Robert Baird

Earlier this week I was invited to Per Se, a sleek restaurant in the Time Warner Center here in NYC for a lavish lunch sponsored by Concord Records. Co-owner Norman Lear was there. So was former SNL and now Letterman band leader Paul Shaffer who served as MC. The occasion was the release of another Ray Charles project which I will be writing about in more detail in an upcoming issue of the magazine. Titled <I>Ray Swings—Basie Swings</I>, it's an elaborate studio creation. Again though, Look for more in December's <I>Stereophile</I>.

<B>M. WARD: <I>Post-War</I></B><BR>
Merge MRG 280 (CD). 2006. M. Ward, Jim James, prods.; Mike Coykendall, prod., eng.; Adam Selzer, Mike Mogis, Nick Luca, engs. AAD? TT: 37:35<BR>
Performance ****&#189;<BR>
Sonics ***&#189;

For as long as I live, like it or not, I'll remember 10:28 am 9/11/06 like it was yesterday. I remember the roar and the sight of the giant radio antenna on the last of two towers standing disappearing into the massive clouds of gray smoke. I remember the emergency room personnel at St. Vincent's out in the street waiting for survivors that never came and the clouds of gritty smoke and 8 x 11 sheets of paper blowing up the streets of Brooklyn. And then I remember the jumpers, those who'd rather jump than burn.

As we all know, the focus of <I>Stereophile</I>'s music section, and rightly so, is recorded music. But in my unsubtle opinion, music writers or just music fans who <I>only</I> listen to recorded music and never see anything performed live, are missing half the ballgame. If the only way you know a certain artist is through their records, then sorry to say, and yes, I know that not everyone lives in a city where they can see live music, you’re only getting half the story. I know critics who've been let go because they basically refused to go out to see live music. They were happy to stay home&#151hey, no traffic, no lines, no fighting the elements, sounds good to me&#151and listen to CDs or LPs. Unfortunately though, while they may have stayed comfy cozy at home, their opinions on music ended up having only a certain amount of value. The X factor about seeing music live versus hearing it on record is that often you have to see the music performed live to make any sense of the record. Though rare, it can also work in reverse as well: you have to listen to the record to make sense of a live show.

I love Bob Dylan: the man, the music, the whole enchilada. I even like the endless tour, (currently playing triple A ballparks), which he seems determined to continue on until, to use that famous line from <I>Midnight Cowboy</I>, he "dies on the stage."

One distinguishing mark of the "old" music business, i.e. the one before downloads, the one that made buckets of money, the one where half of my friends <I>used</I> to work, was that it was so big that folks on say, the classical side, had no idea who worked on the rock side. Even within the same company. They were different planets.

<B>GRAM PARSONS: <I>The Complete Reprise Sessions</I></B><BR>
Rhino/Reprise RS 74669 (3 CDs). 1972&ndash;73/2006. Emmylou Harris, James Austin, reissue prods.; Hugh Davies, Ed Barton, orig. engs.; Dan Hersch, Bill Inglot, remastering engs. AAD? TT: 2:01:26<BR>
Performance *****<BR>
Sonics **1/2 to ****1/2