DOCSLIB.ORG

The Muse Publication Team Contributing Editor: David Hicks Contributing Editor: Larry Deniston Editor in Chief: Alón Sagee

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Muse Publication Team Contributing Editor: David Hicks Contributing Editor: Larry Deniston Editor in Chief: Alón Sagee Like 0 Share Share: September, 2018 New SFAS Website Update We're getting closer to the new SFAS website launch! We're shooting for September 10, but before we launch the new site we'll need to shut down the current site from September 6 - 9. This will give us time to transition some content and conduct functionality testing. Once the new site is up and running we'll still need to incorporate additional content. Please do let us know your thoughts and comments. AND DON'T MISS OUR SPECTACULAR DOUBLE PRIZE GIVEAWAY HAPPENING AT OUR SEPTEMBER 15th SWEET VINYL - KIRMUSS RECORD CLEANER EVENT!!! See below for details. Thanks! Larry Deniston [email protected] --------------------------------------------------------------------- Chasing Perfection By Albert Dall Hello, and Warm Greetings to the SFAS Membership! Lo and behold, it is nearly Fall on the calendar! And yet, these busy times with work, school, and family life, come with cooler evenings and longer nights that lend themselves to more listening time. Yay! I've been thinking about all of our club events and manufacturer's presentations and how we strive for the betterment and perfection of our systems. There's the reward of research, consideration of components, system layout, and tweaking of the setup. All these factors, lead to some amazing listening experiences. We hear them at home, we see them at shows, we visit manufacturers, and we get to do demonstrations at our club events, all with the goal of making our systems sound more real and involving. But is there ever enough? Don't we all dream of the next speakers, or component, or room, or house, all in the name of better sound and music? I know I do! Literally, I have dreams about listening to music, and sometimes about live performances by my favorite musicians. In dreamland, the music is always perfect! Perfect pitch, perfect balance, perfect stage, and depth. I want this in my home too. That is much easier said than done. I am always looking for and wondering what I can do to make my system sound as good as some of the wonderful setups I've heard over the years. As was demonstrated at Joe Hakim's and the CMS presentation last month, every piece in a system contributes to the total listening experience. When paired correctly, components, cables, isolation racks, footers, room treatment, all add up to a whole that is greater than the sum of individual parts. And no individual piece will give the magic. It takes a whole system with a synergistic effect to make that happen. Lately, to this end, I've been toying with the idea of swapping the positions of my listening couch and speakers. This will be a lot of work. As a first try to see what it might sound like, I've thought of running some long speaker cables from amps to the "new" speaker position about 17ft away. That should give me a basic idea if I'm moving, in the right direction. I'll let you all know if it turns out to be an improvement. This idea of flipping the listening/speaker positions came about a few weeks ago as friends were over for dinner and music. Yes, the amps were warmed up nicely, and wonderful jazz music of Pat Martino played through the house. As always happens, the guests congregated in the kitchen and dining area. The music sounded full, spatial, and natural. After dinner, as my high school buddy and I sat on the couch for some critical listening, the depth and width of stage went away. Bass too. What the heck? We thought we should experiment with finding just the right position of body and speaker. First, we started by turning the speakers 90 degrees so they faced each other, then we took turns sitting directly between them. There was a lot to like! We felt like we were on to something. Progressively we moved the listening spot back into the room and turned the speakers to point at the listener. We eventually found a very nice listening position while sitting on the floor, back against the listening couch's "sweet spot," with the speakers pointed over left and right shoulder. Then, as we raised the height of our preferred position to be equal to sitting on the couch. Bass, definition, and depth of stage went away. It was that position, AND height, that made all the difference! My room cancels things out at an ear height of 38 inches when centered between the walls and 1/3 depth of the living space. It turns out that the dimensions of my living room, and the physics of sound, makes the audio room and home I've built for the last ten years NOT ideal for listening. IN THAT SPOT! So, in the quest for better (perfect) sound, I'm willing to change the whole layout of my living room. I might even change houses! That's how important it is! I imagine a