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At least I didn't get arrested is a helluva way to begin a story, but then I never expected the FBI to question me about my online record shopping, viewing it as cover for potentially "Conspiring to Provide Material Support" to an international terrorist organization. "We need some information from you," the email said. "We've also temporarily limited certain features in your PayPal account."

Liner notes from jazz albums of the 1950s and 1960s can be shot through with naivete, hipsterism (usually faux), and callousness toward the abundance of musical talent then working. Few though are as shortsighted as the original essay by Jack Maher on the back of 1960's Workin' with the Miles Davis Quintet. Opening with "Miles Davis is the most maligned and idolized musician in modern American jazz today. He is at once the saint and the sinner," he goes on to cite a dynamic that literally all musicians experience, especially when playing live: "He has been accused of being lackadaisical and unconcerned about his playing. When the spirit moves him, he plays with warmth and lyric beauty, at other times he plays with vague disinterest."

Once the tape was running, however, Miles rarely missed a step. Among all of Davis's recording triumphs, the pair of sessions with Rudy Van Gelder in Hackensack, New Jersey, his May and September 1956 sessions with saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, remain among his finest moments on record.

In 1973, Elton John and Bernie Taupin capped one of pop music's most epic periods of sustained creativity by writing, recording, and releasing the 10-track single disc Don't Shoot Me I'm Only the Piano Player and the 17-track double album Goodbye Yellow Brick Road, both of which are now celebrating their 50th anniversary. As two of the strongest entries among the many classics that make 1972–73 the peak years for rock albums, both went #1 in the US and UK and arguably stand as the dual highpoints of John's recorded legacy.

I wasn't sure what to expect when I headed for the Angel City Audio room at PAF 2024—were they a dealer? A distributor? A manufacturer? After chatting with ACA's owner Hugh Nguyen (above), I can say that the answer fell somewhere between "all three" and "it depends."

At every show, I make it point to visit at least one company making their debut at the show AT PAF 2023, it was Bella Sound, based in Half Moon Bay, CA, and the offspring of Mike and Barbara Vice. Mike Vice described their path to PAF 2023 as having begun around 2010 with what was to be their first product, the Hanalei power amplifier. It had been ten years in the making and wowed everyone who heard it, but Mike decided that it "just wasn't ready". After eight more years of refining the Hanalei and developing a few other components, Mike and Barbara decided that the time was right and created Bella Sound. Add another 5 years and the COVID-19 lockdown, and here they were.

No show coverage would be complete without a preview of Børresen's major M6 loudspeaker ($550,000/pair) world premiere. Joining forces with products from the three other companies that comprise Audio Group Denmark, Børresen's M6 dominated an exceedingly large room in the extremely attractive exhibit mounted by US Distributor/Dealer Next Level HiFi.

Spatial Audio Lab may have considered its main suite on the 13th floor of the hotel's tower, but its second exhibit in room 2210 offered plenty to love. I was taken in by the wonderful clarity, excellent depth, and openness delivered by Spatial's Q6 prototype open-baffle loudspeakers ($4995/pair and expected in August). Infected Mushroom's "Avratz" was a knockout.