Yes, J. Webb the man has really managed to fly underneath the public's radar all these years, despite how many people know his name and reputation as a songwriter. When I found this CD it was actually came as a bit of a shocker to finally see a face and hear a voice attached to the legend, neither of which at all matched my vague mental conception of who this guy 'was'. But Webb actually had several major-label records under his own name during his late-60's/early-70's heyday, and I'd like to find original copies of some of those. I took a flyer just now and typed in www.jimmywebb.com, and sure enough many more questions can be answered there. And if you jump to Tower's "Artist" webpage on him, it also appears he's got some sort of 4-disk series forthcoming next month.
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I've been A/B auditioning some interconnects and power cords over the last few days, so I'm primarily listening to a few familiar disks I find useful for sonic evaluations, including stuff like Bill Evans' "Waltz For Debby" and The Buena Vista Social Club. (In addition to tweaks which involve the digital front-end, with those that affect the whole system or its back-end half I tend to do most of my preliminary auditioning with CD's instead of LP's, due mostly to the convenience factor of being able to repeat sections and tracks by remote control from the listening chair.) One of these recordings may be worth mentioning in particular, both because I consistently find it to illuminate subtle but musically meaningful sonic differences, and because most folks won't have heard it: Reknowned songwriter Jimmy Webb's 1996 CD on the Guardian label entitled "Ten Easy Pieces". Everybody recognizes Webb's famous 60's 'easy listening' pop hits as performed by others ("Galveston", "Wichita Lineman", "By The Time I Get To Phoenix", "Didn't We", the hideous "Worst That Could Happen", and the admirably infamous "MacArthur Park" are all included here), but this set features the man himself with just his piano and occasional light accompaniment (guests of note include Michael McDonald, Dean Parks, Marc Cohn and Shawn Colvin; there is no drum/bass rhythm section.) This material may not be everybody's cup of tea -- in many ways it generally isn't mine, in fact -- while the handful of 70's and 80's selections here are not nearly as strong or idiosyncratic as the older material IMO. And the recording itself is probably of debatable 'accuracy' or honesty from an audiophile viewpoint -- although relatively simple and unembellished, it's a studio product that doesn't make a pretense of adhering to a strict standard of 'naturalness' -- and anyway will not test a system's highest highs, lowest lows, or stretch its dynamic envelope to the bombastic limit. Not necessarily the most 'believable' or 'present' of recordings (it's close-mic'ed, so larger-than-life images and proximity-effect chestiness can threaten, though it never sounds bright or over-processed unlike most pop recordings), I've heard many that will make a system sound 'better' in terms of crystal clarity and spatiality, yet few that will so easily and reliably reveal system tweaks or changes. There's something about Webb's throaty, sinusy, rather rough (in the sense of seeming 'unschooled') vocals -- his baritone voice is equal parts smoke, honey, and not-quite-gravel ("mulch"?) around the edges -- together with the darkly rolling chords and bell-like arpeggiated figures emmanating from his piano (which, oddly enough, can slip at times into sounding, depending on the playback, as if it might in fact be not an acoustic piano but a digitally sampled one -- a point the instrument credit to "Young Chang - Kurzweil" leaves curiously open-ended, though I assume it's really acoustic), which along with the way the disk was recorded and for whatever combination of reasons, proves to be exceptionally sensitive to changes in the playback chain, especially within the all-important broad midrange. Whenever something (like a power cord swap) I'm trying to compare the effect of seems maddeningly elusive with other, potentially more confusing or obscuring disks, this is one I know I can pull out and feel confident of hearing whether and how the alteration in question impacts fundamental musical expressiveness and communication. I'm sure I wouldn't own this title if I hadn't stumbled onto it in a thrift store for $3 and decided what the hell, but I've grown to value it as an auditioning tool (and since I don't really listen to it for enjoyment -- not that I don't enjoy it in its way when I do -- I don't risk spoiling something I love by subjecting it to repetitive A/B's focusing on the sound, which can be a bummer when that starts to happen with stuff I actually care a lot about). Here's the Tower Records webpage with sound samples for anyone interested. At any rate, if you're a fan of these songs there's no arguing the authoritativeness of Webb's own interpretations of his compositions. |