lot of you might feel the same way. So, as I said, I'll let you know how things turn out. And, please, share your own experiments and results. Enjoy your Fall listening! Albert Dall SFAS Director - Amplification Research ------------------------------------------------------------------------------ EVENT CALENDAR The San Francisco Audiophile Society -Presents*- SweetVinyl SugarCube September 15, 2018 1-4 PM You should have already received a registration email for this event at our conference room at The Shops at Hilltop for afternoon with Leo Hoarty and Dan Eakins of SweetVinyl. Leo and Dan will talk about and demonstrate the SugarCube SC-1 and SC-2. These pieces of gear that eliminate pops, clicks and surface noise from your records. Please find the program outline and system description here. PLUS #1 Members attending may enter a drawing to win an SC-1 provided by SweetVinyl! Must be present to win. S orry, guests are not eligible to enter. See the Michael Fremer review of the SugarCube equipment at the following link: Fremer Review. The following is an excerpt from the review: "The SweetVinyl team has been working on this "real time pop and project for a few years now, improving all aspects of the design and bringing each update to audio shows so we can all hear how the project has progressed.. These guys are committed audiophiles and vinyl fans who bring to this years working in Silicon Valley so what you have here is a product that is technically finessed in the digital domain, informed by experience and commitment in the analog world and built to the level audiophiles expect at an unexpectedly reasonable price." Additionally, we'll have a surprise guest joining us - Charles Kirmuss of the Kirmuss In The Groove ultrasonic record restoration system. Charles has been interested in all things audio since the age of six and has extensive background in many facets of the audio industry. For more information on Charles and his company please see the following link: https://www.kirmussaudio.com/about-our-company.html Charles will discus s record manufacturing, the lifetime of a record, what a record encounters and how to conserve vinyl. I'm sure he'd be happy to entertain your questions as well. PLUS #2 Charles is providing an In The Groove record cleaner for a second drawing at this event! Two ground-breaking technologies and two give-aways !!! You won't want to miss this special event! Sorry, guest are not eligible for drawings. ------------------------------------------------------------------------------------- David Gans Interview of John Curl October 20, 2018 Powerhouse legends David Gans and John Curl come together for a Deep Listening Session you won't want to miss. These two have been part of Rock history and will share with you the details surrounding the making of some of the most iconic recordings ever produced! ----------------------------------------------------------------------------------- -- Parasound's Richard Schram and John Curl November 10, 2018 We look forward to another great event with Richard Schram and John Curl of Parasound. Richard and John will talk about new projects they're working on and the latest insights into the audiophile industry. ------------------------------------------------------------------------------------- *Please Note: Only current SFAS members may sign up for events. Members may invite a guest, but must pay the guest's program fee. ------------------------------------------------------------------------------------ Pending Events * A presentation by Kent English of Pass Labs in the Healdsburg area. * A Sys-Hop, of sorts, between the South Bay's Gordon Burwell and John Johnson. * Steve Hoffman, recording engineer extraordinaire * Steve Hoffman, recording engineer extraordinaire * A used gear swap meet for members (let me know if this is of interest at [email protected] - so far we have heard from three people) ------------------------------------------------------------------------------------ Critical Mass Systems August 18, 2018 Event Write-Up by Larry Deniston SFAS Members were once again treated to a very interesting and informative event at Joe Hakim's beautiful home in Soquel. This time the presentation covered the Critical Mass Systems (CMS) MAXXUM equipment rack and CMS 0.8, 1.0 and 1.5 Center Stage2 footers by the founder and president of CMS, Joe Lavrencik. Joe Lavrencik Joe Hakim Joe Hakim kicked off the event by reviewing the equipment in his system which includes Ypsilon electronics; EMM Labs DAC2X v2 DAC; Aurender A10 network streamer; Artisan Fidelity modified Technics SP10MK3 turntable with a Koetsu Blue Lace Platinum cartridge; PS Audio P10 power regenerator; MasterBuilt cables and interconnects; Von Schweikert VR-55 speakers; and Critical Mass Systems (CMS) MAXXUM rack and Center Stage2 footers. Joe H. also talked about the sonic improvements he's experienced since he's added the CMS rack and footers to his system including greater resolution and bass response.
