J. Gordon Holt

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J. Gordon Holt  |  Mar 18, 2014  |  First Published: Dec 01, 1985  |  9 comments
rotm1285.p.pngRespighi: Church Windows
The Pacific Symphony Orchestra, Keith Clark conducting.
Reference Recordings RR-15 (LP). Tam Henderson, prod.; Keith Johnson, eng. AAA

Some years ago, Harry Pearson, editor and publisher of That Other Magazine, announced his intention to help finance production of a no-holds-barred symphonic recording. The only question was, who would produce it?

Reference Recordings' Tam Henderson assures me he did not have HP's grant in mind when he conspired with the Pacific Symphony's conductor to record "something" in the Crystal Cathedral, a huge barn of a place in Santa Ana, CA. When that hall, graced by a large, romantic-sounding pipe organ and superb acoustics, proved to be unavailable because of some legal wrangle, the idea of recording something big and romantic for orchestra and pipe organ refused to go away.

J. Gordon Holt  |  May 28, 2010  |  First Published: Dec 28, 1989  |  0 comments
Sonic Booms
Steam Locomotives, Jet Fighter Aircraft, Military Exercise (with live ammunition), WWII Aircraft, Comic Relief I & II, West Mountain Inn, Diesel Train, Steam Train with Rain & Thunder
Bainbridge BCD6276 (CD only). Produced & mixed by Brad S. Miller. DDD. TT: 58:00
J. Gordon Holt, Larry Archibald  |  Jul 11, 2013  |  First Published: Feb 11, 1984  |  6 comments
BEETHOVEN: Violin Sonata in G, Op.96
ENESCU: Violin Sonata No.3, Op.25 (In Rumanian Style)

David Abel, violin, Julie Steinberg, piano
Wilson Audio W-8315 (LP). David Wilson, prod., eng. AAA.

Oh, what a breath of fresh air this is! An audiophile recording of real music that isn't bombastic, overblown, or high-powered.

Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about.

I could rhapsodize endlessly about this record, but I won't. Suffice it to say that if you think there's even a remote chance you'll like this music, you will be positively mesmerized by this recording of it . . .

J. Gordon Holt  |  Sep 03, 2014  |  First Published: Jan 01, 1984  |  2 comments
rotm184.pjil.jpgDebussy: Three Nocturnes; Jeux
Concertgebouw Orchestra of Amsterdam, Bernard Haitink conducting.
Philips ACD 400-023-2 (CD).

This is the first classical CD I have heard that was originally mastered on analog tape, and the sound is quite different from what I'm accustomed to hearing from the silver discs.

I had read so many critics' complaints about excessive background (tape) hiss from analog-mastered CDs that I was fully prepared to be appalled. I wasn't. Perhaps my speakers (Watkins WE-1s as of now) are smoother than what some other critics listen to, perhaps I prefer a more subdued high end than some, but I did not find hiss to be a problem with this Philips disc. Yes, it is audible at high listening levels, but it is not a ssss, it is a hhhh, like the sound of a very gentle rain far off in the background. I have heard worse hiss from microphone preamps.

J. Gordon Holt  |  Jun 09, 2014  |  First Published: Jan 01, 1985  |  1 comments
Performance Recordings is the closest thing to a one-man label. James Boyk is president, A&R director, musical director, recording engineer, production manager, jacket notes author, and the star performer. He is also Artist in Residence and lecturer in music and engineering (specifically sound recording and reproduction) at Cal Tech. And he happens to be one of digital's most ardent detractors, having conducted, and widely publicized, several controlled listening tests that proved to his satisfaction that digital recordings are destructive to musical sound. (I will not question his methodology or conclusions here; suffice it to say that James is as stalwartly pro-analog and anti-digital as it is possible to be.)
J. Gordon Holt  |  Aug 08, 2017  |  First Published: Jun 01, 1980  |  6 comments
MOUSSORGSKY: Pictures at an Exhibition, Night on Bald Mountain
Cleveland Orchestra, Lorin Maazel, cond.
Telarc 80042 (LP). Recorded at Masonic Auditorium, Cleveland, OH. Edited at Soundstream, Inc. Mastered at JVC Cutting Center. Robert Woods, prod.; Jack Renner, eng.; Stan Ricker, mastering eng. DAA.

