(Jazz/Avant-Garde Jazz/Modern Creative) Thomas Chapin & Borah Bergman - Inversions - 1992, FLAC (image+.cue), lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 29. November 2008, 11:08
Thomas Chapin & Borah Bergman / Inversions
Used drive : Optiarc DVD RW AD-7200A 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
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 : Installed external ASPI interface
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 4:58.32 | 0 | 22381
2 | 4:58.32 | 2:29.13 | 22382 | 33569
3 | 7:27.45 | 3:06.10 | 33570 | 47529
4 | 10:33.55 | 5:56.05 | 47530 | 74234
5 | 16:29.60 | 8:23.62 | 74235 | 112021
6 | 24:53.47 | 3:20.10 | 112022 | 127031
7 | 28:13.57 | 6:05.10 | 127032 | 154416
8 | 34:18.67 | 10:13.33 | 154417 | 200424
9 | 44:32.25 | 7:06.37 | 200425 | 232411
Range status and errors
Selected range
Filename C:\Documents and Settings\Anatoliy\Мои документы\Thomas Chapin & Borah Bergman - Inversions\Thomas Chapin & Borah Bergman - Inversions.wav
Peak level 95.5 %
Range quality 99.9 %
Copy CRC 70DB310B
Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
None of the tracks are present in the AccurateRip database
End of status report

Biography by Chris Kelsey
The death of Thomas Chapin from leukemia at age 40 was one of those very cruel twists of fate that periodically mark the history of jazz. Unlike the many fine players to die of self-abuse before their time — Charlie Parker and Bix Beiderbecke come to mind — Chapin lived what was, by all accounts, an exemplary life. The fact that he was stricken in his late thirties by a disease that usually targets children is nearly as inexplicable as it is tragic. Fortunately, Chapin left behind an artistically significant and reasonably large body of work. Alto sax and flute were Chapin's principal instruments. He played alto with a huge, golden sound that sounded as if it had been burnished with fine-grained sandpaper. On flute, he got an edgy, near-classical sound that cut through his energetic rhythm sections like a knitting needle through pudding. Chapin's style on all his instruments was utterly personal. Although he drew from influences like Rahsaan Roland Kirk and Jackie McLean, Chapin's voice was his own. His lines combined the linearity of classic bebop with the outward-bound, serial-like tendencies of much late-'90s free improvisation; his composition for small ensembles reflected the same traits.
Chapin was first attracted to jazz through the work of Earl Bostic and Rahsaan Roland Kirk. He attended college at Rutgers, the state university of New Jersey. There he studied with tenor saxophonist Paul Jeffrey and pianist Kenny Barron. After receiving his B.A. in music from Rutgers, he attended Hartt College of Music in Connecticut, where he studied with alto saxophonist Jackie McLean (whose bright tone and quicksilver articulation left a mark on Chapin's later work). In 1981, he went on the road with vibist Lionel Hampton's big band. He served Hampton for five years as lead alto and musical director. He later worked with drummer Chico Hamilton's quartet. In the late '80s, he began associations with fellow altoist Ned Rothenberg and the metal/free jazz outfit Machine Gun. He also began performing more often as a leader around this time. When the downtown New York club the Knitting Factory opened in 1986, Chapin was one of their first acts. When the club started their own record label, Knitting Factory Works, Chapin was the first artist signed. He formed a trio with bassist Mario Pavone and drummer Steve Johns in 1989. That outfit, with Michael Sarin replacing Johns, would form the core of his most adventurous projects until the end of his life. Chapin recorded a number of well-received albums, adding to his trio such guests as alto saxophonist John Zorn and violinist Mark Feldman. Chapin also recorded with a small string section and a brass section. These discs evidenced an even greater talent for arrangement and composition than had been previously apparent. In 1993, he led a date for Arabesque that showcased his more straight-ahead style; I've Got Your Number featured a rhythm section of the bop-oriented pianist Ronnie Matthews and bassist Ray Drummond, along with drummer Johns. The next year, he again recorded a fairly conventional jazz album for Arabesque, featuring trumpeter Tom Harrell and pianist Peter Madsen. Chapin also evinced an interest in world music. In person, he would frequently play various small hand percussion instruments and wood flutes, combining various traditions in an affectionate and non-exploitive way.
Chapin never deserted his avant-garde-ish roots, continuing to record excellent post-bop albums on the Knitting Factory house label. One of the last was Sky Piece, a trio with Sarin and Pavone, recorded in 1996 but finished and released just before his death in early 1998. Chapin was a player of great generosity and authentic spirituality. He played with rare humor, passion, and intelligence. At the end of his life, he was just beginning to receive attention outside the realm of experimental jazz. Indeed, had he lived, it's not inconceivable that Chapin's amalgam of freedom and discipline might have become a force in the jazz mainstream.

Biography by Chris Kelsey
Early in his career, it was typical for jazz critics to compare the extraordinary free jazz pianist Borah Bergman to Cecil Taylor. Lately, however, critics now regularly point out the folly in such comparisons, perpetuating the very same juxtaposition, instead of listening to Bergman abstracted from such concerns. Though Bergman himself claims Tristano, Monk, and Powell as influences, he rates comparison with nobody, so singular is his ability as an improvising pianist. Bergman has perhaps the most comprehensive technique of any jazz musician on any instrument. His facility is nonpareil with both hands. Bergman can improvise spontaneous free counterpoint at unfathomable speeds and with remarkable precision. His utterly personal style is due in no small part to his own technical innovations; no pianist in the history of jazz has ever developed more speed and agility in his left hand. Additionally, Bergman has refined a technique of playing with crossed hands that augments his fluency to an even greater degree. Bergman's greatest attributes are, however, the staggering quality and quantity of his ideas, and the ineffable intensity with which he executes those ideas. Bergman is of a kind with the very greatest jazz musicians in terms of originality and inspiration. The only reason now to weigh him against Cecil Taylor is to place the two artists on the same level of creative accomplishment.
Bergman played clarinet as a child, but didn't begin on piano until in his twenties. Bergman determined right away that he wanted to develop an individual voice. As he told the writer Francis Davis, "I knew there was no point in sounding almost as good as Bud Powell." The right-handed Bergman worked for years in strengthening his left hand. For a time, he practiced playing left-handed almost exclusively. Eventually — as a pianist, at least — he became ambidextrous.
Bergman began recording late as well. His first four albums were solo efforts; the first, Discovery, was released in 1975 on the Chiaroscuro label. Three more would follow, including 1983's A New Frontier and 1985's Upside Down Visions, both on Soul Note. In 1992, the pianist began a series of successful duo collaborations. The first was Inversions on the Muworks label, with the young free-bop altoist Thomas Chapin. Following that came a pair of Soul Note albums that cemented Bergman's reputation, 1993's The Human Factor with drummer Andrew Cyrille, and '94's The Fire Tale, with soprano saxophonist Evan Parker. The latter album was especially powerful, matching as it did two of the most formidable improvisers in jazz. Recent albums include a duo/trio recording with saxophonist Roscoe Mitchell and vocalist Thomas Buckner, a trio with saxophonists Peter Brotzman and Thomas Borgmann, and another trio with Brotzman and Cyrille. As the '90s draw to a close, Bergman's recorded output continues to rise substantially, as does his profile as one of the music's major contributors.