From: Digestifier To: Subject: Dead-Flames Digest #650 Dead-Flames Digest #650, Volume #48 Sun, 23 Oct 05 08:00:01 PDT Contents: (NDC) Album/Box Set Review - Miles Davis - The Cellar Door Sessions (John Metzger) Re: DVD 5/3/72 .shn No B/No P offer, plus other nice things--one left ("Richard Morris") ---------------------------------------------------------------------------- From: John Metzger Subject: (NDC) Album/Box Set Review - Miles Davis - The Cellar Door Sessions Date: Sun, 23 Oct 2005 13:49:52 GMT Album/Box Set Review - Miles Davis - The Cellar Door Sessions 1970 When Miles Davis abandoned his second great quintet in the late '60s, he began to explore the uncharted waters of jazz-fusion by incorporating a myriad of funk-rock rhythms, ostinato bass lines, and amplified instrumentation into his work. Yet, for all the acclaim that albums like Bitches' Brew and In a Silent Way have received -- and rightfully so -- they were merely the culmination of the first part of a journey that had commenced on Miles in the Sky and Filles de Kilimanjaro. In 1970, he began pushing his music even further during the sessions that resulted in the magnificent A Tribute to Jack Johnson, an album that fully grafted the jazz world's improvisational virtuosity onto rock 'n' roll's raging intensity, but even here, he still clung, however tenuously, to a traditional jazz-oriented framework. As the year progressed, the make-up of Davis' touring band began to mutate, but by fall, it had coalesced around pianist Keith Jarrett, drummer Jack DeJohnette, saxophonist Gary Bartz, percussionist Airto, and bass player Michael Henderson. In fact, Davis not only had jettisoned most of the players who had helped him to create his early forays into fusion, but he also had discarded most of its music; only a skeletal snippet from Wayne Shorter's Sanctuary and a looser interpretation of It's About that Time were retained with any regularity. Indeed, this was a entirely different band, and it served an entirely different purpose. The addition of Henderson -- who had earned his reputation by working with both the Motown label as well as with Stevie Wonder -- marked a shift from acoustic to electric bass in Davis' ensembles, and as a result, the underlying force that drove his material had changed substantially. In essence, it signaled the dawning of a new, more aggressive era. At the time, Davis' artistic inclinations had veered toward capturing music that was made "in the moment," and so, instead of heading into a studio, he took his outfit to Washington D.C.'s Cellar Door for a 10-show, four-night run in December. It was the recordings from these concerts that formed the basis for Live-Evil. Understandably, Teo Macero severely edited the material, and while the final product worked quite well as a two-LP package, it wasn't truly representative of the band that Davis had assembled. However, the newly issued, six-CD collection The Cellar Door Sessions 1970, which features six of the concerts that were performed at the intimate venue, does provide a more comprehensive portrait of the group, and it, therefore, is an easy matter to see why some consider this ensemble to be as groundbreaking and as invincible as either of his most-respected quintets. This is an excerpt. To read the complete review, please visit: http://www.musicbox-online.com/md-cds.html ------------------------------ From: "Richard Morris" Subject: Re: DVD 5/3/72 .shn No B/No P offer, plus other nice things--one left Date: Sun, 23 Oct 2005 07:49:27 -0700 Hey! There is one DVD left! Anyone want it? Edit my email address and send me a note wit' yer address. R. "Richard Morris" wrote in message news:zsqdnfb7BrZn68fenZ2dnUVZ_sidnZ2d@comcast.com... > **Caveat: This offer is for five shows, .shn and flac files, on DVD-R. Ya > gotta be able to read DVD data files, and decode lossless files** > > Tony has been looking for 5/3/72, which I recently got, and also the > 2/23/71 bt that just went up. So ... I dropped those on a DVD for