[TR24][OF] Terje Rypdal - Odyssey In Studio & In Concert - 2012 (Post-Bop, Contemporary Jazz, Nordic Jazz)
![[TR24][OF] Terje Rypdal - Odyssey In Studio & In Concert - 2012 (Post-Bop, Contemporary Jazz, Nordic Jazz)](/upload/000/u2/33/e6/tr24-of-terje-rypdal-odyssey-in-studio-amp-in-concert-2.jpg "[TR24][OF] Terje Rypdal - Odyssey In Studio & In Concert - 2012 (Post-Bop, Contemporary Jazz, Nordic Jazz)")
Terje Rypdal / Odyssey In Studio & In Concert
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2012
Жанр: Post-Bop, Contemporary Jazz, Nordic Jazz
Издатель (лейбл): ECM Records
Продолжительность: 02:35:12
Наличие сканов в содержимом раздачи: Буклет PDF
Источник (релизер): qobuz
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0
Треклист:
Odyssey I
01. Darkness Falls 03:38
02. Midnite 16:40
03. Adagio 13:15
04. Better Off Without You 7:31
Odyssey II
05. Over Birkerot 04:53
06. Fare Well 11:25
07. Ballade 06:00
08. Rolling Stone 23:55
Unfinished Highballs
09. Unfinished Highballs 03:52
10. The Golden Eye 14:04
11. Scarlet Mistress 12:25
12. Dawn 12:29
13. Dine and Dance to the Music of the Waves 11:40
14. Talking Back 07:10
15. Bright Lights - Big City 06:15
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2012
Жанр: Post-Bop, Contemporary Jazz, Nordic Jazz
Издатель (лейбл): ECM Records
Продолжительность: 02:35:12
Наличие сканов в содержимом раздачи: Буклет PDF
Источник (релизер): qobuz
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0
Треклист:
Odyssey I
01. Darkness Falls 03:38
02. Midnite 16:40
03. Adagio 13:15
04. Better Off Without You 7:31
Odyssey II
05. Over Birkerot 04:53
06. Fare Well 11:25
07. Ballade 06:00
08. Rolling Stone 23:55
Unfinished Highballs
09. Unfinished Highballs 03:52
10. The Golden Eye 14:04
11. Scarlet Mistress 12:25
12. Dawn 12:29
13. Dine and Dance to the Music of the Waves 11:40
14. Talking Back 07:10
15. Bright Lights - Big City 06:15
DR Log
foobar2000 1.1.10 / Dynamic Range Meter 1.1.1 log date: 2017-03-17 18:22:03 -------------------------------------------------------------------------------- Analyzed: Terje Rypdal / Odyssey In Studio & In Concert -------------------------------------------------------------------------------- DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR10 -6.01 dB -19.51 dB 3:38 ?-Darkness Falls DR13 -1.45 dB -18.81 dB 16:41 ?-Midnite DR12 -2.73 dB -19.62 dB 13:16 ?-Adagio DR12 -2.26 dB -20.00 dB 7:31 ?-Better Off Without You DR13 -1.24 dB -16.06 dB 4:53 ?-Over Birkerot DR12 -3.98 dB -20.43 dB 11:26 ?-Fare Well DR14 -1.65 dB -19.29 dB 6:01 ?-Ballade DR14 -1.12 dB -18.57 dB 23:55 ?-Rolling Stone DR14 -1.81 dB -19.03 dB 3:52 ?-Unfinished Highballs DR12 -1.69 dB -18.95 dB 14:04 ?-The Golden Eye DR14 -1.96 dB -20.74 dB 12:25 ?-Scarlet Mistress DR13 -2.14 dB -17.98 dB 12:30 ?-Dawn DR18 -1.50 dB -24.66 dB 11:41 ?-Dine And Dance To The Music Of The Waves DR12 -0.73 dB -16.11 dB 7:10 ?-Talking Back DR12 -4.28 dB -23.76 dB 6:16 ?-Bright Lights - Big City -------------------------------------------------------------------------------- Number of tracks: 15 Official DR value: DR13 Samplerate: 96000 Hz Channels: 2 Bits per sample: 24 Bitrate: 2760 kbps Codec: FLAC ================================================================================
