Reviews of Attainable Hi-Fi & Home-Theater Equipment


Reviews of Attainable Hi-Fi & Home-Theater Equipment

  • SoundStage! Shorts - Livio Cucuzza on Audio Research's Industrial Design (November 2018)
  • SoundStage! InSight - Audio Research Past, Present, and Future (October 2018)
  • SoundStage! Shorts - KEF's New R Series for 2018 (September 2018)
  • SoundStage! InSight - Simaudio Moon 390 Digital/Analog Preamplifier and Streamer (September 2018)
  • SoundStage! Shorts - EISA 2018-2019 Awards Introduction (August 2018)
  • SoundStage! InSight - Simaudio's $118,888 Moon 888 Mono Amplifiers (June 2018)
  • SoundStage! Shorts - Totem's Tribe Tower (May 2018)
  • SoundStage! InSight - Amphion's Three Newest Argon Loudspeakers (April 2018)
  • SoundStage! Shorts - Making the Hegel Mohican CD Player (March 2018)
  • SoundStage! InSight - Estelon Lynx Wireless Intelligent Loudspeaker (March 2018)
  • SoundStage! InSight - McIntosh's Five New Solid-State Integrated Amplifiers (January 2018)
  • SoundStage! Shorts - Amphion's Krypton Loudspeaker (January 2018)
  • SoundStage! InSight - Anthem STR Preamplifier and Power Amplifier (December 2017)
  • SoundStage! Shorts - McIntosh Laboratory MA252 Integrated Amplifier (November 2017)
  • SoundStage! InSight - Hegel H90 and H190 Integrated Amplifiers (October 2017)
  • SoundStage! Shorts - How Hegel's SoundEngine Works (October 2017)
  • SoundStage! InSight  - Estelon History and YB and Extreme Loudspeakers (September 2017)
  • SoundStage! Shorts - What Makes Hegel Different? (August 2017)
  • SoundStage! Shorts - Estelon Extreme Legacy Edition Loudspeaker (July 2017)
  • SoundStage! InSight - Amphion Overview and Technologies (July 2017)
  • SoundStage! Insight - Totem Acoustic Signature One Loudspeaker (June 2017)
  • SoundStage! Encore - The Cowboy Junkies'
  • SoundStage! Shorts -- Anthem's STR Integrated Amplifier (May 2017)
  • SoundStage! Shorts -- Paradigm's Perforated Phase Alignment (PPA) Lenses (March 2017)
  • SoundStage! InSight -- Paradigm's Persona 9H Loudspeaker (March 2017)
  • SoundStage! InSight -- Contrasts: Dynaudio's Contour and Focus XD Speaker Lines (February 2017)
  • SoundStage! Shorts - New Technologies in MartinLogan's Masterpiece Series
  • SoundStage! Shorts - Dynaudio/Volkswagen Car Audio (December 2016)
  • SoundStage! InSight - Gryphon Philosophy and the Kodo and Mojo S Speakers (January 2017)
  • SoundStage! Shorts -- What's a Tonmeister? (November 2016)
  • SoundStage! InSight - AxiomAir N3 Wireless Speaker System (December 2016)
  • SoundStage! InSight - Bang & Olufsen BeoLab 90 (November 2016)
  • SoundStage! Shorts - Gryphon Diablo 120 Integrated Amplifier (October 2016)
  • SoundStage! InSight - Dynaudio History and Driver Technology (October 2016)
  • SoundStage! Shorts - The Story How Gryphon Began (September 2016)
  • SoundStage! InSight - Devialet History, ADH Technology, and Expert 1000 Pro (September 2016)
  • SoundStage! Shorts - Devialet's Phantom Loudspeakers (August 2016)
  • SoundStage! InSight - McIntosh Home Theater and Streaming Audio (July 2016)
  • SoundStage! Shorts - McIntosh MC275 Stereo Amplifier (June 2016)
  • SoundStage! InSight - McIntosh History and Autoformer Technology (June 2016)

Jeff BeckEagle Vision DV303409
Format: DVD

Musical Performance ****1/2
Sound Quality ****
Picture Quality ****
Overall Enjoyment ****1/2

 

Jeff Beck is eight tunes into his Les Paul tribute set at the Iridium Jazz Club in New York for this DVD before he and singer Imelda May kick into "How High the Moon," which Les Paul and Mary Ford took to the top of the charts in 1951. May, who performed the tune with Beck during last year’s Grammy Awards, sings lead over her own multi-tracked backing vocals, and Beck gets Paul’s slap-back reverb, echo, and quick flurries of melody down solid on a gorgeous red sunburst Les Paul Standard, one of many guitars he picks up during the performance.

