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Double Bass Jazz - Now Playing

#41
Jamil Nasser on all of this. Tight!

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Dewey, live gig somewhere in Chicago 2002.

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#44
As far as the medium, most of my listening is done via Apple Music through either a pair of Jabra Elite 65 earbuds, or a pair of the old trusty Sony 7506 over-ears. Both of these are more than fine with me…it’s about the music. I have respect for the audiophile types, but I don’t happen to be one.
 
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#49
This was from last night, but I had already gone screenless, so updating today.

Donald Byrd and Pepper Adams...off to a great start. But, also Herbie Hancock's first professional recording and first recorded instance of one of his compositions. If that's not enough, how about Butch Warren and Billy Higgins holding it down?

I'm not an audiophile. I have a good (not great) stereo, turntable, and DAC and my room sounds pretty good, which is a big part of it. I do love good records, though. I stumbled into a first pressing of this one for way less than it usually sells for.

Bliss

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#54
Sorry, I don't hear "genres", jazz or otherwise.
Here is a beautiful Orchestral/Choral piece from 1917 composed by Nadia Boulanger's younger sister, Lili, who was 23 at the time. She died at the age of 24, FYI.
Note the opening theme @ 0:04 - 0:12, "G,F,Eb,Db,Eb,F,G", is the same as "This Is New", by K. Weill/G. Gershwin, as played by Chick Corea on his "Tones For Joan's Bones" recording!
(Thanks to L.A. saxophonist Brandon Wilkins for pointing this Melodic Coincidence out to me, and to this piece, shortly after we had played "This Is New"...at a session.")
Listening to the YT via vintage Mac desktop - vintage Harman/Kardon 630 receiver - vintage (refurbished!) Genesis bookshelf speakers...All on ELEVEN!
Thx.
 
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#57
This morning I've been listening to Thad Jones: The Danish Radio Big Band & Eclipse. It's an odd album title, but this two-disk retrospective from Storyville records is basically Thad Jones directing two different big bands, (i) the Danish Radio (DR) Big Band and (ii) Eclipse, his own Danish big band. I got onto this today because the music director for one of the big bands I play in has been on a bit of a Thad Jones (/Mel Lewis) bender. For no good reason he quite likes me on bass and so has been playing "Big Dipper" as a bass feature and most recently "This Bass Was Made For Walking" from the second disk in this set. Works for me, but I wanted to see if the recorded verion of the second tune was as straight as the chart makes it look. And it is.

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Listening has been via my Marantz CD player into a Cambridge Audio receiver and two Elac speakers with a Polk Audio subwoofer. I'm not much of an audiophile these days courtesy of my Menière's hearing damage. But, as has been noted elsewhere, audiophiles don't use their equipment to listen to our music, they use our music to listen to their equipment.:laugh:
 
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#58
Having a decent stereo and being an audiophile are different things. I realize that to a lot of people, owning any stereo makes you a bit of any outlier in 2024, but the difference is 10s of thousands of dollars.

An audiophile would look at my stereo and say "oh, that's great...servicable, British mid-fi...but you should come over sometime."

The difference between a good source through a decent system in a quiet room and anything coming out of our phones is massive, though.
 
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#59
TroyK said:
Having a decent stereo and being an audiophile are different things. I realize that to a lot of people, owning any stereo makes you a bit of any outlier in 2024, but the difference is 10s of thousands of dollars.

An audiophile would look at my stereo and say "oh, that's great...servicable, British mid-fi...but you should come over sometime."

The difference between a good source through a decent system in a quiet room and anything coming out of our phones is massive, though.
Click to expand...

Agreed. Over the years I've been interested that many superb musicians whom I know seem nearly completely indifferent to the "quality" of the audio equipment they use to listen to music. They can be quite happy listening to music on some sort of boom box, rather than some $$thousand system. My impression has been that these musicians are listening to "the music"—transcending the limitations of the gear. In fairness, most of the folks I commune with are classical, jazz, or blues musicians primarily, and I suppose that one would get a very different impression hanging with electronic, prog, ambient or modern r&b/hip-hop musicians. I suspect the border lies at the point where the art of the recording itself becomes every bit as important as the art of the on-the-spot performance of the artist. Still, I agree that my mid-range system makes for more gratifying listening (even of solo Bach piano) than does, say, my Bose Wave radio in the kitchen.:rolleyes:
 
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#60
I think you've got to catch the audiophile bug in high school, college, or early adulthood or it won't stick. I remember especially in college there were the guys who had the super systems; and it was cool to sit around and listen to things at high volume while high; but I was a broke college student making do with a $100 all-in-one from Sears (you know, the turntable on top of the amp), and there simply was no money for all that stuff. I spent spare music money on albums, not equipment.

By the time I got out of school and had enough money to buy all that stuff, I didn't care. Now when I could buy all kinds of exotic audio equipment I'm using some extremely middle-class equipment and have less than no interest in upgrading. Hell, at this point I probably can't hear well enough to tell the difference between my $500 amp and speakers and a $5000 amp and speakers - and I know even that doesn't rise to the audiophile heights.

The other thing that puts me off about a lot of that stuff is the clearly bogus pseudoscientific stuff peddled to those who don't understand the principles of electricity. Special power cords that are supposed to "make your sound richer". All kinds of stuff that I'd remember better if I were an electrical engineer, but I'd invite anyone who's interested to look up the writings of Bob Pease. I just did a quick search now and found one article where he actually did the calculations and found that the upper bound for the effect of some fancy cable would be 0.00005 dBA. We need more crusty old farts like Bob Pease who know how to SIZE the effect of something and apply the "go-away" theorem to the ones that are undetectably small. The point is that the whole "audiophile" industry is made up as much of people selling pixie dust that will do nothing but separate you from your money, as it is of people selling actual high quality stereo equipment.
 
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