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(Avant-Garde Jazz, Free Jazz) Ornette Coleman - To Whom Who Keeps a Record (1959-1960) - 2006, FLAC (tracks+.cue), lossless

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Ornette Coleman - To Whom Who Keeps a Record
Жанр: Avant-Garde Jazz, Free Jazz
Страна-производитель диска: США
Год издания: 2006
Издатель (лейбл): Water Music
Номер по каталогу: water187
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 40:17
Источник (релизер): dj2hynes (what)
Наличие сканов в содержимом раздачи: нет
Треклист:
01. Music Always (Coleman) - 5:31
02. Brings Goodness (Coleman) - 6:39
03. To Us (Coleman) - 4:36
04. All (Coleman) - 4:32
05. P.S. Unless One Has (Blues Connotation No.2) (Coleman) - 5:55
06. Some Other (Coleman) - 7:23
07. Motive for Its Use (Coleman) - 5:41
Состав:
Ornette Coleman - alto saxophone
Don Cherry - cornet
Charlie Haden - bass
Ed Blackwell, Billy Higgins (#1) - drums
Recorded at Radio Recorders, Hollywood, CA on October 8, 1959 (#1); at Atlantic Studios, New York City on July 19 (#5), and July 26, 1960 (#2-4,6,7).

Код:

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XLD extraction logfile from 2010-03-27 14:13:29 +1100
Ornette Coleman / To Whom Who Keeps A Records
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Use cdparanoia mode     : YES (CDParanoia III 10.2 engine)
Disable audio cache     : OK for the drive with cache less than 2750KB
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TOC of the extracted CD
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Track 01
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Track 02
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Track 03
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Track 04
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Track 05
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No errors occurred
End of status report

Код:

REM GENRE Jazz
REM DATE 1960
CATALOG 0646315718720
PERFORMER "Ornette Coleman"
TITLE "To Whom Who Keeps a Record"
FILE "01 - Music Always.wav" WAVE
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    TITLE "Music Always"
    PERFORMER "Ornette Coleman"
    ISRC USAT20104721
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Brings Goodness"
    PERFORMER "Ornette Coleman"
    ISRC USAT20104802
    INDEX 00 05:29:45
FILE "02 - Brings Goodness.wav" WAVE
    INDEX 01 00:00:00
FILE "03 - To Us.wav" WAVE
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    PERFORMER "Ornette Coleman"
    ISRC USAT20104809
    INDEX 01 00:00:00
FILE "04 - All.wav" WAVE
  TRACK 04 AUDIO
    TITLE "All"
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    ISRC USAT20104824
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "P.S. Unless One Has (Blues Connotation No. 2)"
    PERFORMER "Ornette Coleman"
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FILE "05 - P.S. Unless One Has (Blues Connotation No. 2).wav" WAVE
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  TRACK 06 AUDIO
    TITLE "Some Other"
    PERFORMER "Ornette Coleman"
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    INDEX 00 05:54:19
FILE "06 - Some Other.wav" WAVE
    INDEX 01 00:00:00
FILE "07 - Motive For Its Use.wav" WAVE
  TRACK 07 AUDIO
    TITLE "Motive For Its Use"
    PERFORMER "Ornette Coleman"
    ISRC USAT20104813
    INDEX 01 00:00:00

Код:

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In principle, copies of the Beauty is a Rare Thing (Atlantic, 1992) box set should be issued with every voter registration card; no home is complete without the collection of Ornette Coleman's prodigious 1959-1961 output. A gathering of the six albums released during that time, three later albums culled from those sessions and alternate takes, it is a crucial document of American art.
One of those three later albums, To Whom Who Keeps a Record was released in Japan in 1975 and was unavailable in the US prior to the box set and only now as a single CD. Coleman's work was so solid during that time that this collection is hardly the mismatched-socks drawer that so many "rarities" collections are. Nor is it an epiphany. It casts no unexpected light on the man, the aesthetic or the times. It is simply another great record, most notable for including "Blues Connotation No. 2," or as it is properly titled, "P.S. Unless One Has (Blues Connotation No. 2)." The dogged chronologism of the box set robbed the album of its titling. The tracks as they appeared on the original release (and here) read as a sentence: "Music Always," "Brings Goodness," "To Us," "All," "P.S. Unless One Has (Blues Connotation No. 2)," "Some Other" and "Motive for its Use."
Chronologically, then, it falls between Change of the Century (1959) and This is Our Music (1960), with Don Cherry (trumpet), Charlie Haden (bass) and Billy Higgins and Ed Blackwell (drums). The record invites comparison between Higgins and his replacement, the more off-kilter Blackwell. But those comparisons have been made before and weighing the historic importance of To Whom Who Keeps a Record is rather beside the point. It stands up to Coleman's other work of the time, which means it stands up to the greatest records in the jazz canon. What more could be said?

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