<B>SHIRLEY HORN: <I>You Won't Forget Me</I></B><BR>
Shirley Horn, voice, piano; Charles Ables, bass; Steve Williams, drums. With: Miles Davis, trumpet; Buck Hill, trumpet; Branford Marsalis, tenor saxophone; Wynton Marsalis, trumpet; Toots Thielemans, harmonica, guitar; Buster Williams, bass; Billy Hart, drums<BR>
Verve Digital 847 482-2 (CD only). Richard Seidel, Joel Siegel, prods.; David Baker, eng. DDD. TT: 71:13
The Deutsche Grammophon <A HREF="http://www2.deutschegrammophon.com/">webshop</A> and <A HREF="http://www.hdtracks.com ">HDtracks</A> have special New Year's gifts for audiophiles: more CD-quality and high-resolution downloads.
The Gini Systems "LS3/5a" is an unlicensed and inexact replica of the celebrated LS3/5a outside (remote location) broadcast monitoring loudspeaker originally developed by the BBC in the early 1970s. (For a précis of the LS3/5a's history, click <<A HREF="http://www.stereophile.com/thefifthelement/690">here</A>.)
I'm old enough to remember when "Made in Japan" was an insult. As a child, I saw that phrase on only the cheapest or craziest toys—some stamped out of tin and cupped together by a tab with a fiendish edge, some molded from a distinctively smooth, brittle plastic. The latter included a wind-up bunny on wheels that my father brought home one day: my favorite toy, ever. (It came with a double-barreled dart gun that I seldom used, partly because I loved the bunny too much to shoot it, and partly because the suction-cup darts didn't stick to that kind of plastic in the first place.)
When JA suggested I review one of the "smaller" VMPS loudspeakers, I felt the hot breath of controversy in the air. The <A HREF="http://www.stereophile.com/asweseeit/44">recent debate</A> in these pages concerning the "proper" amount of bass required for true high-fidelity reproduction, and the inability of small loudspeakers (according to one camp) to provide it, hadn't yet cooled off, nor showed any sign of doing so. VMPS, a small West-Coast manufacturer most famous for its humongous Super Tower IIa/R (at 6-plus feet and 250 lbs per side, <A HREF="http://www.stereophile.com/floorloudspeakers/486vmps">first reviewed</A> for <I>Stereophile</I> by AHC in Vol.9 No.3 and the latest version of which is examined by JGH elsewhere in this issue), is hardly a fence-sitter in the debate; they are clearly pro-low-end response. I chose to request the Tower II/R, an upgraded version of the smallest of their floor-standing systems, for review; with a rated 3dB-down point of 22Hz (the same as their standard subwoofer), it's not exactly a member of the restrained bass brigade.
<I>Stereophile</I>'s annual "Records 2 Die 4" will be coming out shortly, but here's your chance to get a jump on the reviewers: What recording from the last 365 days ended up at the top of your musical heap?
It’s fair to ask how many audiophile pressings of John Coltrane’s <I>Blue Train</I> do we need? Yet Mike Hobson of Classic Records makes a compelling case for this answer: one more. Classic is putting out a whole new type of LP, and though its technical tweak seems preposterous—a parody of vinylphilic obsession—it really does yield a substantial improvement; it makes the head spin.
It kind of happens intuitively, like breathing or crying or finding your way back home. Every year around this time, I scan my compact disc racks and watch as my hand reaches for The Flaming Lips' 1995 album, <i>Clouds Taste Metallic</i>. I put the disc in the player. I sit back. And I listen, and I remember.