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[爵士和蓝调] [TR24][OF] John Clark - Faces (Remastered) - 1981/2019 (Contemporary Jazz)

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发表于 2020-9-24 12:53:20 | 显示全部楼层 |阅读模式
John Clark - Faces
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Издание: Remastered
Год издания/переиздания диска: 1981/2019
Жанр: Contemporary Jazz
Издатель (лейбл): ECM Records
Продолжительность: 00:51:51
Наличие сканов в содержимом раздачи: Только обложка альбома
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0
Источник (релизер): highresaudio.comТреклист
1. The Abhà Kingdom (15:27)
2. Lament (10:35)
3. Silver Rain, pt. III (06:09)
4. Faces in the Fire (07:59)
5. Faces in the Sky (06:48)
6. You did it, you did it! (04:53)John Clark, french horn
David Friedman, vibraharp, marimba
David Darling, cello
Jon Christensen, drumsRecorded April 1980 at Talent Studio, Oslo
Produced by Manfred Eicher
Лог проверки качества

foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2019-09-02 17:36:30
--------------------------------------------------------------------------------
Analyzed: John Clark / Faces
--------------------------------------------------------------------------------
DR         Peak         RMS     Duration Track
--------------------------------------------------------------------------------
DR16      -1.07 dB   -22.81 dB     15:28 01-The Abhà Kingdom
DR13      -3.33 dB   -21.81 dB     10:35 02-Lament
DR13      -2.14 dB   -18.97 dB      6:09 03-Silver Rain, pt. III
DR12      -2.29 dB   -20.23 dB      8:00 04-Faces in the Fire
DR13      -3.84 dB   -23.75 dB      6:48 05-Faces in the Sky
DR15      -2.20 dB   -20.77 dB      4:53 06-You did it, you did it!
--------------------------------------------------------------------------------
Number of tracks:  6
Official DR value: DR14
Samplerate:        96000 Hz
Channels:          2
Bits per sample:   24
Bitrate:           2750 kbps
Codec:             FLAC
================================================================================


Об альбоме (сборнике)
Another gem from the ECM catalogue. Brooklyn-born jazz horn player John Clark hasn’t made many records as a bandleader, but has been hugely prolific and has recorded and performed with Miles Davis, Jaco Pastorius, Chick Corea, Frank Sinatra, Aretha Franklin, and Leonard Bernstein, among many others. He’s still a faculty member at Manhattan School of Music.
Faces documents the only appearance of versatile French hornist John Clark on ECM proper (he does, however, appear on a trio of WATT releases) and is one from a modest overall output as leader. Having performed with musicians as diverse as Paul Winter, LL Cool J, and Gil Evans, his tender considerations fit snugly with the Eicherian touch in this out-of-print session. Joined by David Friedman’s mallets, the particularly welcome presence of David Darling’s electric cello, and Jon Christensen on drums, Clark paints for us a rain-slicked character study of a life lived in slow motion.
Side A charts the album’s deepest waters in “The Abhà Kingdom.” Its understated flow of vibes, overdubbed horns, and cello courses in and out of sonar range, diving ever deeper with every muted clench, so that even Christensen’s accentuations seem to move at the speed of honey behind Friedman’s subdued yet strangely exuberant cartwheels. The afterimages of “Lament” would make the perfect backdrop for a Terje Rypdal excursion. Instead of that grinding song, we get the rounded icicles of Darling’s bow and the sustained arpeggio from vibes that leaves us hanging before dropping us onto Side B. Our guide on this descent is “Silver Rain.” The marimba vamp evokes an African thumb piano and affectionately embraces Clark’s processed horn. Friedman also shares a notable dialogue with Christensen here. Darling’s fluid threads are the binding force of “Faces In The Fire.” A comforting feeling of perpetuity abounds in that cello’s voice and brings out otherwise inaudible whispers. “Faces In The Sky” would feel right at home as the soundtrack for a road picture. Christensen beguiles with his delicacy, in which he cradles a delicate implication that never breaks, even under Darling’s far-reaching pizzicato. After all of this soul-searching, the carnivalesque “You Did It, You Did It!” ends the album in resolute jubilance.
Faces has a semi-porous quality and shimmers like the surface of an out-of-focus pool. It sits comfortably just below the rim of our consciousness, like a half-dream that one holds dear in the face of inevitable wakefulness.
                                                                                                                                                               
                       
                       
                       
                       
                       
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