Interviews

Don Was is a music lover. Looking at his extensive discography as a record producer and musician, one is struck by the variety of artists he's worked with: from Iggy Pop to the B-52's, from Roy Orbison to Elton John, with over half a dozen stops along the way as producer for a little band called the Rolling Stones. In 2017, Was produced Gregg Allman's final studio album, Southern Blood (Rounder 610005). And when you include all the music he's had a hand in since 2012, when he became president of Blue Note Records, you're talking about one busy little red hen helping to bake a lot of bread.

Imagine my surprise while I was preparing my review of the EMM Labs DV2 D/A processor in this issue, EMM Labs' manager of production and social media, Amadeus Meitner, informed me that what I'd thought would be a one-on-one chat with his father, EMM Labs founder and CEO Ed Meitner, would also involve himself and EMM's managing engineer of the past 15 years, Mariusz Pawlicki. Once all three had come to the phone, however, information flowed more or less smoothly. My first question was what makes the DV2 special?

Wayne Shorter is 85. His mind moves at warp speed, a million miles from Art Blakey's Jazz Messengers, who rescued him from Newark, New Jersey—or the Miles Davis's second great quintet, for which the saxophonist wrote the compositions that would establish his genius. Shorter's constellation of classic Blue Note recordings from 1964–67—Night Dreamer, JuJu, The All Seeing Eye, ETC, The Soothsayer, Adam's Apple, Speak No Evil, Schizophrenia—is now but a dim cluster of stars in his ever-expanding musical galaxy.

Electric guitarist John Scofield, winner of multiple Grammy Awards, has a knack for staying a step ahead of musical trends. In hundreds of jazz settings, "Sco" and his signature Ibanez AS200 guitar and Fender Reverb amplifier have created a unique style and sound that have earned him a popularity beyond jazz's usual audience.

There are the Grammys, and then there's the supermarket. Both are marks of achievement and permanence in popular recorded music. Having just begun writing this piece, I walked into the Price Chopper Supermarket in Cooperstown, New York, and what do I hear? Rita Coolidge, and the refrain from her 1977 recording of "(Your Love Has Lifted Me) Higher and Higher." Now that's a hook—a high mark on the tree of pop.

High Definition Compatible Digital^® (HDCD^®), the proprietary process for improving the sound of 16-bit digital audio, has finally arrived. More than a dozen digital processors using the technology are on the market, and the professional encoder used to master HDCD discs is following closely behind.

Six weeks ago, Jana Dagdagan and I visited the Peekskill, New York factory of Soundsmith—her first time there, my second. Although I didn't mention this to the company's President and Chief Engineer, Peter Ledermann, the thing that most impressed me during my second visit was how little had changed since my first, in April of 2015. In particular, all but two of the employees I saw at Soundsmith this year had been there during my first visit; that suggests an experienced workforce—no small advantage in the manufacturing of phono cartridges, where the requisite skills are specialized, to say the least—a setting where people feel sufficiently challenged and appreciated that they stick around for years rather than mere months.