Load more

Recommended publications
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • Jo Jones the Main Man Mp3, Flac, Wma
    Jo Jones The Main Man mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Main Man Country: Brazil Released: 1978 Style: Hard Bop MP3 version RAR size: 1767 mb FLAC version RAR size: 1978 mb WMA version RAR size: 1164 mb Rating: 4.7 Votes: 123 Other Formats: AHX AU VOC DTS WAV WMA DXD Tracklist Hide Credits Goin' To Chicago A1 9:09 Written-By – Basie*, Rushing* I Want To Be Happy A2 4:48 Written-By – Caesar*, Youmans* Adlib A3 8:12 Written-By – Jo Jones Dark Eyes B1 10:20 Arranged By – Buck Clayton Metrical Portions B2 5:51 Written-By – Budd Johnson Old Man River B3 4:25 Written-By – Kern*, Hammerstein* Companies, etc. Phonographic Copyright (p) – Pablo Records Recorded At – RCA Recording Studios Mastered At – Kendun Recorders Distributed By – Companhia Brasileira De Discos Phonogram Manufactured By – Companhia Brasileira De Discos Phonogram Credits Bass – Sam Jones Drums – Jo Jones Engineer – Bob Simpson Guitar – Freddie Green Layout, Design – Gribbitt*, Norman Granz Photography By – Phil Stern Piano – Tommy Flanagan Producer – Norman Granz Tenor Saxophone – Eddie Davis* Trombone – Vic Dickenson Trumpet – Harry Edison, Roy Eldridge Notes Série De Luxo Barcode and Other Identifiers Matrix / Runout (Side A): 2310 799 A Matrix / Runout (Side B): 2310 799 A Mould SID Code (Side A): JA 200 2310 799 A1 Mould SID Code (Side B): JA 200 2310 799 B1 Label Code: 3254 Other versions Category Artist Title (Format) Label Category Country Year The Main Man (LP, 2310-799 Jo Jones Pablo Records 2310-799 US 1977 Album) The Main Man (LP, 2310
    [Show full text]
  • ALBUMS EAG -ES, "HOTEL CALIFORNIA" (Prod
    DFDICATED TO THE NF SINGLES ALBUMS EAG -ES, "HOTEL CALIFORNIA" (prod. by Bill SPINNERS; "YOU'RE THROWING A GOOD LOVE AMERICA, "HARBOR." This trio has Szymczyk) (writers: Felder -Henley - AWAY" (prod. by Thom Bell) (writ- mastered a form-easy-going, soft rock Frey) (pub. not listed) (6:08). Prob- ers: S. Marshall & T. Wortham) built around three-part harmonies and ably America's hottest group on bath (Mighty Three, BMI) (3:36). The group (on its more recent Ips) the sweet pro- the album and singles levels, The has slowed the tempo from its romp- duction and arrangements of George Eagles have followed the stunning ing "Rubberband Man" but main- Martin. "Don't Cry Baby," -Now She's success of "New Kid In Town" with tains the eclectic sound that has Gone" and "Sergeant Darkness" fill the the title track from their platinum made them a major force through- prescription most eloquently. They'll Ip. A mild reggae flavor pervades out pop and souldom. The track is never be in dry dock. Warner Bros. BSK the tune. Asylum 45386. from their forthcoming Ip. Atl. 3382. 3017 (7.98). THE MANHATTANS, "IT FEELS SO GOOD TO THE ISLEY BROTHERS, "THE PRIDE" (prod. by BAC -ëMAN-TURNER OVERDRIVE, "FREE- ItF LOVED SO BAD' (prod. by The The Isley Brothers) (R. Isley-O. Isley- WAYS." With "Freeways," BTO has Manhattans Co./Bobby Martin) (Raze R. Isley-C. Jasper -E.. Isley-M.Isley) reached a new stage of its career. zle Dazzle, BMI) (3:58). The group (Bovina, ASCAP) (3:25). A growling Hinted at previously _but fully devel- opens the tune with one of its by guitar and loping bass sound sets oped now, the group has retained its now obligatory narrative exhorta- the pace for the group's best effort power while moving to a more melody tions which sets the tors.
