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(ECM, Avant-Garde Jazz, Free Improvisation, Chamber) Tim Berne - Snakeoil - 2012, FLAC (tracks+.cue), lossless

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Tim Berne - Snakeoil

Жанр: ECM, Avant-Garde Jazz, Free Improvisation, Chamber
Год издания диска: 2012
Издатель (лейбл): ECM
Номер по каталогу: 2234
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 01:08:35
Источник (релизер): thanks to jlgt
Наличие сканов в содержимом раздачи: да
Треклист:
1. Simple City
2. Scanners
3. Spare Parts
4. Yield
5. Not Sure
6. Spectacle

Tim Berne alto saxophone
Oscar Noriega B♭ and bass clarinets
Matt Mitchell piano
Ches Smith drums; percussion

Код:

Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 3. March 2012, 14:02
Tim Berne / Snakeoil
Used drive  : PLEXTOR DVDR   PX-L890SA   Adapter: 2  ID: 1
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 6
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                : 256 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "TOTALTRACKS=%numtracks%" -T "GENRE=%genre%" -T "ALBUMARTIST=%albumartist%" -T "ALBUM ARTIST=%albumartist%
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  |  0:00.00 | 13:59.09 |         0    |    62933
        2  | 13:59.09 |  7:24.08 |     62934    |    96241
        3  | 21:23.17 | 14:14.53 |     96242    |   160344
        4  | 35:37.70 | 12:10.32 |    160345    |   215126
        5  | 47:48.27 |  8:43.60 |    215127    |   254411
        6  | 56:32.12 | 12:02.50 |    254412    |   308611
Track  1
     Filename F:\Flac Rips\01 - Simple City.wav
     Pre-gap length  0:00:02.00
     Peak level 81.6 %
     Extraction speed 4.8 X
     Track quality 100.0 %
     Test CRC E49EC1E4
     Copy CRC E49EC1E4
     Track not present in AccurateRip database
     Copy OK
Track  2
     Filename F:\Flac Rips\02 - Scanners.wav
     Pre-gap length  0:00:02.43
     Peak level 94.8 %
     Extraction speed 5.5 X
     Track quality 100.0 %
     Test CRC 90143986
     Copy CRC 90143986
     Track not present in AccurateRip database
     Copy OK
Track  3
     Filename F:\Flac Rips\03 - Spare Parts.wav
     Pre-gap length  0:00:02.36
     Peak level 87.9 %
     Extraction speed 6.5 X
     Track quality 100.0 %
     Test CRC 6D666ECE
     Copy CRC 6D666ECE
     Track not present in AccurateRip database
     Copy OK
Track  4
     Filename F:\Flac Rips\04 - Yield.wav
     Pre-gap length  0:00:04.34
     Peak level 80.2 %
     Extraction speed 7.3 X
     Track quality 100.0 %
     Test CRC C71EC2DC
     Copy CRC C71EC2DC
     Track not present in AccurateRip database
     Copy OK
Track  5
     Filename F:\Flac Rips\05 - Not Sure.wav
     Pre-gap length  0:00:07.53
     Peak level 87.6 %
     Extraction speed 7.7 X
     Track quality 100.0 %
     Test CRC 2E0AF1D2
     Copy CRC 2E0AF1D2
     Track not present in AccurateRip database
     Copy OK
Track  6
     Filename F:\Flac Rips\06 - Spectable.wav
     Pre-gap length  0:00:04.24
     Peak level 93.9 %
     Extraction speed 8.3 X
     Track quality 100.0 %
     Test CRC CD78436C
     Copy CRC CD78436C
     Track not present in AccurateRip database
     Copy OK
None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
==== Log checksum A9AD862A4675388F167AB392AC2AE483AD2260256A4CD21F2AD453689D4B5B06 ====

Код:

REM GENRE Jazz
REM DATE 2012
REM DISCID 52101206
REM COMMENT "ExactAudioCopy v1.0b2"
PERFORMER "Tim Berne"
TITLE "Snakeoil"
FILE "01 - Simple City.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Simple City"
    PERFORMER "Tim Berne"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Scanners"
    PERFORMER "Tim Berne"
    INDEX 00 13:56:41
FILE "02 - Scanners.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "Spare Parts"
    PERFORMER "Tim Berne"
    INDEX 00 07:21:47
FILE "03 - Spare Parts.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Yield"
    PERFORMER "Tim Berne"
    INDEX 00 14:10:19
FILE "04 - Yield.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "Not Sure"
    PERFORMER "Tim Berne"
    INDEX 00 12:02:54
FILE "05 - Not Sure.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Spectable"
    PERFORMER "Tim Berne"
    INDEX 00 08:39:36
FILE "06 - Spectable.wav" WAVE
    INDEX 01 00:00:00