Foster, Thanks for letting us know your impressions of "Il Cornetto". It struck me very much the same on the first listen. It will be a few days to a couple of weeks before I post any more listening notes. You see, I am taking my Scoutmaster apart this evening in order to deliver it to it's new owner this weekend. My new turntable should be ready shortly, so hopefully I won't be without music for too long. |
Foster, great report on both the Sylvania tubes and the Klimo LP!! Glad to hear both have worked well for you. Regarding the Klimo LP, you've nicely described what I find so attractive about this record. There are so many gems like this, but sorting them out is the challenge - one reason I've enjoyed this thread so much! . |
Rushton and Slipknot1, Yesterday I received both my 6SN7GTB's from andy at Vintage, my copy of "Il Cornetto" and "Stationen deutscher Cembalomisik" from Elusive Disc. Need I suggest it was quite the evening. First off, the replacement of the Chinese Electron tubes was nothing less than stunning in every way. The smoothness and control of those old Sylvania valves from top to bottom was a huge step forward. They show consistent attention to detail throughout the presentation with a much nicer resolve of the tonality. I should have done this a long time ago! My Atma's sound gorgeous. On to "Il Cornetto", Thank you gentlemen. The Klimo records are truly of excellent pressing quality and were nicely mastered. The performance was an unusual mix of instruments in tonality and texture (new to my ears) very pleasing and gently engaging. The acoustics were very nice, intimate but of a large enough scale to let all the instruments breath adequately. On both the third and seventh track on the first side I was struck by the clean, clear brassiness and scale (like that of a flugelhorn possibly?) of the lute. The contrast of the harpsichord and chamber organ played together is something I have not heard before and liked very much. Overall for me the experience was one of pleasure in the juxtaposition of musical caricatures and the interplay. Wow! Do I wish I had been there for the live performance. So often large scale symphonic works are lost on these ears. I donÂt get it and they donÂt move me, conversely these little gems are a joyful treasure IMHO. Cheers! |
Montepilot, I worked for Northeastern University from 1979-1986, while living in Wayland, MA. At that time of course, their entire catalogue was in vinyl. If you find yourself near Huntington Ave, I would even suggest you contact the Music Department, or better yet NU records directly. It would not surprise me if there may be some of the vinyl still kicking around. Many of the recordings on their label were very well done. Best of luck in your quest! |
Slipknot1 Thank you for the recommendation. Northeastern University is not far from me here in Boston. There is a local music store here, Rayburn's, that sells and repairs intstruments for the Boston Symphony and many famous jazz musicians who pass through. They also carry Northeastern's catalog of CD's. I am going to see if they can assist me in locating the Boismortier on vinyl. A long shot I know but I will still try. Regards, |
Montepilot, I read of your interest in the Klimo Open Window Edition of the all harpsichord music. I tend to agree with you that LP's like this can be an acquired taste. But, if you are so inclined, I would like to recommend another that I have found very enjoyable and not at all tedious: It is an LP of works for the harpsichord and flute by the Baroque era composer Boismortier and it is on the Northeastern University Records label. I see used copies of it turn up from time to time as I believe it may be out of print. (I am away from my record collection as I write this so I cannot give you more details). It is well worth seeking out. |
Thanks to each of you who've expressed your concern. It's certainly helped my angst! As Montepilot says, the good news is that its only money: no one was hurt, the cartridge can be replaced. (And thanks for sharing your story, Montepilot.) The better news is that a replacement cartridge is on it's way. Regarding CD, I actually do have a CD player: a 15+ year old Rotel RCD 855. Completely inoffensive and far outclassed by current technology. The CD collection here is for sure the more limiting factor: 4,000 LPs, but at best only 50 CDs. As to the Klimo harpsichord LP (Klimo Open Window OW001), I find it very enjoyable: an interesting selection of music, very well played by the inimitable Alfred Gross on three different harpsichords (each pretty different in character than the other), and very naturally recorded. This is certainly one of the better harpsichord records in my collection. Another solo harpsichord LP I think is well recorded and listenable (and that is still available from Acoustic Sounds and perhaps others) is the Reference Recordings LP of Ramaeu performed by Albert Fuller (RR 27). Unlike the Klimo, this is a very close-up recording, which has its pluses and minuses. But it well captures the tonality of this instrument. . |
