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Wednesday, May 21, 2025

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: Written by: Joseph Taylor; Category: Recording of the Month; Created: 01 March 2012

Cat Stevens "Tea for the Tillerman" A&M/Analogue Productions CAPP 9135 SA
Format: Hybrid SACD

Musical Performance: ****
Sound Quality: *****
Overall Enjoyment: ****½

Tea for the Tillerman was Cat Stevens’s fourth album, and his second with producer Paul Samwell-Smith. Stevens had enjoyed some success in England in 1966 with his first LP, Matthew and Son (Decca), but had been dissatisfied with the production of his second, New Masters, the following year. He was leaning toward a simpler, folk-rock sound, and his producer had made an overly elaborate record that didn’t even chart. After a lengthy recuperation from tuberculosis in 1969, Stevens changed record labels (Island in Europe, A&M in the US), released Mona Bone Jakon in July 1970, and then, just four months later, became an international star with the release of Tea for the Tillerman.

: Written by: Rad Bennett; Category: Recording of the Month; Created: 01 February 2012

Getz/Gilberto Verve/Analogue Productions CVRJ8545 SA
Format: Stereo SACD/CD

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

In the early 1960s, after tenor saxophonist Stan Getz heard Brazilian jazz played with a new beat called bossa nova (Portuguese for “new trend”), he and guitarist Charlie Byrd collaborated on the album Jazz Samba (1962). Having gotten a taste of bossa nova in the soundtrack of the mesmerizing Brazilian film Black Orpheus (1959), US listeners and musicians were primed for something new and innovative, and Jazz Samba was one of those rare jazz albums that topped the pop charts.

: Written by: Joseph Taylor; Category: Recording of the Month; Created: 01 January 2012

Further Explorations Concord Jazz CJA-33364-02
Format: CD

Musical Performance: ****½
Sound Quality: ****
Overall Enjoyment: ****

Chick Corea’s Further Explorations echoes the title of Bill Evans’s Explorations, his 1961 recording with Paul Motian and Scott LaFaro for Riverside Records. Motian, who died late last year, is on hand for this live recording with Corea and bassist Eddie Gomez, who played with Evans for 11 years. The trio worked together to choose material from Evans’s discography for a series of live performances at New York’s Blue Note in May 2010. In September 2011, Universal Music in Japan released this two-disc set of selections from those performances, and Concord has now made it available in the US.

: Written by: Jason Thorpe; Category: For the Record; Created: 15 February 2025

It was somewhere around the fall of 1980. I was 17 years old, and I’d begun to hang around with the Harknesses. We lived in the same neighborhood, attended the same middle school, and shared the same tastes in comic books and music. The Harkness house was a hotbed of culture—the kind of house I’d want my own kid to gravitate toward. Music playing in the living room, a band rehearsing in the basement, art always in progress; I recall concert banners drawn on bedsheets being a hot commodity. It was over-the-top wholesome.

: Written by: Jason Thorpe; Category: For the Record; Created: 15 December 2024

Streaming is insidious

For years I kept my digital and analog systems completely separate. My big rig in the basement was analog and the smaller system on the main floor was digital only, running off a Squeezebox Touch. The main-floor system saw the most use in our house—it provided the music to our life for Marcia and me. For years she would get up earlier in the morning than I would, and she’d play John Zorn’s Alhambra Love Songs, Brian Eno’s Music for Airports, or The Plateaux of Mirror by Brian Eno and Harold Budd. I’d walk downstairs a half hour later and encounter an accidental renaissance scene. The lights dimmed way down, the gas fireplace casting a warm glow, and Marcia on the couch with the dog, writing in her journal.

: Written by: Jason Thorpe; Category: For the Record; Created: 15 October 2024

In the world of analog accessories, there are entire catalogs of stuff you didn’t know you needed. Of course, I know there’s a distinction between want and need. We humans really only need food, water, shelter, and companionship. A turntable is a want. Heck, any form of hi-fi is a want.

: Written by: Jason Thorpe; Category: For the Record; Created: 15 August 2024

In my August 1 editorial, I talked about the recent arrivals and departures in my review system. It’s been uncharacteristically variable lately, which has made reviewing a challenge. To make this variability work, I’ve been listening pretty much non-stop, and it’s been hard work. Oh boo-hoo, you might be thinking. Poor Jason—he’s got to listen to music all day. World’s smallest violin, etc.

: Written by: Jason Thorpe; Category: For the Record; Created: 15 June 2024

My VPI Prime Signature has been in my system for six years now, ever since I reviewed it back in 2018. After I finished the review, I agonized over my next steps. I’d owned a Pro-Ject RPM-series turntable since 2004, starting with the RPM 9, which I bought after I’d finished that review. Then came the RPM 10 in 2007, followed by the RPM 10 Carbon in 2017. Those turntables had made me an honest man three times over, and I really, really enjoyed my time with them.

: Written by: Jason Thorpe; Category: For the Record; Created: 15 April 2024

Curtis Counce, and that album cover!

I’ve always loved You Get More Bounce with Curtis Counce! by the Curtis Counce Group. It’s a delightfully easy, loping album, full of smooth, juicy lyricism, almost totally absent of the paid-by-the-note speed-bop that often leaves me feeling cold. But it’s not so laid-back that it’s going in reverse. Rather, it’s a midway blend of West Coast chardonnay and Chicago barrel whiskey. There’s some wonderful soloing going on here—Miles meets Ben Webster without the drug addictions. The arrival of the Craft Recordings reissue of this criminally underappreciated album really sent me down a rabbit hole.

: Written by: Jason Thorpe; Category: For the Record; Created: 15 February 2024

The phono cable is the most critical piece of wire in your audio system. I make this statement with certainty. In North America, power cords carry an alternating current at 120V. Speaker cables may need to carry a few dozen volts. Line-level interconnects throw up to about 2V. But the phono cable? A low-output moving coil squeaks out somewhere around 0.5mV. Spin that number up to a value in volts and you get 0.0005V.