Archie Shepp is an American jazz saxophonist. Shepp was born in Fort Lauderdale, but raised in Philadelphia, Pennsylvania, he studied piano and alto saxophone before focusing on tenor saxophone. He plays soprano saxophone and piano, he studied drama at Goddard College from 1955 to 1959. He played in a Latin jazz band for a short time before joining the band of avant-garde pianist Cecil Taylor. Shepp's first recording under his own name, Archie Shepp - Bill Dixon Quartet, was released on Savoy Records in 1962 and featured a composition by Ornette Coleman. Along with John Tchicai and Don Cherry, he was a member of the New York Contemporary Five. John Coltrane's admiration led to recordings for Impulse! Records, the first of, Four for Trane in 1964, an album of Coltrane compositions on which he was joined by trombonist Roswell Rudd, bassist Reggie Workman and alto player John Tchicai. Shepp participated in the sessions for Coltrane's A Love Supreme in late 1964, but none of the takes he participated in were included on the final LP release.
However, along with Tchicai and others from the Four for Trane sessions recorded Ascension with Coltrane in 1965, his place alongside Coltrane at the forefront of the avant-garde jazz scene was epitomized when the pair split a record entitled New Thing at Newport released in late 1965. In 1965, Shepp released Fire Music, which included the first signs of his developing political consciousness and his Afrocentric orientation; the album took its title from a ceremonial African music tradition and included a reading of an elegy for Malcolm X. Shepp's 1967 The Magic of Ju-Ju took its name from African musical traditions, the music was rooted in African music, featuring an African percussion ensemble. At this time, many African-American jazzmen were influenced by various continental African cultural and musical traditions; the Magic of Ju-Ju defined Shepp's sound for the next few years: freeform avant-garde saxophone lines coupled with rhythms and cultural concepts from Africa. Shepp was invited to perform in Algiers for the 1969 Pan-African Cultural Festival of the Organization for African Unity, along with Dave Burrell, Sunny Murray, Clifford Thornton.
This ensemble recorded several sessions in Paris at the BYG Actuel studios. Shepp continued to experiment into the new decade, at various times including harmonica players and spoken word poets in his ensembles. With 1972's Attica Blues and The Cry of My People, he spoke out for civil rights. Shepp writes for theater. Both were produced by Robert Kalfin at the Chelsea Theater Center. In 1971, Shepp was recruited to the University of Massachusetts Amherst by Randolph Bromery, beginning a 30-year career as a professor of music. Shepp's first two courses were entitled "Revolutionary Concepts in African-American Music" and "Black Musician in the Theater". Shepp was a professor of African-American Studies at SUNY in Buffalo, New York. In the late 1970s and beyond, Shepp's career went between various old territories and various new ones, he continued to explore African music, while recording blues, ballads and tributes to more traditional jazz figures such as Charlie Parker and Sidney Bechet, while at other times dabbling in R&B, recording with various European artists including Jasper van't Hof and Dresch Mihály.
Shepp is featured in the 1981 documentary film Imagine the Sound, in which he discusses and performs his music and poetry. Shepp appears in Mystery, Mr. Ra, a 1984 French documentary about Sun Ra; the film includes footage of Shepp playing with Sun Ra's Arkestra. Since the early 1990s, he has played with the French trumpeter Eric Le Lann. In 1993, he worked with Michel Herr to create the original score for the film Just Friends. In 2002, Shepp appeared on the Red Hot Organization's tribute album to Red Hot and Riot. Shepp appeared on a track entitled "No Agreement" alongside Res, Tony Allen, Ray Lema, Baaba Maal, Positive Black Soul. In 2004 Archie Shepp founded his own record label, together with Monette Berthomier; the label is located in Paris and includes collaborations with Jacques Coursil, Monica Passos, Bernard Lubat, Frank Cassenti. Official site Stewart Smith, "Archie Shepp interview", July 31, 2012. Phil Freeman, "Interview: Archie Shepp on John Coltrane, the Blues and More", Red Bull Music Academy, August 25, 2014.
