Bert Turetzky, Vinny Golia, George Lewis / Triangulation II
Жанр: Avant-Garde Jazz, Free Improvisation
Носитель: CD
Страна-производитель диска (релиза): Israel
Год издания: 2010
Издатель (лейбл): Kadima Collective
Номер по каталогу: KCR 30
Страна исполнителя (группы): US
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 00:50:04
Источник (релизер): slsk
Наличие сканов в содержимом раздачи:
Треклист:
1 Reconaissance 5:30
2 Plenipotentiary Panache 6:20
3 Ballade 5:08
4 You Don't Say! 5:30
5 A Low Frequency Colloquy 7:32
6 Diversion `A Tre 5:00
7 Another Heated Conversation (Thanks To M.W.) 9:40
8 Up Is Down (Jan Sedifka R.I.P.) 4:50
Лог создания рипа
X Lossless Decoder version 20110312 (130.0)
XLD extraction logfile from 2011-03-13 11:06:40 -0400
Bert Turetzky - George Lewis - Vinny Golia / Triangulation II
Used drive : MATSHITA DVD-R UJ-898 (revision HC10)
Ripper mode : XLD Secure Ripper
Disable audio cache : OK for the drive with a cache less than 1375KiB
Make use of C2 pointers : NO
Read offset correction : 102
Max retry count : 100
Gap status : Analyzed, Appended (except HTOA)
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 00:00:00 | 05:32:36 | 0 | 24935
2 | 05:32:36 | 06:23:04 | 24936 | 53664
3 | 11:55:40 | 05:14:59 | 53665 | 77273
4 | 17:10:24 | 05:33:46 | 77274 | 102294
5 | 22:43:70 | 07:34:73 | 102295 | 136417
6 | 30:18:68 | 05:04:30 | 136418 | 159247
7 | 35:23:23 | 09:47:72 | 159248 | 203344
8 | 45:11:20 | 04:52:32 | 203345 | 225276
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Track 01
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Содержание индексной карты (.CUE)
TITLE "Triangulation II"
PERFORMER "Bert Turetzky - George Lewis - Vinny Golia"
REM GENRE "Free Improvisation"
REM DATE "2010"
REM DISCID 520BBB08
FILE "01 - Reconaissance.wav" WAVE
TRACK 01 AUDIO
TITLE "Reconaissance"
INDEX 01 00:00:00
FILE "02 - Plenipotentiary Panache.wav" WAVE
TRACK 02 AUDIO
TITLE "Plenipotentiary Panache"
INDEX 01 00:00:00
FILE "03 - Ballade.wav" WAVE
TRACK 03 AUDIO
TITLE "Ballade"
INDEX 01 00:00:00
FILE "04 - You Don't Say.wav" WAVE
TRACK 04 AUDIO
TITLE "You Don't Say"
INDEX 01 00:00:00
FILE "05 - A Low Frequency Colloquy.wav" WAVE
TRACK 05 AUDIO
TITLE "A Low Frequency Colloquy"
INDEX 01 00:00:00
FILE "06 - Diversion 'a Tre.wav" WAVE
TRACK 06 AUDIO
TITLE "Diversion 'a Tre"
INDEX 01 00:00:00
FILE "07 - Another Heated Conversation (Thanks to M.W.).wav" WAVE
TRACK 07 AUDIO
TITLE "Another Heated Conversation (Thanks to M.W.)"
INDEX 01 00:00:00
FILE "08 - Up Is Down (Jan Sedifka R.I.P.).wav" WAVE
TRACK 08 AUDIO
TITLE "Up Is Down (Jan Sedifka R.I.P.)"
INDEX 01 00:00:00
Лог проверки качества
d:\>d:\aucdtect -d/-m0 d:\zzz\*.wav
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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Processing file: [01. Reconaissance.wav]
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This track looks like CDDA with probability 100%
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Processing file: [02. Plenipotentiary Panache.wav]
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Processing file: [03. Ballade.wav]
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This track looks like CDDA with probability 85%
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Processing file: [04. You Don't Say.wav]
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Processing file: [05. A Low Frequency Colloquy.wav]
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Processing file: [06. Diversion 'a Tre.wav]
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Processing file: [07. Another Heated Conversation (Thanks to M.W.).wav]
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Processing file: [08. Up Is Down (Jan Sedifka R.I.P.).wav]
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Final Conclusion:
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Could not qualify the source of these tracks.
Доп. информация:
AAJ Review
The trio at work here consists of three giants of improvised music. On trombone, George Lewis has few peers; multi-instrumentalist Vinny Golia has been a rock of the Los Angeles free-jazz scene for over 30 years; and contrabassist Bert Turetzky has a lifetime of cutting edge experience to contribute. The music on Triangulation II is more than just a record of three virtuoso musicians at the height of their powers, it's a testament to the power of listening.
