3dzapper Posted November 6, 2003 Author Share Posted November 6, 2003 Wow 20c! My wife would kill me when I pulled up in a U-Haul truck because my Expedition was too small. I have nearly 15 feet of LPs and try to find more every Friday at the Salvation Army store in town. A buck apiece. When she comes home from school my wife just shakes her head and goes into her office. Meanwhile I feel like a kid in a candy store. What good titles did you score? Rick Quote Link to comment Share on other sites More sharing options...
Guy Landau Posted November 6, 2003 Share Posted November 6, 2003 Nice job, Rick. Glad to hear that you enjoy it. Quote Link to comment Share on other sites More sharing options...
Deang Posted November 7, 2003 Share Posted November 7, 2003 I use lead free tin/silver only. Lead sucks. It's a terrible conductor, and is toxic as hell. No, I don't get the nice shine, but I get good joints just the same. After they cool I put a meter to them a give a little wiggle, and if the meter doesn't jump, I know I have good joints. If I'm soldering something like the RelCap Thetas with gold leads, I use Cardas. Basically, you want to make sure you have a metal in the solder that is the same as the material you are soldering. Something else I do is crimp my connections before I solder them. Quote Link to comment Share on other sites More sharing options...
mike stehr Posted November 7, 2003 Share Posted November 7, 2003 You can borrow my 225 watt soldering iron. Quote Link to comment Share on other sites More sharing options...
jazman Posted November 7, 2003 Share Posted November 7, 2003 ---------------- On 11/6/2003 9:21:20 PM Clipped and Shorn wrote: Jazman, Speaking of enjoying the music, did you ever pick up on that Dolphy with George Russell album "Ezzthetics" ? Bet Dolphy would sound amazing on your SET driven new Khorns! C&S ---------------- C&S, I haven't been lucky. Do you know a place that has it currently? Klipsch out. Quote Link to comment Share on other sites More sharing options...
3dzapper Posted November 7, 2003 Author Share Posted November 7, 2003 Dean, When I went to electronics school in the early 70s the instructors drummed nice shinny solder joints into my head. Maybe I have a little fetish? That is an interesting crossover. Did you wind those small coils yourself? That is something I have never gotten into. Rick Quote Link to comment Share on other sites More sharing options...
Deang Posted November 7, 2003 Share Posted November 7, 2003 Solder without lead in it doesn't end up looking like solder with lead in it after it cools. Lord knows I've tried to get it to look like that, but it just doesn't seem to happen. I always heat my work from one end of the crimp, and rest the solder on the other end of the crimp until it melts and wicks towards the heat. I count to three and get out. No, I didn't wind the small coils. Those are Jantzen coils from Parts Express. The really cool thing about these coils is that Janzten uses a heating process that binds the wire together. So, if you can't find the exact value you need, you buy one that's a little bit over, and then slowly peel wire away until you get the exact value. I did wind two small higher Q inductors for a set of DQ-10's once, and you need the patience of a Saint. The crossover in the pic is for one of my RF-7s. Quote Link to comment Share on other sites More sharing options...
