erhodes

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About erhodes

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  1. "South African Jazz"

    Whew... Many thanks for this info, Dave. You are correct viz. MalwareBytes though I let my premium lapse. That's what initially alerted me to the problem, though. I'm going to follow your advice...and proceed with caution. Looking forward to hearing some of the material at electricjive.
  2. "South African Jazz"

    Following up on some older posts regarding the electricjive site, can anyone comment on their experience with mediafire? My malwarebytes explodes when I have tried to follow the download links, though I have done so much more recently than the posts that cited electricjive. Any comments or advice would be welcome.
  3. Cecil Taylor RIP

    Huh... Murray did talk about it here.
  4. Cecil Taylor RIP

    Previous thread ...and... http://www.organissimo.org/forum/index.php?/topic/39766-roscoe-mitchell-brings-jazz-history-to-mills/ Re: broken wrists... This from an old Cecil discography by Mike Hames. It's part of the notes for an entry dated March-April 1964, the Bennington College performance and panel. "Cecil Taylor seems to have played very few gigs in 1964 - partly because he was attacked in May, 1964 and had his wrist broken." Sunny Murray's references to "gangsters" was usually about his own recordings. He used that term to describe the people at BYG. I know of no instance in which he used it to describe people in connection with Cecil's recordings.
  5. Milford Graves documentary

    Full Mantis
  6. October Revolution in Jazz 1964... Any recordings?

    Indeed. Pages 345-347 have a detailed listing of the bands and some of the sidemen. The band detail is interesting. October 1 Joe Manieri Ali Jackson Quartet John Tchicai/Roswell Rudd/Lewis Worrel, w/ Milford Graves (d) Paul Bley Quentet (the "Barrage" band w/ Marshall Allen, Dewey Johnson, Eddie Gomez, Milford Graves) Jimmy Giuffre (unaccompanied ts) Charles Wittenberg (b, others?) October 2 Joe Scianni-David Izenson Julian Hayter (g) Quartet Martin Siegel (p) Quartet Bobby Brown (as) Quartet Alan Silva Trio, possibly Burton Green, Clarence Walker October 3 Giuseppi Logan Trio (but it's a quartet), Lewis Worrell, Don Pullen, Milford Graves Arthur Keyes (p) Octet Barry Milroad (p) Duo Louis Brown (ts) Quartet, possibly Larry Willis (p) Bill Dixon Sextet w/ Giuseppi Logan, Rob Rolston, Gary Porter, Reggie Johnson, Rashied Ali October 4 Valdo Williams (p) Trio Ken McIntyre Octet Sun Ra Sextet Don Heckman (as) Octet w/ Don Friedman, Alan Silva, Joe Hunt, Sheila Jordan Midge Pike (b) Duo Robert Wales (solo p) Free Form Improvisational Ensemble- John Winter, Gary William Friedman, Burton Greene, Alan Silva, Clarence Walker Of these, only the Dixon set from October 3 is listed as having been recorded. This is not what folks might expect from, say, a survey of ESP releases from 1964. Anyone who is interested in the October Revolution, the Four Days In December or the Jazz Composers Guild should be referencing Dixonia. It's all there.
  7. Chris DeVito, who authored the chronology section of the Coltrane Reference, had a heart attack on Monday night. He underwent triple bypass surgery today and will undergo another procedure tomorrow. His wife, Julia, reports that Chris was upbeat going into the surgery and that it went well. He is looking at an extended period of recovery. I believe Chris is largely a lurker on this board but he has posted every once in awhile and I think that many here are familiar with his work. Please keep him in your thoughts and prayers. I will update the board as I get new information. Ed Rhodes
  8. I was at the Village Theater concert from February(?) 1967 that was partly released on the Impulse album.
  9. iPhone music.

    An alternative approach. Solves some problems but raises others. I have an old computer running Windows XP connected to my hifi via a sound card that has RCA jacks, stereo inputs and outputs. The computer connects to my preamp through the tape inputs and outputs. I use Wave Lab and Sound Forge both of which are, I believe, what is known as "mastering" software. Any analogue source - any record that I can play on my system, tape (reel-to-reel and cassette) and even my FM tuner - can be captured in this rig. The software records the analogue source as a WAV file. Both packages can burn CD's from the WAV files or save them in another format to export to something else. Both come bundled with a bunch of plug-ins for a wide range of "effects" that can be used to edit and manipulate the files. The Wave Lab package can use the effects from Sound Forge. Not sure if that works in the other direction. If I chose to do so, I could have iTunes import any of these WAV files and convert them to whatever format I was using in iTunes. My iTunes is on another computer and they are not connected over my network so it's a cumbersome manual process for me but it doesn't have to be so. I may fix that one day. The problems with this approach are, Finding a sound card with RCA jacks. I had to buy a used one on ebay. Most modern 3rd party sound cards are concerned with things like midi interfaces, etc. Wave Lab, Sound Forge and other similar packages are expensive. It might be possible to use some of the other software noted in this and other threads on analogue to digital conversion. The benefits are that I get whatever sound quality I have from my regular analogue playback rig. And once it's set up (not a trivial matter) it's done. I set my preamp to whatever input I want to record from and then use my computer the way I once used a tape deck. Hit the record button and go... The Tascam would be, in a sense, a substitute for a hard drive and a cumbersome way around the issue of finding a sound card that will interface with your hifi. I suppose it's doable but if you are looking to embark on a long term, heavy duty project I would at least investigate this alternative. It would work on any Windows or Mac platform. But you do need the sound card and the software.
  10. Dither

    Thanks to those that responded and especially to mjzee for the links. I found a few links of my own which are highly technical and which don't resolve the issue. The best I can get from these sources and this Organissimo discussion is that dither is used to record live performances and when reducing a file's bit count, e.g., from 20 or 24 to 16 bits. I can find no instance where dither is specifically recommended for digital dubbing of an analogue source and that appears to be consistent with the consensus in this thread. Again, many thanks to all.
  11. Dither

    Apparently it is various forms of white and pink noise that your software actually ads to the recording. For a number of very obscure and highly technical reasons it's supposed to improve the dynamic range of digital recordings and, according to some claims, improve the overall sound. I use Wave Lab and it has a number of dithering alogorithms but the instructions are sketchy. If you are digitally recording a live band dither seems to be obligatory but I'm less clear about using it to digitize, say, my lp's. Have been doing that for a long time, never used the dither function. Just wanted to know if anyone else has experience with it or understands when it should be used.
  12. Overlooked Saxophonists

    Danny Davis.
  13. Dither

    Is dither required or advisable when you are digitizing things like lp's or analogue tape? I have software with a variety of dither algorithms but the instructions seem to be referring to recordings of live music. If dither is to be used to dub analogue recordings, does anyone have advise on which algorithms would be best for that purpose?
  14. Sonny in 1957.

    Anything is possible but this is unlikely. Losin lists no such session. Neither does the Coltrane reference. Rollins was leading his own band at this time and Trane was with Monk. The Miles/Sonny/Trane set that is referenced in the "literature" is at the Audobon Ballroom circa 1949-50. This is set at which Sonny "ruled", according to Jackie McLean. It wasn't recorded.
  15. John Coltrane with Johnny Hodges 1954

    This is a Boris Rose recording. The original issue is https://www.discogs.com/Johnny-Hodges-At-A-Dance-In-A-Studio-On-Radio/release/4429593 Date and location has traditionally been given as Los Angeles, June-early July 1954. It's been re-bootlegged numerous times. Coltrane recorded commercially with Hodges but those records have no Coltrane solos.