(Avant-Garde Jazz) [CD] Benoit Delbecq 4 - Spots on Stripes - 2018, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 11. February 2023, 11:54
Benoît Delbecq 4 / Spots On Stripes
Used drive  : ATAPI   iHAS124   E   Adapter: 0  ID: 0
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                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Users\a\Documents\flac-1.3.2-win\win64\flac.exe
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TOC of the extracted CD
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        9  | 43:20.25 |  4:35.17 |    195025    |   215666
       10  | 47:55.42 |  5:30.23 |    215667    |   240439
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Track 10
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All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 31E56E68E43A5FF8549E867D960F551583B400442B3BB07F7BBB9A273B3A0340 ====

REM GENRE Jazz
REM DATE 2018
REM DISCID 920C850A
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 5609063004632
PERFORMER "Benoit Delbecq"
TITLE "Spots on Stripes"
FILE "01 - Spots on Stripes.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Spots on Stripes"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810256
    INDEX 01 00:00:00
FILE "02 - Broken World.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Broken World"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810257
    INDEX 01 00:00:00
FILE "03 - Rosemary K.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Rosemary K"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810258
    INDEX 01 00:00:00
FILE "04 - The Loop of Chicago.wav" WAVE
  TRACK 04 AUDIO
    TITLE "The Loop of Chicago"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810259
    INDEX 01 00:00:00
FILE "05 - Disparition du Si.wav" WAVE
  TRACK 05 AUDIO
    TITLE "Disparition du Si"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810260
    INDEX 01 00:00:00
FILE "06 - Dawn Sounds.wav" WAVE
  TRACK 06 AUDIO
    TITLE "Dawn Sounds"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810261
    INDEX 01 00:00:00
FILE "07 - Old Vinyl.wav" WAVE
  TRACK 07 AUDIO
    TITLE "Old Vinyl"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810262
    INDEX 01 00:00:00
FILE "08 - Springs.wav" WAVE
  TRACK 08 AUDIO
    TITLE "Springs"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810263
    INDEX 01 00:00:00
FILE "09 - Dripping Stones.wav" WAVE
  TRACK 09 AUDIO
    TITLE "Dripping Stones"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810264
    INDEX 01 00:00:00
FILE "10 - De Stael.wav" WAVE
  TRACK 10 AUDIO
    TITLE "De Stael"
    PERFORMER "Benoit Delbecq"
    ISRC PTNF11810265
    INDEX 01 00:00:00

In the animal kingdom both spots and stripes contribute to the camouflage which keeps the wearer hidden from either potential predators or prey. There's something similarly disorientating about this enigmatic album from French pianist Benoit Delbecq. Renowned as someone who has taken John Cage's idea of prepared piano into the jazz sphere, Delbecq has studied with sources as varied as free jazz bassist Alan Silva, legendary post bop pianist Mal Waldron and composer Solange Ancona, a former student of Olivier Messiaen, so it should be no surprise that his work doesn't conform to genre expectations.
For the ten pieces on Spots On Stripes he's joined by a top notch American band, comprising tenor saxophonist Mark Turner, bassist John Hébert and drummer Gerald Cleaver, who partake as equals with the rhythm section getting as much time as the so-called front line. Together they create music that is fresh, sophisticated but also unsettling. Partly that's due to the way in which Turner and Delbecq's lines intentionally cut across one another. For his part, the saxophonist deploys a burnished tone, cool, collected and staying resolutely inside the forms Delbecq fashions. Even when unisons arrive, as on the mildly melancholic "Broken World," they come spiked by the leader's subtly prepared keystrokes.
Both piano and tenor often precariously perch atop sometimes smoother, sometimes jerkier bass and drums, resulting in a rhythmic ambiguity expertly handled by Hébert and Cleaver. On "Disparition Du Si," Delbecq evokes a thumb piano or gamelan orchestra in another lurching outing, while on "Dawn Sounds" his prepared keyboard motifs morph into an undulating shuffle when doubled by Cleaver. "Springs" provides the most straight ahead feel, with obvious interaction between the constituent parts, as piano echoes some of the tenor's phrasing. The final "De Staël" offers one of the more consonant resolutions, though elsewhere a reined-in poise remains the predominant characteristic, as exemplified by the languid ballad of "Dripping Stones."