The Wilson Audio Specialties Alexx V ($135,000–$151,000/pair) is the biggest, heaviest, most expensive loudspeaker I've had in my listening room. It replaces the original Alexx in Wilson's lineup; Michael Fremer reviewed the earlier Alexx, bought it, and owned it until replacing it recently with the Wilson Chronosonic XVX.

Even though I'm the editor of Stereophile, I sometimes struggle to get my audio system to play. It's a little bit embarrassing. Just last night, I put on a record and there was no sound. I figured out the problem immediately: I'd forgotten to turn on the amplifiers. But the reason isn't always so obvious.

J.S. Bach: Brandenburg Concertos, Christopher Otto & JACK Quartet: rag'sma, R. Strauss: Alpine Symphony and Fairy Tales: Recital Music From Eastern Europe: Music by Prokofiev, Tubin, Körvits, Herdzin, Balsys, Tcherepnine, and Markovitch.

Johnathan Blake: Homeward Bound, Bill Charlap Trio: Street of Dreams, Renee Rosnes: Kinds of Love and Oliver Nelson: The Blues and the Abstract Truth.

Shannon And The Clams: Year of the Spider and Various Artists: It's a Good, Good Feeling: The Latin Soul of Fania Records (The Singles).

Two new reissues in Blue Note's Classic Vinyl series—Grant Green's Idle Moments and Kenny Burrell's Midnight Blue—capture peaks of jazz guitar's possibilities at a juncture when modernism was primed for a shift to something else. Both albums were recorded in 1963; both sport "the Blue Note sound," which engineer Rudy Van Gelder had refined to its high point. But the two albums lay out very different musical paths.

Over a long weekend in late August 2021, DJ, broadcaster, and contemporary music scholar Gilles Peterson and his Brownswood recordings label hosted the We Out Here (WOH) festival in Abbots Ripton, Cambridgeshire, 80 miles north of London. 20 stages. 15,000 attendees. Peterson called it "the British Jazz Woodstock."