Clipped and Shorn Posted November 7, 2003 Share Posted November 7, 2003 jazman, I think the vinyl is now out of print, but in the meantime, before you can score the vinyl used or whatever, the CD sounds pretty good and is available at Amazon.com for under $13, or even less. Editorial Reviews Amazon.com Pianist and bandleader George Russell gained much of his reputation as a music theorist who developed the Lydian Concept of Tonal Organization in the 1950s. The Lydian Concept eschewed bebop's rigorous chord restructurings and instead proposed composition and improvisation based on scales or modes. Though the concept may sound offputting, Russell composed jazz works that masterfully incorporated all bebop's adventures with latent exploratory strains that would become central to avant-garde jazz. Ezz is no exception. Eric Dolphy's alto sax and bass clarinet keep the music punchy and edgy, while trumpeter Dave Baker and trombonist Don Ellis give these complex melodies an earthy, soulful feel. This 1961 salvo remains an awesome introductory CD for all jazz listeners. --Andrew Bartlett ------------------------------------------------------------------------ 7 of 7 people found the following review helpful: Who's Afraid of the Big Bad Wolf?, November 11, 2001 Reviewer: Reid Thompson (see more about me) from Providence, RI It is not often that a CD is utterly captivating from the first few measures upon first listening. Some recordings capture so accurately a period of music and are so spontaneously perfect that their listeners are enthralled from start to finish, much like children on Christmas morning. Ezz-Thetics is such a CD, in the company of watermarks like Kind of Blue and The Blues and the Abstract Truth; this is no overstatement. 1961 saw the first signs of acceptance of the new music being dubbed "avant-garde" or "The New Thing" -- Eric Dolphy's stint at the Five Spot, Coltrane's run at the Village Vanguard, and the release of Ornette Coleman's legendary Free Jazz generated as much praise as they did controversy. George Russell, the mastermind behind the development of modal playing and author of The Lydian Chromatic Concept of Tonal Organization, had long been forging a unique path, teaching students as destined for greatness as Bill Evans and Art Farmer. The stars aligned perfectly on May 8th for Russell to take emerging talents Don Ellis (trumpet), Dave Baker (trombone), Eric Dolphy (alto sax, bass clarinet), a very young Steve Swallow (bass), and Joe Hunt (drums) into the studio. The title track leads off the album with scorching solos all around. The knotty melody follows its own logic, but sounds somewhat like "Brilliant Corners"-meets-"Fee-Fi-Fo-Fum". After a haunting rendition of Miles Davis' "Nardis," featuring Dolphy on bass clarinet, we have another burner, one whose title is Russell taking a jab at himself -- "Lydiot." Of special note here should be Russell's performance in the piano chair. Though often revered for his theories and compositions, Russell is rarely recognized as a memorable improviser. This is an unjust oversight, as his playing here rivals Monk for sheer inventiveness and unpredictability. This is not to say he pounds the keys in Cecil Taylor-esque abandon; instead, his solo could be described with some accuracy as minimalist, and more than anything else digs at the heart of the composition. Tunefulness pervades this adventurous recording, as evidenced by Dave Baker's "Honesty," a bluesy requiem on which the musicians blow the chords from New York to San Francisco. The "'Round Midnight" that closes the set is a special one. After a one-minute "kind of instrumental imitation of electronic sounds" (Martin Williams, from the original liner notes) Dolphy takes the melody in full regalia. There is no squeaking dissonance to be found here - nothing but pure soul. Dolphy has succeeded in eliminating the horn as a medium through which music is produced - his music is pure. At times it sounds as though he is crying, pleading, singing, and celebrating; Russell's sympathetic accompaniment does nothing but add to this version of Monk's magnum opus, which should be required listening for all. I have rarely heard more convincing testimony in favor of cerebral jazz open to many oustide influences, including (but not exclusively) atonalities and dissonances. Ezz-Thetics receives my highest recommendation to both devoted fans of the avant-garde and to those wary of what they've heard described as "mindless banging" -- this is the album that will dispel all preconceived notions in the best possible way. Was this review helpful to you? 6 of 6 people found the following review helpful: Jazz theorist composes ravishing music, June 3, 2001 Reviewer: vinylcootie (see more about me) from Brighton, UK Jazz has produced few theorists among its practitioners. George Russell wrote an influential book, The Lydian Chromatic Concept of Tonal Organization (1953, out of print), that was to become the reference point for the modal experiments of Miles Davis. It was an attempt to argue that the theoretical framework of jazz was sui generis. It constructed a theory around the diatonic progression from F to F on the white keys of the piano. Ezz-thetics stands out among Russell's early recordings for the presence of