This is unquestionably the best recording Telarc has done to date. It is almost impossible to fault. If I were to pick nits, I would complain about a slight lack of air in the strings. The rest is, simply, superlatives!

J. Gordon Holt  |  Oct 24, 2013  |  First Published: Jun 01, 1987  |  0 comments
Copland: Appalachian Spring (Suite), Eight Poems of Emily Dickinson, An Outdoor Overture (CD only)
Pacific Symphony Orchestra/Clark/Marni Nixon (soprano)
Reference Recordings LP RR-2 and CD RR-22CD. Tam Henderson, prod.; Keith Johnson, eng.

This is unquestionably one of the best recordings Reference Recordings has done. The sound of the LP is up-front and quite bright, giving the orchestra that peculiarly nasal quality I usually associate with small French orchestras. There is truly remarkable detail and naturalness here; I was about to write that the recording makes the orchestra sound very small and pinched in Appalachian Spring when I noticed on the record jacket that this is the "Original version for 13 instruments." Okay, so I know what it costs to hire musicians in the US, but I still prefer the version of this work scored for full, bombastic, overblown 108-piece symphony orchestra. The 13 instruments are superbly balanced, though—even the piano, which is usually (and wrongfully) relegated to behind the orchestra. About a half a block behind it.

J. Gordon Holt  |  Jul 14, 2015  |  First Published: Mar 01, 1982  |  5 comments
82award.250pr.jpgElgar: Orchestral Works
Falstaff, The Sanguine Fan, Fantasia and Fugue in c (transcribed from J.S. Bach), excerpt from The Starlight Express
London Philharmonic Orchestra, Sir Adrian Boult
Mobile Fidelity Sound Lab 2-501 (half-speed–mastered LP, pressed in Japan, 1981). Originally released as HMV ASD 2970 (LP, 1974). Reissued as EMI CDM 7 63133 2 (CD, 1989). Christopher Bishop, prod.; Christopher Parker, Stuart Eltham, engs.

We have never before bestowed an award on anyone for anything. We felt obliged to do it on Mobile Fidelity for their remastering of the EMI Elgar Falstaff recording because it is the first time to our knowledge that a single classical release has combined a performance and a recording which are both good enough that neither need be done again. Our congratulations to Mobile Fidelity's Gary Giorgi. Now, let's have some more, from Mobile Fidelity or any other source. We have more awards to hand out when and if.—J. Gordon Holt

J. Gordon Holt  |  Jun 30, 2015  |  First Published: May 01, 1982  |  2 comments
666shefdrum.jpgThe Sheffield Drum Record
Improvisations by Jim Keltner and Ron Tutt (drums)
Sheffield LAB-14 (LP) (1981). Reissued as FIM DXD 001 (CD) (2010). Bill Schnee, Doug Sax, prods.; Lincoln Mayorga, exec. prod.; Steve Haselton, Bill Schnee, engs. TT: 13:49.

There was a time when drum records were as common as records of steam locomotives and thunderstorms. It has been so long since anyone has tackled any of them that a lot of technology has gone over the dam, but they are precisely the kind of program material which illuminate the state of the audio art like nothing else. Thus, Sheffield's Drum Record emerges as a landmark—a technological tour de force that should discourage anyone else from issuing a similar disc until the state of the art advances by a few more years.

J. Gordon Holt  |  Jul 06, 2017  |  First Published: Nov 01, 1981  |  0 comments
Bernie Krause: Citadels of Mystery
Mobile Fidelity MFSL 1-505 (LP).

This is a very hyped, contrived recording, but then nobody ever pretended that this kind of musical construction was supposed to approximate the sound of a live performance. The strings are quite steely on this but, in all other respects, the recording is is stupendous—unctuously rich, smooth and limpidly clear, with some awesomely taut low end and cuttingly crisp percussion sounds.

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