Larry Karush · Glen Moore - May 24, 1976
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Издание: Remastered
Год издания/переиздания диска: 1976/2019
Жанр: Free Jazz
Издатель (лейбл): ECM Records
Продолжительность: 00:42:54
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. Untitled (03:17)
2. Duet (04:03)
3. Country (07:04)
4. Transit Boogie (03:54)
5. Violin Suite (06:12)
6. Flagolet (01:21)
7. Abstinence (05:08)
8. Vicissitudes (03:24)
9. Pamela: At The Hawk's Well (04:11)
10. Triads (04:20)Larry Karush, piano
Glen Moore, bass, violinRecorded May 1976 at Talent Studios, Oslo
Produced by Manfred Eicher
Лог проверки качества
foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2019-09-02 17:19:18
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Analyzed: Larry Karush / May 24, 1976
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DR Peak RMS Duration Track
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DR15 -1.68 dB -26.13 dB 3:17 01-Untitled
DR16 -0.70 dB -21.80 dB 4:03 02-Duet
DR14 -0.70 dB -19.54 dB 7:04 03-Country
DR12 -1.59 dB -17.45 dB 3:55 04-Transit Boogie
DR11 -0.70 dB -15.40 dB 6:12 05-Violin Suite
DR10 -5.80 dB -20.65 dB 1:22 06-Flagolet
DR13 -0.70 dB -17.93 dB 5:09 07-Abstinence
DR13 -0.70 dB -17.42 dB 3:24 08-Vicissitudes
DR16 -0.70 dB -23.29 dB 4:12 09-Pamela: At The Hawk's Well
DR13 -0.84 dB -17.53 dB 4:20 10-Triads
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Number of tracks: 10
Official DR value: DR13
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2629 kbps
Codec: FLAC
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Об альбоме (сборнике)
Bassist and Oregon cofounder Glen Moore joins pianist Larry Karush (who can be found lurking elsewhere on ECM as part of Steve Reich’s ensembles) in a fascinating encounter recorded on the titular date for the JAPO label. Perhaps because the two had already nurtured a deep synergy, what might have been a straight-up duo project instead turned into a spacious and variegated statement. Karush serves up four memorable solo portions, including opener “Untitled.” Balancing cloudy textures with sudden intakes of breath, it leaves only ash to tell of the fire that once burned there. “Transit Boogie,” on the other hand, is a forward-moving piece of ragtime nostalgia that delights in interlocking parts. “Vicissitudes” and “Pamela: At The Hawk’s Well” round out the solo ventures with introspections and intense descriptiveness. Moore’s single lone contribution is “Flagolet,” an overdubbed piece for bowed basses that grinds and twists its own sonic licorice.
“Duet,” the first in a handful of the same, marries these two uncompromising talents in such intuitive ways you’d swear they were separated at birth. Moore’s resonant bassing swims, keens, and prophesies at horsehair’s touch. Like a pinwheel tickled by the fringe of an incoming storm, his energies flourish in a whirl of colors. “Country” finds the bassist leaving deep pizzicato footprints along Karush’s sandy trail. The bluesy serration of this emerging path arcs beautifully into the late-night atmosphere of “Abstinence.” This masterful exchange of air and water finds likeminded release in “Triads,” which concludes with pointillist reflections at the keyboard from behind a David Darling-like gauze. The session’s crowning jewel, however, is “Violin Suite,” which places a smaller bow in Moore’s hands. Its flip-flopping of scratching and melodic itching makes for a sparkling field of contrast that pairs well with the Pifarély/Couturier vintage of Poros.
Sitting at a cerebral interstice between categories, Karush and Moore cover their cardinal bases and then some, leaving us in the end with one of the most wondrous JAPO sessions, period.
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发表于 2020-9-24 12:58:12
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