But first a confession: I'm not the hip young man you might like me to be (or the one I might like me to be). I'm actually sort of old-fashioned. While my taste in music is nearly as uninhibited and adventurous as that of anyone I know, I prefer to enjoy that music in ways far more restrained and much less modern. I think I would have been right at home in the 1950s, wearing Ray-Bans and Levi's, listening to (and loving, equally and deeply) the music of both Jack Scott and John Cage, and playing my records on a record player.
I heard from Kelli recently. She said something about moving all of her music into the clouds.
I swear: Music Hall’s Roy Hall was cracking jokes and smiling wide just moments before I snapped this shot.
“Are you enjoying the show?” he had asked.
“Very much. This show has a certain grace and a natural sex appeal that shows in the States seem to lack,” I said.
Roy nodded. “Ah, you get it. So you’re not just a pretty face.”
Then he walked me over to his new MMF-11 turntable (around $4500, including Pro-Ject 10cc carbon-fiber tonearm). First seen in prototype form at January’s Consumer Electronics Show, the 43-lb MMF-11 is a two-motor, flywheel-driven turntable with a thick, acrylic platter, a four-layer plinth, and magnetic feet to further isolate the turntable from vibrations.
HiFiMAN HE-5, HE-5LE, HE-6, and HE500 Planar Magnetic Headphones
May 22, 2011
This story originally appeared at InnerFidelity.com
Just a year and a half ago I walked into the CanJam area of RMAF, and right smack-dab in the middle was Fang Bian, head of Head Direct and the HiFiMAN brand of headphone gadgetry. Fang always has something new going on; I wondered what it would be this time. He smiled, stood, and cheerfully greeted me, then pointed towards center-stage on one of his tables.
"Would you like to hear my new planar magnetic headphones?"
Shut Up and Dance, on the French label Bee Jazz, should catapult John Hollenbeck into the pantheon of living big-band composers, along with Maria Schneider, Bob Brookmeyer, Jim McNeely, and (if his debut works are matched by what's to come) Darcy James Argue, among perhaps a very few others. I've praised some of Hollenbeck's earlier albums in this space, especially his Large Ensemble's Eternal Interludes and his Claudia Quintet's Royal Toast, but I have to say I admired them more than I liked them. His arrangements were . . .