Jon Iverson Posted: Oct 21, 2015 3 comments
The British company Chord Electronics has always seemed to me to be audio's crazy uncle: Crazy like a fox, maybe, but definitely marching to their own tune. Their casework design often borders on the gratuitously provocative, challenging audiophiles' ideas about good taste. Yet many of my audio pals swear by the sound of Chord components, and I've heard them shine in many respectable showrooms.
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Richard Lehnert Posted: Oct 20, 2015 Published: Nov 01, 2015 35 comments
"There are two kinds of music. Good music, and the other kind," Duke Ellington is famously supposed to have said. But that doesn't tell us how to recognize "good music," and it doesn't define good. Nor will this essay. Many have described the music of, say, Mozart or J.S. Bach with such phrases as the music of heaven or the mind of God or—especially Bach's music—that it embodies the basic structure of the universe/existence/reality. I've said such things myself.
Robert Baird Posted: Oct 20, 2015 Published: Nov 01, 2015 2 comments
Various Artists: Hommage à Eberhard Weber
Pat Metheny, Jan Garbarek, Gary Burton, Scott Colley, Danny Gottlieb, Paul McCandless, Michael Gibbs; SWR Big Band, Helge Sunde, conductor
ECM 2463 (CD). 2015. Martin Muhelis, concert prod.; Doris Hauser, Volker Neumann, Boris Kellenbenz, Pete Karam, Manfred Eicher, engs. DDD? TT: 69:48
Performance *****
Sonics *****

There once was a joke about how technology would someday replace troublesome musicians: Instead of putting up with drummers being late to gigs, keeping irregular time, and stealing everyone else's girlfriends, a trouble-free robot could take over. It seems that some of those predictions have come true. This single disc documents two concerts held in Stuttgart, Germany, in January 2015, to celebrate the 75th birthday of hometown German jazz electric bassist Eberhard Weber, who has been unable to play since suffering a stroke, in 2007. Via tape loops and video samples of Weber playing, he nonetheless played a large part in his birthday celebration, particularly in the concerts' centerpiece, Pat Metheny's 30-minute "Hommage," a rare example of Metheny writing for big band and a tour de force of Weber's distinctive playing.

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Stereophile Staff Posted: Oct 16, 2015 0 comments
The October Stereophile may have featured a retro tubed integrated amplifier on its cover but the November issue, hitting newsstands and mailboxes now, spotlights the hi-tech, solid-state Musical Nu-Vista 800 integrated amplifier. Don't fret, thermionic aficionados, the Musical Fidelity's preamp section is built around classic nuvistor triodes.
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Robert Baird Posted: Oct 16, 2015 1 comments
While diving into the totality of Mozart, or Beethoven as was done in Immortal Beloved sounds like fun, it’s actually hard as hell.
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Robert Baird Posted: Oct 16, 2015 17 comments
Say what you want about eBay and their fees, which are no doubt passed on to the customers, but photos do not lie.
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Fred Kaplan Posted: Oct 16, 2015 2 comments
Charlie Haden, the most inventive bassist of his generation, died at the age of 76 a little more than a year ago, but his widow (and producer-manager), Ruth Cameron-Haden, says he left behind many unreleased tapes of live concerts. So it's likely, thankfully, that we haven't heard the last of him. The first nugget from the archive, Tokyo Adagio (on the Impulse! label)—live duets with the pianist Gonzalo Rubalcaba, taken from a four-night gig in 2005 at the Blue Note jazz club in Tokyo—is a gorgeous album, an auspicious beginning.
Herb Reichert Posted: Oct 15, 2015 8 comments
I used to get invited to these highly secret audio soirées, held in a basement workshop at the end of a dark, garbage-filled alley in Manhattan's Chinatown. There was no street address—only a wire-glass window in a metal door—and if you didn't know the password (ie, if you weren't carrying some type of audio amplification), you weren't allowed to enter. That said, sometimes nonmembers were allowed to attend, but only when a member needed help carrying monoblocks: There was no parking nearby.
John Marks Posted: Oct 15, 2015 3 comments
A mastering engineer's job is both to act as the final quality control before a recording goes out for manufacturing and, just as important, to apply to that recording the requisite technical finishing touches. Over the course of his career to date, mastering engineer Robert C. Ludwig has racked up more than 7500 album credits.
Robert Baird Posted: Oct 15, 2015 1 comments
Playing the blues gets old fast. Since this most fundamental American popular music, stopped being the African-American party music of choice, and became a traditional music, celebrated as the precursor of rock'n'roll, blues players face a stark choice: change, or be content with playing small clubs and bars.


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