I haven't written lately because my right hand has been in a cast from my fingertips to my elbow—rendering me, as a writer, essentially mute. Writing, thinking, and feeling are, for a writer, inextricably linked. How do I know what I think if I haven't written about it?
<I>Ben Webster and Associates</I> is one of the loveliest albums put out in the past couple years by Speakers Corner Records, the German-based audiophile reissue house. (Its LPs are distributed in the U.S. by Chad Kassem’s Acoustic Sounds.) Recorded in 1959 on the Verve label, it features Webster, Coleman Hawkins, and Budd Johnson on tenor saxophones; Roy Eldridge, trumpet; Ray Brown, bass; Jimmy Jones, piano; Leslie Spann, guitar; Jo Jones, drums.
We all recognize that the <A HREF="http://www.stereophile.com/features/374">Super Audio Compact Disc</A>, despite being an almost ideal format for high-resolution audio, has not replaced the "Red Book" CD. However, Sam Tellig's comments in the June and July issues of <I>Stereophile</I>, and Steve Guttenberg's "<A HREF="http://www.stereophile.com/asweseeit/whatever_happened_to_51-channel_mu… We See It</A>" in July, unleashed e-mails urging me to champion multichannel sound (don't I do this already?) and smite the unbelievers (not a chance).
For an artform in which sound is everything, popular music has been blessed with strangely little poetry: There may be no other genre where high-mindedness falls with such a thud. Leonard Cohen remains the most striking exception, not just for the genuine seriousness of his music or the adulation of his audience, but for the ability of the former to survive the latter.
Finding new music used to be easy: listen to the radio or find a talkative clerk at the local record store. Now that the Internet has changed everything, how do you find new music?
Ornette Coleman shuffled onto the stage of Jazz At Lincoln Center’s Rose Theater Saturday night, and that was remarkable enough. JALC, Wynton Marsalis’ house of jazz, is typed as a conservative institution—to some, the antithesis of the music’s inherently progressive nature—yet here was the quintessential avant-gardist, making his debut appearance in the lavish concert hall on the opening night of its 2009-10 season.
The sixth annual Rocky Mountain Audio Fest is about to get underway at the end of this week. Scheduled to take place October 2–4, at the Denver Marriott Tech Center, the largest high-end audio show in the US that's open to the public will offer 150 exhibit rooms packed with products from 479 companies. Despite the economic slowdown, at least 3500 audiophiles, the same number as last year, are expected to attend.
Wilma Cozart Fine died Monday September 21 at age 82. Together with her husband Bob Fine, Cozart was responsible for producing and engineering Mercury's superb-sounding series of "Living Presence" classical recordings in the 1950s and '60s.
This tiny, lightweight, battery-powered jewel is loosely based on Nagra's VPS phono stage that I <A HREF="http://www.stereophile.com/phonopreamps/908nag">reviewed in October 2008</A> but uses bipolar transistors instead of tubes. The bottom of the company's familiar brushed-aluminum case has a grippy rubber material die-cut to spell <I>Nagra</I>. It's intended to keep the preamp from sliding, but stiff cables will have the BPS hanging in the air if you're not careful. The BPS costs $2399.
When I attended the Audio Engineering Society convention in October 1987 (my first time in over eight years; full report in this issue), I was impressed by the incredible technology now available to composers of music. I was also dismayed, however, by the extent to which so-called purist audio, as well as "acoustical" music, have been consigned to oblivion by the pro audio community. It was clear, both from the exhibits and the many conversations on which I eavesdropped, that audio professionals are no longer concerned about fidelity, in the sense of trying to <I>re</I>produce sounds accurately. A "real" sound has become to them merely raw material of no value except as something to be processed, manipulated, folded, bent, and spindled to produce any sonic effect except the original one. About a third of the products displayed at the 83rd AES convention were tools for doing that.