Скриншот спектра частот
Состав
Acoustic Guitar, Synthesizer [Synthesizers], Directed By – Terje Rypdal (tracks: 3-1 to 3-7)
Alto Saxophone, Clarinet – Claes Rosendahl (tracks: 3-1 to 3-7)
Bass Clarinet, Flute – Erik Nilsson (2) (tracks: 3-1 to 3-7)
Bass Guitar – Sveinung Hovensjo
Celesta, Harpsichord, Mellotron – Bengt Hallberg (tracks: 3-1 to 3-7)
Composed By, Electric Guitar, Soprano Saxophone – Terje Rypdal
Double Bass – Stefan Brolund (tracks: 3-1 to 3-7)
Double Bass, Directed By – Georg Riedel (tracks: 3-1 to 3-7)
Drums – Svein Christiansen
Drums, Percussion – Egil Johansen (tracks: 3-1 to 3-7)
French Horn – Ivar Olsen (tracks: 3-1 to 3-7)
French Horn, Trumpet – Hakan Nyquist (tracks: 3-1 to 3-7)
Orchestra – Swedish Radio Jazz Group (tracks: 3-1 to 3-7)
Organ – Brynjulf Blix
Soprano Saxophone, Flute – Lennart Aberg (tracks: 3-1 to 3-7)
Synthesizer – Terje Rypdal (tracks: 1-1 to 2-4)
Synthesizer, Electric Piano – Brynjulf Blix (tracks: 3-1 to 3-7)
Tenor Saxophone, Flute, Flute [Alto Flute], Piccolo Flute – Ulf Andersson (tracks: 3-1 to 3-7)
Trombone – Torbjorn Sunde (tracks: 1-1 to 2-4), Torgny Nilson (tracks: 3-1 to 3-7)
Trombone [Bass Trombone], Tuba – Sven Larson (tracks: 3-1 to 3-7)
Trumpet, Flugelhorn – Americo Bellotto (tracks: 3-1 to 3-7), Bertil Lovgren (tracks: 3-1 to 3-7), Ulf Adaker (tracks: 3-1 to 3-7)
Alto Saxophone, Clarinet – Claes Rosendahl (tracks: 3-1 to 3-7)
Bass Clarinet, Flute – Erik Nilsson (2) (tracks: 3-1 to 3-7)
Bass Guitar – Sveinung Hovensjo
Celesta, Harpsichord, Mellotron – Bengt Hallberg (tracks: 3-1 to 3-7)
Composed By, Electric Guitar, Soprano Saxophone – Terje Rypdal
Double Bass – Stefan Brolund (tracks: 3-1 to 3-7)
Double Bass, Directed By – Georg Riedel (tracks: 3-1 to 3-7)
Drums – Svein Christiansen
Drums, Percussion – Egil Johansen (tracks: 3-1 to 3-7)
French Horn – Ivar Olsen (tracks: 3-1 to 3-7)
French Horn, Trumpet – Hakan Nyquist (tracks: 3-1 to 3-7)
Orchestra – Swedish Radio Jazz Group (tracks: 3-1 to 3-7)
Organ – Brynjulf Blix
Soprano Saxophone, Flute – Lennart Aberg (tracks: 3-1 to 3-7)
Synthesizer – Terje Rypdal (tracks: 1-1 to 2-4)
Synthesizer, Electric Piano – Brynjulf Blix (tracks: 3-1 to 3-7)
Tenor Saxophone, Flute, Flute [Alto Flute], Piccolo Flute – Ulf Andersson (tracks: 3-1 to 3-7)
Trombone – Torbjorn Sunde (tracks: 1-1 to 2-4), Torgny Nilson (tracks: 3-1 to 3-7)
Trombone [Bass Trombone], Tuba – Sven Larson (tracks: 3-1 to 3-7)
Trumpet, Flugelhorn – Americo Bellotto (tracks: 3-1 to 3-7), Bertil Lovgren (tracks: 3-1 to 3-7), Ulf Adaker (tracks: 3-1 to 3-7)
Об исполнителе (группе)
Terje Rypdal‘s Odyssey: In Studio & In Concert is a very special release. It includes not only the complete Odyssey album (recorded 1975) in high-resolution audio (Studio Master) for the first time (restoring the long track Rolling Stone to its rightful place), but also a full disc of previously unreleased material on which Terje Rypdal s Odyssey band is augmented by the Swedish Radio Jazz Group in a 1976 live performance of Rypdal s suite Unfinished Highballs.
