(Another one from George Jetson — jb)
TL;DR — this album is great, buy it here
or, fight the amazons by going here
For the longer recommendation, read on:
Photo by John Marks
JBL’s L100 Classic loudspeaker has a United States MSRP of $4000/pr. (stands not included)…
(…but wait! Even if you are not in the market for new high-end loudspeakers, John Marks’ new contribution is well worth your time. There’s interesting audio and cultural history, as well as a great 13-album playlist from the era (1970 to 1978) when the iconic JBL L100s were originally in production.
However if you are in the market for some new loudspeakers, you are in luck. A lot of high-end audio gear is price-protected, which means no discounts. But, click over to Music Direct Then, at checkout, enter Promo Code BARUTH to get a $400 discount. This discount code will expire April 8, 2021. I don’t get a dime out of it — I’m just a little thrilled to be involved with this stuff. And, as John Marks himself would say, “in view of the totality of the circumstances,” please do not mention this discount code on social media — jb)
However, if you want to make them sound like the proverbial “a million bucks,” here’s how to do it:
(1) Connect a pair of JBL L100 Classics to your amplifier.
(2) Subscribe to the Qobuz streaming service (they have a risk-free 30-day trial offer). Feed that signal to your Digital to Analog Converter.
(3) Dial up the 24-bit hi-res version of Joel Fredericksen & Ensemble Phoenix’s astonishing feat of creativity and musicianship, the Nick Drake tribute album Requiem for a Pink Moon.
Have you ever heard of Ken Griffin? He was a big recording star back in the late 1940s and early 1950s. How big? Well, he sold millions of records and there are about two dozen 10″ and 12″ LP records of his released by Columbia, perhaps the biggest label of that era. While Motown has the distinction of scoring two hits with the same song, I Heard it Through the Grapevine, by two different artists, Gladys Knight and Marvin Gaye, Griffin got to the top of the charts twice using essentially the same recording over again.
Griffin had gone into the recording studio in early 1948 and recorded an instrumental version of You Can’t Be True, Dear, originally “Du Kannst Nicht Treu Sein,” by composer Hans Otten and lyricist Gerhard Ebeler. The English lyrics and title were by Hal Cotten. Apparently it was a popular song as many musicians and singers recorded it that same year. Griffin’s recording was released by Rondo, an independent label. At some time after the original recording was released, Rondo released a vocal version, with singer Jerry Wayne’s voice dubbed over Griffin’s take, with the organ subdued in the mix. The vocal version went to #1 on Billboard’s Best Sellers chart in April, 1948, staying there for seven weeks. Then Griffin’s original release got to #2. Together the two recordings charted for 23 weeks and sold 3.5 million copies. Continue Reading →
darTZeel NHB-108 model one stereo power amplifier
Regrets, I have a few… even about reviewer-loan audio equipment I now wish I had bought, way back when.
The first audio magazine I wrote for was Wayne Green’s Digital Audio magazine. The première issue came out in September, 1984. The articles listed on the cover included “How to Buy Your First CD Player.” (Snort.) I was the founding classical-music columnist (“Classical ReMarks”).
I got that columnist job by pure happenstance. Someone I knew (Chuck Dougherty) worked for the regional hi-fi chain Tweeter, Etc. Chuck also was a computer whiz who moonlighted writing for one of Wayne Green’s computer magazines. Word got around to Chuck that Wayne Green Enterprises needed someone who knew about classical music, and who also could write. Seeing as I was already writing reviews of classical music concerts and recitals for the Providence Journal, I seemed to be a good fit. Wayne Green’s little publishing empire was based in New Hampshire. As it happened, I was visiting New Hampshire frequently, in that I was organizing and presenting the chamber-music performing-arts series at Thomas More College in Merrimac.
While writing for Digital Audio, I not only reviewed CDs and wrote a column; I also interviewed musicians, including André Watts, Michael Tilson Thomas, and Joseph Silverstein. Although my duties did not include equipment reviews, I did have occasion to drool over (or lust over) some pieces of gear. I moved on to the Planet HiFi website (which was where I first reviewed audio equipment, and not just recordings), and then back to print journalism, first with The Absolute Sound, and then Stereophile.
