Michael Fremer will participate in a roundtable discussion titled, "Deep Listening: Why Audio Quality Matters," held at the Philoctetes Center for the Multidisciplinary Study of the Imagination (247 East 82nd Street, NY) on Saturday, December 6, at 2:30pm.
Wayne Shorter marked his 75th birthday with a concert at Carnegie Hall last night. The show began with the Imani Winds, a spirited quintet of woodwinds and French horn, briskly traversing Villa-Lobos’ “Quintette en Forme de Choros,” followed by the world premiere of Shorter’s own classicial composition, “Terra Incognito.” (Let’s just say Gunther Schuller has nothing to worry about.) Exit Imani Winds, enter the Wayne Shorter Quartet, sparking lusty applause but not much after. Shorter’s band was, as usual, great. Danilo Perez, piano; John Patitucci, bass; Brian Blade, drums—not many rhythm sections can whip up such a turbulent swing. But it’s incomplete by design, it screams out for some saxophone colossus to rise up against the storm with a mind-blowing solo or a lyrical cri de coeur, <I>something</I> that sharpens the tension or takes your breath or simply excites. Shorter was once a master at this art, the designated heir to Coltrane and a more agile composer to boot. Check out his sessions with the early-‘60s Jazz Messengers and mid-‘60s Miles Davis, or his own albums, especially <I>See No Evil</I> and <I>Juju</I> or his 2001 recording with this same quartet, <I>Footprints Live!</I> But in recent years he’s been prone to laziness, and last night fit the bill. Occasionally, he’d lock into a groove and start to slide into a melody, a coherent passage that lasted a few bars, but then he’d back away and retreat to riding scales and wailing random whole notes. For the last few numbers, the Imani Winds returned, and the two ensembles played together. The arrangements, by Shorter, weren’t bad; his playing had its moments, but fell well below his peak potential. Toward the end of the quartet segment, Shorter quoted his old boss Art Blakey as saying, “When you get to a certain age, you don’t got to prove nothin’!” Maybe so, but, as Blakey demonstrated till the very end, when he was only a few years younger than Shorter is now, you’ve still got to come out and play.
In his <I>20,000 Leagues Under the Sea</I>, Jules Verne presents the enigmatic Captain Nemo, commander of the great submarine <I>Nautilus</I>, as powerful, charismatic, and mysterious. On first meeting Nemo, the narrator, M. Aronnax, notes, "I made out his prevailing qualities directly: self-confidence—because his head was well set on his shoulders, and his black eyes looked around with cold assurance; calmness—for his skin, rather pale, showed his coolness of blood; energy—evinced by the rapid contraction of his lofty brows; and courage—because his deep breathing denoted great power of lungs." All in all, "this man was certainly the most admirable specimen I had ever met."
The roadster's throbbing rumble became a roar as the tachometer soared above 4 grand. Like a giant hand, its thrust jammed me back into the seat. Racing along low to the ground, feeling every curve and bump, I began to understand: the automotive virtues of smoothness and insulation had been swapped for firm road grip and the ability to transmit to the driver each jolt and curve in the surface below. Long before I'd climbed into the driver's seat of Porsche's Boxster S, I had known about its low-end snort and speed—the main reasons I was considering a lease—but I had not known about its ability to join sensation and purpose in such an intense bond.
<a href="http://forum.stereophile.com/forum/showflat.php?Cat=0&Number=54397&an=0… directed us</a> to <a href="http://www.nytimes.com/2008/12/02/technology/techspecial2/02table.html?… excellent and encouraging article</a> in the New York Times.
My heart is not broken. It is collapsed like the sun into the frozen Meadowlands. Sometimes, alone in bed at night, I get this awful, screaming pain in the side of my bony chest, in that empty space where I imagine you to be. It's not often that I do this, sit here. Listen to the same sad songs over and over again, sing along, cry, think of how these words were written for us. It's probably not a good habit to be getting into, but it seems I just can't stop. It's been more than two weeks now, and it isn't wearing off. Twelve songs, 40 minutes, over and over again. I can't stop. Remember when you said that no one else could ever love me like you loved me? I don't know if that was a gift or a curse, but I believe it is true.
In the last year I've written about several components of a truly engaging system: the VPI TNT Mk.IV turntable and JMW Memorial 12" tonearm (February '99), Grado Reference cartridge; the <A HREF="http://www.stereophile.com/cdplayers/156">Wadia 830</A> CD player (October 1999); and <A HREF="http://www.stereophile.com/floorloudspeakers/216">Thiel's CS7.2</A> loudspeakers (February 2000). I've recounted the evolution of my listening-room setup as well, and described its optimization using <A HREF="http://www.stereophile.com/roomtreatments/215">ASC Tube Traps</A> and Art Noxon's MATT test in the February issue. The final piece of the puzzle, and the one I'll tackle here, was the cable package from MIT: the MI-330 Shotgun Proline interconnects and the MH-750 shotgun speaker cables.
Perhaps the most interesting thing on satellite radio has been Bob Dylan’s <I>Theme Time</I> radio show on XM, where he uses big themes like “baseball” or “eyes,” and builds shows around music that somehow connects to the theme. The idea for this show, which is worth listening to if only for Dylan’s raspy–voiced patter, may have come from a previous Forties–era radio program hosted by one of Dylan’s heroes, Woody Guthrie.
My favorite audio product of 2008 isn't precisely an audio product—it's a home theater in a box. I'm referring to Polk's lovely SurroundBar 360, which sells for $1200 and gives you a low-profile 48" "sound bar" and a base station, which includes an optical disc player, DSP processing, and an AM/FM tuner. The base station, of course, contains all the amplification the sound bar requires. Also included is a special umbilical to connect the two pieces—and, in a savvy little detail that tells you a great deal about how much thought has gone into the SurroundBar 360, the connectors on that cable cannot be connected "wrong."