington’s Sound of Love and All That Strauss. However, with the programs, Artistry in Rhythm, A Centenary Journey and art&fun.25, he asserted himself as a composer in a major way.
At once European and in a larger sense multi-national, the VAO is a rarity among large ensembles in that its members are all top-notch soloists who are capable of blending in an impeccable way to produce a homogenous sound. It shines with an overall brilliance without special focus on a few high-magnitude stars.
At present, the VAO’s pool of musicians is larger and younger than ever before and it keeps on changing according to the stylistic requirements of each program. Chief among the regulars are: Thomas Gansch, Arkady Schilkloper, Christian Muthspiel, Adrian Mears, Robert Bachner, Herwig Gradischnig, Martin Koller, Allegre Correa, Georg Breinschmid, Robert Riegler, Mario Gonzi & Jojo Mayer. Notably, since 2001, the VAO has been endowed with two types of rhythm sections, both electric and acoustic. Voice has also played a considerable role, with Anna Lauvergnac, Urszula Dudziak, Corin Curschellas and Lauren Newton taking turns as the orchestra’s vocalist.
2007 was the year of the trilogy "3" comprised of 39 compositions, conceived as encounters between the American and European cultures, in which thirteen American actresses meet thirteen European intellectuals. American Dreams, European Visionaries and Visionaries & Dreams were the names of these three programs which the VAO presented in 78 concerts to celebrate its 30th anniversary jubilee.
In 2009, the VAO is undergoing a major change as it moves beyond its last 10 years as a big band to reinvent itself as a chamber orchestra. The new program, penned by m.rüegg and featuring jazz soloists Harry Sokal, Juraj Bartos and Nico Gori, has taken the title Third Dream.
Over the past 27 years, the VAO has given more than 900 concerts in over 55 countries and has made more than 40 recordings. It has received many awards and is officially recognized as a cultural representative of Austria and has already been widely lauded, also in the USA.Now, as before, there are some fantastic young talents here to discover and who are worth following, such as the pianist Johanna Gröbner, the flutist Thomas Frey, and Austria’s own bassoonist Mattias Kronsteiner.
On 9 July 2010,due to financial difficulties, rüegg disbanded the VAO, after their last concert in Viktring/Klagenfurt, at which he presented six of his own arrangements of Mahler lieder.
http://www.allmusic.com/artist/vienna-art-orchestra-mn0000209389/biography
In the jazz world, Vienna is about as far from New York's Lincoln Center as you can get. It follows that Mathias Rüegg's Vienna Art Orchestra has about as much in common with Wynton Marsalis' Lincoln Center big band as a Sacher torte has with a Hostess Cup Cake; while they share some ingredients, the Austrian product satisfies on a more profound level. By the turn of the century, the Lincoln Center paradigm defined the jazz big band as a finished concept — locked into the past, serving mostly as a repertory ensemble. The VAO, on the other hand, while hardly ignoring traditional jazz verities, lives in the present and looks to the future. Rather than relying on a narrowly interpreted version of jazz history, they make their own, combining elements of jazz (mainstream through avant-garde), classical (Erik Satie is a Rüegg favorite), and vernacular music with intelligence and not a little humor. Rüegg was born in Zurich, Switzerland. He discovered jazz in secondary school and he moved to Austria and attended the Musikhochschule in Graz in the early '70s. He moved to Vienna and worked as a solo pianist in a nightclub. Solo became a duo with the addition of saxophonist Wolfgang Puschnig. The ensemble grew further; eventually it was comprised of as many as 16 musicians, and the VAO was born. The band never adhered to conventional big band instrumentation. Rüegg regularly incorporates instruments such as marimba, bass clarinet, piccolo, tuba, and even alphorn into his arrangements and compositions. Neither does the band stick to a typical performance format; for example, they've worked with choirs and brass bands, for television and film. By 1980, the band had developed a reputation, receiving invitations to perform at festivals in Cologne and Zurich; that year, the band also signed their first recording contract with the Swiss hatART label. In 1984, they toured the U.S. and finished first in the Down Beat magazine critics' poll for Talent Deserving Wider Recognition. By the late '80s, they were firmly established as one of the world's finest large ensembles, a status they maintained into the next century. Rüegg was the band's sole writer for the first 15 years of its existence. In 1992, he began contracting work to other composers and arrangers, although the band continued to bear his indelible stamp. ~ Chris Kelsey

voice: Anna Lauvergnac (I);
trumpets: Thorsten Benkenstein (D), Matthieu Michel (CH), Karl Bumi Fian (A), Thomas Gansch (A);
trombones: Adrian Mears (AUS), Robert Bachner (A), Christian Muthspiel (A), Ed Partyka (USA);
reeds: Klaus Dickbauer (A), Florian Bramböck (A), Andy Scherrer (CH), Harry Sokal (A), Herwig Gradischnig (A);
guitar: Alegre Corrêa (BRA),
bass: Georg Breinschmid (A),
drums: Mario Gonzi (A)
leader: mathias rüegg