Please note, this mini-series is limited to products that I had the opportunity to hear in my home, as part of a formal review process. There are many excellent products I would consider buying, but which I just have not had the opportunity to hear at home; the best examples I can think of at the moment are the excellent radial loudspeakers from MBL.
After the jump, I recall some of the “big-fish” (as well as some “little fish”) audio-review-loan components that got away. Continue Reading →
The Beatles’ final studio album Abbey Road was released on LP in the United States on September 26, 1969. As will be discussed after the jump, audio-industry maven Philip O’Hanlon pulled together (under the “Magnum Opus Rediscovered” banner) a coast-to-coast Abbey Road “listening party” for Saturday, September 28, 2019, in which 40 audio dealers will play the remastered album on “fine audio” (or “high end”) equipment, from 3:00 to 6:00 PM (local times).
Which is all fine and good. But I for one wish that the participating audio shops would have extended the duration of their events by not all that much time (32 minutes), and spin what is to my mind, far and away, the best Abbey Road cover album ever, George Benson‘s woefully under-appreciated The Other Side of Abbey Road. Will they, won’t they? Matters not. It’s easy to add this gem to your collection!
Starting only three weeks after Abbey Road‘s US début (October 22-23 & November 4-5, 1969), producer Creed Taylor (who produced this record for Herb Alpert’s label A&M) convened a rather astonishing gathering of participating musicians at engineer Rudy van Gelder’s legendary studio. Don Sebesky was in charge of their comings and goings, in that he was the arranger. (Benson sang, as well as playing guitar.)
How’s this for an (incomplete) lineup? Ray Barretto, Ron Carter, Herbie Hancock, Freddie Hubbard, Bob James, Hubert Laws, Idris Muhammad, George Ricci (brother of Ruggiero Ricci), and Emanuel Vardi? More information (and sound samples) after the jump. Continue Reading →
I chose to kick off the Music-Video Fridays series on my site, The Tannhauser Gate, with Anne Sofie von Otter, from her live-in-Paris 2004 DVD Voices of Our Time—a Tribute to Korngold.
The daughter of the Swedish diplomat Baron Göran Fredrik von Otter, Anne Sofie von Otter studied at the Guildhall School of Music and Drama, and made her début as Alcina in Haydn’s Orlando paladino in Basel in 1983.
In addition to her notable successes in the oratorio and opera music of Bach, Bartok, Elgar, Handel, Monteverdi, and Mozart, von Otter’s art-song repertory encompasses Brahms, Grieg, Korngold, Mahler, and Sibelius. In 1993, her Grieg song-recital CD (with Bengt Forsberg) became the first song recording ever to win Gramophone magazine’s “Record of the Year” award. Were that not enough, she has also collaborated with Elvis Costello, and with Brad Mehldau.
In 1957, Israeli composer Yoseph Hadar put music to the words of poet Moshe Dor and created one of the great modern love songs, Erev Shel Shoshanim, Evening of Roses. It was first recorded by Yafa Yarkoni the same year. A year later it was a local hit in Israel for the Dudaim folk duo and as they toured around the world it was popularized internationally in the folk music craze of the late 1950s and early 1960s.
It’s been recorded by a truly diverse group of artists including Harry Belefonte, Miriam Makeba, and Nana Mouskouri, all in Hebrew, with Mouskouri doing an original Greek version. Yarkoni even rerecorded it in Spanish, with a Mexican orchestra. In 1974, Yugoslav prog-rockers Dah recorded Šošana, featuring a melody based on Hadar’s tune. A year later, the band moved to Belgium, changed their name to Land, and they recorded an English version titled Shoshana, which became enough of an international hit that, according to Wikipedia, became a popular soccer chant in Europe. Continue Reading →
The musical form I had the most commercial success in (as a classical-music record producer and label owner), was the string quartet. Granted, my remarkably successful string-quartet recordings consisted of quartet arrangements of sacred and traditional Christmas music. But those recordings are a lot more “classical” in character than “crossover” in character. In other words, no Frosty and no Rudolph. My three original JMR Arturo Delmoni & Friends Rejoice! A String Quartet Christmas CDs have been reissued by Steinway & Sons Recordings as a 3-CD set.
