Paul Bley - Live In Haarlem (1966) [Reissue 1999]

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 2. December 2012, 22:51

Paul Bley / Live In Haarlem

Used drive : HL-DT-STDVDRAM GT34N Adapter: 0 ID: 2

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 103
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

Used output format : User Defined Encoder
Selected bitrate : 896 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "BAND=%albuminterpret%" -T "ALBUMARTIST=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%–tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" %hascover%–picture="%coverfile%"%hascover% %source% -o %dest%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 18:40.30 | 0 | 84029
2 | 18:40.30 | 23:52.02 | 84030 | 191431


Range status and errors

Selected range

Filename D:\FLAC\BLEY Paul -66- Live In Haarlem\Paul Bley - Live In Haarlem.wav

Peak level 89.4 %
Extraction speed 1.9 X
Range quality 99.9 %
Test CRC F7D15C11
Copy CRC F7D15C11
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 2) [828C8F98] (AR v1)
Track 2 accurately ripped (confidence 2) [B85A270A] (AR v1)

All tracks accurately ripped

End of status report

==== Log checksum 03C33227AACCABB9A652B7A417D15915D368C1EDAE1A5AECC9F80E3D5F42AEAE ====

foobar2000 1.1.9 / Dynamic Range Meter 1.1.1
log date: 2012-12-02 22:51:53

––––––––––––––––––––––––––––––––––––––––
Analyzed: Paul Bley / Live In Haarlem
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -0.96 dB -15.98 dB 18:40 01-Blood
DR13 -1.12 dB -18.99 dB 23:52 02-Mister Joy
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 2
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 792 kbps
Codec: FLAC
================================================================================

Paul Bley was born in Montreal, Canada, his parents were Betty Marcovitch, an immigrant from Romania, and Joe Bley, owner of an embroidery factory. Bley has been a long-time resident of the United States. His music characteristically features strong senses both of melodic voicing and space.

In the 1950s he founded the Jazz Workshop in Montreal, performing and recording there with Charlie Parker. He also performed with Lester Young and Ben Webster at that time.

In 1953 he conducted for Charles Mingus on the Charles Mingus and his Orchestra album and the same year Mingus produced the Introducing Paul Bley album with Mingus and Art Blakey. In 1960 Bley recorded on piano with the Charles Mingus Group.

In 1958, he hired Don Cherry, Ornette Coleman, Charlie Haden and Billy Higgins to play at the Hillcrest Club in California.

In the early 1960s he was part of the Jimmy Giuffre 3, a clarinet, piano and bass trio with bassist Steve Swallow. The quiet understatement of this music makes it possible to overlook its degree of innovation. As well as a repertoire introducing compositions by his ex-wife Carla Bley, the group's music moved towards free improvisation based on close empathy.

During the same period Bley was touring and recording with Sonny Rollins, which culminated with the RCA Victor album, Sonny Meets Hawk! with Coleman Hawkins.

In 1964 Bley was instrumental in the formation of the Jazz Composers Guild - a co-operative organisation which brought together many free jazz musicians in New York: Roswell Rudd, Cecil Taylor, Archie Shepp, his ex-wife Carla Bley, Michael Mantler, Sun Ra, among others. The guild organized weekly concerts and created a forum for the "jazz revolution" of 1964.

Bley had long been interested in expanding the palette of his music using unconventional sounds (such as playing directly on the piano-strings). It was therefore consistent that he took an interest in new electronic possibilities appearing in the late 1960s. He pioneered the use of Moog synthesizers, performing with them before a live audience for the first time at Philharmonic Hall in New York City on Dec. 26, 1969.[4]

This led into a period of the "Bley-Peacock Synthesizer Show", a group where he worked with songwriter Annette Peacock, including Improvisie, a French release of two extended improvisiational tracks with Paul on melodic electric piano and modulated synthesizer supporting Annette Peacock's remarkable tonal experiments singing through what sounds to be a Maestro (Tom Oberheim designed) Ring Modulator, with percussion by Dutch free jazz drummer Han Bennink.

Subsequently Bley returned to a predominant focus on the piano itself.

from wikipedia.org