How about Alan Parson Project songs, sound to me very well recorded as well, no wonder 
http://www.youtube.com/watch?v=COTR5NiHkCc

Yes that Wynton recording is quite modern and its quite a live recording at that. You know what is cool about that recording though is he fact they have got the drums panned hard left and the piano hard right. There is virtually no drums on the piano channel and visa versa. They must still have been close enough to hear each other. It is a great example of mic placement. Because there is so much room in that recording they may have used mics in figure 8 patterns in various configs. eg Blumlein or MS

Here is a nice example of the sort of thing I am talking about.

http://grooveshark.com/#!..ay+Is+Done/2uJEv4?src=5

It is Brad Mehldau trio playing a tune called 'Day is Done' from one of his recent albums. Drums (and piano and bass) could never sound this good years ago. I must also point out the the CD sounds much better. You are probably listening to a compressed mp3 with this on GrooveShark. Not sure what their resolutions are.  

Check out the 3 bass solos first with the first two and octave up and then the third down and a key change (down a half step) before the piano solo.  And key changes before various choruses.

sharke

jbow

Having some fun listening to 1920's jazz today and stumbled on this recent homage recording. The "sound" just dropped my jaw: http://grooveshark.com/s/...ng+Oliver/1OUTms?src=5

That is amazing for something from the 20s. BTW, I got a malware warning about the Grooveshark website from Google. I listened to a bit anyway, malware doesn't bother me much anymore... it is just like a fly, I can kill it... but I don't think I got anything, Norton didn't give me a warning and N-360 is pretty good at it. It has kept me computer clean, I think W-7 has helped too. Anyway, the trumpet fidelity is pretty amazing for that time period, I agree.


J

It's not from the 20's, it's a modern recording. 

Additionally, my olpal, pointed out that it is a sound-a-like of a song that was written by Sy Oliver, circa 1941, that was popularized by the Tommy Dorsey Band.

I had been listening to King Oliver tunes from the late 1920s and then stumbled on this recent recording because of the title being found by the search.




Grooveshark receives a lot of criticisms... many of them seem to be valid. I've never had a malware warning pop up. I would not have linked to something I knew had that sort of issue. I'm sorry you had to encounter that. Maybe it is browser specific? I don't allow popups, maybe it was something in the popups? Thanks for passing on the info about that.


best regards,
mike

Hi Mike, I am glad you liked Brad Mehldau. They are all amazing in that trio and just when you thought you had heard it all in terms of the Jazz trio eg Piano, Bass and Drums someone like Brad comes along and redefines it. They say he will go down in Jazz history as someone who created a very unique and original sound for this very standard line up.

The CD's are very nice sounding, all of them. Brad has done pop covers too from bands such as Radiohead and re interpreted them into a great modern jazz trio setting. 

Original here:

http://www.youtube.com/watch?v=CJ1iMQA0egc

Brad version:

http://www.youtube.com/watch?v=IaXHgdUirkE

My son says he is going to end up playing in that trio and the way he is going lately I don't doubt it. Frank Gambale recently told me when he was here in Melbourne he has always dreamed of playing with Return to Forever and after many years he actually got to do just that with their recent world tour. He had to pinch himself to make sure it was not all a dream.

Speaking of modern recordings too Any Chick Corea album is going to sound pretty nice especially any late digital releases. That engineer actually came out and mixed the live shows and I was sitting a few rows in front of the console and it sounded amazing.

I ALSO THINK SOME OF THE BEST RECORDINGS EVER MADE WERE FROM LATE 50S THRU 60S. LISTEN TO SOME ORIGINAL RELEASE EDDIE ARNOLD, JIM REEVES, MARTY ROBBINS ... 

...and I'm sure everyone has heard about the (early at least) Motown recordings done in a basement with a dirt floor on a three track controlled from the back porch. The place and the gear isn't nearly as important as the talent. I am convinced that there is a magic when the singer and band are all together in a room recording that most people cannot replicate with the modern "one track at a time" method... though some certainly can. Tom Scholtz did a pretty good job on the first Boston album. Will Owsley (RIP) did a great job on his first album: Owsley. http://en.wikipedia.org/wiki/Owsley_(musician) 

Then there was Emitt Rhodes: ...in the early 1970s, he was "one of the finest artists on the music scene today," according to Billboard. At age 20, he'd already recorded "one of best albums of the decade" -- singlehandedly.
http://www.youtube.com/watch?v=cPDy6m1S-rQ

Harry Fox agency has a lock on Emitt's song Lullaby for some reason.. 

Julien

Hi,

We just had this discussion on the PA board, although it was on a different type of thing ... it had started as an analog/digital thing.

In the end, and this had come up on my review of Steven Wilson's rehashes of King Crimson albums, was that any recording, be it analog, or digital, or 1920 or 2010 ... is not as important as the "moment itself" or the "second" that was recorded ... which helps us remember it forever.

In essence, it is not the recording that is "good" as much as the moment itself crystalized beautifully and made any recording process sound better.

The rest is so subjective, that it has a tendency to take away from the music itself and the artistry involved!

But yes, the CHB is probably impeccably recorded and deserves some credit for its excellent care to detail in doing so, and I guess Bapu needs a pat in the back on this, but then, so does everyone else involved that more than likely made sure Bapu was on his toes and not in asleep!

mike_mccue


Hi Mosh,
I think I feel similarly.

I'm guessing...  are you an admirer of Henri Cartier Bresson?


best regards,
mike

Photography is a lost art ... mostly because so much of it is lost in the commercial world, and folks do not know/see the difference.
 
I used to think that photography hurts art, and then I saw "La Belle Noiseusse" which most people can't handle as it is 4 hours long and many people do not enjoy seeing a painting ... come to life ... while the subject simply stands there ... which I think was the sexy temptation that was driving so many people crazy in the audience of the film, btw!
 
Now, I do not. Photography was ok. Many were good, and many were not. Some knew that "moment" and "second in time" and always found it, and it was my "secret" on stage and film in directing ... I always found that special moment and knew how to help it bet better.
 
I wish I could say the same thing for music, or even the CHB, but I doubt I will ever be asked for a suggestion ... I really wanted to be a part of that choir, even though my voice is worse than a cracked actor, but I know how to get around that to do something with it ... but no one will ever have an interest in something odd, weird, witty, strange ... that helps what's already there ... it's not different than another cowbell, if you will! Well placed, at the right time ... boom ... it becomes bigger than it really is! I'm not sure that the majority of today's musicians are open to experimentation and fun, and something different from anyone else.
 
In the end, it wasn't the camera, or the paint that made it!
 
It was the person behind it! It was his/her own feeling that brought it to life! I don't think that we should EVER ignore that ... that effort alone is priceless!

you might want to give this a shot:

http://www.enjoythemusic..../classical/richter.htm





best,
mike

yorolpalWhere you come from is gone...where you thought you were goin to weren't never there...and where you are ain't no good unless you can get away from it.

 
Wish more musicians understood this! Don't you? ... we might have a lot less rock'n'roll, though .... !!!