Aldo Filippelli of Luxury Audio Group brought essentially the same system he showed at the Florida Audio Expo, where Mark Henninger and Julie Mullins filed a comprehensive video report. Familiar or not, the performance was still superb.

At AXPONA 2025’s Ear Gear Experience, Manley Labs president EveAnna Manley unveiled a long-rumored project: the company’s Precision Line and Phono Stage. Designed to marry tube tradition with modern functionality, the unit houses 10 triodes powered by Manley’s proprietary switch-mode supply. Behind its sculpted faceplate are six inputs, each assignable for line-level or RIAA-equalized signals, offering up to 75dB of gain.

Arcam’s $4999 SA45 aims to prove that “do-it-all” and “high-end” can coexist. For the first time at a show, Jim Garrett, a senior director of product strategy & planning at Harman International, gave a live demo of the British brand’s SA45 streaming integrated amplifier.

Watch Mark Henninger’s interview with Jim Garrett.

John DeVore brings more than music to his rooms: he brings thoughtfulness, a sense of discovery, and superbly curated recordings.

High Water Sound’s Jeffrey Catalano could give a master class in room setup. A veteran of hundreds of audio shows, he not only presents exceptional-sounding rooms but also curates adventurous vinyl selections. I invariably leave his room with music titles scribbled in my notebook, like recipes for marvelous dishes.

Before I heard the new Soulution 717 monoblocks ($109,975 each), I spoke with Cyrill Hammer, Soulution’s CEO and Chief Designer, and Cliff Duffey, President of AXISS Audio. The conversation was illuminating. The listening? Something else entirely.

Watch our exclusive video interview with Cyrill Hammer and Cliff Duffey.

Joe Henderson: Multiple
Milestone/Craft CR 00845 (LP). 1973/2025. Orrin Keepnews, prod.; Elvin Campbell, Al Vanderbilt, engs.
Performance ****½
Sonics ****½

The essence of jazz is supposed to be the free-flowing exploration of ideas and expressions. Yet hardcore fans of the music have the unnerving habit of supporting and denigrating the work of the same player from record to record. Artistic growth is often seen as a negative. Even devoted fans might not follow an artist who veers off into a stylistic direction they abhor. The classic example is Miles Davis, who went through several artistic reinventions during his long career. Many of those who love Kind of Blue recoil from Dark Magus, On the Corner, or You're Under Arrest. So-called fusion—adding influences from rock and/or funk—is most often the villain in these judgments.

After starting out as a hard-bop devotee in the early 1960s, with such classic Blue Note sessions as Page One, Our Thing, and Inner Urge, Joe Henderson grew curious about funk, about adding it to his jazz mix. In 1973, on Orrin Keepnews's Milestone label (now owned by the Concord Music Group), Henderson cut Multiple, one of the highlights of his discography.

Kathryn Dawn Lang was country ... until she wasn't. A native of the Canadian province of Alberta, lang (who prefers her name lowercase) grew obsessed with Patsy Cline and country music in general before she was out of college. She joined the Patsy-focused country act The Reclines in 1983 in Edmonton. They released their first album, A Truly Western Experience, in 1984.

Styled as "cowpunk" by many, the album caught the ear of pub-rocker Dave Edmunds, who produced the band's next, rockier album, Angel with a Lariat. That album, in turn, found its way to Patsy Cline's one-time producer Owen Bradley, who in 1988 produced lang's solo debut, Shadowland, on Sire Records. Shadowland and the Reclines' final album, 1989's Absolute Torch and Twang, convinced lang that she was too adventurous—not to mention too gay and Canadian—for the 1980s country music establishment.