Archie Shepp on IMDb
Denon is a Japanese electronics company, involved in the early stages of development of digital audio technology, while specializing in the manufacture of high-fidelity professional and consumer audio equipment. For many decades, Denon was a brand name of Nippon-Columbia, including the Nippon Columbia record label; the Denon brand came from a merger of Denki Onkyo and others in 1939. In 2001, Denon was spun off as a separate company with 98% held by Ripplewood Holdings and 2% by Hitachi. In 2002, Denon merged with Marantz to form D&M Holdings. On March 1, 2017, Sound United LLC completed the acquisition of D+M Holdings; the company was established in 1910 as part of Nippon Chikuonki Shokai, a manufacturer of single-sided disc records and gramophones. The company was called 日本電氣音響株式會社 - Nippon'DENki ONkyo Kabushikigaisha', shortened to the name of DEN-ON in Japanese; the company is involved with sound systems and electric appliance production. The company merged with other related companies and as a result of this the company name became Denon.
There followed a number of mergers and tie-ins over the next few decades as firstly the company merged with Japan-US Recorders Manufacturing in 1912 and in 1928 the brand “Columbia” was introduced when the company became Japan Columbia Recorders. A further change of name occurred in 1946; the Denon brand was first established in 1947. D&M Holdings Inc. was created in May 2002 when Marantz Japan Inc. merged. On March 1, 2017, Sound United LLC completed the acquisition of D+M Holdings. Today, the company specializes in professional and consumer home cinema and audio equipment including A/V receivers, Blu-ray players, tuners and wireless music systems. Denon is known for high-end AV receivers and moving coil phonograph cartridges. Two M-series models, the Denon M31 and M30, were the most successful radio hi-fi. Since being released to the micro hi-fi DAB market, they have received several awards in Europe. 1910 Manufacturer of single-sided disc gramophones. 1939 Launched first professional-use disc recorder for disk cutting lathe.
1951 Commenced sales of Japan’s 1st LP records. 1953 Launched professional-use tape recorder for broadcast industry. 1958 Introduced sales of stereo records. 1959 Commenced production of open-reel audio tapes. 1962 Introduced Elepian series of electronic pianos. 1963 Developed the DL-103 phono cartridge. 1964 Started sales of audio cassette tapes. 1971 Started producing hi-fi audio components, including turntables, amplifiers and speakers. 1972 Introduced the world’s first viable 8 channel digital recorder. 1977 Awarded US Billboard magazine's "Trend-Setter Award for outstanding contribution to the industry". 1980 Awarded the 13th Montreux International Diplome d’honneur technique award. 1981 Developed a professional-use CD player. 1984 Unveiled the CD-ROM format. 1988 Introduced range of AV amplifiers to product range. 1990 Awarded three component awards at Paris hi-fi show. Introduced lineup of Headphones. 1993 Developed the twin deck DJ CD player DN-200F. Other early models are the DN1000F, DN2000F and the DN2500F.
Denon made the world's only twin MiniDisc player designed for DJ use. 1994 Awarded European Audio Innovation of the Year. 1999 World's first THX-EX home theater system. 2001 Produced first Mini system with 5.1 surround sound. 2002 Denon link technology developed for improved digital connectivity. 2004 Launch of world's first consumer product featuring HQV. 2006 Denon introduces the 1.5m long AK-DL1 CAT5 Ethernet cable. It was not until mid-2008 that it caused controversy because of its high price and the company's claims that the cable is "designed for the audio enthusiast," and would "bring out all the nuances" in digital audio signals transmitted over it, despite the fact that the most poorly made ethernet cable would deliver identical quality for digital audio over a similar length. 2007 Denon releases the AVP-A1HDCI Pre-Amplifier and matching POA-A1HDCI Power Amplifier set which marks the company's first additions to a new line of high-performance custom-focused components. 2008 Denon announces the world's first Universal Blu-ray player capable of DVD-Audio and SA-CD playback.
2012 Denon introduces new headphone line with iOS lifestyle apps. Headphones are separated into different lifestyle groups as follows: Exercise Freak headphones, Globe Cruiser headphones, Music Maniac Headphones and Urban Raver Headphones. 2014 Denon has ventured into wireless multi-room sound systems. It has launched its new set of wireless speakers named as HEOS by Denon; these have been launched as HEOS 3, HEOS 5, HEOS 7 speakers. 2015 HEOS by Denon added on to their wireless multi-room sound system by launching the HEOS 1 and HEOS Go Pack, along with the HEOS HomeCinema 2016 Denon Introduced HEOS into the Higher X-Series Models. For HEOS by Denon series 2 for all the speakers have launched now they feature Bluetooth and High Resolution Audio. 2017 Denon Introduced HEOS into the S-Series and all the X-Series Models now have HEOS. HEOS by Denon launched the HEOS Soundbar, HEOS Subwoofer and the HEOS AVR. 2018 Denon introduced the world's first 13.2 channel audio/video receiver with the introduction of the AVR-X8500H / AVC-X8500H at the Consumer Electronics Show in Las Vegas, Nevada.
