(Avant-Garde) Tim Berne's Bloodcount - Poisoned Minds - 1994, FLAC (tracks+.cue) lossless

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Tim Berne's Bloodcount / Poisoned Minds
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TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
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        1  |  0:00.00 | 27:35.15 |         0    |   124139
        2  | 27:35.15 | 41:28.10 |    124140    |   310749
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REM GENRE "Free Jazz"
REM DATE 1994
REM DISCID 15102F02
REM COMMENT "ExactAudioCopy v0.99pb5"
CATALOG 0731451402029
PERFORMER "Tim Berne's Bloodcount"
TITLE "Poisoned Minds"
FILE "01 - The Other.wav" WAVE
  TRACK 01 AUDIO
    TITLE "The Other"
    PERFORMER "Tim Berne's Bloodcount"
    ISRC JPPO09407500
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "What Are The Odds_Speed_J.B.'s Stove_A Slight Discrepancy In The Figures"
    PERFORMER "Tim Berne's Bloodcount"
    ISRC JPPO09407510
    INDEX 00 27:29:48
FILE "02 - What Are The Odds_Speed_J.B.'s Stove_A Slight Discrepancy In The Figures.wav" WAVE
    INDEX 01 00:00:00

Tim Berne was born in Syracuse, New York in 1954, and was subjected to a perfectly normal childhood. But Berne didn't decide to take up music until nearly twenty years later when he was attending Lewis and Clark College in Oregon, putting most of his energy into intramural basketball. At this point, while resting a sore ankle in his dormitory, Berne encountered a saxophonist who was selling his alto, and bought it on impulse. "There was just something about the sound of the saxophone that got to me," he says.
Musically, up to that point, Tim Berne had always been motivated by all types of music, but especially by the great Stax artists like Sam and Dave and Johnnie Taylor, as well as Motown artists like Martha and the Vandellas and Gladys Knight. This passion for the soulful quality in music would follow him for the rest of his career.
Tim Berne moved to New York in 1974 and entered into a sort-of apprenticeship with the Julius Hemphill. The "lessons" they had together lasted for hours and covered everything from composition to record promotion to recording to pasting up handbills to aspects of magic and spirituality and, sometimes, even playing the saxophone.
Tim Berne began issuing his own albums on his own Empire label in 1979. Over the next five years he would record and distribute five albums under his own name which included such musicians as Ed Schuller, Olu Dara, Paul Motian, John Carter, Glenn Ferris and Bill Frisell.
In 1988 Berne began a long relationship with the JMT label with the first of two recordings with the co-operative Miniature (with Joey Baron and Hank Roberts). In 1989 Tim Berne's JMT release Fractured Fairy Tales was hailed as a masterpiece by the New York Times. Berne's JMT legacy climaxed with the historic Paris Concerts given by his quartet bloodcount, released in three volumes (Lowlife, Poisoned Minds and Memory Select). These recordings have received unanimous praise. Since 1994, bloodcount has performed over 250 concerts worldwide.
In 1996 Tim Berne once again founded his own record label, Screwgun, and released a three CD set of live recordings by bloodcount, Unwound.

Tim Berne continued Bloodcount's forays into extended-form creative jazz with Poisoned Minds, the second installment of the band's live CD series recorded at Instants Chavirés in Paris during September of 1994. There are only two pieces on the disc, "The Other" at 27 and a half minutes and "What Are the Odds?" at 41 and a half minutes; with running times like those, Berne was clearly not aiming for significant airplay on commercial radio. Instead, Poisoned Minds is for serious listeners without attenuated attention spans, a somewhat radical concept in itself. Yet aside from the lengths of the pieces, many elements of the music are not particularly radical despite Berne's avant-garde rep -- melody, rhythm, and theme are all important to the saxophonist, and the innovation comes from the way he manipulates structure, fitting the pieces of the puzzle together in unpredictable ways. "The Other" begins with Berne on alto and Chris Speed on clarinet, stating a bluesy, soulful, and somewhat melancholy theme in rubato time; drummer Jim Black uses this opportunity to color the music with textural embellishments rather than drive it forward. Urgent propulsion is dominant in the piece's middle section, where tension is stretched to the breaking point as Black and bassist Michael Formanek jam out with a twisted rhythm and Berne and Speed, scarcely taking time to inhale, throw long purple-faced lines over the top. And yet "The Other" perhaps finds its greatest power in an uneasy conclusion that combines elements of free jazz and chamber music, subverting any expectations of a slam-bang finale. Berne starts "What Are the Odds?" on alto accompanied only by Black, and he's not in the mood for rumination at this point, possessed instead by uptempo, boppish energy. As his sax lines leap and twist, bits of a Berne-ish melody become discernible, and suddenly the whole band is off to the races together on a highly charged theme that catapults forward even through abrupt, oddly timed stops and starts. Then Speed bursts through with a hot tenor solo over churning, chunky, and propulsive accompaniment from Black, Formanek, and guitarist Marc Ducret. The groove pulls completely apart in a cacophonous outburst from all the bandmembers, but Berne and Speed somehow find their way back to the theme and then drag the rhythm section back in line with them. An abrupt downward shift in dynamics leads to a beautifully subdued ensemble passage, and then Formanek is soon displaying his solo chops. From here on, unpredictability comes not in the piece's linear form -- which is in fact leading to a slam-bang finish -- but rather in the way Berne uses intra-band tension. In three separate waves, solo or group episodes informed by free improvisation are pitted against steadily rising backdrops of funky, twisted riffs that only Berne could write. Rhythmically off-kilter and yet with grooves that Black can drive a truck through, Berne's engaging riffs ultimately win the struggle, with so much energy expended that the listener is left -- happily -- exhausted.