(Avant-Garde Jazz, Free Jazz) [CD] AALY Trio & Ken Vandermark - Hidden in the Stomach - 1997, FLAC (tracks+.cue), lossless

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 26. July 2008, 2:50
AALY Trio + Ken Vandermark / Hidden In The Stomach
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        1  |  0:00.00 | 13:34.37 |         0    |    61086
        2  | 13:34.37 | 10:14.53 |     61087    |   107189
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        5  | 41:17.60 |  1:47.65 |    185835    |   193924
        6  | 43:05.50 | 11:56.30 |    193925    |   247654
Track  1
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Track  2
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Track  3
     Filename C:\AALY Trio + Ken Vandermark - Hidden In The Stomach (1998) [FLAC] {SILKHEART SHCD 149}\03 - Song For Che.wav
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Track  4
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Track  5
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Track  6
     Filename C:\AALY Trio + Ken Vandermark - Hidden In The Stomach (1998) [FLAC] {SILKHEART SHCD 149}\06 - Ghosts-Spirits.wav
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End of status report

REM GENRE Jazz
REM DATE 1997
REM DISCID 590CE606
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "AALY Trio & Ken Vandermark"
TITLE "Hidden in the Stomach"
FILE "01 - Structure a la Malle.wav" WAVE
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    PERFORMER "AALY Trio & Ken Vandermark"
    INDEX 01 00:00:00
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    TITLE "Why I Don't Go Back"
    PERFORMER "AALY Trio & Ken Vandermark"
    INDEX 00 13:29:00
FILE "02 - Why I Don't Go Back.wav" WAVE
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    PERFORMER "AALY Trio & Ken Vandermark"
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    PERFORMER "AALY Trio & Ken Vandermark"
    INDEX 00 01:43:00
FILE "06 - Ghosts,Spirits.wav" WAVE
    INDEX 01 00:00:00

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The AALY Trio, a Swedish band made up of reedmaster Mats Gustafsson, bassist Peter Janson, and percussionist Kjell Nordeson, are joined here by Chicagoan Ken Vandermark for a rich, muscular free jazz outing. The two covers included give a good idea of the sonic roots of this group: Charlie Haden's classic "Song for Che" and a medley of Albert Ayler's "Ghosts" and "Spirits." The playing is often turbulent and roiling, but never wanders so far afield as to become divorced from the structure of the compositions, which tends to be blues based or even noir-ish. Gustafsson limits himself to tenor and baritone saxes for this date: deep, and full-throated on his "Structure a la Malle" and moody and wistful on Vandermark's "Why I Don't Go Back." Vandermark, on tenor sax, clarinet, and bass clarinet, is an ideal foil, matching him in pure ferocity and inventiveness, but reining in the proceedings when need be. Special mention must be made of Peter Janson, an extraordinary bassist with a warm, thick tone who appears to have listened closely to Haden. The varied and sensitive support provided by Janson and Nordeson are crucial to the success of this fine recording.