LATEST ADDITIONS

Are audiophiles born or are they created? Are "Golden Ears" an innate talent (nature) or can you train yourself (nurture) to be a critical listener?

It’s one of those lineups that almost promises too much: McCoy Tyner, the pianist from Coltrane’s “classic” early-‘60s quartet, leading his own quartet with Ravi Coltrane, John’s son, sitting in on tenor sax. And yet, at tonight’s first set, they pulled it off, which is to say, they seemed natural, the music was simply very good--better than that--and not some cockeyed freak show like, say, Paul McCartney teaming up with Sean Lennon. The band was playing in Jazz at Lincoln Center’s Allen Room—a wonder of concert-hall architecture, at once spacious and intimate, with a grand view overlooking Central Park—and Tyner, now 70 and recently ailing, was in ultra-fine form. He banged out the set’s first notes, and there they were—those clanging block chords, forceful, percussive, the sustain-pedal meshing their overtones into a shimmering sonic bouquet. It sent shivers. Then entered Coltrane the younger, now 43 (he wasn’t quite two when John died of liver complications at the age of 40), sounding increasingly like his father—that plangent tone, the sinuous, fluent lines of sixteenth-notes, broken up by abrupt hesitations and jagged rhythms—but not as insistent, adopting more the tone of a balladeer. (Check out his new album, <I>Blending Times</I>, on Savoy Jazz, for a tasty sampling of what might be called intense lyricism.) Midway through the set, he and Tyner took a big risk—it literally took my breath—when they dashed into “Moment’s Notice,” John Coltrane’s uptempo anthem from his 1957 LP <I>Blue Train</I>, but Ravi navigated the brisk rapids with aplomb. (It may have helped that Tyner never played that song with Coltrane <I>pere</I>—the album was recorded a few years before he joined the group—so they were both, in a sense, interlopers. If they’d started wailing the first movement of <I>A Love Supreme</I>, well, that might have been too eerie.)

The speed with which audiophiles have adopted a computer of some sort as their primary source of recorded music might be thought breathtaking. But with the ubiquitous Apple iPod painlessly persuading people to get used to the idea of storing their music libraries on computer hard drives, the next logical step was to access those libraries in listening rooms as well as on the move. A few months back, I wrote a basic guide to the various strategies for getting the best sound from a computer: "Music Served: Extracting Music from your PC." Since then, Minnesota manufacturer Bel Canto Design has released a product that aims to simplify matters even further.

For roughly the same amount of money, you can buy a new Toyota Camry or a used mid-sized Mercedes-Benz sedan. The new car has several things going in its favor: no one else has ever driven it, smoked in it, or ferried dogs and kids and fast-food leavings in it, and it comes with a fresh warranty and the latest safety equipment. But the used Mercedes has other things in its favor: having started with a much larger "build budget," it is, simply, more car for the money all around&#151;you just have to pick a good one.

<B>Willie Nile: <I>House of a Thousand Guitars</I></B>
Circle P/River House RHR9904 (CD). 2009. Willie Nile, Brad Albetta, Frankie Lee, Andy York, prods.; Stewart Lerman, Rich Pagano, prods., engs.; Rich Lamb, eng. AAD? TT: 52:36
Performance ****&#189;
Sonics ***&#189;

<i>Pain: I guess it's a matter of sensation</i>

The June 2009 issue of <i>Stereophile</i> is now on newsstands. At first, I was against the green border and font for the front cover, favoring <a href="http://blog.stereophile.com/stephenmejias/in_shades_of_orange/">a red and orange motif</a> instead, but I now think the green treatment looks excellent. It is appropriate for spring, and the Klipsch Palladium P-39F loudspeaker seems to leap right from the page. Like a (really freaking) gigantic squirrel leaping from the branch of a blossoming tree.