Posts filed under “Digital Media”
I previously noted that the basic Tivo 80 hour machine was free after rebate.
I hadn’t really followed up on that — I’ve been watching the 300-hour TiVo Series 3 HD Digital Media Recorder.
Yes, its true: I am still in the plasma-less camp. In the old house, a turn of the century colonial, no wall in the living room could take a 60"-incher. As soon as we get past the re-construction of our termite-eaten den in the new house, I have my eye on a Pioneer Elite. That wil, of course, require an HD TiVO.
When the TiVo HD Digital Recorder was first released, the reviews were mostly *rapturous, with the notable exception being the $800 price tag. (Even their CEO admitted the price point was too high).
I was pleased to see that’s now been cut in half. Amazon is offering the box at $599, plus a $200 rebate.
If the HD stays at this price when I get the plasma, it will become a must-have addition.
“…these boxes (cable company DVRs) are to TiVo as an oxcart is to a Maserati; their creators, it’s painfully clear, do not share TiVo Inc.’s obsession with polish and elegant simplicity.”
-9/21/06: The New York Times, David Pogue
“I could see no difference between digital programming viewed live (with or without the TiVo Series3) and the same content as played back from the DVR’s hard drive. Apparently, the Series3′s THX certification was well earned.”
-9/12/06: PC Magazine, Robert Heron
“In addition to TiVo’s TV-recording functionality, the Series3 supports the same impressive and expanding roster of networking functions found on the Series2 boxes. Notably, most of these features have yet to appear on DVRs from rival manufacturers; they’re among the reasons that TiVo is touting the Series3 box as a Digital Media Recorder (DMR) instead of just a DVR.”
-9/12/06: CNET, John Falcone
Tonite’s guest host for FNJ is a music insider. Although he is known better for many of the newer acts he represents, he is, surprisngly enough, a closet jazz aficionado, and therefore must remain anonymous.
Here’s his take on the O-man:
Oscar Peterson has been recording and performing for over half a century. He may also be the most recorded of all piano players. (And he’s from Canada).
Oscar bridged the swing and bop eras, rooting himself in a style that was at the same time stunningly complex yet elegant and soulful. Nobody used more notes to swing! Oscar is sometimes dismissed because he wasn’t groundbreaking in the way that many of his contemporaries were. But the range of expression he achieved on the piano, and his technical prowess, is hardly rivaled in mainstream jazz.
Many consider his solo recordings of the late 60s and early 70s to be his most outstanding work, but I was always partial to his trio recordings both with Ray Brown and Ed Thigpen and later with Joe Pass and Niels-Henning Orsted Pederson. The live album "The Trio" from 1973 (not to be confused with a Verve release of the same title) is a great recording of Oscar with Pass and Pederson and shows Oscar at his most virtuosic. Check out the Brown Thigpen work live here.
compendium of his 60s work in both trio and solo settings, the
excellent box set "Exclusively for My Friends" will keep you
entertained for years. Of course, there are the standard "songbook"
albums (George Gershwin, Cole Porter, etc.) and the duets with greats like Ella Fitzgerald, Count Basie, Clark Terry and
But if I had to pick one place to start, and on a
Friday night with your favorite Bordeaux, it would be the 1962 album "Night Train" with Ray Brown and Ed Thigpen
It showcases Oscar at his best on both ballads and uptempo numbers and he really shows his blues chops. In particular, note the title track, Bags’ Groove (one the great jazz classics), Moten Swing and Elllington’s great C-Jam Blues. The bonus tracks added to the reissue aren’t particularly special, but don’t diminish Peterson’s brilliance on this record.
(videos after the jump)
Pat Metheny is one of those guitarists that was always interesting, but he never really floated my boat. His style is kinda New Age-y, a bit too cold/technique focused for my preferences. I can see why some people say he is an acquired taste.
However, a friend in the music industry (with meticulous taste) had recommended his latest album with pianist Brad Mehldau (Metheny Mehldau Quartet) to me, and on his suggestion, I gave it a whirl.
It is a delightful surprise.
It is an eclectic disc, ranging from a mix of jazz fusion, acoustic, Celtic, pop, Asian-tinged (41 string guitars!) to Brazilian music. Somehow, this odd and always changing mix seems to work on nearly every track.
This is the second pairing of Metheny and Mehldau colloboration, the first being Metheny/Mehldau.
The pairing works well. Mehldau brings a degree of warmth and intimacy
often missing from more traditional Metheny recordings.
Metheny frequently returns to his earlier electric jazz guitar style, but it seems to work so much better in this quarter than any previous work I’ve heard from him. Its worth checking out.
For those interested in how this pairing came about, there is a two part interview with Metheny and Mehldau after the jump . . .