Jovino Santos NetoAdventure Music AM1063 2
Format: CD

Musical Performance ****
Sound Quality ****1/2
Overall Enjoyment ****

 

The Brazilian pianist Jovino Santos Neto, who has lived and worked in the US since 1993, has recorded duet CDs with Weber Iago (Live at Caramoor, 2008) and label mate Mike Marshall (Serenata, 2003). Veja O Som pairs the pianist with 20 musicians, including Marshall, for this two-disc collection, with one disc recorded in Brazil and the other in the US. Santos Neto and Richard Zirinsky Jr., the executive producer of the disc and owner of Adventure Music, each chose the musicians who appear here. The idea for the set was Zirinsky’s because, as he told Santos Neto, “what the world needed at that stage of extreme global uncertainty was the reassurance of one-on-one human warmth and interaction.”

Zoho Records ZM201101
Format: CD

Musical Performance ****
Sound Quality ***1/2
Overall Enjoyment ****

O'Farril BrothersThe O’Farrill Brothers are Adam, who plays trumpet and writes most of the music, and Zack, who plays drums. If their last name is familiar, it’s no doubt due to their father, Arturo, who’s well known as a jazz educator and performer. This is such a good debut disc, however, that the brothers will likely be known in their own right before long. The O’Farrill Brothers’ quintet is completed by Livio Almeida on saxophone, Zaccai Curtis on piano, and Michael Sacks on bass. Though the young men are all in their early 20s and have the energy and enthusiasm to prove it, the group collectively projects a singular maturity. The tight ensemble is a toe-tapping joy to hear, and each player distinguishes himself with virtuoso solo stretches that are most impressive. The O’Farrill group has no set formula for each chart, and that spontaneity makes for a refreshing playlist. A track might start with the whole group, or it may begin with a rhythmic bass ostinato that both anchors and drives the composition, as in Almeida’s “Face It!” The young players certainly show influences, such as Miles Davis, Charles Mingus, and Freddie Hubbard, but the O’Farrill Brothers have established their own pulsing style. The sound is warm and clean, though it slights the bass.

Gibex Recordings Gibex 006
Format: CD

Musical Performance ***
Sound Quality ***1/2
Overall Enjoyment ***1/2

Michael William GilbertElectronica, ambient music, techno, or whatever name it chooses to go by is probably something of an acquired taste. For me, the best of it, such as the Bombay Dub Orchestra or Banco de Gaia, embraces music from other cultures and creates an enticing blend that draws you in. Michael William Gilbert’s I Can See From Here joins that company with an enjoyable disc that, despite its technical savvy, still has a big heart. Ambient music can be somnambulant, but Gilbert is a rocker at heart and the energy level on I Can See From Here remains high. “Amerikan Dream” is anthem enough for any Pink Floyd lover, and the shimmering guitars on “Over the Next Rise” will appeal to young rock fans. The keyboard washes and other electronic trills throughout the disc are typical of this genre, but Gilbert also likes rhythm, so the conga drums, shakers, and other percussion instruments ensure a human element. Peter Kaukonen is the guest guitarist on “Amerikan Dream,” but the rest is Gilbert, who also recorded and mixed the disc. A mastering engineer would have ensured more consistency in the sound, but Gilbert uses space well and most of the tracks will give your stereo a workout.

MDG 910 1625-6
Format: Hybrid Multichannel SACD

Musical Performance ****
Sound Quality ****
Overall Enjoyment ****1/2

201102_flyingsaxcircusWe all like what we like when we like it, but we should always be open to those off-the-beaten-track titles that, given a chance, can provide unexpected pleasure. It’s hard to imagine anything more unusual than a band comprising a dozen saxophone players (one sopranino, two soprano, three alto, three tenor, two baritone, and one bass), but it sounds a lot more familiar than you might think. The scores for three of Antonin Dvořák’s Slavic Dances have the ensemble sounding a bit like a huge, sonorous accordion. The “Lyric Waltz” from the jazzy Shostakovich Jazz Suite No.2 sounds like wistful film music to accompany a pair of lovers strolling by the Seine (or perhaps the Volga!). A suite of Gershwin songs played in a nostalgic “club” style finds the ensemble sounding totally idiomatic, and though “I Got Rhythm,” “The Man I Love,” “Liza,” and “Let’s Call The Whole Thing Off” sound pert and frothy, the soulful arrangement of “Summertime” plumbs greater depths. If you’re an audio buff in the know, it’s enough to say that the sound is MDG at its best, with excellent stereo tracks and multichannel ones that impart a greater sense of three-dimensional realism.

Black Warrior Records BW1005
Format: CD

Musical Performance ****1/2
Sound Quality ****1/2
Overall Enjoyment ****1/2

201102_andyfarberAndy Farber and His Orchestra open their new disc, This Could Be the Start of Something Big, with a lively, jumping piece of Ellington-inspired swing. “Bombers” features lock-step ensemble playing from the full band and great solos by Farber (on alto), Harvey Tibbs (trombone), and Kenny Rampton (trumpet). Pianist Kenny Ascher plays a smart, swinging solo on Farber’s “Space Suit,” which also features a warm clarinet outing by Dan Block. Farber has arranged the sections of the band precisely, and engineer Chris Allen at Sears Sound has placed them cleanly and well in the soundstage. Coleman Hawkins owns “Body and Soul,” but Farber’s own feature on his band’s version is a warm tribute and not a mere rehash. The title track was jazz lover Steve Allen’s gift to the music, and guest Jon Hendricks, with whom Farber has appeared, grabs hold of it to show us he still has his chops at age 89. Another Farber tune, “It Is What It Is,” is full-on Basie style, and Ascher has the earlier pianist’s easy touch down pat. Block, on tenor this time, plays a warm, melodic solo that leads to another impressive ensemble demonstration by the band. This Could Be the Start of Something Big is the work of a band that loves big-band jazz, doesn’t treat it like a museum artifact, and swings it hard.

