Joshua Redman Quartet - Passage Of Time (2001)
Joshua Redman Quartet - Passage Of Time (2001)
Jazz (Post-Bop) | EAC Rip | WavPack (image)+CUE+LOG | mp3@320 | 304 MB. & 128 MB.
600dpi. Complete Scans (JPG) - 31 MB. | WinRar, 3% recovery
Audio CD (2001) | Label: Warner Bros. | Catalog# 9362-47997-2 | 54:09 min.
Jazz (Post-Bop) | EAC Rip | WavPack (image)+CUE+LOG | mp3@320 | 304 MB. & 128 MB.
600dpi. Complete Scans (JPG) - 31 MB. | WinRar, 3% recovery
Audio CD (2001) | Label: Warner Bros. | Catalog# 9362-47997-2 | 54:09 min.
Review by Richard S. Ginell ~allmusicTracklist:
With this recording, Joshua Redman attempts a long-form composition for the first time, a series of eight numbers that form a cycle of sorts. The promotional buzz claimed that Redman was taking stock of his music ten years after winning the Thelonious Monk competition, the event that had the effect of launching him full-blown into the big time. Whether or not that's true, there is a predominantly reflective, thoughtful tone about this quartet session, split between written-out passages and flat-out improvisations. The whole thing runs for a continuous yet comfortable 52 minutes, an extension of the interlude idea that Redman played with on Timeless Tales. Now and then, Redman takes up the threads of motifs heard earlier – "Time," for example, offers a more elaborate statement of the motif that opens "Free Speech, Phase II: Discussion" – and his point of view is often questioning, reflective, and introspective. Pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson are full partners in this journey; occasionally, Goldberg and Rogers provide individual solo links between the selections and Hutchinson keeps things relatively fresh by mixing up the rhythms. That said, it's hard to get really worked up about much of the material presented here; there isn't much that really touches or inflames the listener in a deep way. It's a summing up – a coherent, mature statement in a familiar mainstream language.
01. Before (1:51)
02. Free Speech, Phase I (7:05)
03. Free Speech, Phase II (4:29)
04. Our Minuet (8:28)
05. Bronze (8:29)
06. Time (10:38)
07. Enemies Within (9:24)
08. After (3:45)
Joshua Redman Quartet - Passage Of Time (2001)
Personnel:
Joshua Redman - tenor saxophone
Aaron Goldberg - piano
Reuben Rogers - bass
Gregory Hutchinson - drums
~www.joshuaRedman.com
Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the decade of the 1990s. Born in Berkeley, California, he is the son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. He was exposed at an early age to a variety of musics (jazz, classical, rock, soul, Indian, Indonesian, Middle-Eastern, African) and instruments (recorder, piano, guitar, gatham, gamelan), and began playing clarinet at age nine before switching to what became his primary instrument, the tenor saxophone, one year later. The early influences of John Coltrane, Ornette Coleman, Cannonball Adderley and his father, Dewey Redman, as well as The Beatles, Aretha Franklin, the Temptations, Earth, Wind and Fire, Prince, The Police and Led Zeppelin drew Joshua more deeply into music. But although Joshua loved playing the saxophone and was a dedicated member of the award-winning Berkeley High School Jazz Ensemble and Combo from 1983-86, academics were always his first priority, and he never seriously considered becoming a professional musician.
In 1991 Redman graduated from Harvard College summa cum laude, Phi Beta Kappa with a B.A. in Social Studies. He had already been accepted by Yale Law School, but deferred entrance for what he believed was only going to be one year. Some of his friends (former students at the Berklee College of Music whom Joshua had met while in Boston) had recently relocated to Brooklyn, and they were looking for another housemate to help with the rent. Redman accepted their invitation to move in, and almost immediately he found himself immersed in the New York jazz scene. He began jamming and gigging regularly with some of the leading jazz musicians of his generation: Peter Bernstein, Larry Goldings, Kevin Hays, Roy Hargrove, Geoff Keezer, Leon Parker, Jorge Rossy and Mark Turner (to name just a few). In November of that year, five months after moving to New York, Redman was named the winner of the prestigious Thelonious Monk International Saxophone Competition. This was only one of the more visible highlights from a year that saw Redman beginning to tour and record with jazz masters such as his father, Jack DeJohnette, Charlie Haden, Elvin Jones, Joe Lovano, Pat Metheny, Paul Motian, and Clark Terry. For Joshua, this was a period of tremendous growth, invaluable experience and endless inspiration.
