(Free Jazz) Donal Fox, David Murray - Ugly Beauty - 1993, FLAC (image+.cue), lossless

Donal Fox, David Murray / Ugly Beauty Жанр: Free Jazz Страна-производитель диска: USA Год издания: 1993 Издатель (лейбл): Evidence Номер по каталогу: ECD 22131-2 Аудиокодек: FLAC (*.flac) Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 58:20 Источник (релизер): CD Наличие сканов в содержимом раздачи: да Треклист: 01. Ugly Beauty (Thelonius Monk) - 5:25 02. Vamping with T.T. (Donal Fox) - 5:17 03. 'Round Midnight (Thelonius Monk-Bernard Hanighen-Charles Williams) - 5:43 04. Hope Scope (David Murray) - 3:40 05. Song for Murray (Donal Fox) - 6:37 06. Icarus (David Murray) - 8:49 07. Becca's Ballad (Donal Fox) - 5:52 08. Picasso (David Murray) - 6:29 09. Golden Ladders (Donal Fox) - 6:03 10. Hope Scope (live) (David Murray) - 4:27  Лог создания рипа Exact Audio Copy V1.0 beta 2 from 29. April 2011EAC extraction logfile from 28. June 2012, 10:56Donal Fox, David Murray / Ugly BeautyUsed drive : Optiarc DVD RW AD-7240S Adapter: 2 ID: 0Read mode : SecureUtilize accurate stream : YesDefeat audio cache : YesMake use of C2 pointers : NoRead offset correction : 48Overread into Lead-In and Lead-Out : NoFill up missing offset samples with silence : YesDelete leading and trailing silent blocks : NoNull samples used in CRC calculations : YesUsed interface : Installed external ASPI interfaceUsed output format : User Defined EncoderSelected bitrate : 128 kBit/sQuality : HighAdd ID3 tag : NoCommand line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXEAdditional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "BAND=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--taTOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 5:24.50 | 0 | 24349 2 | 5:24.50 | 5:16.42 | 24350 | 48091 3 | 10:41.17 | 5:42.43 | 48092 | 73784 4 | 16:23.60 | 3:40.12 | 73785 | 90296 5 | 20:03.72 | 6:36.70 | 90297 | 120066 6 | 26:40.67 | 8:49.23 | 120067 | 159764 7 | 35:30.15 | 5:51.40 | 159765 | 186129 8 | 41:21.55 | 6:28.54 | 186130 | 215283 9 | 47:50.34 | 6:03.36 | 215284 | 242544 10 | 53:53.70 | 4:26.47 | 242545 | 262541Range status and errorsSelected range Filename C:\Donal Fox, David Murray (1993) - Ugly Beauty\Donal Fox, David Murray (1993) - Ugly Beauty.wav Peak level 100.0 % Extraction speed 3.2 X Range quality 100.0 % Test CRC 1D9C896D Copy CRC 1D9C896D Copy OKNo errors occurredAccurateRip summaryTrack 1 accurately ripped (confidence 4) [CFB09E5C] (AR v1)Track 2 accurately ripped (confidence 4) [EBEF74C3] (AR v1)Track 3 accurately ripped (confidence 4) [6DAA646A] (AR v1)Track 4 accurately ripped (confidence 4) [59C487EB] (AR v1)Track 5 accurately ripped (confidence 4) [EA28FA3F] (AR v1)Track 6 accurately ripped (confidence 4) [4AF110B7] (AR v1)Track 7 accurately ripped (confidence 4) [B4156EBE] (AR v1)Track 8 accurately ripped (confidence 4) [9737300B] (AR v1)Track 9 accurately ripped (confidence 4) [2C4EBF12] (AR v1)Track 10 accurately ripped (confidence 4) [57E1F2C6] (AR v1)All tracks accurately rippedEnd of status report==== Log checksum DEFF9CF8B114EBCAA8A67D1CBCB62C208041BE6DD90C20EF7B05D9A7BFFD7453 ====  Содержание индексной карты (.CUE) REM GENRE JazzREM DATE 1993REM DISCID 7A0DAC0AREM COMMENT "ExactAudioCopy v1.0b2"PERFORMER "Donal Fox, David Murray"TITLE "Ugly Beauty"FILE "Donal Fox, David Murray (1993) - Ugly Beauty.flac" WAVE TRACK 01 AUDIO TITLE "Ugly Beauty" PERFORMER "Donal Fox, David Murray" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Vamping with T. T." PERFORMER "Donal Fox, David Murray" INDEX 00 05:23:05 INDEX 01 05:24:50 TRACK 03 AUDIO TITLE "'Round Midnight" PERFORMER "Donal Fox, David Murray" INDEX 00 10:39:30 INDEX 01 10:41:17 TRACK 04 AUDIO TITLE "Hope Scope" PERFORMER "Donal Fox, David Murray" INDEX 00 16:20:67 INDEX 01 16:23:60 TRACK 05 AUDIO TITLE "Song for Murray" PERFORMER "Donal Fox, David Murray" INDEX 00 20:02:45 INDEX 01 20:03:72 TRACK 06 AUDIO TITLE "Icarus" PERFORMER "Donal Fox, David Murray" INDEX 00 26:38:07 