Music and Recording Features

Sort By: Post Date | Title | Publish Date
Robert Baird  |  Sep 15, 2011  |  0 comments
Big bands died out back in the 1950s, right? They went away when the jitterbug faded and folks began dancing to music other than swing? And then real jazz fans departed when the bebop soloists came along and made big-band players look clumsy and quaint?
Robert Baird  |  Mar 05, 2014  |  2 comments
As songwriters go, Guy Clark has been touched by the muse more than most. Unfortunately, in recent years he's also been visited by illness and heartache. In June 2012, his wife of 40 years, Susanna Clark, who was both a songwriter ("Easy from Now On") and an artist (the cover of Willie Nelson's Stardust), died in Nashville. In the past several years Clark, 72, has battled lymphoma, had his knees replaced, and undergone an arterial replacement in one leg. He was being treated for skin cancer when I visited his home, south of Nashville, in October 2013.
John Atkinson  |  Nov 22, 2016  |  6 comments
I am sad to report that, 19 years to the day after I recorded her performing Schulhoff's Sonata for Solo Violin for Stereophile's Duet CD, Ida Levin passed away on Friday November 18, after a lengthy battle with leukemia. She was 53. Our condolences to her family, her fellow musicians, her students, and to all who, like me, were thrilled by her playing. As a tribute to Ida, from now until January 1, 2017, we are offering Duet to our readers free of charge (though we will still have to charge shipping and handling).
Kalman Rubinson  |  Mar 25, 2007  |  0 comments
Iván Fischer, founder and conductor of the Budapest Festival Orchestra, has performed with many major orchestras and recorded for a number of major labels, most significantly with Philips, from 1995 to 2004. Fischer/BFO made the first multichannel orchestral recording for SACD, which Philips used as a demonstration disc for their first SACD players. I still treasure that disc—it demonstrates many of the advantages of the medium with a wide and varied program—but it has never been commercially released.
Robert Baird  |  Jan 29, 2015  |  8 comments
For famously civilized and jaded New York City, the crowd at the resplendent Beacon Theatre is uncommonly involved. Loud requests, many in tangled liquor dialects, boom from the balcony:

"'REDNECK FRIEND'!"

Onstage, Jackson Browne smiles and shakes his head.

"'COCAINE'!"

"I could do that, but it would have to be the rehab version." [crowd roars]

"'FOR A DANCER'!"

Oh, wait—I'm yelling that.

Robert Baird  |  Dec 02, 2015  |  22 comments
Talk dirty to me!

"I had to master this record 11 times to get it to sound the way I wanted," Joanna Newsom growled with the knowing grit of someone who's worked through a sonic ordeal.

"Instead of test pressings, we had test lacquers for this one."

"I have no way to listen to music digitally in my house."

Oooh, baby!

At a time when the future of print is troubled, Newsom can make even a magazine editor feel slightly more secure.

"I love your magazine. I love your publication."

Robert Baird  |  Apr 28, 2011  |  0 comments
Whistling ductwork, whirring fans, murmuring pipes—along with being jazz's most storied location, a living shrine to the memories of Bill Evans, John Coltrane, and so many others, Manhattan's Village Vanguard, on Seventh Avenue South, was, on this winter's night, the Das Boot of jazz. In every corner, every stairwell, every square foot of available backstage space, some kind of furnace machinery audibly ground, banged, and/or wheezed away.
Robert Baird  |  Dec 20, 2011  |  5 comments
For the musically prolific, releasing too many records too close together can be problematic or worse. Just because you can make a record every week in your home studio doesn't mean you should. The impulse to commit every golden thought and performance to tape without self-editing or even pausing to reflect screams narcissism run amok. Asking listeners—even dedicated fans—to then buy and spend time listening to half-baked nonsense that might have become something, given more time and care, is a sure career destroyer. There's truth in the old saw about building demand, avoiding saturation, and creating a hunger among the listening public. Most critical of all, despite downloads, piracy, and Lady Gaga's pointy hats and eggshell entrances, the old Hollywoodism still applies: while spontaneity may sound like a radical idea, you're only as good as your last album.
Art Dudley  |  Mar 07, 2013  |  9 comments
Let's say you're lucky enough, or just plain old enough, to have bought a copy of Truman Capote's In Cold Blood on January 12, 1966. Let's say you're lucky enough or just plain smart enough to have held on to it and kept it in perfect shape for the past 47 years. And let's say it was one of the first 500 copies, which the author signed. If so, congratulations: For once in your life, even the smuggest collector can't claim that his copy of a book is "better" or more valuable than yours.
Art Dudley  |  Oct 30, 2005  |  0 comments
What is best in music is not to be found in the notes.—Gustav Mahler
Art Dudley  |  Oct 01, 2006  |  First Published: Sep 01, 2006  |  0 comments
"The public will put up with anything except boredom."—Giuseppe Verdi
Art Dudley  |  Aug 20, 2008  |  0 comments
Snobbery is a disease of the imagination.—Peter Straub, "Little Red's Tango"
Art Dudley  |  Oct 17, 2008  |  0 comments
Stereo Review, the world's most popular audio magazine during most of its time on Earth, was a common target of derision from the hobby's so-called high-end press, not least of all from me. We criticized its nerdy, boring prose, its uniformly positive reviews, and, most of all, its shameless pimping of the notions that measurements reveal all there is to know about a component, and that all competently engineered components sound equally fine.
Art Dudley  |  Sep 29, 2009  |  1 comments
For an artform in which sound is everything, popular music has been blessed with strangely little poetry: There may be no other genre where high-mindedness falls with such a thud. Leonard Cohen remains the most striking exception, not just for the genuine seriousness of his music or the adulation of his audience, but for the ability of the former to survive the latter.
Art Dudley  |  Sep 21, 2003  |  0 comments
In the town where I grew up there were two places to buy records: a family-owned department store and the local Woolworth's, both long gone. The first record I ever bought, the 45rpm single of Roger Miller's "King of the Road," came from the former in 1965. I was 11 years old.

Pages