Now fully committed to a life in music, Redman was quickly signed by Warner Bros. Records and issued his first, self-titled album in the spring of 1993, which subsequently earned Redman his first Grammy nomination. That fall saw the release of Wish, where Joshua was joined by the all-star cast of Pat Metheny, Charlie Haden and Billy Higgins. He toured extensively with Metheny throughout the latter half of that year. His next recording, MoodSwing, was released in 1994, and it introduced his first permanent band, which included three other young musicians who have gone on to become some of the most important and influential artists in modern jazz: pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade. A later edition of this ensemble included guitarist Peter Bernstein, pianist Peter Martin, bassist Chris Thomas and Blade. Over a series of celebrated recordings including Spirit of the Moment/Live at the Village Vanguard, Freedom in the Groove and Timeless Tales (for Changing Times), Redman established himself as one of the music’s most consistent and successful bandleaders, and added soprano and alto saxophones to his instrumental arsenal. Joshua’s second acclaimed quartet, featuring pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson, was formed in 1998 and made its recorded debut on the 2000 album Beyond. The dynamic interplay and uncommon rapport of this group inspired Redman to write and record his first long-form composition, Passage of Time, which was released in 2001.
A year later, Redman began to channel his jazz sensibilities through new instrumentation and formed The Elastic Band, a flexible, electrified, groove-based trio built on an ongoing collaboration with keyboardist Sam Yahel and drummer Brian Blade. The band debuted on the 2002 releases yaya3 and Elastic. Drummer Jeff Ballard began to play regularly with the Elastic Band later that year, and he (along with Blade and Yahel) played a central role in their next recording, the Grammy-nominated Momentum, which was released in 2005 to inaugurate Redman’s affiliation with Nonesuch Records, and featured a diverse and exciting lineup of special guests.
In 2000, Redman was named Artistic Director for the Spring Season of the non-profit jazz-presenting organization SFJAZZ. Redman and SFJAZZ Executive Director Randall Kline had an idea that The New York Times called a “eureka moment”; the creation of the SFJAZZ Collective, an ensemble distinguished both by the creativity of its members and a unique primary emphasis on composition. Inaugurated in 2004, the eight-piece band consists of a multi-generational cast of accomplished musicians. The Collective’s repertoire features both commissioned works and new arrangements of the work of great modern jazz composers. In March 2007, Redman announced that he was taking a hiatus from both the SFJAZZ Artistic Directorship and the SFJAZZ Collective in order to focus on new projects.
The following month, Nonesuch released Redman’s first ever piano-less trio record, Back East, featuring Joshua alongside three stellar bass and drum rhythm sections (Larry Grenadier & Ali Jackson, Christian McBride & Brian Blade, Reuben Rogers & Eric Harland) and three very special guest saxophonists (Chris Cheek, Joe Lovano and Dewey Redman). On Compass, released in January 2009 (Nonesuch), Joshua continues to explore the expansive trio format, and with a group of collaborators as intrepid as he is – bassists Larry Grenadier and Rueben Rogers, and drummers Brian Blade and Gregory Hutchinson – Redman literally and figuratively stretches the shape of the trio approach; on the most audacious of these tunes, he performs with the entire lineup in a double-trio setting.
Starting in late 2009, Joshua will be performing with a new collaborative band called James Farm featuring pianist Aaron Parks, bassist Matt Penman, and drummer Eric Harland. The band infuses traditional acoustic jazz quartet instrumentation with a progressive attitude and modern sound, creating music that is rhythmically and technically complex and at the same time harmonically rich, melodically satisfying, and emotionally compelling.
