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In 1955, Canadian pianist Glenn Gould surprised executives at Columbia Masterworks by choosing J.S. Bach's Goldberg Variations for his debut recording. His performance was fast and fluid and sparkling and delicious, and it was an astonishingly big seller. In 1981, Gould came full circle and recorded the Goldbergs again. It was his last studio recording. That second attempt could not be more different from the first: relentlessly intellectual, percussive, insistent.

Late last year, to honor what would have been Gould's 90th birthday, Sony put out a package with a full-color coffee table book and 10 CDs of unreleased outtakes from the 1981 sessions—The Goldberg Variations: The Complete Unreleased 1981 Studio Sessions—with an 11th disc containing the 1981 album.

Columbia Records continues to extend its Bob Dylan Bootleg Series, which began in 1991. The latest edition in this complex warren of burrows brings us to Volume 17, Bob Dylan—Fragments—Time Out of Mind Sessions (1996–1997).

Fragments—the title—feels inaccurate; these recordings are not shards of some missing whole. Rather, they form a single large, varied portrait. To borrow an analogy from art history, what we have here is the result of cleaning and restoring a large canvas, removing layers of varnish and dirt that had obscured the true colors and textures that were there when it was first painted. Now we can experience this masterpiece in a new way.

Back in 2003, in an uptown New York City studio, a man who epitomized cool in the 1960s waited patiently for my next question. Well into his 70s but still thin and handsome, Burt Bacharach was casually dapper in his contrasting sweater and polo shirt. In town to perform with Ronald Isley in support of their new record together, Here I Am—Isley Meets Bacharach, the songwriter extraordinaire is warm and approachable, wary but unusually guileless when answering the questions of a lifelong fan of his melodies, a fan who's trying hard to be professional and hide the fact that he's utterly starstruck.

As rhythm has become predominant in pop music and melody has receded in importance, Bacharach and lyricist Hal David's brand of sleek, memorable tune craft has slipped into history. Yet despite Bacharach's death in February 2023, at age 94, their body of work is timeless.

Just as I dashed into the Expo Hall to check out Coherence Systems' ADD-POWR SorcerX4 ($4399.95) and smaller Apprentice ($3299.95) harmonic conditioning devices, Bill Stierhout (above) was packing up. We just had enough time to snap this photo before his booth became a booth no more.

Grandinote owner/designer Massimiliano Magri (above) joined his North American distributor Reinhard Goerner at AXPONA for the premiere of the Grandinote Premier Mach 8XL loudspeaker ($30,800–$33,000/pair, depending upon finish). According to Grandinote's endearingly "English as a second language" website, the Mach 8XL's eight full-range drivers utilize a special treatment behind the drivers' membranes that prevents cone break-up. The drivers roll-off above 13kHz, allowing a super tweeter that handles harmonics above 7kHz to come to the fore. Rather than employing a crossover—the Mach 8XL has none—drivers are modified to create "a solution in the middle between bass reflex and transmission line."

Credo Audio Switzerland's Cinema LTM loudspeakers ($199,995/pair) may have towered above all else, but the gear from EMM Labs and their lower priced Meitner Audio line, van den Hul, VPI Industries, and DS Audio displayed in another "give it all you've got" large room was nothing to scoff at. Though I've grown tired of the overblown sound on Gary Karr's LP, Adagio di Albinoni, I was awed by the midrange beauty of Sara Barreilles's voice on a 24/88.2 file of "Goodbye Yellow Brick Road." The recorded sound of this live performance seemed uncannily real, and the soundstage was awesome.

Air-walled exhibition rooms are one of the biggest challenges at audio shows. With no solid surfaces, many exhibitors in the large rooms on the first and second floors of the Schaumburg Convention Center had no choice but to struggle to put their best face forward.

Dynaudio and Octave probably had it better than most because, at the end of a row in Utopia D, presumably two of their walls were solid. Their sound on their biggest system certain was solid and all-of-one piece, yet extremely smooth. It had lots of life and flow, especially if you listened to LP and sat in the first row where the sound was at its tube splendor wettest and the low bass clearest.