Scott Dolan

Very interesting! Now I know I must revisit it. I think I've listened to it all of two times since I bought (which was actually within the past two or three years, IIRC), it simply didn't grab me (for whatever reason), and I never returned to it. I almost wonder if there is some latent genetic code that's triggered once you decide on either Coltrane or Rollins. You know, similar to "having to choose"between The Beatles and the Stones. An when that code is triggered you subconsciously develop a slightly dismissive attitude towards "the other". Perhaps that's too harsh, but I think you can get where I'm coming from. Either way, Way Out West will be next up in my queue. Maybe I'll spend some quality headphone time with it in the morning before the sun comes up.

I respectfully disagree, but fair enough. So, do they both qualify as literature, or not?

Can you please expand on how lyrics and poetry are completely different disciplines? I just don't see it.

Way Out West is one I need to revisit. I'm actually glad you mentioned it. I'm surprised his Village Vanguard date hasn't made an appearance here yet.

Honestly, just stop it. Literature is an artistic endeavor. It has zero to do with copy, job applications, and work orders. What's your next line of argument, brushing your teeth each night makes you a dentist?

Free of any context, I doubt you, I, or anyone else could read a poem and a set of lyrics and know which was which. Words on parchment, paper, walls, or screens. It's all writing. It's all literature. It's all written work.

What the difference between song lyrics and poetry, aside from the fact that one is usually set to music and the other one isn't?

Ah, now I dig it even more. If it speaks to you, it speaks to you. But, is there no upper echelon? We could all list 100 recordings, or more, that speak to us. I just think there are an elite few who had something more to say... Does that make sense?

Fair enough. And by no means do I mean to denigrate any recordings prior to 1940. My previous response didn't make that point clear. I just wondered what your answer to the question was. I guess "albums" becomes a tricky word in this case. Perhaps I should have said "recordings" as to encompass the decades before long players became the accepted norm. Mind blown! And I LOVE this! Excellent addition to the conversation!

Right. And that's what I was getting at. If the original source is an already finished analog recording (which is what we're talking about), then I wouldn't think dithering would be necessary. Now, if this is a recording in a studio that hasn't been mastered yet, OK. That's an excellent analogy. But again, we're talking about a source that's already mastered and pressed to whatever medium. Right? And if that's the case, the "fuzziness" (harmonic distortion) would already be in the source material. Can you expand on that, xybert? Why would the bitrate change how the source material sounded? This is actually a very fascinating subject.

Ok, that makes sense. I'd love to hear an A->B test so I could understand the difference better. My only thought is that if you're starting with an analog source, wouldn't the harmonic distortion already be there?

I'm not sure. Perhaps the sonic quality and the relative "juvenile" phase of the art form conspire to keep them from being considered "pinnacle" recordings? What dies it say in your opinion? Bebop is my ultimate starting point, not that I can't listen to earlier forms and enjoy them.

Perhaps if Kevin Bresnahan sees this he can weigh in with the facts, but as far as I know, digital has far more dynamic range than analog to begin with. So I have no idea why "improving" the dynamic range of the digital copy would be necessary or beneficial whatsoever.

NICE! Please review them in the audio forum once you've settled in with them. I've heard they are the shit.

Hmmm... i can dig that. But, IMO, it cheapens the meaning of transcendent. Again, that is strictly my opinion.

I guess I'm one of the only ones here that finds some Jazz albums transcendent? Sure, there are hundreds, if not thousands , of great Jazz albums. The point is to get at the ones that are, or at least were, a transcendent experience for you. If we went to ten, Brilliant Corners would definitely make my list. Possibly Crescent as well. Not entirely sure, but it's definitely my favorite Coltrane album from 1964. Love this list as well. Nice to see Oliver Nelson show up in this thread one and a half times now. And anything from Miles second quintet is worthy, IMO. The 1964 Concert/Four And More with Coleman on tenor would likely be in my top ten.

That could be an interesting thread as well! Why not start it, David?