In addition to his own projects, Redman has recorded and performed with musicians such as Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, The Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, B.B. King, The Lincoln Center Jazz Orchestra, DJ Logic, Joe Lovano, Yo Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, MeShell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, The Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, The Trondheim Jazz Orchestra, Mark Turner, McCoy Tyner, Umphrey’s McGee, US3, Bugge Wesseltoft, Cedar Walton, Stevie Wonder and Sam Yahel. Joshua Redman has been nominated for 2 Grammys and has garnered top honors in critics and readers polls of DownBeat, Jazz Times, The Village Voice and Rolling Stone. He wrote and performed the music for Louis Malle’s final film Vanya on 42nd Street, and is both seen and heard in the Robert Altman film Kansas City.
Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the decade of the 1990s. Born in Berkeley, California, he is the son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. He was exposed at an early age to a variety of musics (jazz, classical, rock, soul, Indian, Indonesian, Middle-Eastern, African) and instruments (recorder, piano, guitar, gatham, gamelan), and began playing clarinet at age nine before switching to what became his primary instrument, the tenor saxophone, one year later. The early influences of John Coltrane, Ornette Coleman, Cannonball Adderley and his father, Dewey Redman, as well as The Beatles, Aretha Franklin, the Temptations, Earth, Wind and Fire, Prince, The Police and Led Zeppelin drew Joshua more deeply into music. But although Joshua loved playing the saxophone and was a dedicated member of the award-winning Berkeley High School Jazz Ensemble and Combo from 1983-86, academics were always his first priority, and he never seriously considered becoming a professional musician.
In 1991 Redman graduated from Harvard College summa cum laude, Phi Beta Kappa with a B.A. in Social Studies. He had already been accepted by Yale Law School, but deferred entrance for what he believed was only going to be one year. Some of his friends (former students at the Berklee College of Music whom Joshua had met while in Boston) had recently relocated to Brooklyn, and they were looking for another housemate to help with the rent. Redman accepted their invitation to move in, and almost immediately he found himself immersed in the New York jazz scene. He began jamming and gigging regularly with some of the leading jazz musicians of his generation: Peter Bernstein, Larry Goldings, Kevin Hays, Roy Hargrove, Geoff Keezer, Leon Parker, Jorge Rossy and Mark Turner (to name just a few). In November of that year, five months after moving to New York, Redman was named the winner of the prestigious Thelonious Monk International Saxophone Competition. This was only one of the more visible highlights from a year that saw Redman beginning to tour and record with jazz masters such as his father, Jack DeJohnette, Charlie Haden, Elvin Jones, Joe Lovano, Pat Metheny, Paul Motian, and Clark Terry. For Joshua, this was a period of tremendous growth, invaluable experience and endless inspiration.
Now fully committed to a life in music, Redman was quickly signed by Warner Bros. Records and issued his first, self-titled album in the spring of 1993, which subsequently earned Redman his first Grammy nomination. That fall saw the release of Wish, where Joshua was joined by the all-star cast of Pat Metheny, Charlie Haden and Billy Higgins. He toured extensively with Metheny throughout the latter half of that year. His next recording, MoodSwing, was released in 1994, and it introduced his first permanent band, which included three other young musicians who have gone on to become some of the most important and influential artists in modern jazz: pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade. A later edition of this ensemble included guitarist Peter Bernstein, pianist Peter Martin, bassist Chris Thomas and Blade. Over a series of celebrated recordings including Spirit of the Moment/Live at the Village Vanguard, Freedom in the Groove and Timeless Tales (for Changing Times), Redman established himself as one of the music’s most consistent and successful bandleaders, and added soprano and alto saxophones to his instrumental arsenal. Joshua’s second acclaimed quartet, featuring pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson, was formed in 1998 and made its recorded debut on the 2000 album Beyond. The dynamic interplay and uncommon rapport of this group inspired Redman to write and record his first long-form composition, Passage of Time, which was released in 2001.
