(Post-Bop, Soul-Jazz) [CD] P.J. Perry & Doug Riley - Come Sunday: Songs of Spirituality - 2004, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.1 from 23. June 2015
EAC extraction logfile from 23. May 2021, 3:43
P.J. Perry & Doug Riley / Come Sunday
Used drive  : ATAPI   iHAS124   E   Adapter: 1  ID: 0
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                : 896 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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        1  |  0:00.00 |  4:34.70 |         0    |    20619
        2  |  4:34.70 |  5:05.39 |     20620    |    43533
        3  |  9:40.34 |  4:44.74 |     43534    |    64907
        4  | 14:25.33 |  6:54.29 |     64908    |    95986
        5  | 21:19.62 |  4:11.49 |     95987    |   114860
        6  | 25:31.36 |  4:53.15 |    114861    |   136850
        7  | 30:24.51 |  5:36.25 |    136851    |   162075
        8  | 36:01.01 |  5:28.36 |    162076    |   186711
        9  | 41:29.37 |  3:40.66 |    186712    |   203277
       10  | 45:10.28 |  5:56.34 |    203278    |   230011
       11  | 51:06.62 |  3:52.18 |    230012    |   247429
Track  1
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Track  2
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Track  3
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Track  4
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Track  5
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Track  6
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Track  7
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Track  8
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Track  9
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Track 10
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Track 11
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All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 49A69EA42715A5E0F95A7CA8D0DA2891B6E7585949F319C6DCC917E41BC39ED4 ====

REM GENRE Jazz
REM DATE 2004
REM DISCID 970CE30B
REM COMMENT "ExactAudioCopy v1.1"
PERFORMER "P.J. Perry & Doug Riley"
TITLE "Come Sunday: Songs of Spirituality"
FILE "01 - Sermonette.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Sermonette"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Come Sunday"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 04:33:35
FILE "02 - Come Sunday.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "What a Friend We Have in Jesus"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 05:02:64
FILE "03 - What a Friend We Have in Jesus.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Freedom"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 04:42:49
FILE "04 - Freedom.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "A Waltz"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 06:52:29
FILE "05 - A Waltz.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Abide with Me"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 04:09:14
FILE "06 - Abide with Me.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Goody Two Shoes"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 04:51:40
FILE "07 - Goody Two Shoes.wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "Peace"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 05:34:00
FILE "08 - Peace.wav" WAVE
    INDEX 01 00:00:00
  TRACK 09 AUDIO
    TITLE "Amazing Grace"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 05:26:61
FILE "09 - Amazing Grace.wav" WAVE
    INDEX 01 00:00:00
  TRACK 10 AUDIO
    TITLE "Holy Land"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 03:39:06
FILE "10 - Holy Land.wav" WAVE
    INDEX 01 00:00:00
  TRACK 11 AUDIO
    TITLE "Naima"
    PERFORMER "P.J. Perry & Doug Riley"
    INDEX 00 05:54:09
FILE "11 - Naima.wav" WAVE
    INDEX 01 00:00:00

It's a simple fact without some kind of emotional resonance, music has little purpose. Now certainly, depending on the style of music, how broadly it resonates is up for grabs. But it would be a reasonable statement that the simpler the music, the more overtly emotive it has to be, because when you strip music down to its barest essentials, if there is little of rhythmic, harmonic or melodic complexity to generate interest, then all one is left with is the raw emotion, the music's ability to be deeply evocative. One of the reasons there are so many half-baked blues bands on the scene is that while it may not take a lot of talent to play the notes, it takes a lot of talent to feel the notes.
The same thing applies to gospel music and spiritual music, which usually has similar grounding in the blues. And while pianist/organist Doug Riley and saxophonist P.J. Perry, Canadians both, have obviously spent some time trying to get inside the notes of the material that comprises Come Sunday , the unfortunate fact is that while they play with competency and a certain degree of panache, they lack the emotional depth that is necessary to make these simple songs truly sing. From original material to spiritual jazz standards by Cannonball Adderley, Duke Ellington, Horace Silver, Cedar Walton and John Coltrane to traditional pieces, Perry and Riley play the notes, but they just don't seem to hold the ring of truth.
Take their version of "Amazing Grace," a tune that in the right hands can be imbued with deep feeling and become something richly transcendent. While Perry and Riley do an admirable job, there's something that just doesn't feel completely committed. It is a pleasant rendition, true enough, but "Amazing Grace" has always been more than just a pretty tune; the best renditions have lifted the spirit with hope and joy. And their reading of Cedar Walton's "Holy Land" has all the right notes but none of the grit and grease that is meant to elevate it into a state which surpasses simple experience.
That's not to say Come Sunday: Songs of Spirituality is a complete failure. As a graceful record of some fine material with a singular concept, it works just fine. But if you're looking for material that truly surpasses the corporeal into the realm of true universality, you would be better off checking out Charlie Haden and Hank Jones' sublime Steal Away (Verve, '94) or Alice Coltrane's recent Translinear Light (Impulse! '04).