The boxed set, Live, Vol. 2–4, is so called because it consists of the previously unreleased tracks from the weeklong gig 35 years ago, at the Bourbon Street jazz club in Toronto, that produced the album Live (Verve), widely regarded as among Hall's best. But this is hardly a grab bag of leftovers; most of it is as scrumptious as the…
search
ArtistShare, the musicians' self-owned label, has two live albums just out by the guitarist Jim Hall—a 3-disc set of trio sessions from 1975, revealing Hall at his peak as a leader, and a quartet date from 2010, showing him still in fine form at age 80.
With AXPONA's shift to Chicago, the Capital Audiofest has become the only high quality audio show on the East Coast south of New York City. Taking place July 26–28, CAF has relocated to the newly remodeled Sheraton Silver Spring Hotel, a superior and eminently accessible venue that has double the number of large exhibit rooms as last year's Crowne Plaza in Rockville, MD.
Located inside the Beltway, just three blocks from the Metro line, CAF will take place just 1 mile from the DC city limits. With 44 exhibit spaces booked as of July 17, many of which will display major brands, show…
Terence Blanchard: Magnetic
Terence Blanchard, trumpet; Brice Winston, tenor saxophone; Fabian Almazan, piano; Joshua Crumbly, bass; Kendrick Scott, drums. With: Ravi Coltrane, soprano & tenor saxophone; Lionel Loueke, guitar; Ron Carter, bass.
Blue Note 75419 2 (CD). Terence Blanchard, Robin Burgess, prods.; Frank Wolf, prod., eng.; Tyler Hatman, asst. eng. DDD. TT: 68:05
Performance *****
Sonics *****
Terence Blanchard, trumpet; Brice Winston, tenor saxophone; Fabian Almazan, piano; Joshua Crumbly, bass; Kendrick Scott, drums. With: Ravi Coltrane, soprano & tenor saxophone; Lionel Loueke, guitar; Ron Carter, bass.
Blue Note 75419 2 (CD). Terence Blanchard, Robin Burgess, prods.; Frank Wolf, prod., eng.; Tyler Hatman, asst. eng. DDD. TT: 68:05
Performance *****
Sonics *****
For all those who hold dear the notion that jazz has seen its best days—that, like classical music, it now lacks star power (no more Birds, Mileses, or Coltranes on the…
For over three decades, I have felt compelled to turn people on to music. Throughout my career as a DJ, all of my endeavors have been linked by the desire to spread the joy of listening to records, in the hope that people would feel something like the emotional resonance I feel. My Classic Album Sundays adventure—see www.stereophile.com/content/classic-album-sundays-bellwether— was born from this lifelong dedication to musical curating, and propelled by a eureka hi-fi moment.
My musical history began in the 1980s at a 10W radio station attached to the library of my high school in…
The only thing better than a review that writes itself is a product with a compelling story. Although the latter asks a little more of us here, it's usually the more enduring pleasure.
So it goes with the new AX-5 amplifier ($9950) from Ayre Acoustics, in which designer Charles Hansen has both revived an overlooked technology from a half-century ago and brought to market a more affordable embodiment of one of his own most well-received products. All this comes in a package that requires no more room than the average electric typewriter, and that takes the place of everything you might…
One could also rely on the included remote handset: a big, hefty, confidence-inspiring piece of metal that I came to enjoy more than most such devices. I especially enjoyed using its illumination button—the only soft-touch button on the handset that's set aside from all the others, allowing the user to more easily find it in the dark—which back-lights, for approximately eight seconds, all of the handset's soft-touch pictographs, most of which make sense.
Two miscellaneous setup observations:
With the AX-5, Ayre endures in using Cardas's proprietary single-knob speaker-terminal…
Sidebar 1: Specifications
Description: Solid-state integrated amplifier. Line-level inputs: 4 balanced (XLR), 2 single-ended (RCA). Input impedance: 2 megohms balanced, 1 megohm single-ended. Maximum input level: 16V RMS balanced, 8V RMS single-ended. Maximum gain: 32dB. Frequency response: DC–250kHz. Output power: 125Wpc into 8 ohms (21dBW), 250Wpc into 4 ohms (21dBW).
Dimensions: 17.25" (440mm) W by 4.875" (125mm) H by 18.75" (480mm) D. Weight: 46 lbs (20.9kg).
Serial number of unit reviewed: 22AO124C.
Price: $9950. Approximate number of dealers: 40.
Manufacturer: Ayre…
Sidebar 2: Associated Equipment
Analog Sources: Garrard 301, Thorens TD 124 turntables; EMT 997, Ikeda IT-407 tonearms; EMT TSD 15 70th Anniversary pickup head; Miyabi 47, Miyajima Premium BE mono cartridges.
Digital Sources: Ayre Acoustics QB-9, Wavelength Proton USB DACs; Apple iMac G5 computer running Apple iTunes v.11.0, Decibel v.1.0.2 playback software; Sony SCD-777ES SACD/CD player.
Preamplification: Auditorium 23 Standard (SPU version), Hommage T2 step-up transformers; Sutherland Engineering Insight phono preamplifier; Shindo Masseto preamplifier.
Power Amplifiers:…
Sidebar 3: Measurements
I measured the Ayre AX-5 using Stereophile's loan sample of the top-of-the-line Audio Precision SYS2722 system (see the January 2008 "As We See It" and www.ap.com). Before performing any measurements on an amplifier, I run it for an hour with both channels driven at one-third its rated power into 8 ohms; with an amplifier having a class-A/B output stage, this maximally thermally stresses the output devices. At the start of the 60 minutes, the AX-5's THD+noise measured 0.045%; at the end, it had dropped to 0.031% and the internal heatsinks were hot, at 122.9°F (50.…
Apple's iPod came of age in the fall of 2003, when, with the release of iTunes 4.5, the player was no longer restricted to lossy compressed MP3 or AAC files. Instead, it could play uncompressed or losslessly compressed files with true "CD quality"; users no longer had to compromise sound quality to benefit from the iPod's convenience.
Ten years later, while the current top-model iPod features a 160GB hard drive, it still can play only files with sample rates of 48kHz and below and a maximum bit depth of 16. Those of us with a growing library of high-resolution files are therefore…