LATEST ADDITIONS

I dreamed that I was back <a href="http://blog.stereophile.com/stephenmejias/what_happened_in_puerto_rico/… Puerto Rico</a> with the Vivian Girls. They asked me to work on a new song with them. We decided to set up a rehearsal space at my aunt’s beach house. It was taking us awhile to get the instruments properly set up, and Katy was becoming anxious, but I soothed her nerves with a stunning spread of snacks and candies: finger sandwiches, kiwis, grapes, pomegranates, baskets of popcorn, bowls of pretzels and chips, towers of Twizzlers, tall pyramids of Almond Joy…

It began when my oldest brother, 13 years my senior, returned from military service and told me about "hi-fi." Until then, all I'd known was our ancient tabletop radio-phonograph with its insatiable appetite for osmium styli. Back then, in the early 1950s, audio componentry was scrappy, still evolving from World War II military electronics and public-address systems. I began reading the electronics magazines and learned that, to get started, I needed a record player connected to an amplifier and a speaker. I toured the shops and stalls on old Cortlandt Street, before the building of the World Trade Center, and made my selections based on appearance, reputation, and specifications rather than on sound. Still, compared to what we were used to, the results sounded hair-raisingly good.

"Are You a Sharpener or a Leveler?" was the title of my "<A HREF="http://www.stereophile.com/asweseeit/are_you_a_sharpener_or_a_leveler">… We See It</A>" in the February 2009 issue. The terms <I>sharpening</I> and <I>leveling</I> come from work in the field of perception by the early Gestalt psychologists, <I>sharpening</I> referring to the exaggeration of perceived differences, <I>leveling</I> to the minimization of those differences.

The media likes to focus on the big-screen TV discounts people found this week, but did you find any audio bargains during the holiday shopping frenzy?

Maria Schneider’s early set last night at the Jazz Standard—part of her 17-piece Jazz Orchestra’s traditional Thanksgiving-week run—reaffirmed and advanced her position as the preeminent big-band composer of our era.

About 2200 years ago, a Greek writer named Antipater of Sidon compiled a list of the seven wonders of the world, which included a 100'-high statue of the Sun god Helios, erected next to the harbor of Rhodes on the Aegean sea. A of S called it the Colossus of Rhodes, for an obvious reason. Now there's a new Colossus, the derivation of whose name is a little less obvious, but which could justifiably be included in any contemporary listing of the seven wonders of the audio world.

Smalls is, well, a <I>small</I> jazz club in New York City’s West Village and, while far from the most comfortable establishment in town, it’s certainly among the most authentic and dedicated. The cover is cheap, the audience is youthful (two facts that are probably related), the musicians are usually the best up-and-coming players, and established masters sit in now and then too. (Last week, Albert “Tootie” Heath played drums with the Bad Plus pianist Ethan Iverson.)