Discussion in 'Music and Recordings' started by earnmyturns, Nov 17, 2021.
Just discovered the classic album Friday Night in San Francisco and I am hooked!
Thanks for reminding me of this, I've owned that CD forever but I hadn't re-listened to it in years.
This is a monster of a track:
Interesting take on "Nardis" above.
These are my favorite recordings of this tune, attributed to Miles Davis or Wayne Shorter (nobody seems totally sure which man wrote it):
Zorn is one of my all time favorites. For a few years I tried to collect every Zorn CD I could find--I had to stop or go broke.
Gidon Nunez Vaz "What Are You Doing The Rest of Your Life?"
hi everyone, I am a recent convert to jazz and it has been great listening to classic jazz albums. I am expanding to newer work, this thread will be a great resource. The one thing which really surprised me with jazz stereo recordings was the way in which specific instruments are hard panned on stereo ( at least on the classic albums) - it took me a bit to get used to that.
I have never gotten used to, nor do I think I should It's a mistake, but besides remastering (pro's and con's there) nothing can be done about it excepting crossfeed, which comes with its own pro's and con's.
I guess maybe "used to it" is a poor choice of words, but I can tolerate it more. I wonder if the mono feature on certain preamps or integrated amps ( luxman for example) helps with this - maybe I am misunderstanding this feature completely.
My guess is that in that in the majority of those cases those buttons are just a mono summing feature, but just a guess. Crossfeed is the name of more sophisticated approach (there are many implementations) that can be used with older recordings where the mix is hard panned, and with any recording through headphones as the very design of headphones (messing up the triangle by putting the speakers right next to your ears) is an affront to proper stereophonic imaging.
I will keep up with my binge on the classics
Keep an eye (or ear...) out for Ambrose Akinmusire's new project Owl Song with Bill Frisell and Herlin Riley. Heard them at SFJAZZ on March 5th, it was like nothing else I've heard in a while in the way that Riley's New Orleans rhythms drove Akinmusire's and Frisell's free-ish digressions. At the same time very traditional roots and modernistic flights. It was the best Frisell appearance I've been to in quite a few, he flew between NY downtown and traditional tunes in surprising and inspired way. Riley was the only band member I had never heard live, and was totally taken by his intricate, African-based, work. Akinmusire was Miles-like, truly. Maybe it has been our COVID-forced absence from live music, but this was so special. Seek Owl Song out, I hope that they'll record the project. It's so fresh and deep.
5 recent Bandcamp goodies (via jazztrail.net):
Marquis Hill: New Gospel Revisited
Walter Smith III & Matthew Stevens: In Common III (the best of the In Common series IMO)
Thomas Fujiwara's Triple Double: March
Marta Sánchez: SAAM (Spanish American Art Museum)
Ingebrigt Håker Flaten: (Exit) Knarr
After high recommendation from @earnmyturns I found a good condition used 2CD set and now ripped to my Dante music system. It was definitely worth the effort. This is what happens when extraordinary musicianship is captured by equally extraordinary engineers and rendered on exceptional playback systems. In particular, Claudia Engelhart's live to 2 track recording of West is amazing. The youtube video provides some idea of the performance and sound. The CD definitely renders a better experience.
This has been a firm favorite for some time.
Thank you for calling our Claudia Engelhart, caused me to read this interesting article on her background and approach to live mixing/recording. I'm not wondering if she was mixing that time BF was playing a band gig at Yoshi's, one of his many foot-actuated gadgets seemed to misbehave and he proceeded to unplug it and throw it to backstage, all with his typical "aw-shucks" body language. I never knew what the gadget did, but BF recovered fine, maybe thanks to CE's mixing board skills
My guitarist & sometime lap steel playing twin just turned me onto Mike Neer, a lap steel & pedal steel player I've never heard of. This guy is wonderful!
Here he is covering Duke Eillington's "African Flower." Listen to how spacey and cool it sounds @1'28" when he starts playing the lap steel:
Here he is covering Wes Montgomery's "West Coast Blues" & getting a beautifully loopy sound out of the instrument:
@atomicbob , great find
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