LATEST ADDITIONS

A Spotify advertisement interrupts my listening. The ad is invisible, embedded in between the lines of my play queue. As it begins, a modern crooner soars over a twinkling piano. This is not the 311 I was just listening to. A voice very politely interrupts: “Hi, this is Bruno Mars.”

I need my riffage! Not ads!

Seconds later, a reminder pops up in my Microsoft Outlook program: “Rdio”

What makes one particular hi-fi component stand apart from all others in its class? In this issue's "The Entry Level," I state that an outstanding hi-fi component will fuel the listener's desire to explore new music. If a component does not achieve that fundamental goal, it has failed altogether and should be passionately heaved from the nearest listening-room window to hit the unforgiving asphalt with a definitive, satisfying boom (or traded on one of the online auction sites). But that rule is most pertinent when the discovery of new music is the listener's only goal. Most of us want our hi-fi components to also be attractive, well-built, versatile, and user-friendly; we want them to represent good value for our hard-earned money; and we would appreciate it if they stuck around for a while, rather than have to be too soon replaced by something new and "better."

On this page in the May 2011 issue of Stereophile, Steve Guttenberg became the latest in a long line of prophets of doom who periodically announce that jazz is deceased. Guttenberg argued that "Digital audio mortally wounded recorded music's creative mojo in 1982" and was "stifling creativity in rock and jazz."

I bring glad tidings to Stereophile readers. When it comes to jazz, Guttenberg is dead wrong. The jazz art form today is rich, diverse, deep, and international.

Most jazz musicians who try to rock out come off lame. Most rock musicians who dig into jazz sound pathetic. Medeski Martin & Wood have long straddled both camps with authenticity. Or actually "fused" is the better word; in fact, they're among the very few rock-jazzers, another being Miles Davis at the top of that game, who turn "fusion" into a tasty term.

On their latest album, the trio are joined by guitarist John Scofield, not as a sideman (as MMW were on his A Go Go from 1998) but as a fully insinuated member of the band, which is thus called MSMW. The double-disc album's (appealingly insouciant) title is In Case the World Changes Its Mind (on the Indirecto label). It was recorded live at various spots on their 2006 tour. It's the best thing any of them have done, together or apart, in years.

In our December issue, I write about the Emotiva ERC-2 CD player, which, at $449, brought me many hours of listening pleasure. Stereophile editor John Atkinson will describe the player’s measured performance in an upcoming issue. In January, I’ll write more about the Emotiva, and, in February, I’ll discuss NAD’s affordable ($300) C 515BEE CD player.

Obviously, I’ve been listening to a lot of CDs lately; and, while I have started to long for my LPs, I haven’t really gone crazy or anything. Listening to CDs can be fun, too&#151especially when the discs hold music by Alva Noto and Ryuchi Sakamoto, David Sylvian, and Matthew Shipp.

Meanwhile, Natalie and Nicole have mentioned a rumor that’s spreading all over the Internet:

I’ve quickly and deeply fallen in love with Sharon Van Etten’s album, Tramp, to be released by Jagjaguwar on February 7th. My review is scheduled to appear in our March issue, but I’ll tell you now that this is an album worth owning and playing again and again.

On Thursday, November 17, Sound By Singer celebrated the grand opening of their new showroom with an evening of music and product demonstrations.