Rushton, My sympathy on your mishap. It has happened to me too. It was a number of years ago when I could hardly afford it, having squeezed all the juice out of my finances to purchase it. I had a Sota turntable with MMT arm and an Audioquest 404B cartridge. I loved that cartridge. The synergy with everything else was just right. I remember shouting something a little more severe to myself than 'BONEHEAD". When I attempted to replace it, it was no longer made having been replaced with another model. The newer model never measured up to my beloved 404B. Your experience just brought back this long buried painful memory. It sounds like you are still able to replace your cartridge. That's a good thing. In the end its still only money. As ancient King Solomon put it "there is nothing better for a man than to rejoice and to eat and drink and see good for all the hard work which the Lord has given him to do." The love of music and having the audio tools to bring this pleasure to life is costly but eminently rewarding. BTW I don't recall ever seeing in any of your past post that you own a CD player. Do you have one as a backup? Also I hear that on the Klimo label there is an all Harpsichord album. Do you have it? If so is listening to this harpsichord only record endurable? This is one instrument it is not usually easy for me to sit through. I've only forced myself to endure it when listening to my favorite flute player Jean Pierre Rampal when he performs duets with Robert Veyron Lacroix on harpsichord. Kind regards, |
Tom Waits & Crystal Gayle -One From The Heart (Soundtrack)of the Francis Ford Coppola movie, on Columbia If you don't have this record, it's a beauty, maybe you should do yourself a favor before their all gone... Tom Waits -Small Change on Asylum Tom Waits -Bone Machine on NL Island Records Tom Waits -Mule Variations on Epitaph Happy Listening! |
just out of storage: kenny burrell "guitar forms" on original-yet-NM verve, wes montgomery and jimmy smith "the dynamic duo" ditto, albeit a stereo copy, coltrane "stellar regions" on impulse reissue, kenny burrell and john coltrane OJC reissue, wes montgomery "full house - live at tsubo" OJC reissue, charlie byrd "blues sonata" japanese mono and lastly herb ellis "softly....but with that feeling" on japanese verve |
DANG! Rushton, my deepest sympathies go out to you on the cantilever mishap. Perhaps a great test of ones caricature to not start jumping up and down cursing at an inanimate object like Yosemite Sam from the WB cartoons. I must admit I would have failed the test and commenced to shootÂin something! (at least verbally). Ouch! To hear you reflecting on a more whimsical moment in time when what you did or more importantly, didn't do had seemingly lesser consequences shows perspective. And yes there have been albums lately I find to come alive with my current TT set up and the tube amps. I formerly had SS and as good as it was it never revealed the sense of depth and texture, almost aliveness that is in my living room today. So many recordings have fleshed out to become a real sonic landscape and emotionally connect us with the music that I couldnÂt list them all. One thing that has remained in the system though is my Linn Sondek Lp12 from 1983. Now sounding better than ever with a new Akiva cartridge. After hearing your story I will try to remember to be focused, focused, focused when at the ready to spin some wax. Hope to hear that your up and running soon. There is an interesting irony in that your beloved Magic Diamond cartridge brought you closer to the Khatchaturian "Gayenah Ballet" just before you lost it. Best regards |
How many of you have had an LP in your collection that you thought was just mediocre until you played it on some different equipment? This just happened to me yesterday as I listened to the Khatchaturian "Gayenah Ballet" listed in my post above. I'd always enjoyed the music on this LP, but consistently thought the sound quality was indifferent, if not decidedly disappointing: muffled, indistinct, completely lacking is resolution and transparency. Definitely not what I expected of a Bob Auger engineered mastertape! I remember being sooo disappointed when I first got it years ago. Well, not any more... In listening to this LP last night for the first time on the current turntable, what I now hear is a very low-level signal encoded on the disc (typical of many English pressings), but with incredible resolution, detail, soundstaging and harmonic integrity. The former turntable simply was not capable of resolving the magic that was really on this LP. For me, put this in the category of "lessons repeatedly re-learned..." . |