    [Show full text]
  • Prologue: “I Made Things Work”
    Prologue: “I Made Things Work” The chartered bus carrying impresario Norman Granz and his Jazz at the Philharmonic troupe pulled into the parking lot of the Regent Restaurant in Jackson, Michigan, about sixty-five miles west of Detroit, with a cou- ple of hours to spare before their appearance at the Jackson County Audi- torium on Monday, October 6, 1947. Granz and JATP, as the national concert tours were already known by legions of fans, had been building a reputation for fiery jam sessions of all-star musicians in integrated set- tings since the concerts had begun in his hometown of Los Angeles in July 1944. The bus that night carried Granz, who emceed his shows, and a lineup including tenor saxophonists Coleman Hawkins and Flip Phillips, trumpeter Howard McGhee, trombonist Bill Harris, pianist Hank Jones, drummer J. C. Heard, and bassist Ray Brown—all dressed in tuxedos—as well as the equally resplendent former Count Basie singer Helen Humes. What unfolded at the diner was vintage Granz. An increasingly vocal provocateur on the subject of racism, he had begun campaigning in 1947 for antisegregation contracts across the touring band circuit and without blinking had turned down $100,000 in bookings by promoters who could not abide his terms. As always, it was a headache (though one he gladly bore) finding hotels and restaurants that would accom- modate the racially mixed group. Granz and company often operated from Detroit’s black Gotham Hotel as a temporary hub for concerts in neighboring cities as he strung together smaller dates across the country in between big paydays in the major cities.
    [Show full text]
  • Diplomová Práce
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Diplomová práce Brno 2017 Andrej Farkaš JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra Jazzové interpretace Hra na klavír Oscar Peterson „The Trio“ Diplomová práce Autor práce: Andrej Farkaš Vedoucí práce: MgA. Jan Dalecký Oponent práce: MgA. Jan Přibil Brno 2017 Bibliografický záznam FARKAŠ, Andrej. Oscar Peterson „The Trio“. Brno: Janáčkova akademie múzických umení v Brne, Hudobná fakulta, Katedra jazzové interpretace, 2017. 25 s. Vedoucí diplomovej práce odb.as. MgA. Jan Dalecký. Touto cestou vyslovujem poďakovanie pánovi MgA. Janovi Daleckému za pomoc, odborné vedenie, cenné rady a pripomienky pri vypracovaní mojej bakalárskej diplomovej práce. V Brne dňa 14.5.2017 Anotácia V tejto bakalárskej práci som sa zameral na osobitý štýl Oscara Petersona, jeho riešenie spôsobu fungovania a komunikácie sólového klavíra zo sólovú gitarou. Priblížiť sa k spôsobu, systému, ktorý Oscar Peterson využíval pri svojej hre s Joe Passom. Uviesť príklady, rámcovo sa priblížiť k vyriešeniu problému hrania dvoch harmonických nástrojov súčasne. Kľúčové slová: umelecké cesty, vedenie hlasov, sprievod, dva harmonické nástroje, súzvuk Annotation In this thesis I focused on the distinctive style of Oscar Peterson, his solutions are working and communication of solo piano and solo guitar. Getting closer to the ways of that Oscar Peterson used in their play with Joe Pass. Give an example closer to solving the problem of playing two harmonic Instruments at the same time. Key words: artistic tours, voice management, comping, two harmonic instruments, echoes OBSAH: 1. Úvod 2. Život Oscara Petersona 2.1 Norman Granz 3. Cesta k vzniku Oscar Peterson – „The Trio“ 3.1 „The Trio“ 4.