INDEX 01 26:40:67 TRACK 07 AUDIO TITLE "Becca's Ballad" PERFORMER "Donal Fox, David Murray" INDEX 00 35:28:25 INDEX 01 35:30:15 TRACK 08 AUDIO TITLE "Picasso" PERFORMER "Donal Fox, David Murray" INDEX 00 41:19:72 INDEX 01 41:21:55 TRACK 09 AUDIO TITLE "Golden Ladders" PERFORMER "Donal Fox, David Murray" INDEX 00 47:48:65 INDEX 01 47:50:34 TRACK 10 AUDIO TITLE "Hope Scope (live)" PERFORMER "Donal Fox, David Murray" INDEX 00 53:52:37 INDEX 01 53:53:70  Доп. информацияRecorded at Studio B, WGBH and Guest Quarters Suite Hotel, Boston, Massachusetts on March 24-25, 1993  Об альбоме (сборнике)In avant-garde jazz, inside and outside playing have a way of complimenting each other. On Ugly Beauty, which finds Boston pianist Donal Fox forming a cohesive duo with tenor saxman/bass clarinetist David Murray, the inside and outside are fine companions. Some of Murray's playing on this collection of live and studio recordings from 1993 is quite melodic, and the fact that his playing is as lyrical as it is on the Thelonious Monk classics "Ugly Beauty" and "'Round Midnight" makes his dissonant, chaotic statements on "Golden Ladders," "Hope Scope," and "Becca's Ballad" seem all the more dramatic and meaningful. The inside/outside contrasts keep things unpredictable on this rewarding album, which Fox and Murray can both be proud of. ~ alex henderson, roviBoston's Donal Fox is a well-recorded classical pianist who also enjoys playing on the avant garde side of the street, performing with Oliver Lake, David Murray and Billy Pierce. Originally recorded for WGBH/Boston TV's Say Brother television series, the hour-long duo CD is one of unexpected haunting beauty and quietude. ~ evidencemusic.comAs I begin to listen...w/no names... what turns out to be the title piece comes on evanescent, thoughtful, delicate, David flowing above, Donal's piano not subdued but as the lifting element that permits the musical flight. Next. Vamping With T.T., Murray uses the Bass Clarinet as a percussive thrusting of Donal's melody. This piece a chromatic climbing and stroll, till they both begin almost to scamper. It is not a march. It is a stride, with percussive clarinet pops like claves, and Fox's piano whipping Bartok. The piano grows aggressive, beating a cadence that forces us forward. 'Round Midnight', with its long intro, is beautiful. The passion swelling and lyrical, Where Hope Scope is transformative from practice room scales to boundless expressions of rolling rising combustibility. Fox's stark playing here is a boost, a partner in the quest, the surge of changing emotions, the search, the crashing movement, pressing up and down the scale and rolling under and above the tenor sax following and enhancing the direction. At every turn and new development of Afro-American music, there are several general trends, ignited within U.S. culture as a whole. First, whatever that new trend is, it is roundly denounced, just as the one before it, and the one to follow. New Orleans, Big Band, Bebop (become Dixieland, "Swing" which didn't, etc.) Secondly, there is a spontaneous attempt to ignore then cover, that is, simulate the trend into commercial tender. Next, the attempt to co-opt and claim the music. Whether literally (Elvis, Goodman, etc.) or by surrounding it with the "other", again commerce / store or commerce / academy. One of the most insidious of the latter I called the "Tail Europe" school, where the music is made a muffled titter inside the belly of European "avant." Certainly, if one has listened to 20th Century European music, Stravinsky, Bartok, Prokofiev, Debussy, one has perceived the influence of Afro-American music. American music, of any kind, is likewise impressed - Copland, Ives, Bernstein, Cage, Gershwin. And neither Tin, nor Pan nor Alley is possible without the blues and its children. But American music is part African, just as is American culture. American culture is African, European and Indian. That's what an American is! (Like it