A favorite teacher of mine in high school was fond of gently pointing out my errors in papers I submitted. He had various sized stamps with the word "BONEHEAD!>>" on them that he would use to subtly mark my papers. The more egregious the error, the bigger the stamp. I think the biggest I saw had 1" block letters. Well, last night I just awarded myself the 5" tall BONEHEAD!>> stamp as I managed to snap off the cantilever to my beloved Magic Diamond cartridge. Oh, was it ever so easy! and ever so quick! A moment of carelessness, a misplaced waive of the hand, and zip - gone! Snapped clean off. We're ordering a replacement, but vinyl will sit quiet around here for a while until the replacement arrives. Take what lessons you will for your own purposes, my friends. . |
Rushton and Slipknot1, I write bearing very interesting news apparently Elusive Discs' server said the album "il cornetto" was out of stock. Truth was, one copy remained and by entering an order anyway (yesterday), I will receive this last copy. I called to confirm the email that had me on the edge of my seat today! Let this be a lesson to all of us in ordering from Elusive Disc, some times if the record is still listed, there is one left regardless of the notation to the contrary. I'm elated to share in the experience of this sound recommendation from you. I would also like to thank you both again for all of the recommendations most recently. I will research each of these and hopefully find a few nice copies to expand on my classical catalog and mostly on our enjoyment here in Detroit. Winter's not over yet and with a set of ten Sylvania NOS 6SN7 GTBÂs for my AtmaÂs in the mail to me it sounds as if next weekend will be a grand one. Happy Listening. Cheers! |
"Dances Anciennes de Hongrie & Transylvanie" and Dances Du Moyen-Age" are two recordings that spend a great deal of time on my turntable. (Rushton introduced these to me - and I have his duplicate copies) In addition, more music in this vein that is well worth pursuing is "Trumpet and Organ Music Of The Baroque" on the Water Lily Acoustics label. Kavi Alexander did a marvelous job of capturing these two instruments and the space in which they were recorded. The Mercury Golden Import of Respighi's "Ancient Airs & Dances" spins a lot at my home too. While not early music, the following recordings also offer the type of atmosphere we are discussing: Both on the Argo label Holst "Choral Songs Of The Rig Veda" and "Savitri" Holst "Hymn Of Jesus" Wonderful examples of small ensemble choral and instrument music. |
RF and Montepilot, the Clemencic performances are always reliable and enjoyable. If this genre appeals, I'd also recommend any of the recordings by Gregorio Paniagua (Atrium Musicae de Madrid). My favorites among the Clemencic recordings are: The Carmina Burana series (5 volumes) Dances Anciennes de Hongrie & Transylvanie Dances Du Moyen-Age Feast of the Ass Roman de Fauvel Danses de la Renaissance ...all on Harmonia Mundi. Of the recordings by Gregorio Paniagua, I'm very fond of: Villancicos (an instrumental collection of 15th-16thC Spanish Songs) Tarantelle (collection of Italian ancient dances) Musique de la Grece Antique Musique Arabo-Andalouse (Music of Arabic-Spain of the 9th-13th Centuries) La Folia (collection of Spanish Renaissance Dances, with some wild additions) ...all on Harmonia Mundi Plus "La Spagna" on BIS LP163/164 (a desert island LP for me). Cheers! |
Montepilot, Thanks for the Clemencic Consort recommendation. Upon a brief search to gain a little background it appears this will be a rather interesting undertaking as well. I will take your suggested heed to the timing for finding these recordings. René Clemencic looks to be a rather interesting fellow with quite the resumé. Happy Listening! |
R_f I understand your disappointment in not being able to acquire a record that has so many high recommendations. However to help you regain heart I recommend pursuing a number of the recordings on Harmonia Mundi that Rushton has written about over the course of these post. Many show up frequently on ebay and in used record stores. He occasionally mentions recordings on that label by the Clemencic Consort and his evaluations of those disk are spot on. I think you will find that series quite enjoyable from both a musical and audiophile perspective. Rene Clemencic specializes in playing various flutes and recorder some quite old and unusual he being a collector of this instrument. The Clemencic Consort, of which he is founder and director, performs music of the medieval, Renaissance and baroque periods on authentic instruments. The cover of HM 497 "De Hongrie Et De Transylvanie" by the Clemencic Consert has a picture of some unusual looking instruments the musicians are playing. Incidentally this is a record Rushton had on his turntable in an earlier post no too long ago. If you browse back through some of Rushton's post you will see various selections from this label. I would begin pursuing them now as I feel they still show up regularly enough on ebay to acquire, however I don't think many of the more popular from this series will continue to be so easy to find. Regards, |