    [Show full text]
  • Oscar Peterson & Roy Eldridge
    Oscar Peterson Oscar Peterson & Roy Eldridge mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Oscar Peterson & Roy Eldridge Country: US Released: 1975 MP3 version RAR size: 1217 mb FLAC version RAR size: 1410 mb WMA version RAR size: 1900 mb Rating: 4.7 Votes: 313 Other Formats: XM DMF MP1 MOD MPC WMA AA Tracklist A1 Little Jazz 4:45 A2 She's Funny That Way 7:38 A3 The Way You Look Tonight 6:22 B1 Sunday 5:45 B2 Bad Hat Blues 7:34 B3 Between The Devil And The Deep Blue Sea 5:22 B4 Blues For Chu 5:06 Companies, etc. Manufactured By – Pablo Records, Inc. Phonographic Copyright (p) – Pablo Records Recorded At – MGM Recording Studios Credits Photography By – Phil Stern Piano, Organ – Oscar Peterson Producer – Norman Granz Trumpet – Roy Eldridge Other versions Title Category Artist Label Category Country Year (Format) Oscar Peterson Oscar & Roy Eldridge Peterson & - Oscar 2310 739 Pablo Records 2310 739 UK 1975 Roy Peterson & Eldridge Roy Eldridge (LP, Album) Oscar Oscar Peterson, Roy Peterson, Eldridge - 2310 739 Pablo Records 2310 739 Germany 1975 Roy Oscar Peterson Eldridge & Roy Eldridge (LP) Oscar Peterson Oscar & Roy Eldridge Peterson & - Oscar PN 4048 Pablo Records PN 4048 Spain 1984 Roy Peterson & Eldridge Roy Eldridge (LP, Album) Oscar Peterson Oscar & Roy Eldridge Peterson & - Oscar 2310 739 Pablo Records 2310 739 Brazil 1977 Roy Peterson & Eldridge Roy Eldridge (LP, Album) Oscar Peterson Original Jazz & Roy Eldridge Oscar Classics, Pablo - Oscar Peterson & Records, 00025218672726 Peterson & 00025218672726 Europe Unknown
    [Show full text]
  • Eddie Preston: Texas Trumpeter Fallen Through the Cracks Dave Oliphant
    Eddie Preston: Texas Trumpeter Fallen Through the Cracks Dave Oliphant 8 Photo of Eddie Preston from the album Charles Mingus in Paris. Courtesy Christian Rose and Sunnyside Communications. Identifying a jazz musician’s place of birth has interested me ever since my parents gave me a copy of Leonard Feather’s 1962 The New Edition of The Encyclopedia of Jazz. Some thirty years later it became essential for me to know which musicians hailed from my home state of Texas, once I had taken on the task of writing about Texans in jazz history. As a result of this quest for knowledge, I discovered, among other things, that guitarist, trombonist, and 9 composer-arranger Eddie Durham was born and raised in San Marcos, home to Texas State University. Although I never worked my way systematically through the Feather encyclopedia or any subsequent volumes devoted to the identification of musicians’ places and dates of birth, I mistakenly felt confident that I had checked every musician on any album I had acquired over the years to see if he or she was a native Texan. Following the 1996 publication of Texan Jazz, my survey of Texas jazz musicians, I discovered a few Texans and their recordings that I had not been aware of previously. When the opportunity arose, I included them in other publications, such as my 2002 study The Early Swing Era, 1930 to 1941, and my essay “Texan Jazz, 1920- 1950,” included in The Roots of Texas Music. Despite my best efforts to trace the origins of the many jazz musicians I chronicled, it took years before I realized that Eddie Preston (a trumpeter who was born in Dallas in 1925 and died in Palm Coast, Florida, in 2009) was a native of the Lone Star State.
    [Show full text]
  • Airwaves (1980-06)
    AIRW\VES · A Service of Continuing Education and Extension - lm University of Minnesota, DL:Jluth VO~. 1, NUMBER 8 JUNE 1980 A CONVERSATION WITH SONNY ROLLINS SEE PAGE 6 Give a. Gift of Music Give a gift membership in WDTH to someone you love. They will receive "Airwaves" free of charge for a year, as well as the satisfaction of supporting a worthwhile cause. Your donation is TAX DEDUCTIBLE. I'd like to buy a gift membership for: Name ______________________ Street ------'--------------------- City _________ State _______ Zip ____ Enclosed is my membership check for: $20 regular $30 family $10 fixed income & students $50 sustaining $100 Century Club Other___ _ Mail to: WDTH, 130 H, UMD, Duluth, Minnesota 55812 2 \.... I SUPPORT PUBLIC the Listener RADIO Reoort Airwaves is a monthly publication of WDTH-FM, the public radio station at the University of Minne- MARATHON! to be sure that we weren't going coming months, and it could set the sota. Duluth. A yearly membership anywhere. stage for a renovation of our space in the in WDTH costs just $20. Member- Two hundred sixty-three new members future. ship entitles you to receive "Air- and 90 members ofWDTH from the fall It's impossible to stay disappointed waves" mailed directly to your marathon pledged $6,500 to WDTH with someone like that in your corner, SENIORS PROJECT home. during our pledge weekend May 16, 17, and with 900 people like that, I can't be and 18. While we fell short of our goal, anything but ecstatic. We were stunned to receive news that Write or call us at University of the total for the year still works out to an our seniors project would not be funded Minnesota, Duluth, 130 Humani- impressive $21,500 from 900 pledgers.