List of phonograph manufacturers Companies portal Official website HEOS by Denon official website
Thomas Lee Flanagan was an American jazz pianist and composer. He grew up in Detroit influenced by such pianists as Art Tatum, Teddy Wilson, Nat King Cole, by the newer bebop musicians. Within months of moving to New York in 1956, he had recorded with Miles Davis and on Sonny Rollins' landmark Saxophone Colossus. Recordings under various leaders, including the important Giant Steps of John Coltrane, The Incredible Jazz Guitar of Wes Montgomery, continued well into 1962, when he became vocalist Ella Fitzgerald's full-time accompanist, he worked with Fitzgerald for three years until 1965, in 1968 returned to be her pianist and musical director, this time for a decade. After leaving Fitzgerald in 1978, Flanagan attracted praise for the elegance of his playing, principally in trio settings when under his own leadership. In his 45-year recording career, he recorded more than three dozen albums under his own name and more than 200 as a sideman. By the time of his death, he was one of the most admired jazz pianists and had influenced both his contemporaries and generations of players.
Flanagan was born in Conant Gardens, Michigan, on March 16, 1930. He was the youngest of six children -- a girl, his parents were both from Georgia. His father, Johnson Sr, was a postman, his mother, Ida Mae, worked in the garment industry. At the age of six, Flanagan's parents gave him a clarinet for Christmas, he learned to read music from playing the clarinet. The family had a piano in the house, Flanagan received lessons from one of his brothers and Gladys Wade Dillard, who taught Kirk Lightsey and Barry Harris. Flanagan graduated from Northern High School, which he attended with other future musicians, including Sonny Red. Flanagan's early influences included Art Tatum and Teddy Wilson, both of whom he heard on the radio and playing in the Detroit area, as well as Nat King Cole and local pianists Earl Van Riper and Willie Anderson. These, played in an earlier style, the young Flanagan and his friends were more interested in the newer bebop, including that played by pianist Bud Powell, who had a strong effect on Flanagan's musical thinking and improvising.
Flanagan's first concert was with trombonist Frank Rosolino. Given Flanagan was only around 15 years old at the time, he could not stay in the bar area of the club; as a teenager, he played in a band led by Lucky Thompson that contained Pepper Adams and Kenny Burrell. Still in his teens, Flanagan sat in on piano for some appearances by Charlie Parker in Detroit. During 1949, Flanagan had his first residence, at the Blue Bird Inn in Detroit. In 1950 he played until the clarinetist returned to the Count Basie band. Flanagan played jazz and rhythm and blues with saxophonist George Benson in Toledo, before being drafted into the army in 1951. After basic training in Fort Leonard Wood, Flanagan auditioned as a pianist for an army show, he got the role. There, he worked as a motion-picture-projector operator. After two years' service he was discharged and returned to Detroit, where he soon became pianist at the Blue Bird again, he again worked among others. Flanagan moved to New York in 1956, he was unsure.
Flanagan soon found work in clubs and studios, including recording Detroit – New York Junction with Thad Jones in March. The same month he returned to recording, this time with Miles Davis and Sonny Rollins, for tracks released on Collectors' Items. Rollins was leader for another session three months later: Saxophone Colossus, labeled an "undisputed masterpiece" by The Penguin Guide to Jazz. Flanagan first accompanied Ella Fitzgerald in 1956, for around a month, including at the Newport Jazz Festival; that year he joined trombonist J. J. Johnson, with whom he recorded several albums in 1957 and toured Europe. While in Sweden, with bassist Wilbur Little and drummer Elvin Jones, recorded his first album as leader, Overseas. Late in 1957 he was part of Miles Davis' band for a short period, before returning to Johnson early the following year, for another stay of 10 months. A period leading his own trio in 1958 was followed by joining trombonist Tyree Glenn. Throughout the late 1950s and early 1960s Flanagan made frequent appearances in recording studios, for a large number of leaders and record labels.
