(World Fusion, Latin Jazz) [CD] Mark Weinstein (with Aruan Ortiz, Rahshaan Carter, Gerald Cleaver & Roman Diaz) - Latin Jazz Underground - 2014, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 25. October 2014, 18:45
Mark Weinstein / Latin Jazz Underground
Used drive  : TSSTcorpCDDVDW SH-S223C   Adapter: 4  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 697
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                : 1024 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  |  8:04.47 |  6:21.29 |     36347    |    64950
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        8  | 50:14.03 |  5:36.53 |    226053    |   251305
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
     Filename G:\FLAC rips\Mark Weinstein - Latin Jazz Underground (2014) [FLAC]\08 - Mark's Last Tune.wav
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None of the tracks are present in the AccurateRip database
No errors occurred
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==== Log checksum 42D4AAA12C242DF1BE2AA8CAD36C950F4AC6269D35486CC512767425646408DB ====

REM GENRE Latin
REM DATE 2014
REM DISCID 7C0D1608
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Mark Weinstein"
TITLE "Latin Jazz Underground"
FILE "01 - Gregorio's Mood.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Gregorio's Mood"
    PERFORMER "Mark Weinstein"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Open or Close"
    PERFORMER "Mark Weinstein"
    INDEX 00 08:01:47
FILE "02 - Open or Close.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "Dance of the Tripedal"
    PERFORMER "Mark Weinstein"
    INDEX 00 06:18:29
FILE "03 - Dance of the Tripedal.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "For Emilio"
    PERFORMER "Mark Weinstein"
    FLAGS DCP
    INDEX 00 08:55:38
FILE "04 - For Emilio.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "Tete's Blues"
    PERFORMER "Mark Weinstein"
    INDEX 00 07:37:18
FILE "05 - Tete's Blues.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Nature Boy"
    PERFORMER "Mark Weinstein"
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    INDEX 00 07:56:41
FILE "06 - Nature Boy.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Mellifluous Cacophony"
    PERFORMER "Mark Weinstein"
    INDEX 00 05:49:13
FILE "07 - Mellifluous Cacophony.wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "Mark's Last Tune"
    PERFORMER "Mark Weinstein"
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FILE "08 - Mark's Last Tune.wav" WAVE
    INDEX 01 00:00:00

Has flautist Mark Weinstein run out of ideas on how to merge various dialects of Latin jazz with other musical tongues? The answer is a resounding "no." Latin Jazz Underground finds Weinstein saluting the loft jazz scene of the '70s by tackling the work of jazz iconoclasts-turned-icons—pianist Andrew Hill and saxophonists Ornette Coleman and Sam Rivers—and like- minded originals. That concept, in and of itself, doesn't distinguish this project, as plenty of people have traveled down those thorny paths, so the twist comes with the infusion of Afro-Cuban ideals.
Such a marriage is a risky union, but one that ultimately works here. There's really no better person to attempt such a unique hybrid, as Weinstein is an expert at conflating Latin sounds and other styles. He was also around to observe and participate in the loft scene, working with trumpeter Bill Dixon when trombone, not flute, was his instrument of choice.
Weinstein deserves the credit for realizing this project and coming up with the Afro-Cuban angle in the first place, but the initial idea to look back to the loft scene came from pianist Aruan Ortiz. He previously worked with Weinstein on one of the flautist's strongest releases—El Cumbanchero (Jazzheads, 2011)—and he does a killer job on this album.
Together, Weinstein and Ortiz have managed to do the near impossible: they've created common ground for rhythmically scintillating sounds and uncertain tones to walk hand-in-hand over. These two men prove to be expert bridge-builders, but they don't do all the heavy lifting. A special sort of rhythm section is required for a project that's so focused on a tight-loose duality. Here, it comes in the form of percussionist Roman Diaz , a player who's as happy upholding tradition as he is mutating it, drummer Gerald Cleaver, renowned for his ability to work both sides of the free-focused fence, and bassist Rahsaan Carter, an open-minded thinker who comfortably volleys between poles and ideas throughout.
Latin Jazz Underground opens with Weinstein and Ortiz locked together on an angular head, introducing the concept of the day on Ortiz's "Gregorio's Mood." As the piece plays out, the expected unexpected arrives. Strict time evaporates and everybody is invested in the moment. Percussive underpinnings serve the music once things get back on track, but risk still runs through the piece until the very end. The modus operandi for the date is firmly established on this one.
The structure-meets-freedom aesthetic is deepened and broadened on Coleman's "Open Or Close," a stormier work complete with chanting. Ortiz gets a chance to please with some pummel-and-pounce pianisms, entering the arena as a gladiator of the keys. "Dance Of The Tripedal," the first of two Rivers pieces on the program, is set in motion by Carter's bass riff. The relationship between Weinstein's flute solo and Carter's bass line(s) comes into focus here, as Ortiz leaves a bit more space for this sonic meeting to take place. The pianist later joins Cleaver and Diaz, as all three carry out a rumble-versus-groove game below.
As the program continues, Weinstein turns to his bass flute, serving as musical shaman on Hill's "For Emilio." A sense of impending danger informs Ortiz's "Tete's Blues," which is grounded by a slow-and-steady, back-and-forth bass line. Diaz's jittery clave underscores the journey while Cleaver simultaneously creates and breaks things up, allowing for Weinstein and Ortiz to do their respective thing(s) on top. "Nature Boy" finds Weinstein turning to his alto flute. The performance is loyal to a point, but a slight muddying of the harmonic waters helps to keep things interesting. While this piece is far calmer than most of the other music, the murky, out-of-focus quality that surrounds the melody is in keeping with the general tone of the album. Rivers' "Mellifluous Cacophony" is tough to grab hold of at first, but things start to really gel when Ortiz, Carter and Cleaver interact. Cleaver-born chaos is met with a degree of calm from Weinstein and Carter on "Mark's Last Tune," which closes out the album. That encounter leads to a drum-and-percussion stampede which, in turn, leads to one of the most simple and tuneful episodes on the album.
Praising the music that Weinstein makes here is easy, but his most admirable quality goes beyond music and art. He's a man who never stops growing and trying different things. In that respect, he's set an example that everybody could stand to learn from. (Dan Bilawsky, AllAboutJazz)

Mark Weinstein - concert, alto and bass flutes
Aruán Ortiz - piano
Rashaan Carter - bass
Gerald Cleaver - drums
Román Diaz - percussion