The number of devices that can constitute a home-audio streaming system ranges from one—a laptop computer running a music program to play internally stored files—to x the unknown. These days we have storage devices, servers, streamers, renderers, bridges, controllers, players, and DACs, at least one of which is hoped to have a volume control. Any combination of these elements can be put in a single box and described by one of many new hyphenated product categories—or can be given a name along the lines of exaSound's PlayPoint Network Audio Player: a model designation that at least hints at this product's ability to play music. Let's see what else it can do . . .

Perfection (on the Motema Music label) shows David Murray in his finest form, and playing in his most simpatico band, in a decade, maybe longer. The bandmates are Geri Allen on piano, Terri Lyne Carrington on drums, and that's it—no bass: odd, and possibly unprecedented for a Murray trio, but Allen's left hand and Carrington's foot pedal are so deft and strong, you scarcely notice its absence.

Don't get me wrong—it was a nice surprise. It's always good to find another member of the cult, someone else interested in music and sound, and proud to be called an audiophile. But . . . Peter Wolf?

"What's John Atkinson like?"

"Here's the $64,000 question: What's in your system?"

Well, the New York Hi-Fi wingding has come and gone once again, and now is the time when audio editors dutifully adopt the role of oracle, divining the future of high fidelity, and generally sketching out The Big Picture for those of us too blind to see the graffiti on the wall. So, who are we to shirk our duty? Herewith, The Stereophile's audio observations and predictions for 1965.

Munich High End, an audio show so big that it claims representation from 95% of high-end brands worldwide, opens this week in Munich's MOC Convention Center. The show opens on May 5, which intentionally coincides with Germany's annual Ascension Day holiday, with a "Press and Industry Day" whose attendance is so large as to be mind-boggling. Then, from May 6–8, Munich High End opens its doors to thousands upon thousands of "the public" from 10am–6pm.

Some jazz musicians whose albums I've recently praised in this space are playing in New York jazz clubs these next couple of weeks . . .

It's me, Jana. I know you're probably not reading this because you most likely don't spend your down time on Stereophile.com, but I feel compelled to write to you nevertheless on the off chance that you might. If I've managed to catch your attention so far, please don't go away.

Kenny Barron's Book of Intuition (on the revived Impulse! label) is an infectiously joyous album, bursting with riffs and vamps and sparkling chords over head-swaying melodies, some infused with a Latin tinge, others crooning with lyrical balladry, all of them propelled by a forceful forward motion, whatever the tempo.