After compelling contributions to ECM discs by David Torn and Michael Formanek, here is Tim Berne’s first leader date for the label. “Snakeoil” introduces a fascinating ensemble, a “chamber-like group” in Berne’s words, albeit one that packs some power. Tim’s tough alto is heard with Oscar Noriega’s earthy clarinets, Mat Mitchell’s cryptic piano, and Ches Smith’s tone-conscious drums, tympani, gongs and congas. Berne: “I'd decided on this very transparent instrumentation to try and avoid obvious stylistic references and to focus the listener on the musical ideas being presented.” Two years of wood-shedding preceded the recording of “Snakeoil” at New York’s Avatar Studios early in 2011, and the band was ready to roar. The disc is issued on the eve of a tour that takes in dates on both sides of the Atlantic.

Hardcore Tim Berne fans may wonder about the compromises that were necessary for him to make in order to cut his first date for ECM as a leader. Label headman Manfred Eicher's hands-on aesthetic usually leads him to the producer's chair, and it did here. Berne's music, as evidenced by 40-plus albums, can go against giving up that kind of control. Snakeoil, however, represents a compromise; a true collaboration between them. Berne has appeared on ECM before; on Michael Formanek's The Rub and the Spare Change, and David Torn's Prezens. Snakeoil is not only his debut as a leader for the label, but the debut of his new quartet, with Oscar Noriega on clarinet and bass clarinet, Matt Mitchell on piano, and drummer Ches Smith. Berne and Noriega have worked in Mitchell's band Central Chain in the past, while Smith has played with Secret Chiefs 3, Marc Ribot, Mary Halvorson, and Fred Frith. There are six pieces on Snakeoil. Four are between 12 and 14 minutes, the other two are middle length, between seven and nine. They all reflect Berne's mature ambition as a composer first. Mitchell and Smith are twin pillars in the ensemble, guiding dynamic, time, and shape. Berne's and Noriega's interplay is expansive harmonically and often serpentine, whether playing in concert or in counterpoint, and provides dimension and textural palettes. Opener "Simple City" is an elliptical piece that explores an entire range of lyric ideas found in the first bluesy piano chords in the intro -- Berne doesn't enter until three minutes, Noriega until five-and-a-half, before things begin to shift and change shape without losing their center. There is a more immediate tension in the knotty lyricism of "Scanners," as Noriega and Berne follow Mitchell's high-register ostinati down a labyrinth. While both two tunes are at opposite sides of the track, they do underscore the notion that this is Berne's music at its most circular: it may not resolve in the place it began, but it does resolve. The sheer openness of frame in "Spare Parts" highlights not only intimate dialogue, but tonal possibilities as saxophones and clarinets shift roles inside the melodic pulse. The intricate twists and turns in "Not Sure" are countered by long spatial statements in the song's center. The conical shape of scales in the closer "Spectacle" is an adventure that examines melody as it moves from one small space to another, continually entwining and undoing itself, even as dynamics and tension highlight or abandon it over 12 minutes. Eicher's crystalline approach to sound captures each utterance with complete clarity, which is at once warm and full. Snakeoil is unlike any recording in Berne's large catalog. The lack of physical force (though there is plenty of fire) is more than compensated for, in the thought-provoking concept and complexity with a resonant yet unconventional lyricism.

The Brooklyn-based saxophonist curbs his more rampaging instincts for a well-rehearsed, free-flowing and lyrical chamber-jazz quartet that tempers its improvised freedoms with firmly written structures that unfold and switch mood like shiftinng sand. There are left-field flutters and explosive thumps from drummer Ches Smith, and atmospheric acoustic piano from Matt Mitchell. Berne spins melody with a strong tone and forceful articulation and Oscar Noriega adds woody-toned clarinet to the twisty themes, acting as both contrast and foil...
...recent opportunities to hear the influential American composer and saxophonist Tim Berne have included free-funk adventures with guitar wildmen such as Marc Ducret and Nels Cline – but Berne's current band, Snakeoil, is a different story. He still balances interlocking, rhythm-rooted melody with an affecting modern lyricism, but this group (with Oscar Noriega on clarinets, Matt Mitchell on keyboards and Ches Smith on drums) downplays electric rawness for more of a chamber ensemble sound. The opening Simple City begins as a beautiful acoustic piano melody that keeps resolving in yearning dissonances, until the drums rise around it, Noriega's bass clarinet drifts across the soundscape, and a subdued melee develops for Berne's long alto-sax notes to gleam through. The punchy postbop themes of Scanners and Not Sure are typical Berne works – exultant, convoluted twisters over edgy, driving percussion. It's a terrific set, and an object lesson in balancing composition, improvisation and the tonal resources of an acoustic band.

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