Our Favorite Things: Recordings.

1999 Update

A year ago I asked all our contributors to go through their music collections and submit a list or article covering their all-time favorite recordings. Most of the contributors sent something in, and our first "Recordings Issue" (Issue 72) was something that most readers seemed to enjoy thoroughly (although there were a few complaints from hard-core equipment junkies about the relative lack of equipment reviews). This year, I have asked the contributors to submit another list, with the basic idea of listing recordings that they have picked up over the last year that they would like to add to their list of favorite recordings. Once again, most contributors have responded, and the end result has exceeded my most optimistic expectations. Enjoy ...

Steven G. Baird (SGB)

Categories for my contribution to this year's recommended recordings will be a little different, but as usual for this contributor, nearly all of them will be reissues. Not all are reissues this time, though. The categories are, Classical, Jazz, Blues/Oldies/Rock, and Collectibles.

Except for those among you who view these small pieces of plastic and aluminum (or gold) as more than mere objects to hear, the last of these categories needs some explanation. Some readers also enjoy them for their artwork, or what may distinguish them from other releases of the same title. They become our own little treasures that we can discuss with other collectors. Often these collectibles become collectible shortly after they were deleted from the publisher's catalog. The value of some of these recordings rises as quickly as the stock market, while others will not. Time might be on your side for some CDs listed in this section, as inventory might still be available as of this writing. Or you just might be lucky enough to find one that collectors overlooked. I am listing these to advise some readers that they will likely have to pay large prices from dealers who still have them and know what they are worth. For others who are lucky enough to own some of them, their mention should serve as an indicator that you should not trade them to your local used CD store on his typical 4 for 1 basis (unless it is you who is getting 4 for 1). For each category, I will arrange the listings alphabetically by artist, and so, to begin.

Classical: David Zinman's Beethoven Symphony cycle, available as a boxed set, or in five individual CDs from Arte Nova/BMG (see KWN's comments in Issue 76 for a complete list of catalog numbers). Please pardon the length of this section, but they say a picture is worth a thousand words. Since it would be impossible to show you a picture of the performances on these CDs, and I think they are so extraordinary, I find it equally impossible to pare down many details in what I had written so long ago. This section will be almost as long as my first draft intended for a full review.

Having just recently left his post as Music Director of the Baltimore Symphony, David Zinman here leads the Tonhalle Orchester Zurich. While this may be an orchestra that is not all that familiar to most classical music listeners on this side of the Atlantic, we learn very quickly that the musicianship heard on these recordings is certainly first class.

Each of the CDs is a pure digital recording. All of the Symphonies were recorded in the Tonhalle Zurich between March of '97 and December of '98, and they all exhibit similar sound qualities. Since the catalog numbers of the CDs correspond to the chronological order in which they were recorded we can hear a slight improvement in sound from the first through the last. I venture this demonstrates Simon Eadon's (the recording engineer) growing familiarity with the recording location. The first CD projects a wee bit smaller soundstage than the others, but all four are very dynamic and about as natural sounding as I have heard on recent recordings of Beethoven. Microphone placement is just a little on the close side, but the orchestral perspective never seems to suffer from this, nor is it ever very obvious that there has been much spotlighting. As a whole, these are probably among the best sounding recordings of the Beethoven Symphonies available to date, but if you're still not convinced, there's more.

The Zinman recordings are the first to present the new Barenreiter Urtext editions of the Beethoven Symphonies; each of them edited by Jonathan Del Mar. Del Mar himself contributes a few pages in the accompanying booklets to discuss the extensive research that results in these new performing editions. These editions, he writes, "have been compiled with scholarly rigour, in accordance with strict musicological techniques and processes." His work has taken him back to the most primary of sources -- manuscripts, books, and personal letters -- with corrections to the scores "sometimes found in the composer's hand." The Barenreiter editions bring us to places in all of the Symphonies where the new performances "will sound materially different; eyebrows will be raised and some passages ... may even need to be reevaluated ... for their psychological effect." Del Mar makes note of at least one of the more apparent revisions in all nine of the Symphonies here, but I don't think any ardent Beethoven fans will have any difficulty finding them on their own.

So what we have here are performances that reflect the actual intent of the composer more accurately, according to Del Mar, than has been available in the past. Comparing this new Fifth to Carlos Kleiber's on DGG, I found Zinman's tempo to be even quicker from the start, and conveying a deeper sense of urgency. He races through three of the four movements in 2:15 less time; in the third movement, he takes 2:10 longer. Here the pace maintains itself in keeping with the other movements, but Zinman repeats the opening statement once more than Kleiber. The quivering of the double basses is more boldly stated than I am accustomed to hearing, but the effect is quite striking. By the time we reach the dialog between the strings and woodwinds announcing the final movement we have been captivated by a series of statements depicting the utter sense of triumph Beethoven intended for this symphony. Another notable sense one derives upon listening to this Fifth for a third or fourth time is that of the musical heritage that Beethoven has acquired from the great composers that preceded him. This performance has a distinctly Mozartean feel to it -- far more so than any other recorded performance with which I am familiar. This quality may have more to do with Zinman's fresh approach to the Barenreiter editions, of which there are no others to make a comparison, but I think it is as much Zinman's own understanding of this great work.

