I am thinking of going to <a href="http://www.stereophile.com/news/120308deep/">this</a&gt; on Saturday. I wonder if there are any good <a href="http://maps.google.com/maps?f=q&hl=en&geocode=&q=record+stores+near+247… shops in the area</a>.

In a way, I started writing <a href="http://blog.stereophile.com/stephenmejias/the_dresses_the_shoes_and_the… Ryan Adams piece</a> at the moment I dropped the needle on the record&#151around two, or maybe closer to <i>three</i> weeks ago now. Words, however, weren't typed onto this computer screen until last Monday. Normally, I don't spend so much time on a blog entry. For better or worse, these entries usually end on the day they begin, but other things&#151work, Thanksgiving, life&#151kept getting in the way of my completion of the <i>Cardinology</i> piece. I think I could have finished it all in one day had I had the opportunity, and I also think it could have been a better piece if I had, but I am nevertheless happy with it.

Michael Fremer will participate in a roundtable discussion titled, "Deep Listening: Why Audio Quality Matters," held at the Philoctetes Center for the Multidisciplinary Study of the Imagination (247 East 82nd Street, NY) on Saturday, December 6, at 2:30pm.

Wayne Shorter marked his 75th birthday with a concert at Carnegie Hall last night. The show began with the Imani Winds, a spirited quintet of woodwinds and French horn, briskly traversing Villa-Lobos’ “Quintette en Forme de Choros,” followed by the world premiere of Shorter’s own classicial composition, “Terra Incognito.” (Let’s just say Gunther Schuller has nothing to worry about.) Exit Imani Winds, enter the Wayne Shorter Quartet, sparking lusty applause but not much after. Shorter’s band was, as usual, great. Danilo Perez, piano; John Patitucci, bass; Brian Blade, drums—not many rhythm sections can whip up such a turbulent swing. But it’s incomplete by design, it screams out for some saxophone colossus to rise up against the storm with a mind-blowing solo or a lyrical cri de coeur, <I>something</I> that sharpens the tension or takes your breath or simply excites. Shorter was once a master at this art, the designated heir to Coltrane and a more agile composer to boot. Check out his sessions with the early-‘60s Jazz Messengers and mid-‘60s Miles Davis, or his own albums, especially <I>See No Evil</I> and <I>Juju</I> or his 2001 recording with this same quartet, <I>Footprints Live!</I> But in recent years he’s been prone to laziness, and last night fit the bill. Occasionally, he’d lock into a groove and start to slide into a melody, a coherent passage that lasted a few bars, but then he’d back away and retreat to riding scales and wailing random whole notes. For the last few numbers, the Imani Winds returned, and the two ensembles played together. The arrangements, by Shorter, weren’t bad; his playing had its moments, but fell well below his peak potential. Toward the end of the quartet segment, Shorter quoted his old boss Art Blakey as saying, “When you get to a certain age, you don’t got to prove nothin’!” Maybe so, but, as Blakey demonstrated till the very end, when he was only a few years younger than Shorter is now, you’ve still got to come out and play.