Post Your Jazz Videos
- Thread starter No Regrets
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How about some Dizzy Gillepsie on vinyl 
As always, listening thru a decent set of headphones may sound better and more enjoyable than thru cell phone/laptop speakers
Best wishes,
Don
As always, listening thru a decent set of headphones may sound better and more enjoyable than thru cell phone/laptop speakers
Best wishes,
Don
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Here's another fun one from the same live vinyl recording above.
Hope you enjoy!
Best wishes,
Don
Hope you enjoy!
Best wishes,
Don
Lucky Thompson - tenor saxophone
Hank Jones - piano
Oscar Pettiford - bass
Osie Johnson - drums
Recorded in NYC on January 30, 1956.
Mostly digital - speakers are still analog!
Welcome to “What’s Worse” in Audio:
50€ speaker cables, no interconnects (none needed), no audiophile fuses, basic stock power chord, no power supply regenerators/conditioners, basic streamer with WiFi, files on a basic Intel NUC, no audiophile network switch, reclockers, or other audiophile digital voodoo, all equipment sitting on Ikea shelves, no headaches and audiophile anxieties…stuff just works reliably and always sounds the same regardless of the time of day ( and it sounds good to me and my adult children).
Would the sound of Lucky Thompson’s saxophone be significantly different with more expensive gear? I honestly don’t think so, but everyone will have their opinion about that.
Consider what jazz critic Jan Evensmo wrote about these recordings: “His [Thompson’s] sound was always unique, now it has a glow making it the most beautiful tenorsax sound in jazz history (together with that of Zoot Sims in slow tempo decades later),”
Was he listening to high end audio gear when making this comment? No. Would he have gained even better appreciation of Thompson by listening with the best gear? Perhaps. I honestly wonder because my experience so far does not support this.
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When it "sounds good to me" ..... at the end of the day, that's all that matters
I build my music systems to suit "my taste", because I'm the one that is listening to it and I build my music systems to give "me" enjoyment, not to impress other forum members, etc. I can't compete with the super wealthy and I don't feel the need to. I have nothing against the people who can afford the Uber systems. More power to them
And it's probably all relative. The % of their discretionary income they spend may be the same % that I spend on mine. Although, their % naturally equates to a much higher dollar amount than mine, lol.I'm glad that there are wealthy people involved in home audio. As over time, the technology that goes into the ultra high-end gear trickles down to the less expensive models.... so we all win
. There is a place here for all of us to share our experiences, journeys, discovering new/old music together with one another, etc. So, keep enjoying your system as it sounds great! Keep posting videos as it's a great way to introduce music that for some of us might not be aware of. And above all.... keep having fun!
Best wishes,
Don
Sorry for the rant!
Yes, videos are a fun way to share music, and tonight I had a sudden urge to listen to the Modern Jazz Quartet:
I really enjoy their ‘Last Concert’ album. Here’s what jazz critic Whitney Balliett had to say about it:
‘It is rare when a recording of a jazz concert bears out what one thought one heard. Generally, the concern turns out to be neither as good nor as bad as it seemed. But the recording of the swan-song concert given by the Modern Jazz Quartet at Avery Fisher last November—"The Last Concert: The Modern Jazz Quartet” (Atlantic)—is an exception. It was a classic evening. The recording also proves that the group, which had actually given its final concert some months before in Sydney and had been defunct since then, was no longer the impeccable machine it had come to be. Indeed, the concert was not so much a celebration of what the group had achieved during its twenty years as it was a celebration of the new freedom of its four members, and this shows in almost every one of the fourteen numbers on the album, which is an edited version of the original three-hour concert. The group's counterpoint is pretty much intact ("The Golden Striker," "Summertime"), but the solos, once so carefully balanced with the ensembles, are long and almost aggressive. They are also brilliant. Listen to Milt Jackson in "The Cylinder" and "Summertime," and especially in "What's New?" and "Django." It's as if he were consciously knocking the stuffing out of “Django," which came to be an M.J.Q. hymn. And listen to Lewis's ascending opening phrase in his solo in "Summertime" and, midway, to its clusters of high notes. And to his statement in “Skating in Central Park.” Even Percy Heath gets off two notable solos (“Blues in A Minor," "Bags Groove”), and throughout Connie Kay swings with an almost thundering precision.”
Yes, videos are a fun way to share music, and tonight I had a sudden urge to listen to the Modern Jazz Quartet:
I really enjoy their ‘Last Concert’ album. Here’s what jazz critic Whitney Balliett had to say about it:
‘It is rare when a recording of a jazz concert bears out what one thought one heard. Generally, the concern turns out to be neither as good nor as bad as it seemed. But the recording of the swan-song concert given by the Modern Jazz Quartet at Avery Fisher last November—"The Last Concert: The Modern Jazz Quartet” (Atlantic)—is an exception. It was a classic evening. The recording also proves that the group, which had actually given its final concert some months before in Sydney and had been defunct since then, was no longer the impeccable machine it had come to be. Indeed, the concert was not so much a celebration of what the group had achieved during its twenty years as it was a celebration of the new freedom of its four members, and this shows in almost every one of the fourteen numbers on the album, which is an edited version of the original three-hour concert. The group's counterpoint is pretty much intact ("The Golden Striker," "Summertime"), but the solos, once so carefully balanced with the ensembles, are long and almost aggressive. They are also brilliant. Listen to Milt Jackson in "The Cylinder" and "Summertime," and especially in "What's New?" and "Django." It's as if he were consciously knocking the stuffing out of “Django," which came to be an M.J.Q. hymn. And listen to Lewis's ascending opening phrase in his solo in "Summertime" and, midway, to its clusters of high notes. And to his statement in “Skating in Central Park.” Even Percy Heath gets off two notable solos (“Blues in A Minor," "Bags Groove”), and throughout Connie Kay swings with an almost thundering precision.”
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