Khachaturian's "Gayaneh Ballet", Tjeknavorian/NPO, RCA RL25035 (excellent job by recording engineer Bob Auger, English pressing) "Il Cornetto" - after all the discussion, I had to pull it out for a listen! Creedence Clearwater Revival, selections from the 45 rpm reissue box set from Analogue Productions. . |
Thank you again gentlemen, I will keep looking around and they will show up eventually. I'm sure that it is just a matter of time until one surfaces. I appreciate very much knowing that they are out there, thanks to you. In doing a little research I have know read about six records in this catalog. And all is not lost, apparently I have the last copy elusive disc had of the German harpsichord music coming my way. I look forward to that. Best regards, Foster |
I too am sorry to hear that Elusive disc is listing it as OS. I must have gotten one of the last copies. Mine arrived within 3 days of placing the order. "Il Cornetto" is indeed a very delicate recording. I really allows you to hear texture and tonal shading of these early instruments if your system is resolving of this kind of intricate detail. |
Foster, I'm sorry this LP is now out of stock at Elusive Disc. Slipknot and another member of our local audio group just ordered it last week, but I was afraid that whatever supply Elusive Disc might have was limited. I've seen LPs from this series show up every now and then on Mikrokosmos' monthly lists. . |
Rushton, I find your explanation of the instrumentation only heightens my interest in hearing this recording and many of the others. I checked with Elusive Disc and they are currently listing it as out of stock. I went ahead and entered an order (it let me) in the hope that I might be fortunate enough to see it restocked, we'll see. Thank you again for the thoughtful words. With a little looking around I found a HiFi+ review of the Italian Violin Music 1600-1750 Open Window OW 002, they suggest it as one of their favorites also. Also found a Chinese website that describes six different albums of this series. Very intriguing. Sounds as though this path of music exploration just never ends... Bravo! |
Foster, the "Il Cornetto" LP is a recording of Baroque music that features the Cornett, a 16th century wind instrument made of wood or ivory, with woodwind style fingering holes like a recorder but with a brass instrument type mouthpiece. Because it's played like a brass instrument, yet with the body of a woodwind instrument, it has a unique sound that I find complex and full of interesting overtones. It's unusual to hear it played today. This LP is from a limited series of extraordinarily well recorded Baroque music recordings made by the German tube equipment manufacturer Klimo in the 1980s, now long out of print. I have all of the LPs from this limited Klimo Open Window series, and this is one of my favorites (another being an LP of music for baroque violin performed by the renowned Swiss baroque violinist Chiara Banchini, Klimo OW 002). The primary point is that I recently discovered that Elusive Disc still has this "Il Cornetto" LP available. . |
Gentleman, Please tell me about the ÂIl Cornetto it sounds fascinating. I am but a classical neophyte at this point and truly looking to expand my horizons. I love classical or folk music with ancient instrumentation. Would this fit into that classification? So please, do tell and is it available on vinyl?! As always, Happy Listening! |
Good one! I stared at his name on "Rough Mix, "Who By Numbers" looked over Led Zep but missed his name. I was gonna say Clapton cuz of the Delaney & Bonnie ref and Clapton played a lot of the lead parts on "Rough Mix". That was fun. Maybe we should start posting thematic evenings of music and quiz folks on what the commonalities are... |
OK Slipknot1, Evidently there are no other takers to this challenge of rock trivia. So you have taken an avid stab at it and deserve to know the answer I was looking for. Glyn Johns. Glyn either engineered and or produced each of these recordings. He has a long list of credits that would leave anyone proud and most of his work have a sonic signature of clarity and detail as you may well know by listening to these albums. Happy Listening! |
Rushton, My first reaction to "Il Cornetto" is how delicate and airy the lute/guitar passages are as they weave through the soundscape. A lot of people may pass this recording by fearing the "acquired taste" of harpsichord, but the combination of the lute, cornett, chamber organ/harpsichord are just right IMO. Very easy on the ears, nice late night listening at lower volumes, and a tremendous recording from a production standpoint. Thanks for bringing this one to my attention! |