There is a telepathy going on throughout this session that Turetzky described as "magic." Listening to this disc, it's hard to disagree. All eight of the pieces were improvised on the spot, yet there is a heavy compositional aesthetic going on. There is a history between Golia, Turetzky and Lewis that has been years in the making. All three improvisers extend the language and range of their individual instruments (or in Golia's case, his arsenal of instruments). Consequently, it is often difficult to figure out who is playing what at any given time. That's also at least half of the fun— trying to make those distinctions.
Things begin with the ominous "Reconnaissance." Golia's haunting air pulsations and pad popping on his bass flute set up Turetzky's low-toned arco work. Suddenly Lewis enters with terse staccato repetitions and it's off to the races. The intensity builds with Turetzky sawing at his strings below the bridge, then tapping his bass all over. Then the dynamics shift, and there is a gradual calming of the storm. Somehow they all dial down to a whisper and finish off as if it were all written down. The next piece, "Plenipotentiary Panache," starts with the bass bowing eerie harmonics while Golia alternates between repeated trills and long, intricate lines via circular breathing. Lewis enters, matching Golia's intensity and they trade, short broken phrases that ricochet back and forth. The trio downshifts to almost pointillist exchanges of long, drawn tones. Turetzky interrupts the stasis with a raspy swooshing sound.
Lewis suggested they play a ballad, all starting together: that was the extent of preparation for the remarkable "Ballade." The musicians start harmonizing with each other instantly. Turetzky bows an independent line that supports the thoughts that Golia and Lewis finish for each other. Golia doesn't play tenor saxophone often and that's a shame, because his sound on this is beautiful. After everyone drops out momentarily to showcase the pliant tenor, Lewis returns with some nagging plunger- mute commentary, then soft multi-phonics. Trombone and tenor echo each other's lines, while Turetzky bows dark insinuations that snake around the two horns. Somehow, the three follow each other down to a perfect melodic ending.
"You Don't Say" is a duet between Golia (on one of his ethnic flutes) and Turetzky's contrabass. The flute starts flutter-tonguing while the bassist rubs his bow all over the instrument. There is a percussive interplay where each musician takes on the role of "drummer." There is some brief, deep toned pizzicato work, then back to furious arco over Golia's long, operatic lines. "A Low Frequency Colloquy" offers the chance for Golia and Lewis to dialogue. The reedman sends out high pitched overtones on the contrabass clarinet, maximizing the reverberant effect of his large instrument while Lewis' trombone pushes and pulls with percolating plunger-mute discourse. Out of nowhere, Golia switches to contrabass saxophone and the two pair off for a serious low-frequency sparring session. The sub-tone antics are then broken up by hilarious squealing and screaming sounds that are way out of each instruments range. Instantaneously, the dynamics draw down, and Golia introduces a descending melody that closes out the piece.
It's back to the trio for "Diversion a Tre." Turetzky drags his bow across the strings for mysterious scratching, scraping effects, while Lewis begins a series of manic, comical special-effects sounds using the trombone mouthpiece by itself. Golia's keening clarinet work completes the trio's independent conversation. Lewis and Turetzky duet live over some pre-recorded Golia tracks for "Another Heated Conversation." This is another piece that seems highly composed. Trombone and bass start and stop on a dime—as if they can read each other's minds. Turetzky places a piece of paper in between the strings of his instrument to achieve some distorted, wicked bag-pipe effects, and Lewis responds to the recorded tracks with a strong, willful voice.
It all comes to a close with "Up Is Down (Jan Sedifka R.I.P.)" Golia's breathy bamboo flute sets the stage, and Turetzky responds by vocalizing strange humming sounds. Lewis gets an odd, percussive sound by blasting pure air though his trombone. Everyone makes use of, and manipulates overtones for ghostly effects. The bassist begins bowing somber, funereal lines, then abruptly starts striking the instrument. Meanwhile, Golia switches to piccolo, layering piercing melodic fragments while Lewis comments very softly underneath.
Triangulation II is a sublime, powerful document. Turetzky uses his bass to paint pictures and tell stories; Lewis delivers a state-of-the-art compendium of trombone potential; Golia's total mastery of the entire woodwind family is stunning. In the end, it's three master musicians communicating at the highest level. Anyone interested in free improvisation and the cutting edge of creative music should give this a listen. - Robert Bush, All About Jazz
Состав
Double Bass – Bert Turetzky
Woodwinds – Vinny Golia
Trombone – George Lewis
Recorded on December 3, 2003 at the Warren Music Center Studio, Los Angeles
