(Modern Creative, Avant-Garde Jazz, Afro-Cuban Jazz) [CD] David Virelles - Mboko (Sacred Music for Piano, Two Basses, Drum Set and Biankomeko Abakua) - 2014 (ECM 2386), FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 30. November 2014, 22:07
David Virelles / Mboko [ECM 2386]
Used drive  : PLEXTOR DVDR   PX-L890SA   Adapter: 2  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                : 768 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
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TOC of the extracted CD
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        8  | 43:42.66 |  8:27.32 |    196716    |   234772
        9  | 52:10.23 |  6:16.63 |    234773    |   263035
       10  | 58:27.11 |  0:39.59 |    263036    |   266019
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Track 10
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All tracks accurately ripped
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End of status report
==== Log checksum 84227E475DC6A0EABE2461A17C516ABAF7812E84101D229A9DAD159341D8D55B ====

REM GENRE Jazz
REM DATE 2014
REM DISCID 820DDA0A
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "David Virelles"
TITLE "Mboko"
FILE "01 - Wind Rose (Antrogofoko Mokoiren).wav" WAVE
  TRACK 01 AUDIO
    TITLE "Wind Rose (Antrogofoko Mokoiren)"
    PERFORMER "David Virelles"
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  TRACK 02 AUDIO
    TITLE "The Scribe (Tratado de Mpego)"
    PERFORMER "David Virelles"
    INDEX 00 06:26:27
FILE "02 - The Scribe (Tratado de Mpego).wav" WAVE
    INDEX 01 00:00:00
FILE "03 - Biankomeko.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Biankomeko"
    PERFORMER "David Virelles"
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Antillais (A Quintin Bandera)"
    PERFORMER "David Virelles"
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FILE "04 - Antillais (A Quintin Bandera).wav" WAVE
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  TRACK 05 AUDIO
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    PERFORMER "David Virelles"
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FILE "05 - Aberinan y Aberisun.wav" WAVE
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  TRACK 06 AUDIO
    TITLE "Seven, Through the Divination Horn"
    PERFORMER "David Virelles"
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FILE "06 - Seven, Through the Divination Horn.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Stories Waiting to Be Told"
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FILE "07 - Stories Waiting to Be Told.wav" WAVE
    INDEX 01 00:00:00
FILE "08 - Transmission.wav" WAVE
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    INDEX 01 00:00:00
FILE "09 - The Highest One.wav" WAVE
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    PERFORMER "David Virelles"
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  TRACK 10 AUDIO
    TITLE "Efe (A Maria Teresa Vera)"
    PERFORMER "David Virelles"
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The musical precedent for David Virelles' Mbókò, the Cuban-born, New York-based pianist leader's debut for ECM, can be found on his stellar 2012 Pi Recordings date, Continuum. That set featured the wellspring of folkloric Afro-Cuban ritual music expressed through modern vanguard jazz. The subtitle of this offering is Sacred Music for Piano, Two Basses, Drum Set and Biankoméko Abakuá. The word "Mbókò" translates as "fundament," "sugar cane," and "the voice," not the human one, but sound itself. The Abakuá is a secret religious male initiation society in Cuba whose roots lie in southeastern Nigeria and southwestern Cameroon, who worshiped sound, or "the Voice," as divine. Finally, the biankoméko is a four-drum ensemble, with a metal bell, shakers, and wooden sticks, that acts as the accompaniment for the ritual magic of the Abakuá in its masked performances. It is played here by Cuban folk musician/multi-instrumentalist Román Díaz. He is as important to this music as Virelles; he is the spoke on which the pianist's music turns. Understanding this cultural context is helpful, but not necessary, for enjoyment of what this album offers: rich imagination, discipline, multiple colors and timbres, and striking originality. The two bassists are veterans Thomas Morgan and Robert Hurst, and drummer Marcus Gilmore has established a fine reputation as a session man and as part of Vijay Iyer's trio. The bassists' roles are different here. There is little to no counterpoint or driving guidepost rhythmic statements; instead, they provide complementary rhythmic pulses and drones. Gilmore's drumming makes the beat elastic, like a dancer does. He syncopates but just as often illustrates and underscores the role of Díaz's biankoméko. Virelles plays piano as percussively as he does melodically. On opener "Wind Rose," he and Díaz play in duet, his flat-handed chord voicings balanced by short, middle-register single notes that build toward differently shaded chords. The percussionist creates, builds on, and exhausts rhythms with a singer's control. On "The Scribe," the pianist and percussionist begin processionally before the other players fall in, slowly and purposefully, using only the force necessary to allow Díaz to utter and guide the flow. Elsewhere, such as on "Antillais," montunos hold the melodic center; basses punch and fill while both drummers converse through the piano's assertions. "Seven, Through the Divination Horn" balances montunos and circular ritual pulses with post-bop improvisation. "Transmission" commences with the trap set's and biankoméko's dialogue. Virelles doesn't enter with his complex melodic statement until a third of the way in. The bass solos -- pizzicato and arco -- add depth, texture. "The Highest One" finds all the players creating a simple yet profound melody from subtly shaded drones and tones. On Mbókò, Virelles and his musicians place themselves at the mercy of sound as a life source. Ultimately, it reveals to them -- and us -- why it has the power not only to transfer initiation, but lead through mystery to revelation.