(Free Jazz, Avant-Garde, Free Improvisation, Modern Creative, Third Stream, Nine Winds) [CD] Vinny Golia (Ken Filiano, Jonas Tauber, Harry Scorzo etc) - Feeding Frenzy (Music for Woodwinds & String Quartet) - 2002, APE (image+.cue), lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
Отчёт EAC об извлечении, выполненном 2. мая 2009, 18:22
Vinny Golia / Feeding Frenzy
Дисковод: TSSTcorpCDDVDW SH-S203D   Adapter: 3  ID: 0
Режим чтения                 : Достоверность
Использование точного потока : Да
Отключение кэша аудио        : Да
Использование указателей C2  : Нет
Коррекция смещения при чтении                     : 6
Способность читать области Lead-in и Lead-out     : Нет
Заполнение пропущенных сэмплов тишиной            : Да
Удаление блоков с тишиной в начале и конце        : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс                                         : Установленный внешний ASPI-интерфейс
Выходной формат : Внутренние WAV-операции
Формат сэмплов  : 44.100 Гц; 16 бит; стерео
TOC извлечённого CD
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      10  | 70:44.45 |    7:06.53   |      318345      |     350347
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
     Имя файла F:\FOS\Music\Golia Vinny\Vinny Golia - Feeding Frenzy - 2002\Vinny Golia - Feeding Frenzy - 2002.wav
     Пиковый уровень 96.6 %
     Качество диапазона 100.0 %
     CRC копии 1586D342
     Копирование... OK
Ошибок не произошло
Конец отчёта

REM GENRE Avantgarde
REM DATE 2002
REM DISCID 95123F0A
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Vinny Golia"
TITLE "Feeding Frenzy"
FILE "Vinny Golia - Feeding Frenzy - 2002.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Title Sequence"
    PERFORMER "Vinny Golia"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "She's Joan Raymond"
    PERFORMER "Vinny Golia"
    INDEX 01 08:30:48
  TRACK 03 AUDIO
    TITLE "Things The Dobsons Could Have Taught Us"
    PERFORMER "Vinny Golia"
    INDEX 01 14:56:44
  TRACK 04 AUDIO
    TITLE "Biograph"
    PERFORMER "Vinny Golia"
    INDEX 01 22:32:55
  TRACK 05 AUDIO
    TITLE "Did I Forget To mention That?"
    PERFORMER "Vinny Golia"
    INDEX 01 28:55:03
  TRACK 06 AUDIO
    TITLE "Death Of The Tremelo"
    PERFORMER "Vinny Golia"
    INDEX 01 35:40:61
  TRACK 07 AUDIO
    TITLE "Bare-handed Cricket Catch"
    PERFORMER "Vinny Golia"
    INDEX 01 45:41:71
  TRACK 08 AUDIO
    TITLE "Oil For The Burning Fires"
    PERFORMER "Vinny Golia"
    INDEX 01 49:35:19
  TRACK 09 AUDIO
    TITLE "Subtrafuge"
    PERFORMER "Vinny Golia"
    INDEX 01 58:54:66
  TRACK 10 AUDIO
    TITLE "When Elephants Then Come Waltzing Through Your Living Room"
    PERFORMER "Vinny Golia"
    INDEX 01 70:44:45

By MARK CORROTO, Published: January 1, 2003
Vinny Golia: Feeding Frenzy
To borrow a moniker from the superstar world of chefs, Vinny Golia should now be addressed as “Molto Golia.” Besides playing more instruments than any musician working today, he plays in more combinations and groups than just about any working jazzman. From his very large ensembles, to big band, and all the way down to solo performance, he has produced challenging music for the past thirty years.
Feeding Frenzy is subtitled Music For Woodwinds & String Quartet. Golia’s mission here is to shape chamber music into jazz, by making a chamber ensemble a jazz quartet. He does just that by accompanying a pair of violins, a cello, and bass with clarinets and flutes. He eschews his saxophones so as not to overpower his partners. Most recently he released an album of solo performances Clarinet on the Meniscus label, that highlighted his strong woodwind playing.
Here he plays eight different clarinets and five different flutes. The music generally starts inside and, as custom, explores some outward tendencies. The presence of bassist Ken Filiano keeps this project a jazz outing. On the opening track “Title Sequence” Filiano walks his base as if accompanying four horn players. And that’s just it, Golia’s choice of clarinet and flute graciously works along side his violin and cello friends. They play scattered cartoon music, “Death Of The Tremelo,” big city broad shouldered music, “Bare-handed Cricket Catch,” and Aaron Copeland finds dissonance on ”Subterfuge.”
Thoughout Golia displays technique galore from the breathy flute pops on “She’s Joan Raymond” to overblown clarinet on “When Elephants Come Waltzing Through Your Living Room.” This Feeding Frenzy fracas is another successful venture for Vinny Golia.

