Interviews

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InterviewsMusic and Recording Features
Bill Frisell: New Ideas in Old Songs
Ken Micallef  |  Jan 07, 2020  |  9 comments
Of the celebrated triumvirate of John Scofield, Pat Metheny, and Bill Frisell—the most original and influential jazz guitarists of the past 50 years—none is more distinctive, or self-effacing, than Frisell, a true changeling of the guitar. Frisell is a jazz-based musician, but his music crisscrosses genres, and his guitar playing isn't bound to or limited by a specific technique. He's a master illusionist, able to alter a song's meaning far beyond its original intent with the aid of a Telecaster guitar, a modest effects chain, and, most importantly, his rich imagination.
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Interviews
Bill Lloyd: Power Pop Icon
Robert Baird  |  Aug 02, 2016  |  1 comments
In writing for magazines, there's a basic rule: Don't become the subject. And in writing about the arts, it's best to remember that you aren't in the music business or the film business: you're in the publishing business. Despite this, there are arts writers who fancy they're a part of the world they write about. All famous musicians are their "friends." The music business values their opinions. They're caught up in the delusion that the Rolling Stones sang about so deliciously in "Star Star," the closing number on Goats Head Soup.
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Interviews
Bo Christensen
Michael Fremer  |  Aug 21, 2010  |  First Published: Feb 21, 1999  |  0 comments
Bo Christensen, who was the guiding light behind, first, Primare, then Bow Technologies, graduated as an architect—not surprising, considering his products' drop-dead-gorgeous looks. I talked with Bo while preparing my review of his Bow Technologies ZZ-Eight CD player (see Stereophile, August 1998, Vol.21 No.8), and started by asking him if his knowledge of electronics was self-taught.
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Interviews
Bob Carver: Carving a Name For Himself
John Atkinson  |  Feb 07, 2010  |  First Published: Feb 07, 1990  |  0 comments
Although it was Thomas Edison who set the tone for technological development in the 20th century, with his intellectual sweatshop in New Jersey, it is the lone inventor who has always had a special place in the heart of the American public. Since the days of Samuel Colt, Eli Whitney, and Nikola Tesla, fortune and fame have awaited the genius tinkerer who emerges from his back yard with a better mousetrap, cotton gin, etc., etc.
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Interviews
Bob Ludwig—The Mastering Master Bids Farewell (Part 1)
Tom Fine  |  Aug 21, 2023  |  7 comments
Photo: Peter Luehr

If album sales, longevity of career, position on the leading edge of audio technology, reputation in the music business, and involvement in many of the most important albums in history are the measurements, Bob Ludwig is the GOAT (Greatest Of All Time) of music mastering.

"I'm an old goat, anyway," he joked during our multiday, many-hours conversation, centered around his recent retirement announcement and his five-plus decades as a mastering engineer.

If Bob Ludwig is the Michael Jordan of music mastering—and the case can definitely be made—then this is big news. I'll repeat it for emphasis: Bob Ludwig is retiring. Ludwig stopped taking new work on June 30, 2023.

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Interviews
Bob Ludwig—The Mastering Master Bids Farewell (Part 2)
Tom Fine  |  Aug 22, 2023  |  2 comments
The wall of Gold and Platinum Disc Awards, as displayed at the Gateway Mastering website.

In Part 1 of this interview, which announced that famed mastering engineer Bob Ludwig was retiring, Ludwig discussed his early days as a music-loving student, as a trumpet player, his graduation from Eastman College with a Master's degree in music performance, and how working with legendary engineer and producer Phil Ramone at A&R Studio awakened his interest in how records are made. In this second part, Ludwig talks about how he moved to Sterling Sound, then to Masterdisk, and finally how and why he set up his own studio, Gateway Mastering Studios in Portland, Maine.

