As fascinating as the design of high-end hardware can be, it goes without question that without musical software (or <I>firm</I>ware, as our more computer-minded readers would have it) of an appropriately high standard, the whole business would be pointless. <I>Stereophile</I>'s interviews have therefore often featured engineers and producers whose recorded work reveals sound quality to be a major concern. I interviewed Performance Recordings' James Boyk back in Vol.9 No.6; J. Gordon Holt spoke in Vol.10 No.3 with <A HREF="http://www.stereophile.com/asweseeit/1282awsi">Doug Sax</A> and Lincoln Mayorga, of Sheffield Lab, and with Keith Johnson of Reference Recordings, about their history-making Moscow sessions; JGH also discussed Brad Miller's and Lou Dorren's Colossus digital project in Vol.10 No.1 and <A HREF="http://stereophile.com/asweseeit/the_colossus_of_audio">Vol.11 No.4</A>; while last month Dick Olsher interviewed Peter McGrath, responsible for some superb-sounding recordings for Harmonia Mundi USA as well as for his own Audiofon label.

As fascinating as the design of high-end hardware can be, it goes without question that without musical software (or <I>firm</I>ware, as our more computer-minded readers would have it) of an appropriately high standard, the whole business would be pointless. <I>Stereophile</I>'s interviews have therefore often featured engineers and producers whose recorded work reveals sound quality to be a major concern. I interviewed Performance Recordings' James Boyk back in Vol.9 No.6; J. Gordon Holt spoke in Vol.10 No.3 with <A HREF="http://www.stereophile.com/asweseeit/1282awsi">Doug Sax</A> and Lincoln Mayorga, of Sheffield Lab, and with Keith Johnson of Reference Recordings, about their history-making Moscow sessions; JGH also discussed Brad Miller's and Lou Dorren's Colossus digital project in Vol.10 No.1 and <A HREF="http://stereophile.com/asweseeit/the_colossus_of_audio">Vol.11 No.4</A>; while last month Dick Olsher interviewed Peter McGrath, responsible for some superb-sounding recordings for Harmonia Mundi USA as well as for his own Audiofon label.

As fascinating as the design of high-end hardware can be, it goes without question that without musical software (or <I>firm</I>ware, as our more computer-minded readers would have it) of an appropriately high standard, the whole business would be pointless. <I>Stereophile</I>'s interviews have therefore often featured engineers and producers whose recorded work reveals sound quality to be a major concern. I interviewed Performance Recordings' James Boyk back in Vol.9 No.6; J. Gordon Holt spoke in Vol.10 No.3 with <A HREF="http://www.stereophile.com/asweseeit/1282awsi">Doug Sax</A> and Lincoln Mayorga, of Sheffield Lab, and with Keith Johnson of Reference Recordings, about their history-making Moscow sessions; JGH also discussed Brad Miller's and Lou Dorren's Colossus digital project in Vol.10 No.1 and <A HREF="http://stereophile.com/asweseeit/the_colossus_of_audio">Vol.11 No.4</A>; while last month Dick Olsher interviewed Peter McGrath, responsible for some superb-sounding recordings for Harmonia Mundi USA as well as for his own Audiofon label.

As fascinating as the design of high-end hardware can be, it goes without question that without musical software (or <I>firm</I>ware, as our more computer-minded readers would have it) of an appropriately high standard, the whole business would be pointless. <I>Stereophile</I>'s interviews have therefore often featured engineers and producers whose recorded work reveals sound quality to be a major concern. I interviewed Performance Recordings' James Boyk back in Vol.9 No.6; J. Gordon Holt spoke in Vol.10 No.3 with <A HREF="http://www.stereophile.com/asweseeit/1282awsi">Doug Sax</A> and Lincoln Mayorga, of Sheffield Lab, and with Keith Johnson of Reference Recordings, about their history-making Moscow sessions; JGH also discussed Brad Miller's and Lou Dorren's Colossus digital project in Vol.10 No.1 and <A HREF="http://stereophile.com/asweseeit/the_colossus_of_audio">Vol.11 No.4</A>; while last month Dick Olsher interviewed Peter McGrath, responsible for some superb-sounding recordings for Harmonia Mundi USA as well as for his own Audiofon label.

As fascinating as the design of high-end hardware can be, it goes without question that without musical software (or <I>firm</I>ware, as our more computer-minded readers would have it) of an appropriately high standard, the whole business would be pointless. <I>Stereophile</I>'s interviews have therefore often featured engineers and producers whose recorded work reveals sound quality to be a major concern. I interviewed Performance Recordings' James Boyk back in Vol.9 No.6; J. Gordon Holt spoke in Vol.10 No.3 with <A HREF="http://www.stereophile.com/asweseeit/1282awsi">Doug Sax</A> and Lincoln Mayorga, of Sheffield Lab, and with Keith Johnson of Reference Recordings, about their history-making Moscow sessions; JGH also discussed Brad Miller's and Lou Dorren's Colossus digital project in Vol.10 No.1 and <A HREF="http://stereophile.com/asweseeit/the_colossus_of_audio">Vol.11 No.4</A>; while last month Dick Olsher interviewed Peter McGrath, responsible for some superb-sounding recordings for Harmonia Mundi USA as well as for his own Audiofon label.

Let’s put the main point up front. The new duet album by Keith Jarrett and Charlie Haden, <I>Jasmine</I> (on ECM), is a gorgeous piece of work: all standards, mainly ballads, nothing fancy (not overtly anyway), but such poignance and quiet passion; it’s a glimpse into the intimacy of the act of making art.