In the liner notes, Rypdal tells John Kelman, Odyssey was my first major band, and the music was different too because, more and more, I was writing music in two layers one thing going on with the bass and drums, and rubato playing layered over the top. It was the first time I d to connect with a band, more about writing together with improvisation. It was a challenge; I was trying to bring together the composer and the player. Rypdal s ideas of form and freedom are beautifully sculpted and registered in Manfred Eicher s widescreen production.
John Kelman: The release of Odyssey in its entirety, along with the significant revelations of Unfinished Highballs , comes when Rypdal is in a period of renewed creativity and activity, making it especially relevant as a more complete document of how confluence, at an early stage in his career, ultimately led to the further multidisciplinary junctions that keep his music as fresh and relevant as he approaches 65.
I‘m very happy this is coming out , Rypdal says, because I ve been asked, before Crime Scene was released, if I d written anything for big band. I think this is a very important part of my career: I m very glad Rolling Stone is finally coming out; and Unfinished Highballs will be a surprise to a lot of people. That s what I really like about this box that it can accomplish both at the same time.
Rypdal was one of Manfred Eicher’s first major finds, brought to inter national attention alongside other influential Norwegians including saxo phonist Jan Garbarek, bassist Arild Andersen and drummer Jon Christensen. As early as his eponymous 1971 ECM debut, Rypdal was already demonstrat ing a desire to find new means of expression based on the seamless merging of touchstones that included jazz, rock and classical music. That album’s hypnotic opener, “Keep It Like That – Tight” was named after a whispered utterance by Miles Davis during the recording of his seminal 1970 classic, Bitches Brew, and if it reflected an allegiance to the American trumpeter’s own cross_pollinating predilections, it also demonstrated even greater atten tion to space and nuance, while “Rainbow” reflected Rypdal’s affection for the music of composer György Ligeti, albeit with the unpredictable wildcard of an improvisational context.
In the liner notes, Rypdal tells John Kelman, Odyssey was my first major band, and the music was different too because, more and more, I was writing music in two layers one thing going on with the bass and drums, and rubato playing layered over the top. It was the first time I d to connect with a band, more about writing together with improvisation. It was a challenge; I was trying to bring together the composer and the player. Rypdal s ideas of form and freedom are beautifully sculpted and registered in Manfred Eicher s widescreen production.
John Kelman: The release of Odyssey in its entirety, along with the significant revelations of Unfinished Highballs , comes when Rypdal is in a period of renewed creativity and activity, making it especially relevant as a more complete document of how confluence, at an early stage in his career, ultimately led to the further multidisciplinary junctions that keep his music as fresh and relevant as he approaches 65.
I‘m very happy this is coming out , Rypdal says, because I ve been asked, before Crime Scene was released, if I d written anything for big band. I think this is a very important part of my career: I m very glad Rolling Stone is finally coming out; and Unfinished Highballs will be a surprise to a lot of people. That s what I really like about this box that it can accomplish both at the same time.
Rypdal was one of Manfred Eicher’s first major finds, brought to inter national attention alongside other influential Norwegians including saxo phonist Jan Garbarek, bassist Arild Andersen and drummer Jon Christensen. As early as his eponymous 1971 ECM debut, Rypdal was already demonstrat ing a desire to find new means of expression based on the seamless merging of touchstones that included jazz, rock and classical music. That album’s hypnotic opener, “Keep It Like That – Tight” was named after a whispered utterance by Miles Davis during the recording of his seminal 1970 classic, Bitches Brew, and if it reflected an allegiance to the American trumpeter’s own cross_pollinating predilections, it also demonstrated even greater atten tion to space and nuance, while “Rainbow” reflected Rypdal’s affection for the music of composer György Ligeti, albeit with the unpredictable wildcard of an improvisational context.