201101_israelisongAnzic Records ANZ-3002
Format: CD

Musical Performance ****
Sound Quality ****
Overall Enjoyment ****

 

Eli Degibri is an Israeli jazz musician who started playing mandolin at age seven and picked up the saxophone three years later. When he was 16, he received a full scholarship to Berklee School of Music’s Summer Performance Program, and the school granted him another summer of study the following year. After further training at the Thelonious Monk Institute of Jazz Performance, Degibri toured with Herbie Hancock’s sextet for two and a half years beginning in 1999, when he was just 20. Since 2002 he’s fronted his own quartet, and he’s also a member of the band led by drummer Al Foster.

Six years ago, a friend of mine was working as the advertising director at Jazz Times magazine. He put me in contact with the editorial staff at the SoundStage! Network and encouraged me to consider writing music reviews for them. His prompting led me to where I am now, writing about music I love and finding endless satisfaction in exploring. We’ve stayed in touch over the years, and although he’s no longer working for a solely jazz-centric publication, he’s still an excellent musician and a die-hard music aficionado, so I turned to him this month for his thoughts on the best work to be released in the past year in the jazz genre. Ever knowledgeable and convivial, he easily plied me with a stack of recordings from composers that met my requirements and exceeded my expectations. Consider this my short list, if you will, of highlights of the year’s best jazz recordings.

201101_charleslloydSeventy-two-year-old legendary saxophonist Charles Lloyd returned this year with the soulful, heady Mirror (CD, EMC 2176), his second release with his current quartet, consisting of Jason Moran (piano), Reuben Rogers (double bass), and Eric Harland (drums). This album floats along like a lucid dream, with Lloyd’s plaintive horn crying out with love, sorrow, faith, and finesse. Lloyd has been around long enough to experience much of the lifespan of jazz first-hand, having been an integral part of the early scene for decades, playing with the likes of Cannonball Adderley and leading his own star-studded groups of stellar acclaim and then quietly shifting gears in the ’60s to record with pop phenomenons like the Doors and the Beach Boys. He regrouped in the ’90s for a few short-lived sessions before taking another respite, and he’s now reclaimed his role as an innovator and messenger for the next era. Mirror is a confident recording that speaks of experience and contentment, but also a driving desire to continue exploring the boundaries of this uniquely American art form, as though Lloyd is rediscovering a long-lost first love. Comprising new takes on old gospel favorites, love songs, fresh originals, and covers of Thelonious Monk ("Monk’s Mood," "Ruby My Dear") and the Beach Boys ("Caroline, No"), Mirror makes for quite the reflective retrospective.

201012_one_takeAlma Records ACD11912
Format: CD

Musical Performance ****
Sound Quality ****
Overall Enjoyment ****

 

It’s hard to think of another jazz organist right now who dominates the instrument the way Joey DeFrancesco does. Larry Goldings is widely respected, but he’s just as well known for being a pianist and arranger as he is for being an organist. I’ve reviewed Pete Levin favorably, but he’s not a household name. But DeFrancesco is as synonymous with jazz organ as Jimmy Smith was, and his discography -- 25 titles as a leader since 1989, as well as countless guest shots -- is a testament to his versatility and his popularity among other musicians.

Self released
Format: CD

Musical Performance ****
Sound Quality ****
Overall Enjoyment ****

201012_lowfidelityCanadian soul and blues singer Treasa Levasseur sure knows how to write a hook. Her second self-released disc, Low Fidelity, contains eight prime examples of her song craft, which she and producer David Gavin Baxter (he also plays guitar on the disc) set to smart, witty arrangements. She also covers two tunes by other writers, "Help Me Over" by Corin Raymond and Sean Cotton and "Talk to Me, Babe" by Bob Snider. All ten tracks show a keen ear for how to arrange and present a song. Levasseur plays to her greatest strength: her strong, slightly raspy voice, which can belt out one moment and caress the next. When she growls out a line, it doesn’t sound forced, and she can let her voice rise to a shout without losing track of the melody. Baxter and Sean Cotton both have a good grasp of Southern soul guitar, and Paul Reddick’s funky harmonica spices things up on "Good Ones Never Share" and the title track. "Rest of the Ride" even shows a sure touch with country music. You’ll be humming almost every tune in the car after just one play, but Low Fidelity holds up to repeated listens, in part because the recording reveals subtle details over time.