LATEST ADDITIONS

Cecilia Bartoli: Unreleased, Hindemith: Symphony "Mathis der Maler," Nusch-Nuschi-Tänze, Sancta Susanna and Métamorphoses: Nocturnes.

Edward Simon: Solo Live, The Wonderful World Of Louis Armstrong All Stars: A Gift to Pops and Fred Hersch: Breath by Breath.

Ben Lamar Gay: Open Arms to Open Us, Pretenders: Pretenders and Pretenders II (40th Anniversary Deluxe Editions) and Damon Albarn: The Nearer the Fountain, More Pure the Stream Flows.

Is combining a record store with a hi-fi dealership a radical idea? Maybe not: It could be a way to reel in new, music-loving hi-fi customers where they're most comfortable, in record stores searching for music.

At Stereophile, we don't generally allow Mulligans—review do-overs. Usually, we take a second look at a product we've reviewed only when the first sample turns out to have been defective, especially if it was damaged in shipping—and we rarely do even that.

Called "the phantom" by fellow musicians and dubbed the "bearded, goateed astronaut of the tenor sax" by a close friend, trumpeter Kenny Dorham, the enigmatic Joe Henderson recorded five albums for the Blue Note label that are uniformly regarded as jazz classics. Mosaic Records has gathered those records—Page One, Our Thing, In 'n Out, Inner Urge, Mode for Joe—plus Henderson's sideman dates and alternate takes for Blue Note for a limited-edition, five-CD box set, The Complete Joe Henderson Blue Note Studio Sessions (Mosaic Records MD5-271).

In the annals of jazz, Charles Mingus—bassist, pianist, composer, bandleader, unique, headstrong, and deeply influential in every category—occupies the transit point between Duke Ellington and the post-'60s avant-garde, a station he carved out deliberately.