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InterviewsMusic and Recording Features
Bob Margolin: Rollin' And Tumblin'
Robert Baird  |  Jan 04, 2016  |  2 comments
Let's face it: If you're one of those sedentary audiophilic types or you have a genetic disposition to growing pear-shaped later in life (genetic . . . right, that's it: nothing to do with couches or hooch), it's wise to adjust your fashion sense accordingly. And nothing says "portly gentleman in disguise" like a guayabera—a shirt that, I have just discovered, blues guitarist Bob Margolin and I both love. He even wears one on the cover of his new record, My Road.
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Interviews
Bob Stuart: The Prime Meridian
Steve Harris  |  Sep 23, 2006  |  0 comments
There are many colorful characters, many high-profile movers and shakers, in high-end audio, but there are only a few whose influence extends far beyond the promotion of their own brands. One of this exalted and mighty handful is Robert Stuart, chairman and technical director of the UK's Meridian Audio.
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InterviewsMusic and Recording Features
Bonnie Raitt's Inexorable Rhythm
Robert Baird  |  Apr 07, 2016  |  3 comments
In conversation with Bonnie Raitt these days, one word continually jumps out: groove. She's speaking of her music, of course, but the blues singer and guitarist—her gifts as commanding as ever on her latest, Dig In Deep—has also survived some family struggles in the past decade that nearly forced her out of her personal groove.
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InterviewsMusic and Recording Features
Bonnie Raitt, Blues Sister: Her Life And Times In Eight Songs
Tony Scherman  |  Jun 07, 2022  |  7 comments
When an icon drops her first album in six years, you sit up and take notice. Bonnie Raitt made her earliest record a half-century and more ago, in August 1971. She was 21 and could easily have been carded; the face on the cover of Bonnie Raitt—that first album—has yet to shed all its baby fat.
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InterviewsNews
Boulder Amplifiers Looks to the Future with a New Factory
Jason Victor Serinus  |  Dec 05, 2016  |  10 comments
"Our production line was stepping on its own toes," said Boulder Amplifiers' Rich Maez, Director of Sales and Marketing, as he welcomed me into the company's new, massive 23,000 sq. ft. manufacturing and testing plant in Louisville, CO. The move to a huge, brand-new building on 3 acres of land outside Boulder, in an area devoted to light industry, was greeted with sighs of relief by a team that had formerly found itself squeezed into an increasingly over-packed 10,000 sq. ft. facility.
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InterviewsMusic and Recording Features
Branford Marsalis: Listening with Sonic Ears
Ken Micallef  |  May 30, 2019  |  4 comments
Louisiana-born, 58-year-old saxophonist Branford Marsalis has achieved singular status in the worlds of both jazz and classical music. He cut his teeth playing hard-hitting hard bop with Art Blakey's Jazz Messengers, led The Tonight Show band, and kicked it with the Grateful Dead. He's toured and recorded with Sting, costarred in the Spike Lee film School Daze (1988), and made his classical debut with the New York Philharmonic performing Glazunov's Concerto for Alto Saxophone on Central Park's Great Lawn.
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InterviewsMusic and Recording Features
Brooklyn Rider: Lucid Flight
Robert Baird  |  Jan 04, 2018  |  1 comments
Is classical music really on the ropes? Living in New York City, it's easy to think that is a myth cooked up in the provinces.

Recently, at a performance of the Metropolitan Opera's fabulous current production of Jacques Offenbach's The Tales of Hoffmann, directed by Bartlett Sher, I experienced Classical Music 2017 up close and personal. In the audience, multicolored sequined jackets and cheetah-print slip-on sneakers mixed with tuxedos. Merrell hiking shoes and Patagonia down jackets crossed with slim-fit outfits from Billy Reid and Hermes bags. Between bravura tenor Vittorio Grigolo in the title role and soprano Erin Morley's absolutely wonderful portrayal of the doll, Olympia (Bravo!!!), it was a performance for the ages. None of the recordings I've heard come close.

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InterviewsMusic and Recording Features
Capturing it Live with Peter McGrath
Jason Victor Serinus  |  Feb 28, 2016  |  3 comments
Ever since I encountered Wilson Audio Specialties' Peter McGrath (above) playing his own digital recordings at audio shows, hanging out in the Wilson Audio room has proven the consistent highlight of my show coverage experience. Nor is it simply the quality of the musicianship that continues to draw me to McGrath's rooms. As anyone who has heard his work can attest, the man's ability to capture the unique characteristics of a performance venue, as well as the natural sound of voice and instruments, is second to none.
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Music and Recording FeaturesInterviews
Carla Bley: The Further Adventures of the Lone Arranger
Wes Phillips  |  Jan 08, 2001  |  0 comments
Even though she calls her new band, 4x4, a "small" group, it's a big band—almost too big for the stage of the Knitting Factory on the night of October 11, 2000, as it makes its first American appearance. Bley's piano is so far to stage left, she has to lean against the wall and stoop under a hanging monitor speaker to address the audience. Four music stands dominate the rest of the apron—her front line of tenor saxophone, alto saxophone, trumpet, and trombone stand shoulder to shoulder, blocking the audience's view of Larry Goldings and his Hammond B3, drummer Billy Drummond, and bassist Steve Swallow, who stands 15' back and on a riser. If she'd showed up with her 17-piece band, they'd have had to have hung the horn sections from the rafters, like the sound system.
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