Acoustic Sounds, Chad Kassem’s Oz of analog wonders, has expanded its line of 45rpm jazz reissues to the Impulse! catalogue. Like the Blue Notes, which Kassem and Mike Hobson’s Classic Records have already covered (at 45, 33-1/3, 180g, 200g, black vinyl, clear vinyl, just about any format you might imagine), the great Impulse! albums were engineered by Rudy Van Gelder and featured the masters of their day—Coltrane, Mingus, Rollins, and, one of the most innovative big-band arrangers in modern jazz, Gil Evans.

It’s a sure thing that Michael Jackson’s life was not going to end pretty. In fact, it can be argued that this mode of death is not the worst thing that could have happened. Seeing him waste away from cancer or die in prison, or collapse and die onstage would have all been worse. You could feel that how ever it was going to occur, Michael stood a good chance of going out in spectacularly tragic fashion. If the rumors are true, it was a shot of Demerol and he stopped breathing. At least it was mercifully fast. Can you imagine the mad scramble that’s now going to occur for his assets being carried out while he was still breathing? And who gave him this alleged shot? I have a feeling that a number of Dr. Nicks are about to be uncovered. At least his poor tortured soul departed quickly for what I hope is a better life somewhere else.

Released in July, <I>Live at Otto's Shrunken Head</I> (STPH020-2) is the latest Stereophile CD from reviewer Bob Reina's jazz quartet, Attention Screen. Unlike the group's first CD, <A HREF="http://www.stereophile.com/musicrecordings/907att"><I>Live at Merkin Hall</I></A> (STPH018-2, released in 2007), which was recorded with multiple microphones, I captured the eight improvisations on <I>Live at Otto's</I> using a single pair of mikes.

<B><I>It's a Vinyl World, After All: Michael Fremer's Guide to Record Cleaning, Storage, Handling, Collecting, & Manufacturing in the 21st Century</I></B><BR>
MF Productions mxangle3 (DVD). 2008. Michael Fremer, prod.; Joe Shelesky, Andre Kruger, Jeff Wilerth, dirs.; Joe Shelesky, editor. $30; available from <I>Stereophile</I>'s <A HREF="http://ssl.blueearth.net/primedia/home.php">secure e-commerce page</A>.

In June 2007, I again recorded Minnesotan male choir Cantus live on location, this time in the glorious acoustic of Sauder Concert Hall at Goshen College, in Goshen, Indiana. The resultant CD, While You Are Alive (Cantus CTS-1208), is the eighth I have engineered of the group; it is a collection of 20th- and 21st-century works that explores, illuminates, and celebrates all stages of life, from birth to death.

It starts quietly enough, with a simple falling-fifth motif, but the first movement of Sergei Rachmaninoff's neglected Piano Sonata 1 develops into a work of epic proportions nearly 40 minutes in length, with haunting melodies, massive dynamic contrasts, and lush, sensual harmonies.

Stereophile's seventh CD of Minnesotan male choir Cantus, called with delightful originality Cantus (CTS1207) and recorded at 88.2kHz with 24-bit resolution, is now available from our e-commerce page, for $16.95 plus S&H.

My topic today is not the hardware that we use to reproduce sound, but the delicate precision instruments we use to detect it: our ears. Our enjoyment of musical sound is important enough to justify spending thousands of dollars on recordings, electronics, loudspeakers, and concert tickets. What is it worth to preserve your hearing so that you can continue enjoying great sound 10 or 20 years from now? I've been conducting an experiment for the last 30 years, at a cost of less than a penny a day. It began when I was 17.