LATEST ADDITIONS

I guess I'm going to have to start listening to Stacey Kent. At her early set at Birdland in midtown Manhattan Wednesday night, I sat down a skeptic and came away charmed.

The combination of piracy, streaming, and the accompanying devaluation of music these days has forced musicians back to the stage to make their daily bread.

Performance Recordings is the closest thing to a one-man label. James Boyk is president, A&R director, musical director, recording engineer, production manager, jacket notes author, and the star performer. He is also Artist in Residence and lecturer in music and engineering (specifically sound recording and reproduction) at Cal Tech. And he happens to be one of digital's most ardent detractors, having conducted, and widely publicized, several controlled listening tests that proved to his satisfaction that digital recordings are destructive to musical sound. (I will not question his methodology or conclusions here; suffice it to say that James is as stalwartly pro-analog and anti-digital as it is possible to be.)

Magico's Alon Wolf will be appearing in person at The Audio Salon, Saturday June 14, from 3pm until 8pm. Alon's presentation will feature Magico's newest S-Series speaker, the S3 (above), which costs $22,600/pair, and a discussion about the technology behind the 10th Anniversary M Project.

Have nothing in your houses that you do not know to be useful or believe to be beautiful.—William Morris (1834–1896)

The Arts and Crafts movement, which took root in England in the late 1800s, was more than just a reaction to the poor working conditions and the soulless, shoddy, superfluously decorated wares associated with the early days of mass production. It was a rejection of Victorian attitudes toward class: of a mindset that promoted a chasm, in industry as in society, between the designer and the craftsman, the architect and the stonemason.

According to Terry Teachout, Duke Ellington's story is one of "a somewhat better-than-average stride pianist largely devoid of formal musical training [who] managed to turn himself into a great composer." Ellington had ample help from his organization, which included the gifted composer and arranger Billy Strayhorn, who succinctly described his employer's modus operandi: "Each member of his band is to him a distinctive tone color and set of emotions, which he mixes with others equally distinctive to produce a third thing, which I call the Ellington effect." Without standout band members, and without Strayhorn himself, that effect would have been significantly less memorable.