or not.) That composite of material social life, history and psychological development. So that Americans, from definition, have the whole of that triangle (as posited clearly by the triangular trade) to encompass into themselves. But I mean as consciousness. The True Self consciousness that Du Bois spoke of. That True Self consciousness makes us aware of all that we actually are, which is unpresumed, even imprisoned, if we are not fully conscious. This Fox/Murray coupling is very good because each plays the grasp of the interchange, the crossing, that characterizes them. Murray, the young giant of the tenor. (To be sure, Sonny, Archie, Pharoah, Gilmore take up the space called "premiere" as well, that's the way we is... not to mention altos, baritones, etc.). But David is the "point" since he is "on the scene" wailing and wailing in medias res, wailing "heaven" into our now. So many have died, yet we have still a mighty phalanx of giants on the set. But David has taken the last generation of volcanic sonic prophets, Trane, Sonny, Albert, etc. and carried that claim on revelation into the present. The flaming funky artness of these sound prophets is David's torque as well. Donal Fox is young and from the American hipness that persists even inside the conservatories. Like CT 30 years ago, of whom I wrote, "He ran through the conservatories screaming 'Bud Powell is what's happening!'" And like CT, who likewise had been instructed on the European concert tour, Donal has sought to make his training responsive to the reality of his Afro-American (and American) psychological development. Fox comes out of the Boston practice rooms (as CT did) but he has to cross town to get back home, Roxbury! Clearly, then, an expression of Du Bois "Double Consciousness"? Only if the two aspects of this consciousness are pulling against each other for domination. But what if they are complementary and understood as the equal hemispheres of one psychic world? Du Bois meant the Afro American (slave and on) yet exposed & misshaped by the historic "high" kultur (as in drug abuse?) of Europe. Donal has absorbed all of it as his own. If he insists on the second leg of the triangular trade, from US to Europe and the third leg, Europe to Africa, then that is his prerogative. We hear the serial vertically of European concert music, but emotionally reorganized as harmonic, melodic and even rhythmic counterpoint to the blue-red blackness. The pianistic context Donal creates complements with sharp contrast to blue David. It is true dialogue, significant as the sense it exchanges. In Monk's Ugly Beauty, Fox is lyrical and chordal. Likewise in the great (as classic and in this perfomance) 'Round Midnight, Fox's arrangement flows with great effect under and over and parallel to Murray's warm to flame blue voicings. Ugly Beauty is so much a Monk expression. Like he said one time, "There's two kinds of mistakes. The regular ones and those that sound bad." It is the existence of these contradictions and the constant surprise of their reoccurrence which Monk absorbed as himself which his music gives the highest eloquence. If America is ugly, any beauty completes the oxymoron. Perhaps America is, itself, an oxymoron. Or in the context of the chauvinist canonical formation of the rulers, the "intellectual" superstructure built by conquest and slavery, any truth or beauty is measured a lie, hence "ugly." As the xenophobic measure of the conqueror calls all people other than themselves "ugly" as a formal color, caste (class) scale. In Murray's Hope Scope, there is an expanding and closing relationship between the two lines. It is musical and cultural, i.e., aesthetic and social. We can hear Europe (actually Euro America) and Afro America relating, touching, and sharply distancing themselves to emphasize the extreme limits of their collective expression. The collective expression of a future Afro American music will grow to absorb all places and faces it is and