LATEST ADDITIONS

According to Terry Teachout, Duke Ellington's story is one of "a somewhat better-than-average stride pianist largely devoid of formal musical training [who] managed to turn himself into a great composer." Ellington had ample help from his organization, which included the gifted composer and arranger Billy Strayhorn, who succinctly described his employer's modus operandi: "Each member of his band is to him a distinctive tone color and set of emotions, which he mixes with others equally distinctive to produce a third thing, which I call the Ellington effect." Without standout band members, and without Strayhorn himself, that effect would have been significantly less memorable.

While it can be used when talking about any musician, having “chops” is a phrase that applies particularly to saxophonists.

There I was, making my way room-to-room toward the end of the show when suddenly Jeffrey Catalano of New York City's "2 channel with attitude" High Water Sound appears.

"Aren't you coming to my room on the 10th floor?" asks a man who clearly has been hounding the hallways . . .

Stephen Mejias, formerly of Stereophile, now VP of Communications at AudioQuest, performed a most convincing cable comparison using the company's top-of-the-line AudioQuest Diamond Ethernet cable ($695 for 0.75m, $1195 for 1.5m). In a system whose JRiver-equipped MacBook Pro fed CD-quality files to an Audio Research Reference DAC, Audio Research Reference 75 amplifier, and Vandersteen Treos outfitted with a double bi-wire pair of AQ WEL Signature cabling, Roy Orbison's "Crying" sounded one-dimensionally flat and a little bright on top via a generic Ethernet cable. When Stephen switched to the AQ Diamond Ethernet cable, voice and instruments suddenly and dramatically acquired depth, air, dimensionality, and subtlety.

Another great singer/songwriter at the Atrium Poolside was Audra Lee. Check her out on YouTube or her Facebook page. Gratitude to Richard Beers and Bob Levi for such great entertainment.

Hands down, the most impressive full-range system I encountered during my first hours in T.H.E. Hilton on Day 2 of T.H.E. Show Newport Beach was jointly sponsored by Synergistic Research and Scott Walker Audio of Anaheim. Held in the freezing Crystal Ballroom, which definitely called for hot music as an antidote to potential hyperthermia, the system paired Magico Q7 loudspeakers ($185,000/pair), VAC's Master Signature preamp w/phono ($40,000) and State monoblocks ($78,000/pair) with an unidentified computer audio/music server set-up and unauditioned Kronos Sparta turntable with arm ($28,000) and Sonorus ATR open-reel machine ($17,500).

Entering the first of four rooms sponsored by Brian Berdan's Audio Element of Pasadena felt like coming home. Not only was I among familiar friends—Wilson Audio Sasha Series 2 loudspeakers ($29,950/pair); mighty VTL Siegfried Reference monoblocks Series II ($65,000/pair), accompanied by VTL's TL-7.5 Reference line preamplifier Series III ($25,000) and TP-6.5 Signature phono stage ($12,000); dCS four-stack, state-of-the-art Vivaldi Digital Playback System ($108,996 total); Transparent Opus MM and Reference cables ($105,500 total); Grand Prix Audio Silverstone 4-shelf Isolation system ($19,175), Monaco-5 shelf Isolation system ($8400), and Formula Platforms ($6900); Audience AdeptResponse aR12TSS power conditioner ($11,545); and, a bit less familiar, Grand Prix Audio Monaco 1.5 turntable ($23,500) with new Tri-Planar SE tonearm ($7500) and luscious Lyra Etna cartridge ($6995)—but I also finally heard a quality of musical presentation that decades upon decades of attending live performance have led me to hunger for.