(Soul, R&B) [CD] Ed Motta - Perpetual Gateways - 2016, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 16. February 2016, 22:52
Ed Motta / Perpetual Gateways
Used drive  : PLEXTOR DVDR   PX-L890SA   Adapter: 5  ID: 1
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
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Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 128 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
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TOC of the extracted CD
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        2  |  4:43.71 |  3:25.54 |     21296    |    36724
        3  |  8:09.50 |  5:31.14 |     36725    |    61563
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        6  | 20:59.46 |  5:46.22 |     94471    |   120442
        7  | 26:45.68 |  3:44.31 |    120443    |   137273
        8  | 30:30.24 |  6:51.42 |    137274    |   168140
        9  | 37:21.66 |  4:39.47 |    168141    |   189112
       10  | 42:01.38 |  7:31.32 |    189113    |   222969
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Track 10
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==== Log checksum FB30F9A7345C59D03E2A76ADC0FB66E4576CEBC32FAC3863A7C5B9949133EACA ====

REM GENRE Jazz
REM DATE 2016
REM DISCID 6C0B9C0A
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Ed Motta"
TITLE "Perpetual Gateways"
FILE "01 - Captain's Refusal.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Captain's Refusal"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "02 - Hypochondriac's Fun.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Hypochondriac's Fun"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "03 - Good Intentions.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Good Intentions"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "04 - Reader's Choice.wav" WAVE
  TRACK 04 AUDIO
    TITLE "Reader's Choice"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "05 - Heritage Deja Vu.wav" WAVE
  TRACK 05 AUDIO
    TITLE "Heritage Deja Vu"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "06 - Forgotten Nickname.wav" WAVE
  TRACK 06 AUDIO
    TITLE "Forgotten Nickname"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "07 - The Owner.wav" WAVE
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    TITLE "The Owner"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "08 - A Town In Flames.wav" WAVE
  TRACK 08 AUDIO
    TITLE "A Town In Flames"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "09 - I Remebre Julie.wav" WAVE
  TRACK 09 AUDIO
    TITLE "I Remebre Julie"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00
FILE "10 - Overblown Overweight.wav" WAVE
  TRACK 10 AUDIO
    TITLE "Overblown Overweight"
    PERFORMER "Ed Motta"
    INDEX 01 00:00:00

AllMusic Review by Thom Jurek
4,5 stars out 5
Perpetual Gateways is Ed Motta's first album recorded in the U.S. It's only the second time he's worked with another producer, Kamau Kenyatta (Gregory Porter).The Brazilian songwriter, singer, multi-instrumentalist, producer, and arranger has, on 11 previous albums, displayed a canny ability to realize an astonishing array of musical and lyrical ideas in virtually any genre he chooses. Cut over five days in Los Angeles, Perpetual Gateways features a studio dream team of players: Patrice Rushen on various keyboards, Marvin "Smitty" Smith on drums, bassists Tony Dumas and Cecil McBee, and horn men Rickey Woodard and Curtis Taylor on tenor sax and trumpet, respectively. Like its predecessor, the superb AOR, Perpetual Gateways is structured in halves like a vinyl record. The first leans more toward sophisticated pop, soul, and funk. "Captain's Refusal," with Greg Phillinganes on clavinet, directly references Aja-era Steely Dan with its loping horns, breezy melody, and funky backbeats. "Hypochondriac's Fun" follows suit with an even meatier groove à la Stevie Wonder's Music of My Mind. Rushen delivers a killer piano solo through the funky clavinet and horn vamps. The "Mister Magic" reference on "Good Intentions" is an excellent touch, and it remains funky as the melody develops into something more compelling (Donny Hathaway's M.O. on Extension of a Man comes to mind). Here and on "Reader's Choice," Motta's prodigious vocal gifts shine. The second half of the album contrasts, moving in a contemporary jazz direction. It's accessible, sophisticated, and groove conscious. "Forgotten Nickname" is a spacy ballad framed by Rushen's Rhodes and acoustic piano as they illuminate the intimacy in Motta's tender vocal. A gorgeous flute solo from Hubert Laws adds depth and texture. "The Owner" and "A Town in Flames" are more uptempo. The former showcases Motta's gift for vocal syncopation, and it feels almost like George Duke producing early Andy Bey with lyrics by Ben Sidran. (The words in each song are remarkable. They're alternately humorous, passionate, and poignant.) The latter is a rhythmic powerhouse with Smith double-timing the band as the horns rise to meet him with tough, earthy vamps. "I Remember Julie" is excellent vocal jazz. Motta's voice is sweet but strong. It reins in the knotty melody and elastic rhythms to illuminate the groove. "Overblown and Overweight" is killer modern jazz, Brazilian style. It's unusual for Motta; his compositional focus has almost always revealed the subtleties and complexities of Brazilian jazz harmony rather than its celebrated -- and obvious -- polyrhythmic adornments. But this track is far more Hermeto Pascoal than Joao Gilberto. Motta's wonderful scat singing inspires the band to cut loose and engage in stellar interplay, and Smith and Rushen dazzle. With Perpetual Gateways, Motta builds on the polished pop and R&B of AOR with a more spiritual soul- and jazz-oriented approach. This may be a sequel, but it's one that extends the reach of its predecessor immeasurably. The music may sound familiar on first listen, but similarities vanish on the second, where Motta's complex, refined, and utterly revelatory vision emerges.