A year later, Redman began to channel his jazz sensibilities through new instrumentation and formed The Elastic Band, a flexible, electrified, groove-based trio built on an ongoing collaboration with keyboardist Sam Yahel and drummer Brian Blade. The band debuted on the 2002 releases yaya3 and Elastic. Drummer Jeff Ballard began to play regularly with the Elastic Band later that year, and he (along with Blade and Yahel) played a central role in their next recording, the Grammy-nominated Momentum, which was released in 2005 to inaugurate Redman’s affiliation with Nonesuch Records, and featured a diverse and exciting lineup of special guests.
In 2000, Redman was named Artistic Director for the Spring Season of the non-profit jazz-presenting organization SFJAZZ. Redman and SFJAZZ Executive Director Randall Kline had an idea that The New York Times called a “eureka moment”; the creation of the SFJAZZ Collective, an ensemble distinguished both by the creativity of its members and a unique primary emphasis on composition. Inaugurated in 2004, the eight-piece band consists of a multi-generational cast of accomplished musicians. The Collective’s repertoire features both commissioned works and new arrangements of the work of great modern jazz composers. In March 2007, Redman announced that he was taking a hiatus from both the SFJAZZ Artistic Directorship and the SFJAZZ Collective in order to focus on new projects.
The following month, Nonesuch released Redman’s first ever piano-less trio record, Back East, featuring Joshua alongside three stellar bass and drum rhythm sections (Larry Grenadier & Ali Jackson, Christian McBride & Brian Blade, Reuben Rogers & Eric Harland) and three very special guest saxophonists (Chris Cheek, Joe Lovano and Dewey Redman). On Compass, released in January 2009 (Nonesuch), Joshua continues to explore the expansive trio format, and with a group of collaborators as intrepid as he is – bassists Larry Grenadier and Rueben Rogers, and drummers Brian Blade and Gregory Hutchinson – Redman literally and figuratively stretches the shape of the trio approach; on the most audacious of these tunes, he performs with the entire lineup in a double-trio setting.
Starting in late 2009, Joshua will be performing with a new collaborative band called James Farm featuring pianist Aaron Parks, bassist Matt Penman, and drummer Eric Harland. The band infuses traditional acoustic jazz quartet instrumentation with a progressive attitude and modern sound, creating music that is rhythmically and technically complex and at the same time harmonically rich, melodically satisfying, and emotionally compelling.
In addition to his own projects, Redman has recorded and performed with musicians such as Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, The Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, B.B. King, The Lincoln Center Jazz Orchestra, DJ Logic, Joe Lovano, Yo Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, MeShell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, The Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, The Trondheim Jazz Orchestra, Mark Turner, McCoy Tyner, Umphrey’s McGee, US3, Bugge Wesseltoft, Cedar Walton, Stevie Wonder and Sam Yahel. Joshua Redman has been nominated for 2 Grammys and has garnered top honors in critics and readers polls of DownBeat, Jazz Times, The Village Voice and Rolling Stone. He wrote and performed the music for Louis Malle’s final film Vanya on 42nd Street, and is both seen and heard in the Robert Altman film Kansas City.
