Deleted
Last edited:
An even better version of Caravan on Milt Jackson’s the Ellington Album, this one tops them all.Here is a track, one of my favorites.
Oscar Peterson, Joe Pass, RayBrown, album Big Three, Caravan - may be my favorite version of this Ellington classic. Sounds incredible on the Bird.
If only Classical was that easy to embrace.during the studies I asked a colleague: what are you listening to, to jazz? ....Yes ,he said.
which one should I start on?....What a question, with Miles Davis, of course, he answered.
Which album of Miles? ....What a question, with "kind of blue", of course , he answered.
That was the moment I had begun to be addicted, .....addicted to jazz
Now that the thread has turned to the topic of Jazz, every time I see the word "Bird," I think Charlie Parker.Here is a track, one of my favorites.
Oscar Peterson, Joe Pass, RayBrown, album Big Three, Caravan - may be my favorite version of this Ellington classic. Sounds incredible on the Bird.
It is for me. To get started, you can listen to movie sound tracks with scores written by John Williams. They will be both familiar, highly dynamic and will push your gear to its limits. If you need to relax, put on some Mozart Piano concertos. Vladimir Horowitz is a great one. You will hear the upper harmonics and get what airiness is in music. Then, violin concertos will give you what sweet timbre is and will help you differentiate between dynamic driver and magnetic planar timbre in terms of what sounds more natural. Classical guitar will help test your gear for its ability to play back acoustic music. Classical music is not only great to listen to, but it is also great for A/B testing your own gear.If only Classical was that easy to embrace.
“The Bird on the Bird.” Great line. Maybe the movie about him has some well recorded tracks? I never saw it. Tks.Jealous you met Roy. Very familiar with everything you suggested, been a Jazz fan since I was 15. There are some amazing younger performers, the genre thankfully is thriving. With Chick’s passing and Joe Pass last year we need that young talent more than ever. I usually tell people who ask me where do I start, Kind Of Blue, than listen thru the career of everyone that played on that epic work, at the end of that you will be well versed in the foundations of this great genre. We could go back further and listen to the bird on the bird but not easy to find good quality recordings before the late 1950s.
Thanks, I quite liked the score for Chocolat and the piano shorts on Goldberg Variations just getting started past couple years on listening knowledge on Classical, movie soundtracks was something I plan on exploring a lot more of as well. What is hard is for any piece of Classical music composed during whatever long ago century, there are countless orchestras and recordings, so which one or how many becomes a bit overwhelming.It is for me. To get started, you can listen to movie sound tracks with scores written by John Williams. They will be both familiar, highly dynamic and will push your gear to its limits. If you need to relax, put on some Mozart Piano concertos. Vladimir Horowitz is a great one. You will hear the upper harmonics and get what airiness is in music. Then, violin concertos will give you what sweet timbre is and will help you differentiate between dynamic driver and magnetic planar timbre in terms of what sounds more natural. Classical guitar will help test your gear for its ability to play back acoustic music. Classical music is not only great to listen to, but it is also great for A/B testing your own gear.
Listening to Parker now South Of The Border, no hiss, not much if any stereo separation. Still nice though and his playing is so lyrical. Bird on the Bird. Everything kind of in the center of my head.“The Bird on the Bird.” Great line. Maybe the movie about him has some well recorded tracks? I never saw it. Tks.
It is for me. To get started, you can listen to movie sound tracks with scores written by John Williams. They will be both familiar, highly dynamic and will push your gear to its limits. If you need to relax, put on some Mozart Piano concertos. Vladimir Horowitz is a great one. You will hear the upper harmonics and get what airiness is in music. Then, violin concertos will give you what sweet timbre is and will help you differentiate between dynamic driver and magnetic planar timbre in terms of what sounds more natural. Classical guitar will help test your gear for its ability to play back acoustic music. Classical music is not only great to listen to, but it is also great for A/B testing your own gear.
I agree. There are so many flavors of Jazz and Classical music that you can do almost anything with it from a listening perspective. I was a Jazz musician when I was younger. To be good at it, you have to listen to a lot of music to learn what good music is supposed to sound like. We had to take solos from our favorite Jazz artists and transcribe them onto sheet music. Then, we were required to sing anything before we played it so that we could get the proper articulation of every lick and to properly frame the music in our head so that we could use the music to communicate emotion rather than just technically playing notes. It's the difference between sounding "square" and boring vs. swinging and exciting. And, we would spend weeks at time just sight reading music. Jazz isn't about perfect execution of notes (although with time you get there), but more about playing musically and communicating emotion and surprising with misdirection. Then, every week, we had to do the pattern of the week in all 12 keys because the key to a jazz solo is to give people just enough of what they expect to touch upon their familiarity with a chart, and then give them something they don't expect. Patterns are the key to that. You need to be able to play any series of patterns in any key at any time. And, with Big Band Jazz in particular, you need to spend as much time listening to the other instruments for pitch and balance. When I was young, I didn't know how to tell if I were in tune. My director said, just listen and when you are in tune, the chord lights up and you can't miss it. Guess what, It works! All of that training has translated directly into my audiophile listening experience for tuning my system to my own preferences. So, when people say that they want headphones that are more musical, I don't relate to those words because the artist is creating the emotional connection with their music. I prefer a reference and neutral sound because that gives the best version of what the artist intended to communicate to us.For me personally, when listening to classical music, I have to pay full attention to the the music, following the harmonics and melody. Insofar I cannot let classical music just play in the background. With jazz the degree of attention, I’ve to pay, is smaller and depends on the degree of complexity of the music. If the jazz I listen to, belongs to kind of Hard Bop/Modal Jazz, for me it’s the same as with classical music.
Soul, alternative R&B allow me to completely relax and stop thinking:
For example:
Arlo Parks: Collapsed in Sunbeams
Celeste: Not your muse
What instrument/s were you learning to play? Also wondering what gear has gotten you the closest to neutral?I agree. There are so many flavors of Jazz and Classical music that you can do almost anything with it from a listening perspective. I was a Jazz musician when I was younger. To be good at it, you have to listen to a lot of music to learn what good music is supposed to sound like. We had to take solos from our favorite Jazz artists and transcribe them onto sheet music. Then, we were required to sing anything before we played it so that we could get the proper articulation of every lick and to properly frame the music in our head so that we could use the music to communicate emotion rather than just technically playing notes. It's the difference between sounding "square" and boring vs. swinging and exciting. And, we would spend weeks at time just sight reading music. Jazz isn't about perfect execution of notes (although with time you get there), but more about playing musically and communicating emotion and surprising with misdirection. Then, every week, we had to do the pattern of the week in all 12 keys because the key to a jazz solo is to give people just enough of what they expect to touch upon their familiarity with a chart, and then give them something they don't expect. Patterns are the key to that. You need to be able to play any series of patterns in any key at any time. And, with Big Band Jazz in particular, you need to spend as much time listening to the other instruments for pitch and balance. When I was young, I didn't know how to tell if I were in tune. My director said, just listen and when you are in tune, the chord lights up and you can't miss it. Guess what, It works! All of that training has translated directly into my audiophile listening experience for tuning my system to my own preferences. So, when people say that they want headphones that are more musical, I don't relate to those words because the artist is creating the emotional connection with their music. I prefer a reference and neutral sound because that gives the best version of what the artist intended to communicate to us.
I played Trombone. So, Bill Watrous was my favorite artist. The EE Odin, the HD800S when EQed to Harman, Hifiman Ananda and Blessing 2 Dusk.What instrument/s were you learning to play? Also wondering what gear has gotten you the closest to neutral?
I wonder what the changes in accessories will be.Some news.