Many, though certainly not all, musicians of most genres dream of composing, crafting, birthing a hit recordone they will forever be known for, and that will make them enough money that they'll never have to sleep on another hard floor or friend's stained couch as long as they live. Very few fulfill this dream, and those who do often don't know why or just how it happened.
So it was with the Micromega AS-400 digital source/integrated amplifier ($4495), the anonymity of which was compounded, in my case, by a generous helping of forgetfulness: I suppose I was told, ahead of time, that this was a class-D amplifier, but at some point in time before my first at-home audition I apparently killed the brain cells responsible for remembering that fact. So I was innocent of conscious prejudice when I listened to this elegant cipher of a box and wrote, in my notes: "Dynamic, dramatic, and almost relentlessly exciting with some recordings. Imbued pianos with almost too much dynamism for the roomtoo much being very good!but lacked some 'purr' in the die-away. Basically fine and fun. Wish it had a little more color and spatial depth."
The role of an High End amplifier is to reproduce the music, all the music.Amateur of beautiful often unique parts, GoldAmp is the Only One. An exceptional musical know-how. Celebrate interpreter who knows how to be forgot. A magnificent story which can be told by moments of complicity in the emotion. Reunion with classicals works henceforth dear to our hearts.
Rollins was signed to Blue Note in 195657, one of several transitional periods and an almost absurdly prolific one. He recorded not only the four Blue Notes but also Saxophone Colossus and Freedom Suite for Prestige, Way Out West for Contemporary, and over a dozen sessions as sideman, for various labels, with Miles Davis, Max Roach, Thelonious Monk, Dizzy Gillespie, Kenny Dorham, and Abbey Lincoln. Listening to all these albums (for the most part, a riveting experience), you can hear the subtle-then-transformative changes in Rollins' soundand thus in modern jazz itself.
Newk's Time is particularly revealing in this sense. . .
Lyle Lovett: PontiacJesse Winchester has been silent for seven years now, and we needed some mint-julepvoiced cowboy to write and croon such smooth, fluid, irresistible songs, no sharp edges and none needed, thanks. Thank God Lyle Lovett stepped in; we could have done much, much worse.