Joshua Redman Quartet - Passage Of Time (2001)
Joshua Redman (1969 - …)
Produced by Joshua Redman
Associate Producer and Engineer: James Farber
Recorded at Avatar Studios, New York City; June, 2000
Production Assistant: Paul Boothe
Mixed at River Sound, New York City; October, 2000
Assistant Engineers: Aya Nakamora, Anthony Gorman
Mastered by Greg Calbi at Sterling Sound, NYC; November, 2000
Art Direction: Frank Olinsky
Photography by Duane Michals
Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 19. June 2011, 2:15
Joshua Redman Quartet / Passage Of Time
Used drive : PIONEER DVD-RW DVR-109 Adapter: 3 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
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 : Installed external ASPI interface
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\WavPack-4.60.1\wavpack.exe
Additional command line options : -h -m -w "Cuesheet=@*.cue" -w "Artist=%artist%" -w "Album=%albumtitle%" -w "Year=%year%" -w "Genre=%genre%" -w "comment=EAC Mode sécurisé avec 'flux précis', AccurateRip / WavPack-4.60.1" %source% %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 1:50.67 | 0 | 8316
2 | 1:50.67 | 7:05.20 | 8317 | 40211
3 | 8:56.12 | 4:29.23 | 40212 | 60409
4 | 13:25.35 | 8:28.35 | 60410 | 98544
5 | 21:53.70 | 8:27.70 | 98545 | 136639
6 | 30:21.65 | 10:38.22 | 136640 | 184511
7 | 41:00.12 | 9:23.65 | 184512 | 226801
8 | 50:24.02 | 3:44.63 | 226802 | 243664
Range status and errors
Selected range
Filename D:\Musique de Jazz\Joshua Redman Quartet - Passage Of Time (Warner Bros. 2001)\Joshua Redman Quartet - Passage Of Time.wav
Peak level 99.8 %
Extraction speed 7.1 X
Range quality 100.0 %
Test CRC E0DEC008
Copy CRC E0DEC008
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 2) [6B2BFD31] (AR v2)
Track 2 accurately ripped (confidence 2) [BB501D19] (AR v2)
Track 3 accurately ripped (confidence 2) [5BCB3F4B] (AR v2)
Track 4 accurately ripped (confidence 2) [57469643] (AR v2)
Track 5 accurately ripped (confidence 2) [7286A553] (AR v2)
Track 6 accurately ripped (confidence 2) [367A923A] (AR v2)
Track 7 accurately ripped (confidence 2) [2827EB7A] (AR v2)
Track 8 accurately ripped (confidence 2) [45B1D833] (AR v2)
All tracks accurately ripped
End of status report
==== Log checksum C8E989C6E4738AC6117475035C0C732BE3368F12FF2C87859072AE091A7F52C4 ====
EAC extraction logfile from 19. June 2011, 2:15
Joshua Redman Quartet / Passage Of Time
Used drive : PIONEER DVD-RW DVR-109 Adapter: 3 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
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 : Installed external ASPI interface
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\WavPack-4.60.1\wavpack.exe
Additional command line options : -h -m -w "Cuesheet=@*.cue" -w "Artist=%artist%" -w "Album=%albumtitle%" -w "Year=%year%" -w "Genre=%genre%" -w "comment=EAC Mode sécurisé avec 'flux précis', AccurateRip / WavPack-4.60.1" %source% %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 1:50.67 | 0 | 8316
2 | 1:50.67 | 7:05.20 | 8317 | 40211
3 | 8:56.12 | 4:29.23 | 40212 | 60409
4 | 13:25.35 | 8:28.35 | 60410 | 98544
5 | 21:53.70 | 8:27.70 | 98545 | 136639
6 | 30:21.65 | 10:38.22 | 136640 | 184511
7 | 41:00.12 | 9:23.65 | 184512 | 226801
8 | 50:24.02 | 3:44.63 | 226802 | 243664
Range status and errors
Selected range
Filename D:\Musique de Jazz\Joshua Redman Quartet - Passage Of Time (Warner Bros. 2001)\Joshua Redman Quartet - Passage Of Time.wav
Peak level 99.8 %
Extraction speed 7.1 X
Range quality 100.0 %
Test CRC E0DEC008
Copy CRC E0DEC008
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 2) [6B2BFD31] (AR v2)
Track 2 accurately ripped (confidence 2) [BB501D19] (AR v2)
Track 3 accurately ripped (confidence 2) [5BCB3F4B] (AR v2)
Track 4 accurately ripped (confidence 2) [57469643] (AR v2)
Track 5 accurately ripped (confidence 2) [7286A553] (AR v2)
Track 6 accurately ripped (confidence 2) [367A923A] (AR v2)
Track 7 accurately ripped (confidence 2) [2827EB7A] (AR v2)
Track 8 accurately ripped (confidence 2) [45B1D833] (AR v2)
All tracks accurately ripped
End of status report
==== Log checksum C8E989C6E4738AC6117475035C0C732BE3368F12FF2C87859072AE091A7F52C4 ====
[CUETools log; Date: 10.12.2011 12:29:49; Version: 2.0.9]
[CTDB TOCID: oPw7VdzMXV3TKQmyGb_kVbqsoUg-] disk not present in database.
