desordenado · 24-Ноя-12 23:10(13 лет назад, ред. 25-Ноя-12 00:22)
Jack Wright - The Indeterminate Existence Жанр: Free Improvisation Страна-производитель диска: Canada Годы записи: 1988-1998 Год издания: 2007 Издатель (лейбл): Last Visible Dog Номер по каталогу: LVD 1001 Страна: USA Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Битрейт аудио: lossless Продолжительность: 1:11:21 Источник (релизер): собственный диск Наличие сканов в содержимом раздачи: да 1 Untitled 1Soprano (Baltimore, MD 10/1988) 2 Untitled 2Alto (Baltimore, MD 10/1988) 3 Untitled 3Soprano (Berkeley, CA 12/1998) 4 Untitled 4Alto (Berkeley, CA 12/1998) 5 Untitled 5Tenor (Berkeley, CA 12/1998) 6 Untitled 6Tenor (1997) 7 Untitled 7Alto (1995) Jack Wright, solo sax
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 23. November 2012, 0:16 Jack Wright / The Indeterminate Existence Used drive : SlimtypeDVD A DS8A5SH Adapter: 0 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 : 128 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 : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source% TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 13:19.56 | 0 | 59980 2 | 13:19.56 | 11:36.61 | 59981 | 112241 3 | 24:56.42 | 7:38.27 | 112242 | 146618 4 | 32:34.69 | 9:49.40 | 146619 | 190833 5 | 42:24.34 | 8:19.31 | 190834 | 228289 6 | 50:43.65 | 10:58.31 | 228290 | 277670 7 | 61:42.21 | 9:42.44 | 277671 | 321364 Track 1 Filename C:\Users\Илья\Desktop\The Indeterminate Existence (2007)\01. Untitled 1.wav Pre-gap length 0:00:02.00 Peak level 90.0 % Extraction speed 3.2 X Track quality 99.9 % Test CRC 4E98C5C2 Copy CRC 4E98C5C2 Copy OK Track 2 Filename C:\Users\Илья\Desktop\The Indeterminate Existence (2007)\02. Untitled 2.wav Peak level 90.0 % Extraction speed 4.1 X Track quality 100.0 % Test CRC BF41701B Copy CRC BF41701B Copy OK Track 3 Filename C:\Users\Илья\Desktop\The Indeterminate Existence (2007)\03. Untitled 3.wav Peak level 95.0 % Extraction speed 4.5 X Track quality 100.0 % Test CRC E7999C33 Copy CRC E7999C33 Copy OK Track 4 Filename C:\Users\Илья\Desktop\The Indeterminate Existence (2007)\04. Untitled 4.wav Peak level 95.0 % Extraction speed 5.0 X Track quality 100.0 % Test CRC A6211F80 Copy CRC A6211F80 Copy OK Track 5 Filename C:\Users\Илья\Desktop\The Indeterminate Existence (2007)\05. Untitled 5.wav Peak level 95.0 % Extraction speed 5.3 X Track quality 100.0 % Test CRC 86CC82A3 Copy CRC 86CC82A3 Copy OK Track 6 Filename C:\Users\Илья\Desktop\The Indeterminate Existence (2007)\06. Untitled 6.wav Peak level 95.0 % Extraction speed 5.7 X Track quality 100.0 % Test CRC 7431630E Copy CRC 7431630E Copy OK Track 7 Filename C:\Users\Илья\Desktop\The Indeterminate Existence (2007)\07. Untitled 7.wav Peak level 96.0 % Extraction speed 6.1 X Track quality 100.0 % Test CRC 674E1C6C Copy CRC 674E1C6C Copy OK No errors occurred End of status report ==== Log checksum 4F2266D6174F1A4063E7B03DC8A9A9C2164BA491D07A7ABEA0842291B180750C ====
Содержание индексной карты (.CUE)
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Tau Analyzer
Об альбоме
***
Indeterminate Existence” CD, is a collection of solo Saxophone improvisation that demands close attention and will have most of your friend running out of the room. Opening with a 13 minutes abstract squall of free-form playing, the music on the album bounces around the walls, sometimes dancing, sometimes slithering, the notes cascading into the room. Strangely, there is a whole world of emotion built into the sounds, although it is hard to pin down which emotion. Jack Wright himself, has moved on from this music now, but this stands as a fine testament to some inspired improvised playing with touches of Be-Bop and Melody becoming apparent the deeper you delve.