Whatever happens to me from here on out, evidence of my devotion to the string-quartet form will live on. That’s because I am the dedicatee of Morten Lauridsen’s (to-date) sole work in that genre, a transcription for string quartet of his chamber-choir chanson “Contre Qui, Rose.” “Contre Qui, Rose” is one of Lauridsen’s settings of Rainer Maria Rilke’s French-language poems. Lauridsen chose among the Rilke poems that mentioned roses for his 1993 cycle Les Chansons des Roses. The story continues after the jump link.
ORA Singers: The Mystery of Christmas
Music of Allain, Anonymous, Byrd, Hall, Hyde, Lauridsen, Macmillan,
McDowall, Peacock, Rowarth, Rutter, Samitz, Sixten, Tallis, Williams, and Weir.
CD Harmonia Mundi HMM 905303
Downloads (24-bit/96kHz stereo AIFF, ALAC, FLAC, and WAV) available from HDTracks.
Streaming available from Tidal.
Recorded at St. Augustine’s Church, Kilburn, London, January 23-28 and August 7-12, 2017. Nicholas Parker (all tracks except track 5) and Tim Handley (track 5 only), producers; Mike Hatch, engineer. Support for the arts from the Pureland Foundation. Total time 76’37.
Here’s a fantastic new recording from a group new to me, Suzi Digby’s ORA Singers. They are as good as any handpicked professional choral ensemble out there. (I have heard most of the top ones live.) This collection showcases ORA’s “Unique Selling Proposition,” which is to prove that today, we are in a Golden Age not only of choral singing, but also of composing works for vocal ensembles. (Funny; I have long said the exact same thing about the art of the string quartet. We live in a golden age of the string quartet—both for playing and for new works.)
Therefore, ORA’s (for lack of a better phrase) business plan is to commission 100 new works for chorus over the course of ten years. (They are well on their way to achieving that goal, having commissioned 40 works in three years.) To make it even more interesting, Ms. Digby’s approach is to ask today’s composers to create works that are personal reflections upon the choral glories of the past, especially the masterworks of the Renaissance. Ambitious, yes. But several of the new works on this disc should find their ways into the standard repertory fairly quickly.
As a producer of classical recordings, one of my favorite Shibboleths (or, rubrics or axioms) long has been that, once your CD has started playing in the CD player of the reviewer, radio programmer, or record-store buyer, you have only ten seconds to make the sale. Furthermore, I believe that you make the sale only by giving the listener that “You are in good hands with Allstate” feeling. If the listener gets the feeling that your performance is for you a nerve-racking tightrope walk, no sale. (Obviously, there are exceptions to my little rule. Not much at all happens in the first ten seconds of Mahler’s Symphony 1; at least, not much by which you can distinguish a great performance from one that is merely unobjectionable.) In the case of the ORA Singers’ The Mystery of Christmas, convincing me took only the first four to eight seconds of the first track.
More information, a performance video, and sound bytes from The Mystery of Christmas after the jump. Continue Reading →
Last Friday, Deutsche Grammophon released the CD Light Eternal—The Choral Music of Morten Lauridsen. Amazon’s pre-order price for the CD is $12.59, which is a truly excellent price. But this CD would be a bargain at full list. There is also a 24/88 hi-res PCM download from HDTracks, reasonably priced at nearly 90 minutes of music for $20.98 (There are two bonus tracks with the download). The album will also be streaming from Apple Music, Spotify, and Tidal. And if you don’t mind reduced sound quality and the occasional advertisement, the album appears as an authorized playlist on YouTube. That’s right! You can hear the whole thing before you buy it!
My experience in producing and selling classical-music recordings is that most people don’t have formal training in music history or music theory, but they do want beauty in their lives, and they recognize it when they hear it. This is one of those recordings. If you care about choral music, especially contemporary American choral music, or if you simply want to add some beauty to your life, please vote with your wallet and buy this CD (or download), and also please consider buying half a dozen, a dozen, or more, as stocking stuffers (or, as “holiday,” or even non-holiday gifts). Lauridsen’s music is contemporary music that honors the entire tradition of choral singing, from O magnum mysterium‘s soundworld, which to me calls to mind the soundworld of Allegri, to Madrigali—Six FireSongs on Italian Renaissance Poems, which is perhaps best described as modernism—but with a heart and a soul.
Trailer embed and track listing after the jump. Continue Reading →