LATEST ADDITIONS

"Be like my friend Frank. He imagines that he's purchased certain products—right now he's imagining that he bought a pair of hard-to-get English speakers which he has read a review of but hasn't heard. This is ideal, since the speakers can sound better and better as Frank imagines more and more. When he tires of these speakers and gets excited about something else, he doesn't have to trade them in. He only needs to start imagining the next product." That was Sam Tellig's friend Frank, back in March of this year. No one could have said it better, but I have a followup.

I found out about <i>Patato & Totico</i> all on my own, and completely by accident. It happened during the height of my salsa fixation, just after I completed <a href="http://blog.stereophile.com/stephenmejias/101807mix/">my first <i>Salsa Means Soul</i> compilation</a>. Searching the compact disc shelves at the Virgin Megastore for an album called <i>Cuban Pearls</i>, and specifically for a <i>song</i> called "Oriente" by Cheo Marquetti, I instead stumbled upon the Verve reissue of this 1967 work by famed congero Carlos "Patato" Valdes and vocalist Eugenio "Totico" Arango.

I should have known by the looks in their shining eyes. When people told me that I'd probably enjoy it, that it was probably a good idea for me to go, they were being coy. But never mind: No words could have prepared me for the enormity of the event, for the knee-weakening prospect of innumerable treasures. And so, on Saturday morning, when I decided to go to the <a href="http://www.wfmu.org/recfair/">WFMU Record Fair</a>, I was entirely, woefully, indubitably unprepared. I am reminded of <a href="http://www.stereophile.com/news/010605cessm/index.html">my first Consumer Electronics Show</a>. You can't know what it's like until you've been. And only after it's over can you pretend to prepare for the following year. I will begin pretending to prepare for next year's event today&#151taking for granted that next year will exist&#151but, until then, I'm left wanting a do-over, wondering <i>why didn't anybody tell me it would be like this</i>, while nevertheless enjoying the few treasures I did come home with.

Reader "max" says he has a young friend who "wants to try classical music, but does not know where to start." Which single composer would you recommend to introduce someone to classical music? And why?

It’s been a year and a few months since I’ve seen Anat Cohen, the young Israeli-born jazz clarinetist, play live, and she’s grown still more assured and supple, her swing more insouciant, her tone more sheer and gorgeous. She and her quartet began the early set at the Village Vanguard last night with “Jitterbug Waltz” (as she did the previous time I saw her there) and breezed through it with breathtaking speed, but not just as some virtuosic show: there was brio, gusto, real delight in her playing, as she slid in and out of a slew of styles and rhythms—trad, bop, Latin, quasi-klezmer—seamless and natural and fresh. And so it went through the set, with ballads and blues and multiculti sonic frescoes. She plays tenor and soprano sax as well, though the licorice stick is her glory (second only to Don Byron in fire, versatility and skill). The band consists of the agile Jason Lindner on piano, Daniel Friedman on drums, and Joe Martin (replacing Omer Avita) on bass. The gig continues through this Sunday. She also has a new album, <I>Notes from the Village</I>, which is nice and fine (though I prefer her earlier quartet disc, <I>Poetica</I>, both on her own Anzic label).

Fried Products Corporation's Compact 7 is a two-way, standmounted loudspeaker with a 1" ring-radiator tweeter and a 7" woven glass-fiber&#150;coned mid-woofer in a "line tunnel" enclosure. Its cabinet is substantial and well made, with handsome real-wood veneers. The speakers come in mirror-imaged pairs, the tweeters offset toward the inside. The Compact 7 is unusual in that its mid-woofer is above its tweeter, which is likely related to the line-tunnel bass loading. Fried insists that the speakers be placed at least 28" above the floor, which dictate I followed.

In a moment, I will resume my ongoing quest to put together a music lover's stereo system for about half the cost of my last such effort (see my columns in the <A HREF="http://www.stereophile.com/thefifthelement/1005fifth">October</A&gt; and <A HREF="http://www.stereophile.com/thefifthelement/1205fifth">December</A&gt; 2005 issues): $3750 rather than $7500. But first I want to urge everyone who hasn't already done so to check out <A HREF="http://www.stereophile.com/thefifthelement/208fifth/index3.html">the results</A> of the Five Great Art Songs of the Rock Era write-in competition announced in my February 2008 column. The winning entries are great&#151;really thought-provoking. Indeed, some of the lists, plus an unaccountably belated recollection, prompted me to put together my own alternate list. This list doesn't invalidate or replace my original one, but it benefited from the energy all the entrants (thanks, everyone) put into theirs. Here goes: