My point on making this post is...why do the "worst" MFSL's sell for more than the good ones?
I've noticed that a lot of audiophile/engineer types just have bad taste in music. They seem more concerned with the quality of the sound than the quality of the music. Usually the burnt out ex-roadies who never quite made it to the big time, and still are rocking hair from the late 70's early 80's. (i.e. their own little world of music nerdiness)
"So I turned up the 23kHZ by .026 decibels, and that made ALL the difference!"
I have some friends who have worked in high end audio sales and sound design for years. They have great taste in music and do not sweat the MFSLs.
Just recently I have met 3 people who told me variations on this; "I just went to Fred's House Of Music and told them I wanted the best set up money could by". They were all bragging about how great AND EXPENSIVE their stereo systems were. They all were likely canidates to spend $200 on a Toto MFSL. And they all said they wanted to ADD a turntable to their systems.
I also met 2 engineers a few years ago who had been Sony mastering engineers in Terre Haute and had moved to Springfield OR because of the [then] new [now closed] Sony plant there. When they found out I was a record dude they kept talking about how much their rare 1st covers of Rolling Stones Some Girls were worth.
My point is a lot of people have money, have expensive systems, Toto is their favorite band and they don't know who Duke Ellington is.
My point is a lot of people have money, have expensive systems, Toto is their favorite band and they don't know who Duke Ellington is.
Dan
That's a crime in itself. Putting on Far East Suite right now.
Just picked up New Orleans Suite today, and listened to it a little while ago. I'm subbing on a long-running jazz radio show later this week, and asked my Dad if he had any requests.
"Play some Duke Ellington...but one that features Johnny Hodges!"
was his emphatic answer. Blues for New Orleans is Hodges last-ever recording (he died just a few days later), and he is featured throughout. I think it will make my Dad happy - it sure made me happy when I heard it.
I saw Mercer Ellington with Duke Ellington Orch. a couple of times when I was a kid. Unfortunately Duke died too early for me to see him. Got to see Count Basie, Buddy Rich, Woody Herman and a bunch of others, though, all thanks to my Pops.
Just picked up New Orleans Suite today, and listened to it a little while ago.
I've been a fan of Ellington for only the last few years. Ken Burns' mini-series from awhile back convinced me to finally take a listen, and I don't regret it.
New Orleans Suite is a very good album, although when I first heard it, it caught me by surprise because I had heard primarily his Columbia work and the album had a more modern (1973) feel to it. Great arrangements though, still hunting down the quad mix of that one.
Just picked up New Orleans Suite today, and listened to it a little while ago.
I've been a fan of Ellington for only the last few years. Ken Burns' mini-series from awhile back convinced me to finally take a listen, and I don't regret it.
New Orleans Suite is a very good album, although when I first heard it, it caught me by surprise because I had heard primarily his Columbia work and the album had a more modern (1973) feel to it. Great arrangements though, still hunting down the quad mix of that one.
Oddly enough, most of the Ellington I own and listen to is actually at the other end of the age spectrum from the NOS, mainly the late 20's and 30's "Harlem years" stuff - "Black n' Tan Fantasy," etc...I love his early compositions - like funk music 40 years later, he generally worked on variations of the same few riffs & melodies, making subtle chord & tempo changes to breathe new life into each variant. Same with Basie, he was always good, but I just love that uptown club sound (cue hi-hats). Ellington was a real one-of-a-kind though, and I highly recommend his autobiography "Music Is My Mistress." Well written, funny, and always interesting.
ps New Orleans Suite is actually a little earlier than 1973, released in 1970.
Comments
http://www.stevehoffman.tv/forums/showthread.php?t=56761
great links man.
i see Hoffman has like 20k posts on his board... brings new definition to the term studiocarpet.. and makes Crink look like a lightweight.
I have some friends who have worked in high end audio sales and sound design for years. They have great taste in music and do not sweat the MFSLs.
Just recently I have met 3 people who told me variations on this; "I just went to Fred's House Of Music and told them I wanted the best set up money could by". They were all bragging about how great AND EXPENSIVE their stereo systems were. They all were likely canidates to spend $200 on a Toto MFSL. And they all said they wanted to ADD a turntable to their systems.
I also met 2 engineers a few years ago who had been Sony mastering engineers in Terre Haute and had moved to Springfield OR because of the [then] new [now closed] Sony plant there. When they found out I was a record dude they kept talking about how much their rare 1st covers of Rolling Stones Some Girls were worth.
My point is a lot of people have money, have expensive systems, Toto is their favorite band and they don't know who Duke Ellington is.
Dan
That's a crime in itself. Putting on Far East Suite right now.
Just picked up New Orleans Suite today, and listened to it a little while ago. I'm subbing on a long-running jazz radio show later this week, and asked my Dad if he had any requests.
"Play some Duke Ellington...but one that features Johnny Hodges!"
was his emphatic answer. Blues for New Orleans is Hodges last-ever recording (he died just a few days later), and he is featured throughout. I think it will make my Dad happy - it sure made me happy when I heard it.
I saw Mercer Ellington with Duke Ellington Orch. a couple of times when I was a kid. Unfortunately Duke died too early for me to see him. Got to see Count Basie, Buddy Rich, Woody Herman and a bunch of others, though, all thanks to my Pops.
I've been a fan of Ellington for only the last few years. Ken Burns' mini-series from awhile back convinced me to finally take a listen, and I don't regret it.
New Orleans Suite is a very good album, although when I first heard it, it caught me by surprise because I had heard primarily his Columbia work and the album had a more modern (1973) feel to it. Great arrangements though, still hunting down the quad mix of that one.
Oddly enough, most of the Ellington I own and listen to is actually at the other end of the age spectrum from the NOS, mainly the late 20's and 30's "Harlem years" stuff - "Black n' Tan Fantasy," etc...I love his early compositions - like funk music 40 years later, he generally worked on variations of the same few riffs & melodies, making subtle chord & tempo changes to breathe new life into each variant. Same with Basie, he was always good, but I just love that uptown club sound (cue hi-hats). Ellington was a real one-of-a-kind though, and I highly recommend his autobiography "Music Is My Mistress." Well written, funny, and always interesting.
ps New Orleans Suite is actually a little earlier than 1973, released in 1970.
Looking at the cover and catalog # right here... you're right.