has been (as it always does). I was critical of the "Tail Europe" people because I felt they belittled JAZZ by insisting it look backward at Europe as a substitute for the real advance of the explosion of feeling (jism=jasm=jazz=I AM) and revelation. But the value of this work is that David Murray's depth and broadness and powerful voice is never smothered or undermined by Donal Fox's CT like Afro Euro anthemic formalism, which rises again and again as the legitimate occasion of (to paraphrase an old DM title) Interboogieology. Donal provides a provocative frame for an intriguing whole and is inside the picture as well. Monk figures heavily in this collaboration because Monk was everywhere. Monk was Bop before Bird and as Monk used to say, as reported by Grachan Moncur III, "I hope none of them BeBoppers come in here tonight." A cold Monkish joke, but the essence was that Monk was no trend or surface formalism of bop manqué. Monk was the deepness of the whole number. From Duke on back through screaming fire engines (which Monk, as a child, used to sing duets with) and screaming church negroes thinking Christ was Elegba. Monk, Like Duke, and with Duke's commission, had drained Europe like a double bourbon and turned it into blood. That is, emotional reference past formal reference. There is no surrealism or dada or abstract expressionistic trope outter than TSM. Monk assumed he was as hip as the world, since he was hip to it. What Fox and Murray are doing is using the Monkish paradigm to waste the clichéd separation of musical cultures and evolve them into a single "vonz." (See Babs G.) In Donal's Song For Murray there is a quiet cry, a soft poignant lyric feeling with a reaching, rising, calling, searching quality to it. Like there are cries always threating to burst loose. As if the lyricism was a veil soon to be effortlessly swept aside, by quickly broadening darkening lamentations. The single rising call of David's saxophone. The Piano ringing with sharpering urgency to retain its connection. Icarus, previously recorded on Murray's MX, another deep reaching lyric. Don't hesitate to say ballad, it is, a dark one. Introspective, as if thinking itself a theme to encompass the unfolding power of the feeling, and that ballad, that story, of a slow rising, that tale, to fly, and at what cost. It ends, the piano and bass clarinet still pondering, yet alive. Fox's Becca's Ballad has some Berg space, paramelodic, a simple statement, not clearly resolved, but re-presented. Another song that winds into a long swerving cry. The melody has a chordal voice, the piano a bottom echo. The lyricism is occasionally harassed by the piano. Fox clarifying his voice without doubt. Murray's Picasso presents the crossing outright, with Fox underneath the hood of the box, strumming, plucking, beating, tapping the wood. While David with his jump shuffle funks on into the Caribbean, which be the Spanish tinge of his Picasso reference. So Murray and Fox were the other two musicians of the famous flick, and Guernica was undeed funky from the bombs that blasted it. The taste of this, the criss-crossed, blue funk to reggae/Latino over Fox's double bypass on the box is drama itself. It seems a curtain should be opening and something heavy eases into view. Fox's Golden Ladders is the most openly concertized. And there is a concerto aura to it, for piano and saxophone. But still it presents both a formal and psychological whole. Of where all of us have come from and how we gets along, inside and outside of each other. The album is a point of reference and departure. For David Murray it is another sign of his growing mastery, of every genre and style. For Donal Fox it is a sign that he is too hip to be typed on or locked in w/ the dead peepas. He is singing for his own life and consciousness, from where he is on over to where he will be. Just like the rest of us. ~ amiri baraka  СоставDonal Fox - piano David Murray - tenor saxophone, bass clarinet