him, > and to fill up the leftover space, put on the 5/28/77 Bertha remaster that > just went up on bt etree, and the 2/19/72 Sickbits matrix that just went > up on bt etree. Finally, included is set 2 of 12/30/77. > > So, you have a couple of shows that are not on the archives, and some > stuff that has been aurally tinkered with if you like that sort of thing > or find it interesting. Seemed a shame to just make a copy for Tony, so I > burned three additional this morning. > > Edit my email address and respond via email with your address if you would > like a copy of the disc. No blank or postage necessary, although it would > be cool to either offer up a copy to others, or offer up an audio CD set > of one of the shows if you are of a mind to do that. > > Details of the shows are below. > > Richard > *********************************** > 5/3/72 - Grateful Dead > Olympia Theater, Paris, France > > Lineage: > Soundboard->Master Reel (multi-track)->DAT x 5 > > Transfer: > DAT->ZA2->.wav->mkw->SHN > > DAT seed provided by Michael P. Weitzman > Transfer and SHN by Joe Samaritano > 1/25/2004 > > Notes: > 1. Known lineage and transfer from DAT, no EAC step. > 2. Most circulating copies have digital noize about > a minute into Bertha, this seed is clean. > 3. Some circulating copies are plagued with static > from Truckin' on, this seed is clean. > 4. Consistent with other copies, Casey Jones has a > skip about 4 minutes in. > 5. China Cat->IKYR, Tennessee Jed, and Jack Straw are > patched in from the Europe '72 CD. If you don't own it, > please go buy it today! > > Set 1: > d1t01 - Bertha > d1t02 - MAMU > d1t03 - Mr. Charlie > d1t04 - Sugaree > d1t05 - BT Wind > d1t06 - Chinatown Shuffle > d1t07 - China Cat > d1t08 - IKYR > d1t09 - BIODTL > d1t10 - He's Gone > d1t11 - Next Time You See Me > d1t12 - PITB > > Set 1 (con't): > d2t01 - Tennessee Jed > d2t02 - Good Lovin' > d2t03 - Sing Me Back Home > d2t04 - Casey Jones > Set 2: > d2t05 - GSET > d2t06 - Ramble On Rose > d2t07 - Hurts Me Too > > Set 2 (con't): > d3t01 - Truckin' > d3t02 - Jam > d3t03 - Other One > d3t04 - Drums > d3t05 - Other One Jam > d3t06 - Bobby McGee > d3t07 - Other One > d3t08 - Wharf Rat > > Set 2 (con't): > d4t01 - Jack Straw > d4t02 - Sugar Mag > d4t03 - NFA > d4t04 - GDTRFB > d4t05 - NFA > d4t06 - E: OMSN > ********************************** > Grateful Dead > Winterland Arena > San Francisco, CA > 12/30/77 > > SBDMR>DAT>Sonic Solutions>CD>EAC>SHN > > This one is the real deal. I'm not sure what is up with the other > versions that are circulating, but I agree with comments that > shnid 20009 sounds like it's from an FM broadcast. This seed is > pre-FM and is superior--at least to 20009. BTW, I just LOVE this > show!- Sean Cribbs 8/2005 > > Disc 1 > 01 Mississippi Half-Step Uptown Toodeloo > 02 Me And My Uncle > 03 Dire Wolf > 04 Looks Like Rain > 05 Row Jimmy > 06 Big River > 07 Bobby's "Joke" > 08 Peggy-O > 09 Passenger > 10 Ramble On Rose > 11 Let It Grow > > Disc 2 > 01 Samson And Delilah > 02 Ship Of Fools > 03 U.S. Blues > 04 Good Lovin' > ****************************** > Grateful Dead > 2/23/71 > Port Chester, NY > > SBD>MR>DAT>SFNR>CD-R > > SFNR=Sonic Foundry Noise Reduction (narrow notch filter to remove whine > interference... see below) > > Disc 1: > ====== > > SET1 > 1. Uncle John's Band > 2. Loser > 3. Playing In The Band > 4. Big Boss Man > 5. China Cat Sunflower > > 6. I Know You Rider > 7. Me And Bobby McGee > 8. Bertha > 9. Next Time You See Me > > Disc 2: > ====== > > 1. tuning > 2. Morning Dew > 3. Sugar Magnolia > 4. Casey Jones > SET2 > 5. tuning > 6. Me And My Uncle > 7. Bird Song > > Disc 3: > ====== > > 1. tuning > 2. Truckin' > > 3. Drums > > 4. The Other One > > 5. Wharf Rat > 6. Greatest Story Ever Told > 7. Good Lovin' > 8. Not Fade Away > GDTRFB > Not Fade Away > > 9. Johnny B. Goode > > total size of shn files: 821637 kB > all wav files are the correct length for clean burning! > > > Notes: > > The short story: > > 1) I removed the whine (~8000 kHz tone at about +25 dB) from this show > that was present with the source reels using Sonic Foundry's Noise > Reduction algorithm, as I did with the earlier uploaded Port Chester > shows (2/18, 2/21, 2/24). For an explanation of the noise and how I > removed it, see http://www.mailbag.com/users/orf/notch.html > > 2) There are a couple of dropouts/glitches which I have > cleaned up as well as I can. These occurred when the DAT tape was > "ripped" to disk. > > 3) This show is as good as you're gonna get as far as I know because of > the NR and the excellent remastering from the original reels! > > 4) I've kept in all the intersong tuning/whatever. I figure others can > edit them down if the wish. I like having it there, sometimes funny > things are said and done :) plus you can always just hit FFWD on your CD > player remote to get to the next song! > > The long story with regards to 2) above: > > The DAT tape, a clone from the "whatever became of the bettys" tree a > while back, was borrowed and was read in on an old SGI indigo which has > firmware which can read DAT audio tapes and dump them to 48 kHz AIFF > files. Alas, I do not own a DAT machine and digital sound card, but I am > saving my money! Anyhow, the error correction on the SGI DAT drive was > pretty crappy, and there were a few dropouts/glitches on the read which > lasted anywhere from less than 1/75 s to a handful of seconds. > > I have at my behest a professional quality DAT machine at a community > radio station I volunteer for (WORT) and brought my home tape deck in > which is a Harmon Kardon TD 4600, one of the earlier Dolby S decks (WORT > does not have a computer with a digital sound card). It is a very good > deck for analogue. The DAT deck at WORT was able to handle all of the > bad spots for this show that were not handled well by the SGI. I made a > dolby S copy of the bad spots, and pasted over (using an analogue AWE64 > Soundblaster to go A->D) the glitches/droputs on the SGI read using > Sound Forge. The result is as good as I could do. Bear in mind that the > total amount I had to paste over represent a total of about 20 seconds > across the entire show, and I was able to 'fix' them completely. The > worst section was during Drums where there were a couple of sections > where up to on the order of 5-10 seconds wasn't read, and hence was > pasted over with the analogue copy. I leave it up to you to find them :) > > Leigh Orf > ****************************** > Grateful Dead > Capitol Theater > Port Chester, NY > 2-19-71 > Sick Bits Vol. 13 > > Source: Matrix (SBD/AUD mix): > > SBD: (shnid=1029) - via WBOTB Project > 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES @ 44.055 kHz > PCM501ES analog out > Fostex D5 @ 48 kHz (Dolby not decoded?) > WAV > > Cool Edit Pro (filtering and sample rate conversion) > SHN > > AUD: (shnid=30230) - via Clinton Vadnais > 1st gen reel> Teac A-2300SX> RCA out> Audiophile 2496> Wavelab 4.0 > lineage: Wavelab 4.0> CD Wave> MKWact> WAV> FLAC > > Transfer/Editing: > The SBD is from SHN files downloaded from LMA, and the AUD is from FLAC > files downloaded from bt.etree.org; both sources were converted to > WAV > Sony Vegas 5 > WAV > CD Wave > FLAC 16 (level 8) > > Matrixed by Chris Chappell > ScarFire@liquidcity.com > 10-14-05 > ___________________________________________________________________ > > Set I: > > d1t01 - tuning (Merry-Go-Round Broke Down) > d1t02 - Truckin' > d1t03 - Loser > d1t04 - Cumberland Blues > d1t05 - It Hurts Me Too > d1t06 - Bertha > d1t07 - Playin' In The Band > d1t08 - Dark Hollow > d1t09 - Smokestack Lightnin' > d1t10 - China Cat Sunflower -> > d1t11 - I Know You Rider > > Set II: > > d1t12 - tuning > d1t13 - Greatest Story Ever Told -> > d1t14 - Johnny B. Goode > d2t01 - tuning > d2t02 - Bird Song* > d2t03 - Easy Wind > d2t04 - Deal* > d2t05 - Cryptical Envelopment -> > d2t06 - Drums -> > d2t07 - The Other One -> > d2t08 - Wharf Rat > d2t09 - Good Lovin' > d2t10 - Casey Jones > > Total Times: > Disc 1 [79:53] > Disc 2 [79:09] > > * breakout > - for track times see shntool output > ___________________________________________________________________ > > General Notes: > > When Clinton transfered and seeded the AUD of this show, I knew I had to > see what a 1971 matrix would sound like. After experimenting with the > China>Rider, it was obvious that the power conveyed in the blending of > the two sources would justify matrixing an already crisp sounding betty > board. > The energy back then was really amazing - so strong, and the sound... > vintage. > > Both sources are mono, but in no way does this detract from the final > result, > if anything, it minimized the phase issues inherent in making a post-show > matrix. Some mono purists believed that hi-fidelity went out the window > with > the introduction of stereo. I'm not saying I agree, but after this > editing > exercise, I can appreciate more where they are coming from. > > The SBD does not appear to be the FOH mix, as the vocals in the beginning > of certain songs (Bertha, Dark Hollow) are missing or very low in the SBD > source, > but easily heard in the AUD source. This would suggest a monitor mix, but > most > likely some AUX split off the house SBD, made and monitored especially for > recording. The resulting matrix at least allows you to hear the vocals in > these > sections albeit not at the desired level in the mix. > > This is the first show without Mickey, which Bobby alludes to at some > point, > saying that he is not feeling well. Bobby is also responsible for the > tuning > at the beginning of the show (Merry-Go-Round Broke Down?) as well as a > Rawhide > tease at the end of Smokestack. Bird Song and Deal are played for the > first > time in concert (breakout); Loser, Bertha, Playin', Greatest and Wharf Rat > for the > 2nd time ever, but this show is really about Pig. Smokestack is #2 of 5 > played in > '71 with only one more Pig version after that (3-25-72), and it's 14:40 in > length. > Combine that with one of the best versions of Easy Wind, an 18:37 version > of Good > Lovin, and a Hurts Me Too to boot, and you've got a finger lickin' Pig Pen > pickin'. > > This show was not easy to matrix, but in the end it was well worth it. > The > speed fluctuation in the old reel to reels, even in as short amount of > time as > 20 seconds, added to the task with constant synch edits, but the minimal > phase > from the combination of two mono sources made the editing a little easier. > > -------Reviews from the LlaMA: > > "This show sneaks up behind you, taps you on the shoulder and then steals > your face! > Sure, there are some "garage band moments" here and there, but overall, > they play > like they were recording it for an album (heh,heh ....they were actually) > and with > the passage of time, this night still stands out as well played, and also > as having > that ineffable X factor magic, not only with the songs, but also in the > synergy of > the band interaction with the crowd. Maybe it was because this was the > first show > without Mickey and they were trying harder. Or maybe it was the bomb > scares they > had during this run. Whatever the reason, Jerry chose tonight to debut > Deal and > Bird Song, say no more, wink wink, nudge nudge." > > "Pig fans will undoubtedly prefer this show... But for me the highlight of > the > entire show is the Know You Rider. In this period (winter 70-71 through > spring 71) > the tune achieved its canonical form. It seems that with each performance, > in the > second and final solo, Jerry was having a musical converstion not just > with the > boys, but with himself." > > "This show has *the* definitive, most unbelievably tight version of Easy > Wind, > with Pigpen guiding the boys, chugging along like a pyrotechnic freight > train > through a completely cosmic, harmonically perfect jam." > > -------Credits: > > Thanks to WBOTB (What's become of the Betty's) tree for the SBD. No one > is given > specific credit so maybe there were many who worked on various aspects. > Thanks to Clinton