In May 1959 he was part of a groundbreaking recording: John Coltrane's Giant Steps, described by The Penguin Guide to Jazz as the saxophonist's "first genuinely iconic record". The technical complexity of the music of the title track, meant that there were numerous false starts and rejected takes, the released take of "Giant Steps" is a rare instance on record of Flanagan sounding uncertain. Another appearance on a landmark recording came in January of the following year: Flanagan was a member of the quartet that made The Incredible Jazz Guitar of Wes Montgomery. Flanagan was with trumpeter Harry Edison in 1959–60, tenor saxophonist Coleman Hawkins in 1961–62, including a UK tour. In this period, Flanagan recorded albums for several leaders from an earlier era, including Lionel Hampton, Jo Jones, Pee
Count Basie Orchestra
The Count Basie Orchestra is a 16 to 18 piece big band, one of the most prominent jazz performing groups of the swing era, founded by Count Basie in 1935 and recording from 1936. Despite a brief disbandment at the beginning of the 1950s, the band survived long past the Big Band era itself and the death of Basie in 1984, it continues as a'ghost band'. Including such musicians as Buck Clayton and Lester Young in the line-up, the band in the 1950s and 1960s made use of the work of such arrangers as Neal Hefti and featured musicians such as Thad Jones and Eddie "Lockjaw" Davis, its recordings of this era included collaborations with singers such as Frank Sinatra and Ella Fitzgerald. Count Basie arrived in Kansas City, Missouri in 1927, playing on the Theater Owners Bookers Association circuit. After playing with Walter Page's Blue Devils, in 1929 he joined rival band leader Bennie Moten's band. Upon Moten's death in 1935, Basie left the group to start his own band, taking many of his colleagues from the Moten band with him.
This nine-piece group was known for its legendary soloists including, Joe Keyes and Oran'Hot Lips' Page on trumpet, Buster Smith and Jack Washington on alto saxophone, Lester Young on tenor saxophone, Dan Minor on trombone, a rhythm section made up of Jo Jones on drums, Walter Page on bass and Basie on piano. With this band named The Barons of Rhythm, Basie brought the sound of the famous and competitive Kansas City "jam session" to club audiences, coupling extended improvised solos with riff-based accompaniments from the band; the group's first venue was the Reno Club in Kansas City moving to the Grand Terrace in Chicago. When music critic and record producer John Hammond heard the band on a 1936 radio broadcast, he sought them out and offered Basie the chance to expand the group to the standard 13-piece big band line-up, he offered to transfer the group to New York City in order to play at venues such as the Roseland Ballroom. Basie agreed, hoping that with this new band, he could retain the freedom and spirit of the Kansas City style of his nine-piece group.
The band, which now included Buck Clayton on trumpet and the famous blues "shouter" Jimmy Rushing, demonstrated this style in their first recordings with the Decca label in January 1937: in pieces such as "Roseland Shuffle", the soloists are at the foreground, with the ensemble effects and riffs playing a functional backing role. This was a fresh big band sound for New York, contrasting the complex jazz writing of Duke Ellington and Sy Oliver and highlighting the difference in styles that had emerged between the east and west coasts. Following the first recording session, the band's line up was reshuffled, with some of players being replaced on the request of Hammond as part of a strengthening of the band. Trumpeters Ed Lewis and Bobby Moore replaced Keyes and Smith, Earle Warren replaced the alto saxophonist Coughey Roberts. In March 1937 the guitarist Freddie Green arrived, replacing Claude Williams and completing what became one of the most respected rhythm sections in big band history.
Billie Holiday sang with the band during this period, although she never recorded with them for contractual reasons. Hits such as "One O'Clock Jump" and "Jumpin' at the Woodside" helped to gain the band, now known as the Count Basie Orchestra and international fame; these tunes were known as "head-arrangements". Although some of the band's players, such as trombonist Eddie Durham, contributed their own written arrangements at this time, the "head-arrangements" captured the imagination of the audience in New York and communicated the spirit of the band's members. In 1938, Helen Humes joined the group, she sang pop ballads, including "My Heart Belongs to Daddy" and "Blame it on My Last Affair", acting as a gentle contrast to the blues style of Jimmy Rushing. The band became dependent on arrangers to provide its music; these varied from players within the band, such as Eddie Durham and Buck Clayton, to professional arrangers from outside the group, who could bring their own character to the band with each new piece.
