Music and Recording Features

If you really want to know how your favorite albums came to be, you can't go wrong talking with the men and women who are in the studio day in and day out with the artists—i.e., the producers and engineers. So we're doing exactly that. In Part 1 of our Studio Confidential interview series—there will be three parts this week, with perhaps more to follow—Mike Mettler talks with Chuck Ainlay, who has worked with Peter Frampton, Mark Knopfler (and Dire Straits), George Strait, and many, many others—about his production philosophy and who inspired him to get behind the board in the first place.

Producers and engineers are the human engines that drive and shape the sound of the recordings we know and love—as well as the ones we've yet to hear. In Part 2 of our three-part Studio Confidential interview series, Mike Mettler talks with Sylvia Massy, who has worked with Prince, Jason Isbell, Tool, and many, many others, about what elements make a hit record, what album made her want to become a producer, and why Prince was such a, shall we say, tortured genius.

If not for the skill level of the producers and engineers who ensure recordings are able to get to the finish line, we may never have heard some of the best music of the past century-plus sound as good as it does. In Part 3 of our three-part Studio Confidential interview series, Mike Mettler talks with Elliot Scheiner, who has worked with Eagles, Steely Dan, Van Morrison, and many, many others, about what made him want to become a producer, his favorite album of those he’s worked on (it'll probably surprise you), and how he views surround-sound mixing.

Down deepest, beneath everything he does, underlying all the facets of his ever-expanding career in music, Terence Blanchard is still a New Orleans guy. Question that and you can hear his dander rise.

For two months, I'd been planning to attend Terry Riley's appearance at Seattle's 536-seat Illsley Ball Nordstrom Recital Hall. For two weeks, I'd been planning to watch a presidential-candidate debate on television. Only one problem: As it turned out, the two events were scheduled for the same night. Even after a decade of trying to master the muddle known as multitasking, it was impossible to do both.

It has been six years since we last released a recording on the Stereophile label—a jazz album featuring Attention Screen, the late Bob Reina's free-jazz ensemble. This dry spell was mainly due to the increasing demands made on our editorial team's time by social media and the magazine's website, but also by John Atkinson's recording activities with the Portland State Chamber Choir, who issue their recordings on their own label. Nevertheless, we've been keeping our eyes and ears open for suitable opportunities.

In a discussion about what their music is—and is not—Dave King, drummer for the Bad Plus, remembers opening a show for free-jazz patriarch Ornette Coleman at the New Jersey Performing Arts Center. After their set, the band joined the audience to watch Coleman.

"After the first couple tunes—and this was in a seated theater—I swear, half the audience had left. Fifty years into your career, and he's still making people want to check it out and then decide if they can take it. And that's every night, I bet.