By FARRELL LOWE, Published: March 13, 2003
Vinny Golia: Feeding Frenzy
On Feeding Frenzy multi-instrumentalist Vinny Golia explores the borders between modern classical music and modern jazz. He has chosen a string quartet to accompany him on his forays through the dizzying woodwind (various flutes and clarinets) forests he has built for this project. They start with "Title Sequence," a thorny hedgerow of Penderecki-like string and Gershwin-esque clarinet themes. After the form is stated, the music moves into jazz territory with the sophisticated bass work of Ken Filiano. Upon the shifting rhythms of the strings, Golia quickly moves into uncharted territory where the words "classical" and "jazz" no longer need apply. The juxtaposition of Penderecki and Gershwin remain throughout the piece, but grow into a music that offers a new perspective on what can happen between these genres. "She's Joan Raymond" begins slow and moody, then draws momentum from spiraling flute gestures, the strings improvise counter melodies to Golia's lines, and the piece becomes a fluid whole. It feels like small waves lapping against a cat-tailed pond bank.
"Things The Dobsons Could Have Taught Us" begins with a duet between Filiano and one of the violinists. The piece moves into the glissandi territories often explored by Iannis Xenakis in his orchestral works; when Golia enters on bass clarinet, he brings with him some of the regions explored by Anthony Braxton. Please bear in mind that these pieces are not derivative of Penderecki, Gershwin, or Braxton—these terms are nothing more than road markers to describe this music more effectively! Each of these musicians has very strong ideas and voices all his own, and every piece is a beautiful combination of form and improvisation.
In another piece the ensemble explores non-tempered variations of mood and color. In another, the contrasts and commonalities between pointillism and fluidity. At times Golia sounds like he's playing an electronic instrument—although he's not, his tonal quality strongly suggests it. On and on, this group explores the many possibilities available on their instruments.
Vinny Golia is a fountainhead of musical history, instrumental technique, compositional styles, and infallible precision. Like Braxton, he has a vast catalog of recordings and understands the scope of the challenge of being a modern musician. On this disk he covers a lot of ideas and moods with panache.

April 2003
Vinny Golia: Feeding Frenzy
Nine Winds Records
By Aaron Steinberg
Reedist Golia first put together the group on Feeding Frenzy, temporarily, in 1997, and only reconvened the band after being pestered by violinist Harry Scorzo. Everything here sounds so right that it would be a shame if Golia let this project lapse again.
On Feeding Frenzy, Golia decided to forgo all saxes and sticks with clarinets and flutes. He also through-composes much of the music, which has moments of dissonance and harsh contrast but never completely abandons structure. He tosses in plenty of dramatic and accessible melodies for the violins, and often uses something as simple as an ostinato from bassist Ken Filiano to tie things all together.
Golia, who asks his string players to plow through some fairly instrument-unfriendly music, gives each piece its own identity with signature sounds and structures, like the sliding-tone melodies in "She's Joan Raymond," or the two-note call-and-response pattern of the ballad "Things the Dobsons Could Have Taught Us." Even though Golia stands out as the lone wind player, he treats this as a collective project and very rarely takes on a traditional soloist's role. He seems far more interested in finding new and different ways to interact within the group sound; he spends plenty of time laying out the foundation on bass clarinet, diving into the tangled harmonies with the violins, or even sitting out and letting his ensemble work. With every tune, he finds perverse satisfaction in blending with both the standard and wildly nonstandard sounds coming from the strings. It's an impressive display of invention-especially so when Golia sticks to the clarinets-which would not work nearly so well without the strong contributions from the ensemble (Filiano, Harry Scorzo and Ludwig Girdland on violin and Jonas Tauber on cello).
Feeding Frenzy owes its success equally to his band as it does to Golia.

Review by Steve Loewy
What is so compelling about Vinny Golia's work is his ability as a composer to imagine the way things might sound through experimentation. Here, he performs ten of his compositions on piccolos, flutes, and clarinet with a traditional string quartet of two violins, cello, and string bass. Rather than simply using the strings as a backdrop, Golia brings them to the forefront. It is difficult to tell where composition and improvisation diverge, but Golia solos often either with or without the strings. For example, on "Subtrafuge," his incredible technique permits him to dance elastically with virtually no support underneath. This album is a classic gender-smasher, with Golia's mature writing incorporating strategies from modern classical music, while he engages in free improvisation on the reeds. The strings are much more than wallpaper: Their parts feature them in a wild run through the park, with splendid intensity and active, forward-moving lines. As Golia flutters and stretches -- sometimes to amazing heights -- the strings are usually with him, bantering and buzzing like bees on speed. At other times, individual string players come forward and provide what appears to be creative improvisation. (If they are not improvising, then Golia makes them seem as though they were). On "When Elephants Then Come Waltzing Through Your Living Room," the string quartet shows it ability to indulge in a variety of moods, from slow and endearing to fast and furious.