External arranger Andy Gibson brought the band's harmonic style closer to the forward-looking music of Duke Ellington, with arrangements from 1940 such as "I Never Knew" and "Louisiana" introducing increased chromaticism to the band's music. Tab Smith contributed important arrangements at this time, such as "Harvard Blues", others including Buster Harding and veteran arranger Jimmy Mundy expanded the group's repertoire. Thelma Carpenter replaced Helen Humes as the new female vocalist, notably recording "I Didn't Know About You" for Columbia Records, but the many new arrangements led to a gradual change in the band's sound, distancing the group musically from its Kansas City roots. Rather than the music being built around the soloists with memorised head arrangements and riffs, the group's sound at this time became more focused on ensemble playing; this can be attributed to the increasing reliance on arrangers to influence the band with their music. It suggested that Basie's ideal of a big band-sized group with the flexibility and spirit of his original Kansas City 8-piece was not to last.
During the World War II years, some of the key members of the band left: the drummer Jo Jones and tenor saxophone player Lester Young were both conscripted in 1944, leading to the hiring of drummers such as Buddy Rich and extra tenor saxophonists, including Illinois Jacquet, Paul Gonsalves and Lucky Thompson. The musicologist Gunther Schuller has said that when Jo Jones left, he took some of the smooth, rel
Hélène Grimaud is a French classical pianist and the founder of the Wolf Conservation Center in South Salem, New York. Hélène Grimaud was born in France, she described family nationalities in a New York Times interview with John Rockwell: "My father came from a background of Sephardic Jews in Africa, my mother's ancestors were Jewish Berbers from Corsica." Her father was adopted as a child by a French family and he became a university tutor teaching languages. According to Luc Antonini her surname is typical of the region of Trets in Provence, she has stated that, as a child, she was "agitated". She discovered the piano at age nine. In 1982, she entered the Conservatoire de Paris. In 1985, she won 1st Prize at the Conservatory and the Grand Prix du Disque of the Académie Charles Cros for her recording of the Rachmaninoff Piano Sonata No. 2. She experiences synesthesia, where one physical sense adds to another, in her case seeing music as colour, which helps her with memorising music scores. In 1987, she launched her professional career with a solo recital in Paris and a performance with the Orchestre de Paris under Daniel Barenboim.
She performed at the BBC Proms, including at the Last Night of the BBC Proms in London in September 2008, playing the piano part of Beethoven's Choral Fantasia. Critics have praised Grimaud's willingness to reinterpret works and take chances, compared her to Glenn Gould: Grimaud doesn't sound like most pianists: she is a rubato artist, a reinventor of phrasings, a taker of chances. "A wrong note, played out of élan, you hear it differently than one, played out of fear," she says. She admires the "more extreme players... people who wouldn't be afraid to play their conception to the end." Her two overriding characteristics are independence and drive, her performances attempt, whenever possible, to shake up conventional pianistic wisdom. Brian Levine, the executive director of the Glenn Gould Foundation, sees in Grimaud a resemblance to Gould: "She has this willingness to take a piece of music apart and free herself from the general body of practice that has grown up around it." In 1991, at age 21, Grimaud moved to Tallahassee, Florida, to be near a boyfriend who taught bassoon at Florida State University.
In 1997, she settled in Westchester County, north of New York City. After some time spent in Berlin, she resides in Switzerland, she has a passion for wolves, which she raises. She now divides her time between her musical career and the Wolf Conservation Center in South Salem, New York, which she co-founded with her former companion, photographer J. Henry Fair. Ordre des Arts et des Lettres. National Order of Merit. Legion of Honour. On DenonRachmaninoff Piano Sonata No. 2, Études-Tableaux, Op. 33 Chopin Ballade No. 1, Liszt Après une Lecture de Dante, Schumann Sonata for Piano Schumann Kreisleriana, Brahms Piano Sonata No. 2 Brahms Piano Sonata No. 3, Klavierstücke Rachmaninoff Piano Concerto No. 2, Ravel Piano Concerto On EratoSchumann Piano Concerto, Richard Strauss Burleske Brahms Piano Pieces Op. 116–119 Gershwin Piano Concerto, Ravel Piano Concerto Brahms Piano Concerto No. 1 On TeldecBeethoven Piano Concerto No. 4, Piano Sonata No. 30, Piano Sonata No. 31 Rachmaninoff Piano Concerto No. 2, Prelude Op. 32/12, Études-Tableaux Op. 33/1, 2 and 9, Variations on a Theme of Corelli On Deutsche GrammophonCredo John Corigliano Fantasia on an Ostinato, Beethoven Piano Sonata No. 17 "Tempest", Choral Fantasy, Arvo Pärt Credo Chopin | Rachmaninoff Bartók The Piano Concertos Reflection Schumann Piano Concerto, Various by Brahms and Clara Schumann Beethoven Piano Concerto No. 5 "Emperor", Piano Sonata No. 28 Bach Various Resonances Mozart: Sonata No.