Vadnais for transfering and editing the AUD source; > taper unknown, > but if not for either one of you, no matrix would be possible. Thanks > again. > > Cover art was found at http://www.geocities.com/deadpieshop/ > > > Enjoy! > Chappy > > > Appended to text file: > > Shntool output > Editing Notes > FLAC Fingerprint > SBD & AUD source Notes > > ___________________________________________________________________ > > > Timeline/Tracking Notes: > > The AUD is tracked for 2 discs (because it lacks tuning breaks) and the > SBD is > tracked for 3 discs. By eliminating less than 2 minutes of dead > air/tuning in > between songs (with no corresponding AUD) in the first set, I was able to > make > the show fit on 2 discs. The only music that is missing from the SBD is > the last > 30 seconds of Birdsong which is covered by the AUD, resulting in full > coverage. > > Editing Notes: > > - Pitch > Each of the sources were pitched differently, the SBD being the closest to > A=440Hz. > Therefore, I used the SBD as my pitch reference and pitched the AUD down > about > -.05 (5 cents) through Truckin', up 5 cents for Loser and Cumberland, up > 12 cents > for Hurts Me Too, down about 2 cents for Bertha and Playin', down from 30 > cents > to 20 cents from Dark Hollow through Smokestack, down 15 for China > > Rider, up 10 > cents for GSET > JBG and Birdsong, then down 20 to 8 cents from Easy Wind > through > Wharf Rat, and down 25 cents to 16 cents for the Good Lovin' through Casey > Jones. > For the SBD, there is one area where pitch fluctuates - tuning after > Birdsong > (post cut) is a little fast, probably the tape running of the reel screwed > up the > tension alignment briefly (I pitched it from 25 cents down to 5 cents > during this > tuning - no corresponding AUD) and the Easy Wind after is pitched down 5 > cents as > well. No other parts of the SBD were pitched adjusted. The result is > close to > A=440Hz, however there is some fluctuation throughout the show due to the > age of > the recordings. > > - Synch > Even after pitch correcting the AUD to the SBD, because of the speed > fluctuation within a given source, multiple edits were performed to keep > the sources synched (too many edits to list). > > - Sonic Quality/Matrix ratio/Source mixes > No EQ was applied to any of the sources, but the matrix did receive a > little > Waves L2 (limiter) to give it a little more punch and presence. The AUD > source > had some previous EQ which I left as is. The Betty Board had received a > notch > filter at 8k to reduce the "whine" which I again left as is. Also, noted > in the > AUD source notes is the fact that the transfered reel was a 1st gen from > the master > but had already been recorded on before, thus some "bleed" from the prior > recording > comes through at the end of songs during the crowd noise; I discretely > edited these > areas out. > > Conceptually, all I was trying to do here is to add some dimension to the > SBD, > which is pretty dry, by using the ambience of the AUD. The result is a > lively > and somewhat clear recording, hopefully close to how it sounded at the > show. > If I had to guess the SBD/AUD ratio would be somewhere between 3:1 and > 2:1, > leaning more towards the 3:1 end of things. > > - Edits > The following are places where the SBD or AUD had holes or incomplete > coverage > in reference to the final matrix timeline. > > S** FOR YOUR REFERENCE ** The service addresses, to which questions about the list itself and requests to be added to or deleted from it should be directed, are as follows: Internet: dead-flames-request@gdead.berkeley.edu Bitnet: dead-flames-request%gdead.berkeley.edu@ucbcmsa Uucp: ...!{ucbvax,uunet}!gdead.berkeley.edu!dead-flames-request You can send mail to the entire list (and rec.music.gdead) via one of these addresses: Internet: dead-flames@gdead.berkeley.edu Bitnet: dead-flames%gdead.berkeley.edu@ucbcmsa Uucp: ...!{ucbvax,uunet}!gdead.berkeley.edu!dead-flames End of Dead-Flames Digest ****************************** .