    [Show full text]
  • LP Inventory
    Allen Red Ride, Red, Ride RCA $ 5 Allen Red With Coleman Hawkins Smithsonian $ 5 Allen Red Live at the Roundtable Forum Records $ 5 Allen Steve With Gus Bivona - Music For Swingers Mercury $ 5 Allison Mose Ever Since The World Ended Blue Note $ 5 Alpert Herb Going Places A&M Records $ 5 Alpert Herb South of the Border A&M Records $ 5 Armstrong Louis Ambassador Satch Columbia Hi Fidelity $ 5 Armstrong Louis With the Dukes of Dixieland Audio Fidelity $ 5 Armstrong Louis Greatest Of Columbia Records $ 5 Armstrong Louis Hot Fives and Hot Sevens Columbia Masterpieces $ 5 Armstrong Louis Live Recording Polskie Records $ 5 Armstrong Louis Plays W.C. Handy Columbia $ 5 Armstrong Louis The Greatest of L. Armstrong Columbia $ 5 Armstrong Louis The Hot 5’s and Hot 7’s Columbia Masterpieces $ 5 Armstrong Louis Giants of Jazz Series Time-Life $ 10 Armstrong Louis Town Hall Concert RCA $ 5 Artin Tom Condon’s Hot Lunch Slide Records $ 5 Astaire Fred Starring Fred Astaire Columbia $ 5 Auld George Manhattan Coral Records $ 5 Ballou Monte Moving Willie’s Grave $ 5 Barefield Eddie Indestructible Eddie Barefield Famous Records $ 5 Barnet Charlie Best Of MCA $ 5 Basie Count Basie's Basement feat. Jimmy Rushing $ 5 Basie Count Basie's Best Columbia $ 5 Basie Count Best Of Decca $ 5 Basie Count Blues By Basie Columbia (set of four ’78 discs $ 10 Basie Count Good Morning Blues $ 5 Basie Count In Kansas City 1930-32 RCA $ 5 Basie Count The Count RCA Camden $ 5 Basie Count The Count’s Men $ 5 Basie Count & Duke Ellington Great Jazz 1940 Jazz Anthology $ 5 Basie
    [Show full text]
  • Joe Pass Ira, George, and Joe Mp3, Flac, Wma
    Joe Pass Ira, George, And Joe mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Ira, George, And Joe Country: Europe MP3 version RAR size: 1259 mb FLAC version RAR size: 1930 mb WMA version RAR size: 1702 mb Rating: 4.8 Votes: 983 Other Formats: WAV MP3 AHX AC3 APE AIFF WMA Tracklist 1 Bidin' My Time 5:02 2 How Long Has This Been Going On 3:22 3 Soon 3:52 4 Lady Be Good 4:23 5 But Not For Me 3:13 6 A Foggy Day 2:43 7 It Ain't Neccesarily So 5:47 8 Love Is Here To Stay 5:05 9 'S Wonderful 3:22 10 Nice Work If You Can Get It 3:40 11 Embraceable You 4:38 Credits Bass – Jim Hughart Drums – Shelly Manne Engineer – Dennis Sands Guitar [Rhythm] – John Pisano Producer – Norman Granz Remastered By – Phil De Lancie Notes Digital remastering, 1994--Phil De Lancie (Fantasy Studios, Berkeley) Barcode and Other Identifiers Barcode: 025218682824 Other versions Category Artist Title (Format) Label Category Country Year Ira, George And Joe - Joe 2312 133 Joe Pass Pass Loves Gershwin Pablo Records 2312 133 US 1982 (LP) Original Jazz Ira, George, And Joe OJCCD 828-2 Joe Pass Classics, Pablo OJCCD 828-2 US 1994 (CD, Album, RM) Records Original Jazz Ira, George, And Joe OJCCD 828-2 Joe Pass Classics, Pablo OJCCD 828-2 Germany 1994 (CD, Album, RE, RM) Records "Ira, George, And Joe" Pablo Records, 2312-133 Joe Pass Joe Pass Loves Gershwin 2312-133 Germany 1982 Pablo Today (LP, Album) "Ira, George, And Joe" 2312-133 Joe Pass Joe Pass Loves Gershwin Pablo Today 2312-133 Germany Unknown (CD, Album) Related Music albums to Ira, George, And Joe by Joe
    [Show full text]