8, Berg: Sonata op.1, Liszt: Sonata in B minor, Bartok: Romanian Folk Dances Mozart Piano Concerto No. 19, Piano Concerto No. 23, Ch'io mi scordi di te? Duo Works by Schumann, Brahms and Shostakovich Brahms Piano Concertos Nos. 1 & 2 with the Bavarian Radio SO and Vienna PO, conducted by Andris Nelsons Water Various Memory Debussy, Chopin, Sawhney On PhilipsSchumann Sonata for Violin and Piano in A minor, Op. 105, Gidon Kremer violin and Helene Grimaud piano. Recording date: 7/1989. Release: Lockenhaus Festival 1982–1992 A Decade of Music-Making On ACA Digital Recording, IncBassoon Music Of The Americas, Composers on Bassoon Music Of The Americas: Alvin Etler, Valdir Azevedo, Jose Siqueira, Magda Santos/Pó, Heitor Villa-Lobos, Willson Osborne. Jeff Keesecker – bassoon and Hélène Grimaud – piano Variations sauvages Leçons particulières Retour à Salem D. T. Max, "Her way: A pianist of strong opinions", The New Yorker, 87/35, pp. 58–65. James R. Oestreich, "Recording as a Road to Recovery", The New York Times, 27 January 2011 New Yorker Profile by D. T.
Max: "Her Way, A pianist of strong opinions", 7 November 2011 Daniel J. Wakin, "Titans Clash Over a Mere Cadenza", The New York Times, 30 October 2011 Official website Literature by and about Hélène Grimaud in the German National Library catalogue Wolf Conservation Center
An audiophile is a person, enthusiastic about high-fidelity sound reproduction. An audiophile seeks to reproduce the sound of a live musical performance in a room with good acoustics, it is agreed that reaching this goal is difficult and that the best-regarded recording and playback systems if achieve it. Audiophile values may be applied at all stages of music reproduction: the initial audio recording, the production process, the playback, in a home setting. In general, the values of an audiophile are seen to be antithetical to the growing popularity of more convenient but lower quality music lossy digital file types like MP3, lower definition streaming services, inexpensive headphones; the term high-end audio refers to playback equipment used by audiophiles, which may be bought at specialist shops and websites. High-end components include turntables, digital-to-analog converters, equalization devices and amplifiers, horn and electrostatic speakers, power conditioners, subwoofers and acoustic room treatment in addition to room correction devices.
An audio system consists of one or more source components, one or more amplification components, two or more loudspeakers. Signal cables are used to link these components. There are a variety of accessories, including equipment racks, power conditioners, devices to reduce or control vibration, record cleaners, anti-static devices, phonograph needle cleaners, reverberation reducing devices such as speaker pads and stands, sound absorbent foam, soundproofing; the interaction between the loudspeakers and the room plays an important part in sound quality. Sound vibrations are reflected from walls and ceiling, are affected by the contents of the room. Room dimensions can create standing waves at particular frequencies. There are materials for room treatment that affect sound quality. Soft materials, such as draperies and carpets, can absorb higher frequencies, whereas hard walls and floors can cause excess reverberation. Audiophiles play music from a wide variety of sources including phonograph records, compact discs, digital audio file formats that are uncompressed as well as ones that are compressed using lossless data compression such as FLAC, Windows Media Audio 9 Lossless and Apple Lossless.
Since the early 1990s, CDs have become the most common source of high-quality music. Turntables and magnetic cartridges are still used, despite the difficulties of keeping records free from dust and the delicate set-up associated with turntables; the 44.1 kHz sampling rate of the CD format, in theory, restricts CD information losses to above the theoretical upper-frequency limit of human hearing – 20 kHz, see Nyquist limit. Despite this, newer formats such as DVD-Audio and Super Audio Compact Disc, have sampling rates of 88.2 kHz or 96 kHz or higher. CD audio signals are encoded in 16-bit values; some higher-definition consumer formats such as HDCD-encoded CDs contain 20-bit and 24-bit audio streams. With more bits more dynamic range is possible. MP3 encoding used in portable audio devices, is an example of lossy compression. A preamplifier selects among several audio inputs, amplifies source-level signals, allows the listener to adjust the sound with volume and tone controls. Many audiophile-oriented preamplifiers lack tone controls.
