Thanks for this post - it catches me just as I am refreshing my audiophile bent with the discovery of what a decent DAC/headphone amp can do for my decent planars. It opened 'Never will I Marry' right up. What you know about jazz is clearly beyond anything I know, but I have heard some of the real thing in my 60s NY experience - Mingus at the 5 Spot, and hung at Slugs on 3rd street and heard some keyless direct brain to brain sonic energy transfers that put one into instant overdrive and kept it there, but that only work live. I'm primarily a visual artist, but know there is something precious and unique in Jazz that I can still experience - so thanks for the many tips. Finally, good point about the inability of classical musos to improvise. Yup, I knew a father and son team who played cello for the Philadelphia symphony orchestra and they played a several pieces for two cellos for me and my wife on a Sunday afternoon in the 60s. When they had finished they said that was all the pieces ever written for 2 cellos! I asked if they every just improvised - noodled around together - in a musical conversation. They said no as if the question was somehow not relevant. "Never taught chord progressions." is the first explanation I've encountered for this curious lack.
Love Salvant! Discovered her on a DC Jazz radio station about 10 years ago.
Thanks for this post - it catches me just as I am refreshing my audiophile bent with the discovery of what a decent DAC/headphone amp can do for my decent planars. It opened 'Never will I Marry' right up. What you know about jazz is clearly beyond anything I know, but I have heard some of the real thing in my 60s NY experience - Mingus at the 5 Spot, and hung at Slugs on 3rd street and heard some keyless direct brain to brain sonic energy transfers that put one into instant overdrive and kept it there, but that only work live. I'm primarily a visual artist, but know there is something precious and unique in Jazz that I can still experience - so thanks for the many tips. Finally, good point about the inability of classical musos to improvise. Yup, I knew a father and son team who played cello for the Philadelphia symphony orchestra and they played a several pieces for two cellos for me and my wife on a Sunday afternoon in the 60s. When they had finished they said that was all the pieces ever written for 2 cellos! I asked if they every just improvised - noodled around together - in a musical conversation. They said no as if the question was somehow not relevant. "Never taught chord progressions." is the first explanation I've encountered for this curious lack.