I have no idea if this is the correct sub forum to post this in, but let's give it a shot. A charge I'm usually stuck with around here is that I never talk about Jazz. While untrue, I do admit that I pretty much talked about Jazz here and at the erstwhile Jazz Corner mostly in the previous decade. So I thought perhaps it wouldn't be a bad time to discuss our top five Jazz albums of all time. It might lead to some interesting discussion, who knows? I won't spend a lot of time expounding on why each of these are in my top five, but hope we can organically create a great discussion while revisiting the albums that spoke to us the most. Whether in our formative years, or some time later. As odd as it seems, I found the world of Jazz via Frank Zappa. I spent about a year listening to nothing BUT Zappa recordings. And there is no embellishment there. While reading Ben Watson's Negative Dialectics Of Poodle Play, a book about his own journey through the Zappa universe, names I kept seeing come up (aside from Adorno) were Miles Davis, John Coltrane, and Eric Dolphy. Tying these names to Zappa intrigued me, so I set out to find out a little more about Jazz. After doing some pre-internet days homework, I found that Kind Of Blue was the gold standard of Jazz music. So, I purchased it, and the journey began. I'll admit it took about ten listens before it finally hit me like a ton of bricks! Listens 1-9 left me bored to tears. But that tenth, oh man... So, in particular order (I think): 1. First Meditations - John Coltrane Everyone has their own number one Jazz album, and I may be the only one to have this AS my all time favorite. It will never be listed amongst the best Jazz albums of all time, but this album just blew me away on so many levels. This is, IMO, McCoy Tyner's finest moment with the Classic Quartet. As close to Classical Music as I've ever found in the Jazz genre. 2. Sun Ship - John Coltrane OK, I admit it. The Classic Quartet from 1965 is the apotheosis of recorded sound for me. I could easily list every release of their's from that year as my number one Jazz album(s) of all time. Very different from First Meditations flowing beauty, this is far more angular, hard-edged, almost...angry. When Coltrane jumps into his solo with both feet on the title track, I STILL get goosebumps! Perhaps his otherworldly forays with Pharaoh in the following years was more so, but I think this is arguably his most ferocious solo. 3. Spiritual Unity - Albert Ayler Trio Very odd story to this one. I was on a treadmill with Virgin Free Radio's avant garde Jazz station playing on my computer when this album came on. I think it was the first variation of Ghosts. And similar to when Kind Of Blue finally hit me, this was like a bolt from the blue! At the time it was one of the craziest, yet most beautiful, things I'd ever heard. This album still feels like a physical shock of some sort. I don't know that I hear it as much as I "experience" it. Hey man, they were just warming up, right? 4. Kind Of Blue - Miles Davis I'm sure I could say something insightful and interesting about this album, but it would only be redundant. All Blues remains the only lengthy Jazz tune that I can play note for note in my head. I never realized just how full of spit Cannonall and Coltrane's horns were until I put my current system together and my wife asks, "why does it sound so static-y?" I don't care if the legends behind this session are factual, they are true to me. Jimmy switching to his ride as Miles starts his solo on All Blues. Miles punctuation of his solo on said tune. What the fuck do you do with THAT?! God bless you, Julian. I'd have fucking crawled into a hole and begged for forgiveness! 5. The Blues And The Ab... No, wait. 5. Out To L... Hmmm... I'll have to work on number five. What say you, gents? I could tell stories about the first time I heard Coltrane and Dolphy tearing the paint off the Village Vanguard walls with India. Or the day I finally understood Monk's solos. Or lot's of other revelations... But let's stick to the subject at hand. I truly envy all who are yet to experience these wonderful sounds for the first time.

Ah! Thanks for the explanation. Makes perfect sense. I was only considering the current, and not the source. Duh moment on my part.

Good lord, sidewinder! I completely misread Bol's initial post! Must be some kind of latent dyslexia on my part, but I read that he was moving to the US FROM the UK! My sincerest apologies, Bol! Dmitry and I were COMPLETELY wrong, and sidewinder is 100% correct! Though, I'm still confused as to why they are referenced in opposition. You're stepping UP in voltage in the UK, and stepping down in the US.

It's referred to as a step up converter, but isn't it the same thing as a step down converter? It should plug into a North American socket, and have a female socket to plug into. ???

Sorry I missed this one earlier. Dmitry is correct, you simply need a converter. There are a lot of step up converters on the market, but I've never needed one, so I can't recommend a particular make or model. As for the math, it isn't necessary. Your equipment will run just fine on any step up, as they all put out 110 volts. Maybe check out some online reviews? I'm sure you could get a decent one for less than $20.

It was simply a query. Hence the question mark.

Why not just lock the thread? It's serves absolutely no purpose at this point.

Based on his behavior, I'd wager there is no chance he thinks he's wrong about anything.