[AccurateRip ID: 000f3ebf-006aaa7d-560cb008] found.
Track [ CRC ] Status
01 [93e8dbc5] (22/26) Accurately ripped
02 [25cfb90a] (21/26) Accurately ripped
03 [d97f0ccd] (21/26) Accurately ripped
04 [23c99007] (21/25) Accurately ripped
05 [084c2455] (22/26) Accurately ripped
06 [539d5b4e] (22/26) Accurately ripped
07 [27356982] (21/26) Accurately ripped
08 [54c10cf9] (20/25) Accurately ripped
Offsetted by -201:
01 [86de980a] (02/26) Accurately ripped
02 [05cb3a86] (03/26) Accurately ripped
03 [b562bd10] (03/26) Accurately ripped
04 [ada15759] (02/25) Accurately ripped
05 [2b10a58e] (02/26) Accurately ripped
06 [caa730c6] (02/26) Accurately ripped
07 [a14bc4bc] (03/26) Accurately ripped
08 [43881b52] (03/25) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 99,8 [E0DEC008] [47A77D93] CRC32
01 32,4 [E6D820FF] [BB70F3A4]
02 99,8 [97AD5C62] [F5FB3E7A]
03 92,6 [C5070D56] [E9942A65]
04 91,9 [EF89857A] [C0738285]
05 99,7 [75235699] [8DAF6D46]
06 84,7 [7BEEF49A] [A1AD1649]
07 99,6 [CC3B536C] [5A0CADDD]
08 75,5 [96006DA1] [20183B21]
[CTDB TOCID: oPw7VdzMXV3TKQmyGb_kVbqsoUg-] disk not present in database.
[AccurateRip ID: 000f3ebf-006aaa7d-560cb008] found.
Track [ CRC ] Status
01 [93e8dbc5] (22/26) Accurately ripped
02 [25cfb90a] (21/26) Accurately ripped
03 [d97f0ccd] (21/26) Accurately ripped
04 [23c99007] (21/25) Accurately ripped
05 [084c2455] (22/26) Accurately ripped
06 [539d5b4e] (22/26) Accurately ripped
07 [27356982] (21/26) Accurately ripped
08 [54c10cf9] (20/25) Accurately ripped
Offsetted by -201:
01 [86de980a] (02/26) Accurately ripped
02 [05cb3a86] (03/26) Accurately ripped
03 [b562bd10] (03/26) Accurately ripped
04 [ada15759] (02/25) Accurately ripped
05 [2b10a58e] (02/26) Accurately ripped
06 [caa730c6] (02/26) Accurately ripped
07 [a14bc4bc] (03/26) Accurately ripped
08 [43881b52] (03/25) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 99,8 [E0DEC008] [47A77D93] CRC32
01 32,4 [E6D820FF] [BB70F3A4]
02 99,8 [97AD5C62] [F5FB3E7A]
03 92,6 [C5070D56] [E9942A65]
04 91,9 [EF89857A] [C0738285]
05 99,7 [75235699] [8DAF6D46]
06 84,7 [7BEEF49A] [A1AD1649]
07 99,6 [CC3B536C] [5A0CADDD]
08 75,5 [96006DA1] [20183B21]
c:\Program Files\Exact Audio Copy>checklog.exe "R:\Joshua Redman Quartet - Passage Of Time.log"
Log Integrity Checker (C) 2010 by Andre Wiethoff
1. Log entry is fine!
c:\Program Files\Exact Audio Copy>
Log Integrity Checker (C) 2010 by Andre Wiethoff
1. Log entry is fine!
c:\Program Files\Exact Audio Copy>
Thanks to the original releaser.
Joshua Redman Quartet - Passage Of Time (2001)
(WavPack & mp3@320 links are interchangeable, artwork = single link)