A power amplifier takes the "line-level" audio signal from the preamplifier and drives the loudspeakers. An integrated amplifier combines the functions of power amplification with input switching and volume and tone control. Both pre/power combinations and integrated amplifiers are used by audiophiles. Audiophile amplifiers are available based on solid-state technology, vacuum-tube technology, or hybrid technology—semiconductors and vacuum tubes. Dedicated amplifiers are commonly used by audiophiles to drive headphones those with high impedance and/or low sensitivity, or electrostatic headphones; the cabinet of the loudspeaker is known as the enclosure. There are a variety of loudspeaker enclosure designs, including sealed cabinets, ported cabinets, transmission line, infinite baffle, horn loaded; the enclosure plays a major role in the sound of the loudspeaker. The drivers that produce the sound are referred to as tweeters and woofers. Driver designs include dynamic, plasma, planar and servo-actuated.
Drivers are made from a variety of materials including paper pulp, kevlar, magnesium and vapor-deposited diamond. The direction and intensity of the output of a loudspeaker, called dispersion or polar response, has a large effect on its sound. Various methods are employed to control the dispersion; these methods include monopolar, dipolar, 360-degree, horn and line source. These terms refer to the arrangement of the various drivers in the enclosure; the positioning of loudspeakers in the room has a strong influence on the sound experience. Loudspeaker output is influenced by interaction with room boundaries bass response, high frequency transducers are directional, or "beaming". Audiophiles use a wide variety of accessories and fine-tuning techniques, sometimes referred to as "tweaks", to improve the sound of their systems; these include filters to "clean" the electricity, equipment racks to isolate components from floor vibr
Robert Berg was an American jazz saxophonist from Brooklyn, New York City. Berg started his musical education at the age of six, he began playing the saxophone at the age of thirteen. He studied at the High School of Performing Juilliard before leaving school to tour. Berg was influenced by the late 1964–67 period of John Coltrane's music and was known for his expressive playing and tone. A student from the hard bop school, Berg played from 1973 to 1976 with Horace Silver and from 1977 to 1983 with Cedar Walton. Berg became more known through his short period in the Miles Davis band, he left Davis's band in 1987 after recording only one album, You're Under Arrest, with them. After leaving Davis's band, Berg released a series of solo albums and performed and recorded in a group co-led with guitarist Mike Stern. On these albums he played a more accessible style of music, mixing funk and country music with many other diverse compositional elements to produce albums, he played at the 7th Avenue South NYC club.
He worked with Steve Gadd and Eddie Gómez in a quartet. Berg's tenor saxophone sound was a synthesis of rhythm and blues players such as Junior Walker and Arnett Cobb with the lyricism, intellectual freedom and soul of Wayne Shorter, Joe Henderson and John Coltrane. Berg was killed in a road traffic accident in East Hampton, New York, while driving near his home with his wife Arja; the person who crashed into his car was driving a cement truck. He was survived by their son and daughter. 1978 – New Birth 1982 – Steppin': Live in Europe 1987 – Short Stories Denon 1988 – Cycles 1990 – In the Shadows 1991 – Back roads 1992 – Virtual Reality 1993 – Enter the Spirit 1994 – Riddles 1995 – The Best of Bob Berg 1997 – Another Standard 2000 – Jazz Times Superband With Randy Brecker Live at the Sweet Basil With Chick Corea Time Warp With Tom Coster Let's Set The Record Straight The Forbidden Zone With Miles Davis You're Under Arrest With Kenny Drew Lite Flite With Moncef Genoud New York Journey with J.
C. Lavanchy, I. Malherbe With Dizzy Gillespie Rhythmstick With Billy Higgins Soweto Once More With Sam Jones Changes & Things Something in Common With Wolfgang Muthspiel Timezones With Horace Silver Silver'n Brass Silver'n Wood Silver'n Voices With Mike Stern Upside Downside Time in Place Jigsaw Odds or Evens Standards and Other Songs With Cedar Walton Eastern Rebellion 2 First Set Second Set Third Set Animation Eastern Rebellion 3 Soundscapes The Maestro Eastern Rebellion 4 Cedar's Blues With Gary Burton Cool Nights Six Pack With Faraó Antonio Far Out Jazz Professional article about his death Biography of Bob Berg