Right, I too find that when Kevin does LPs on his own (not working with Steve) they tend to have a "flatter" midrange - it is quite notable comparing the Music Matters 33 1/3 series to the older 45 rpms that Steve was involved with (and which I prefer). I suppose on a left to right continuum from flatter mids to more "romantic" mids I'd say perhaps something like Grundman -> Gray -> Hoffman -> Sax? That sparkly "MC-ness" just never has appealed to me. I've tried some very fine carts in the MC realm and though I can see how they can hook folks - there were a lot of isolated moments of thrills and chills - it never coalesced for me into a satisfying global listening experience for very long, since there were always prices to be paid elsewhere (many grating recordings/passages). Very interesting what you say about the zobel network and MC carts. I learned something about this when my father and I designed and built our home brew speakers which have passive cross-overs - adding a zobel network was a final touch that really helped flatten the frequency response - so I can definitely believe what you say there. Maybe with a zobel network in the chain I'd feel differently about MCs. Are there step up transformers that have them built in or do people add them DIY or...?
Back to jazz! Listened to this on CD. As the title hints, a tribute of sorts to the Nat Cole Trio (I guess I'm in a tributes mood today), and a nice updating of the approach, with more modern playing but much of the joyfulness of the material that inspired it. Criss Cross's always-reliable house engineer Max Bolleman did especially good work on this one, every note sings out. Lightsey's recording profile seems to have been low in the past few years, at least in the States. According to Wikipedia he now resides in Paris, and fortunately his Facebook page indicates a very active ongoing schedule of performances throughout Europe with a variety of collaborators: Kirk Lightsey | Facebook »
I don't think zobel network loading for MC cartridges is a well known thing in hifi commercial sector. Because it is more complex than a simple resistor I don't think manufacturers want to deal with it, like how MC cartridge manufacturers aren't chatty about their carts having a rising treble response, one of those don't ask don't tell I first learned about it from a really smart EE guy who designed this phono stage. Sure enough when I tried the appropriate zobel secondary on my Zyx it flattened the response and made LPs that had similar mastering to their digital counterpart sound much more similar instead of always having that "MC detail". We tried it on my friend's My Sonic Labs, Dynavector and Zyx and it made a significant difference there as well; really obvious in his system since he has Avant-Garde horns that can sound shouty. In the end it became a non issue for me since I moved away from MC cartridges after not finding one in my price range that could track as well as the best MM and MI. Now to swing this discussion back to jazz I recall very early on in the Music Matters threads that someone had an issue with distortion on one of their earliest releases, SH said it was a tracking issue. I experienced it as well when I started getting more of the AP and MM 45s. I'd even play them on my friend's mega buck system and I would be the only one that could hear the distortion, a half dozen others only heard excellent sound. Don't ask me how I remember something like that from nearly 10 years ago but will have to look up a drug interaction And now back to more jazz, turned off the Giants game after it started to turn into a blow out. John Coltrane - Om, original MCAD US CD. This is one of the last Coltrane albums I explored when I was getting into Trane. Most reviews I was reading at the time panned it. IMHO another instance where pro reviews should be taken with some skepticism, as I think this is a fine album and doesn't detract from his legacy.
I've never understood the obsession with (American) football - but then again many Americans don't get what Europeans see in (European) football/soccer Back to the music indeed: for me Om is one of the least interesting albums from Coltrane's impulse! years, it doesn't do anything for me, or even worse, I think it's terrible. To each their own, I guess.
Well yes I think it is one of the weakest in his Impulse! years as well, but that's only because the rest of the material is so strong. Far from terrible (for me) and I still listen to it now and then. But I wouldn't say it's unusual for me to enjoy my favorite artists weakest music, there is some emotional connection. I think liking American football is something you have to grow up with. The number of commercial breaks is one of the hardest things to acclimatize to according to my friends from outside the US. Wholly agree I don't get the appeal of soccer... and the diving
I grew up with American Football but I have lost interest over time. Combination of different things but I am now totally hooked on the Beautiful Game. Luckily for me Premier League and La Liga is on all weekend on cable. There are options for German, Italian and French League also. I travel to Italy every year for business and vacation so Fiorentina and the way the city supports the team went a long way also to my getting it.
Was Playing: Hampton Hawes - Four! Again great playing by everybody and the drums sound like they are in the room.
I remember playing this album to my university friends back in 1982 or so. "Listen to this part, it's so cool!" It still holds up. Quintessential ECM for me, one of the best.
2014 Blue Note/HDtracks 96/24 Recorded August 23, '68 at Rudy's; originally released 1970 McCoy Tyner – piano Woody Shaw – trumpet Gary Bartz – alto saxophone, wooden flute Wayne Shorter – tenor saxophone, clarinet Ron Carter – cello Herbie Lewis – bass Freddie Waits – drums
Duke Ellington and his Orchestra, AND HIS MOTHER CALLED HIM BILL (RCA Victor, recorded in 1967 in the wake of Billy Strayhorn's passing). One of the great Ellington albums and beautifully recorded. Despite the ups and downs and complexities of their relationship, the beauty and depth of these recordings suggest Duke felt deep love and respect for Strayhorn and his art. I listened to the mastering included in the Ellington RCA Victor Centennial box (the album and session bonus tracks are spread across discs 23 and 24), which is good enough.
One of the better versions of Stevie Wonder's wonderful song. He was so young when he wrote this. So talented....
An extremely talented vocalist, Ms. Freelon, and a gracious and engaging performer - I was fortunate enough to see her at the Monterey Next Generation Jazz Festival a few years back, performing with the all-star judges group as well as in a vocal clinic. On the other hand I have to admit the arrangements and settings on many of her recordings just don't do much for me. I totally get why she takes that approach - the pop-influenced stuff I'm sure sells better, and an artist has gotta eat! - but for selfish reasons I wish she'd do more acoustic jazz, she's tremendous in that realm. In terms of recordings, my favorites so far are older ones from the 1990s, SHAKING FREE (Concord, reissued a few years back as a good sounding hybrid SACD: And HERITAGE (Columbia, which includes great piano by Kenny Barron): While even these recordings don't really do her talent full justice, they are a reasonable approximation of what she can do live.
I'm an AP fan but I don't know this album. However I will soon as I've just bought it. Isn't the internet wonderful
Howard Rumsey's Lighthouse All-Stars – Sunday Jazz a la Lighthouse Vol. 1 (Contemporary Records) — Trumpet – Shorty Rogers, Maynard Ferguson; Trombone – Milt Bernhart; Tenor Saxophone – Jimmy Giuffre, Bob Cooper; Piano – Frank Patchen or Hampton Hawes; Bass – Howard Rumsey; Drums – Shelly Manne; plus: Congas – Carlos Vidal; recorded live at the Lighthouse, Hermosa Beach, CA
