Jazz for aficionados

Learsfool,
Well said.As much as I truly enjoy listening to jazz with my system, it won't ever replace the feel and vibe I experience at the jazz clubs I frequently attend. There's no substitute.
Regards,

Rok, thanks for "getting" where I am coming from. Too much great music out there to spend time bashing. Analysis and criticism is a different matter altogether, and serves to gain a deeper understanding of the music, IMO. No artist should be put on such a high pedestal that they are above it; and most of the great ones would be the first to admit it.

Learsfool, great comments. I couldn't agree more with your comments re live performances vs. studio "performances"; that is precisely the reason that at least half of the links that I have posted here are live perfs. A while ago I made a comment in a thread (don't remember which) about the fact that some musicians (mostly older guys) feel that the advent of recording technology was "the beginning of the end". I was berated by some for that comment, which while overly pessimistic has truth in it; as you point out. Now, the beautiful thing about many of the classic recordings that we are talking about (classic Blue Notes, Prestige, etc.) is that digital editing was not part of the process back then, and in spite of some manipulation (balance, multiple takes etc.) they give us a much better representation of what the players could do than most of the recordings today. As you point out, many would be shocked at how, in some cases today, a solo is "composed" in the mixing room by taking the first four bars of the first take, the middle twelve from the third take, the bridge from the fourth take, and then back to the first take for the last sixteen; not to mention "fixing" fracks and squeaks. Even a singer's faulty pitch can be fixed in the booth with today's technology. Of course, the artists with the most integrity refuse to do much of this sort of thing, if at all.

"in some cases today, a solo is "composed" in the mixing room by taking the first four bars of the first take, the middle twelve from the third take, the bridge from the fourth take, and then back to the first take for the last sixteen;

This is depressing. Frogman you have shattered all our illusions. What's next? That was not Miles blowing on 'kind of blue'. Miles was sick that day, his cousin Jerome took his place?

Like watching sausage being made. It's best not to watch or know some things.

And all this time I thought I was listening to spontaneous improvisation. So instead of jamming with 'Mingus at Antibes', I was actually jamming with Igor Fixitstein, the control room guy!

Too Much Information!

Cheers

And not very good sausage at that! But fear not, most of the players that do that kind of thing are not worth listening to anyway.