Terrascope/Rumbles ***
The liner notes to The Indeterminate Existence, penned by Jack Wright, indicate that he no longer plays music like what can be heard on these seven tracks from the years 1988-98. While I might disagree, I will note that any occasion Wright steps onto a stage, you will hear something new, conceived and created in that moment. The seven solo pieces Wright refers to here are all physically demanding note-after-note marathons. What Wright refers to in his liner notes is that he no longer plays to this degree of exhaustion. Instead he favors the pacing of silence, interplay and quietness. In Baltimore in 1988, documented on the first two tracks, he spits notes in a stilted manner, much like Thelonious Monk jabbed the piano at times. This wrenching exorcism is a rush to express as many thoughts as possible, through a machine-gunning saxophone. Ten years later, in Berkeley, he’s still at it. The “Tenor” piece best exemplifies the “old” Jack Wright. He probes, picks his way through some advanced math theorem he’s formulated in his head, or perhaps some poetry and meter he has fixated on from a vending machine, or a remark someone uttered as he was preparing to go onstage. Wright’s muse sends him in multiple directions—extending the saxophone beyond breath, beyond melody, beyond touch. He touches upon the pureness of sound, energy and the subconscious. Fans of Evan Parker’s extended blowing should find these sessions valuable listening experiences. Where Parker may have an all-too-familiar menu of sound from which he draws, Jack Wright constantly invents a new language of sound. He packs these pieces with flutters, honks, slaps, vocalizations, tweaks and breaths. This exhausting document is a valuable insight into a truly remarkable improviser.
Mark Corroto, All about Jazz ***
After Jack Wright recorded the music that makes up "The Indeterminate Existence" back in the late 80's, he no longer wanted to be associated with those sounds. He felt there was too much emotion attached to his playing. Simply put, he never wanted to wake up the ghosts of his past. Lucky for us, he finally relented and allowed Last Visible Dog to release these tapes. Over the span of just over 70 minutes, he careens through seven extended pieces of solo sax mayhem. It's not necessarily a free-for-all blowing session. The saxophone attacks are as delicious as ever. Without wasting a minute of anyone's time, he knows exactly what he wants to express through his music. Not one second of this recording sounds as if Wright is scrounging for ideas or doodling while mustering up new thoughts. He's coherent and brazen at once. Wild and uncontrollably brave improvisations on every front; this is a record that should've seen the light of day ages ago.
Tom Sekowski, Gaz-eta ***
Jack Wright lays down a whole disc's worth of monumentally impressive solo alto sax recordings on The Indeterminate Existence, taking some cues from the idiom-expanding sonic experimentation of Evan Parker, whose vocal-styled squawks and splutters are incorporated into Wright's impressive sense of melody and bebop fluency. Clocking in at over an hour , only the bravest of free improv explorers need apply, but the reward will be ample. Anyone who was floored by Paul Flaherty's unaccompanied solo disc Whirl Of Nothingness will want to investigate Wright's world of advanced breathing pyrotechnics without delay. It's notable that this music was recorded back in the '80s, yet it fits in so well amongst the current wave of extreme jazz-inspired improv artists.
От себя
Будучи знакомым не по наслышке с музыкой Эвана Паркера, кажется, что уже не один фри-джазовый радикальный саксофонист не сможет убедить тебя в новизне своего звука и в существовании какого-либо иного взгляда на то, как надо записывать пластинку сольного сакса, чтобы захватывало дух. Так вот Джек Райт - может. И не просто может, а переплевывает Паркера в своей отстраненности и свежести. За ту неделю, что владею этим диском, я уже успел прослушать его раз семь. Иногда нон-стоп. Иногда в машине. Поначалу слушать непросто. Но крышу сносит однозначно. Первый трек может в принципе отпугнуть, на мой взгляд он несравнимо банален по отношению к остальному материалу. Но дальше следует какой-то непередаваемый словами безграничный, шероховатый звуковой ландшафт. Слышатся гудки поездов, гул парохода, жужжание мухи, или кудахтание наседки... В общем каждый услышит, что хочет. И в каждом звуке слышится настолько осязаемое слово - "импровизация". Как сказал Адорно о музыке Кшенека: "в его произведениях делается попытка ввести в музыку измерение дали... его музыка хочет прорвать собственную атмосферу; весь ее жест — единственный протест против музыкальной трансцендентности"... Так вот это же касается и музыки Джека Райта. Эта музыка дышит. Каждое ее мгновение - это уже суть прошедшее.
, еще раз в этом убедился. спасибо 