Eric Dolphy and of the underrated Dave Baker. Baker's dizzying solo on the opening "Ezz-thetic" should have made trombonists of the time look beyond the post-bop clichés that they were too often resorting to. Eric Dolphy is heard here on sparkling form, brimming with hypnotic power. "Ezz-thetic" provides a polytonal background that is ideal for Dolphy's exploration of the inner space of the harmonies. Dolphy is often regarded as a major exponent of "out" playing - he used the word in three of his album titles - taking the harmonies of a theme beyond their implied natural parameters. But this characterisation fails to account for his phenomenal ability to open up the inner attributes of chord or scale progressions in concentrated bursts of slurred scales and arpeggios. This is particularly evident in his playing on "'Round Midnight", which here gets an unusual, simultaneously frenzied and languid treatment. It didn't appear on the original release, and its welcome addition to the current CD rounds off a session that marks a fascinating inflection in the direction that jazz was experiencing in the early 1960s. Steve Swallow, who at the age of 20 had appeared on just two records for Jimmy Giuffre and one for Don Ellis earlier that year, provides a soft swinging groove to Russell's piano on "Lydiot", a kind of self-penned pun on Russell's own theory. "Honesty" is remarkable for starting like an ending. It makes ironic use of solemn changing tempos to suggest the end of a rather formal composition, only to reveal that this mock "finale" was in fact an introduction. George Russell's Ezz-thetics is a complete stand-alone classic. Was this review helpful to you? 8 of 8 people found the following review helpful: A classic date, November 7, 2000 Reviewer: Nate Dorward (see more about me) from Toronto, ON Canada For this Riverside date, George Russell assembled one of the most formidable lineups of the early 1960s--Eric Dolphy on sax and bass clarinet, Don Ellis on trumpet, David Baker on trombone, a youthful Steve Swallow on bass, and the fine & now forgotten Joe Hunt on drums. Russell had by this time moved (rather in the manner of Gil Evans) from the almost bewilderingly dense arrangements & compositions of his early work ("Lydian M-1", "All About Rosie", the Workshop disc, &c.) to a more openended approach. While "Thoughts" is a stunning close-knit arrangement, the rest of the pieces place more stress on improvisation within traditional jazz structures. "Honesty" is one highlight: it's a blues piece (by Baker) that splits each solo between a completely free section & a climactic old-time blues solo. Fine stuff. "Round Midnight" is a beautifully crafted showcase for Eric Dolphy, who leaps out of the quiet and eerie opening to deliver one of his most notable performances. "Ezz-Thetic" and "Lydiot" are angular, unpredictable themes that spur all the soloists on. "Nardis" is given a very individual colouring, taken at a much slower pace than I've heard anyone else play it. This is one of Russell's most successful recordings; it is a great pity he never recorded again with Dolphy, in particular, as the altoist's grasp of the music is palpable. Russell was always skilled at constructing arrangements around musicians, rather than vice versa, like Ellington before him; he'd worked similar magic with Bill Evans before & with Sheila Jordan later. Don Ellis was to contribute to Russell's next few Riverside albums, however: his highly individual & expressive playing here & on albums like _The Outer View_ is a pleasure to hear. _Ezz-Thetics_ remains a landmark in postwar jazz: while it's less well-known than _Blues and the Abstract Truth_ or Gil Evans' work with Miles Davis, it deserves to be mentioned in the same breath as them. Was this review helpful to you? 6 of 7 people found the following review helpful: Highly Under-Appreciated Jazz Classic, August 22, 1999 Reviewer: An Amazon.com Customer I am an avid collector of jazz music of all types (from swing to bop to post bop to even some of the fusion crap) and even with the 300+ cds I own this albums stands out as one of the bests. The compositions are all phenominal (examples being "Thoughts" and "Ezz-thetics"), the arrangements are some of the best I've ever heard in a combo situation (examples being "Nardis" and what I consider the absolute best recording of "Round Midnight" ever ). I am amazed every time I listen to this album and have trouble seeing why it hasn't received the wide-spread recognition that albums like "A Love Supreme," "Kind of Blue," and "*****es Brew" have. C&S Quote Link to comment Share on other sites More sharing options...
jazman Posted November 7, 2003 Share Posted November 7, 2003 C&S, Thanks for the 411. I have ordered the CD, but I will continue to look for the vinyl. Klipsch out. Quote Link to comment Share on other sites More sharing options...
Daddy Dee Posted November 7, 2003 Share Posted November 7, 2003 Nice looking amp. I'd sure wondered about that guy on Ebay. Had e-mailed him a time or two and hadn't gotten a real good sense of the guy. Wonder if he'd sell the parts alone, so it wouldn't be necessary to REbuild the amp? Quote Link to comment Share on other sites More sharing options...
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