Montepilot, good to see your list of music! Nice to have more classical music listed for those like me who live mainly in that world. Slipknot, any reactions to "Il Cornetto"? Hope I didn't lead you down the path of "it must be an acquired taste" on this LP... Tonight here has been: John Lill playing Schuman's "Fantasia in c, op 17" on a beautiful all analog recording produced in 2004: Green Room Productions 4001. This is recording engineer Tony Faulkner's label and reflects his return to analog tape for his own productions. A lovely 1964 Steinway piano captured by Neuman M50 tube mikes into a Studor A80 tape deck, then half speed mastered by Stan Ricker and pressed at RTI. Outstanding performance by Lill, captured in outstanding sonics by Faulkner. Stravinsky's Le Sacre du Printemps performed by Sir Georg Solti and the Chicago Symphony Orchestra on Decca SXL 6691 (the Speakers Corner reissue sounds very good! besting my original Decca in many respects). . |
R f, I have to append my answer: They weren't all issued in the same year, or in the early 80's. I didn't take into account "Beggar's Banquet" and a couple of others. My other guess would have been that each LP was the second effort for each artist, but the Led Zep is their 1st LP, right? I give up. What is it? |
R f sayles, HMMMM- My guess is that these LP's were all issued in the early 80's, perhaps in the same year? Tonight, so far: "Il Cornetto, Works Of Italian and British Composers of the 16th & 17th Century" (Klimo Edition Open Window OW 004) Baroque era music performed on original instruments including the cornett, viola da gamba, harpsichord/chamber organ and lute/baroque guitar. Liszt "Sonata, Piano Works By Franz Liszt" Robert Silverman (Stereophile STPH008-1) |
Tonight our listening has a common thread... any idea what it is??? Led Zeppelin ÂLed Zeppelin on JP Atlantic Delaney & Bonnie & Friends w/ Eric Clapton -On Tour on Atco The Steve Miller Band -Sailor on Capital Eagles ÂDesperado on Asylum John Hiatt -Stolen Moments on A&M Rolling Stones -Beggars Banquet on JP London FFSS The Who -Who by numbers on MCA Pete Townsend & Ronnie Lane -Rough Mix on Atco Traffic ÂTraffic on UK Island Joan Armatrading -S/T on A&M white label So much vinyl, so little time... Happy Listening! |
Since my wife Rhonda is away for the weekend I'm dipping into my 20th century composers records this evening and through the weekend. This Friday evening I begin with the Gerhard Concerto for Orchestra (Argo ZRG 553) Rich palette of diverse percussion instruments w/harp & strings. Sumptuous. Edgar Varese, Arcana and Ionisation. Mehta. Decca SXL 6550 A sonic delight. In regard to "Ionization" the liner notes say: "...the piece seems to evoke the sounds and harsh reality of city life, in contrast to the sounds of nature." Varese uses sirens that sound off at various times during the performance. I can relate to this music since moving from the quieter Bay Area in California to the city of Boston a few years ago. Jay McShann, Just A Lucky So And So, Sackville reords. Joyful blues, what more can I say. Needed this to settle my mind after an initial foray in Bartok's Bluebeards Castle. After Judith goes through the first door to discover Bluebeards previous widow, I could'nt handle anymore 20th century composers in one sitting. Will have to resume later. BTW the recording is with Solti conducting the LPO. Decca SET 630. My copy is a bit beaten up and I am looking for a replacement. When I am up to it I want to compare it with a Hungaroton recording with Janos Ferencsik I acquired more than 20 years ago when I was first introduced to this work. Although it is a digital LP I remember it being quite vivid in my memory. Have a great weekend all of you, Kind regards, |
I know these pieces show up in my postings a lot, but I use them as references to help tell me what my system is doing. Right now, I am evaluating the Walker Reference High Definition Links on my speakers. I suspect after the past several listening sessions with them, they will be staying.. Holst "Choral Hymns From The Rig Veda" Imogen Holst/English Chamber Orchestra/Purcell Singers with Janet Baker, Thomas Hemsley, Robert Tear (Argo ZNF 6) Rachmaninoff "Piano Concerto No. 3" Byron Janis/Antal Dorati/London Symphony (Mercury SR90283) Speaker's Corner reissue Miles Davis "Kind Of Blue" (Columbia CS 8163) Both Classic Record's reissues: 33 1/3 rpm 200g and 45 rpm 200g |
Yes, the William Walton "Facade Suite" on Reference Recordings was exactly as good as I remembered: an absolutely outstanding performance, recording and pressing (from my 03/04 post above). One of Reference Recordings' best. William Walton's Symphony No. 1 - a great piece of 20th century orchestral music - Previn/LSO, RCA (recorded by Decca). Robert Lucas: Usin' Man Blues, Audioquest 1001 (a Kavi Alexander recording, and very special sonically because of that) Ella Fitzgerald Sings the Cole Porter Songbook, Verve MGV 4001/2, Speakers Corner reissue (Well, it sounds more like Ella than Cole Porter, but the remastering is well done sonically, and Ella is always Ella) Marin Marais: "Works for 2 Viols and Harpsichord", Sarah Cunningham, et al., ASV GAU 112. (I enjoy Baroque music, and Marais' writing for viol is always worth listening to, but I confess to taking it in small doses because I find a sameness from piece-to-piece that I just can't get around. This is an excellent record, and shows just how good a digital recording on LP can sound.) . |