  • Ella Fitzgerald from Wikipedia, the Free Encyclopedia
    Ella Fitzgerald From Wikipedia, the free encyclopedia Background information Birth name Ella Jane Fitzgerald Born April 25, 1917 Newport News, Virginia, United States Died June 15, 1996 (aged 79) Beverly Hills, California, United States Genres Swing, bebop, traditional pop, vocal jazz Occupation(s) Singer, actress Instruments Vocals Years active 1934–1993 Labels Capitol, Decca, Pablo, Reprise, Verve, Brunswick, HMV Website ellafitzgerald.com Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer often referred to as the First Lady of Song, Queen of Jazz, and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing. After tumultuous teenage years, Fitzgerald found stability in musical success with performances on many stages in the Harlem area, including her rendition of the nursery rhyme "A-Tisket, A-Tasket" that helped boost her to fame. In 1942, Fitzgerald left the amateur performances behind, signed a deal with Decca Records, and started her solo career by redefining the art of scat singing. It was not until her manager, Norman Granz, built Verve Records based on her vocal abilities that she recorded some of her more widely noted works. Under this label, Fitzgerald focused more on singing than scatting, providing perhaps her most career-defining works in her interpretation of the Great American Songbook. While Fitzgerald appeared in movies and as guests on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and Bill Kenny and the Ink Spots were some of her most notable acts outside of her solo career.
    [Show full text]
  • Jazzletter“ ” F ' L F 93022 JUHC I987 J
    GGHB LEGS P.O. BOX 1305 V Oak View, Calif. Jazzletter“ ” f ' l F 93022 JUHC I987 J . e - Vol. 6 N0. 6 A Farewell to Granz J. playermnd M mlinliim his devotion to tennis, for which he has a considerable talent. feet tall, with thinningfair hair, he is a ,ln January of this year, Fantasy Records announced the handsome whose eyebrows curve-upward in a manner acquisition of Pablo Records. Pablo thus became part of a repcatediyidgseribed as Mephistophilean. He speaks softly in a complex of labels that already included Contemporary, Debut, cultivated vole: with the qentalized t’s -and d‘s one often Fantasy itself, Galaxy, Good Time Jazz, Milestone. Riverside, encountersin natives ofthe New York area. Granz, however, was and Prestige. Fantasy is collectively the biggest jazz record born not in New York but Los Angeles. ' . ~ . company in the world, unique in that its jazz albums are not the when the Pablo A material arrived at Fantasy, it was sidelineof a pop label owned in turn by an international accompanied by negligible documentation on the history of the conglomerate but the very foundation and lifeblood of the company or Gram. But with his seconddeparture from the organization. And do not underestimate the size of Fantasy. lt is record business, are would do wellto take a closer look at this also a major maker ofmovies, including such films ofdistinction considerable figure,one ofa very small group ofmen who, while as One Flew Over the Cuckools Nest and~/lmadeus. not jazz musicians themselves, influenced the course of the , The material Fantasy now controls — by Thelonious? Monk, musics history.
    [Show full text]