Such is the description I would apply to each of the other six Symphonies that are mentioned here (I do not have Symphonies 1 & 2). Of these, I think the Eighth is my favorite, especially in its third movement. It is elevated to one of my most favorite passages in all of Beethoven, thanks be to this cycle. What an absolutely joyous set of recordings! Thank you, Maestro Zinman, for such awe-inspiring interpretations, and you, Ludwig Van Beethoven, for sharing your God-given talents with all of mankind. Positively, completely, and unreservedly superb!

Jazz: Duke Ellington Three Suites, Columbia CK 46825. Judging from the many attempts to rearrange classical music into jazz that were dismal failures -- Airto's Also Sprach Zarathustra and Hubert Laws' Rite of Spring come to mind -- Ellington's work here shows him to deserve all the accolades that critics and music lovers bestowed on him while he was alive. He was one of the best at what he did, and what he did was to compose and perform as few others could. The present CD collects what CBS originally released on two separate LPs; two of the three suites here are from Tchaikovsky's Nutcracker, and Grieg's Peer Gynt. The third is an Ellington/Strayhorn composition titled Suite Thursday. In fact, all three suites are Ellington/ Strayhorn collaborations. The classical arrangements are interesting and tastefully done, with Ellington's big band "swing" signature apparent throughout. Suite Thursday thoroughly cooks, and is, for me, worth the price of the album by itself. If it's the sound you want to know about, this one ranks right up there with the best that Columbia has released from the period. I would rate it an 8 on a scale of 10 among all the jazz CDs I own.

Kenny Garrett: Pursuance: The Music of John Coltrane, Warner Brothers 46206. Downbeat readers voted this one of THE best jazz albums of 1998 during the magazine's annual readers' poll. As the article in that magazine mentioned, it's amazing what happens when you add "arrett" to the end of another popular sax player's name with the same initials. Is Kenny Garrett "the Trane" reincarnate? Perhaps not just yet, but you have to hear this guy if you haven't already: major chops. This Kenny G. does justice to all the Coltrane compositions on the CD. Start with track 2, "Equinox," to adjust yourself to his deliberate phrasing and tone; then go back and start the CD over from the beginning and just let it play. By the time you've reached the title track (8), you too will be a believer. That wonderful guitar playing is provided by none other than the great Pat Metheny, who's equally at home playing Coltrane as he is his own compositions. Sound is a bit disappointing, maybe a 6 or 7, but hey, this one's so good you just won't care.

Blues/Rock/Oldies: The Beach Boys: Pet Sounds, Capitol 21241. The Beach Boys were one of the greatest American vocal groups of the '60s, if not of all time; Pet Sounds is their masterpiece with fans and critics alike proclaiming this one of the greatest concept albums ever released. Brian Wilson supposedly got his idea for this album from the Beatles' very popular Sgt. Pepper's Lonely Hearts Club Band. The new rerelease of this classic album is the first single CD to offer both the original mono album, a bonus track ("Hang On To Your Life"), plus the complete album mixed to stereo; 27 tracks in all. For this release, the original mono segment was remastered, and provides the finest mono sound of it that I've ever heard in any format. The stereo segment was taken from the four-CD box set, The Pet Sounds Sessions, issued a few years ago. It differs only in that the box set was HDCD-encoded, but this one CD is not. If you have any doubts that Capitol could produce state-of-the-art sound in 1967, then to remove those doubts, this CD is definitely one that you should not miss. The stereo segment of this CD ranks as one of the two or three best-sounding CDs of any '60s popular music I have ever heard -- it's right up there with Getz/Gilberto #2. THE reissue of 1999, if not the decade, this one has become the single most often played CD in my collection.

The Cascades: Very Best Of The Cascades, Taragon 1046. By the time these former sailors made it big (just as 1963 was starting), rock music had already undergone some major transitions. Elvis had deserted us for a career in the movies. A new group, the Beach Boys, had capitalized on the sound of the past by copying the style of The Four Aces, and making it palatable to teens by adding a rock guitar to their vocal harmonies. Little Richard was out there preaching the gospel, and the saxophone as an instrument in rock arrangements had almost completely disappeared. It was less than a year before the Beatles would invade our shores, and the time was right for the tranquil harmony of post-pubescent male voices. What made "Rhythm of the Rain" the hit it deserved to be was a combination of things that made the early '60s a great time to be alive. Camelot had not yet been shattered by the bullets of a madman in Dallas, and for many of us, our lives had not yet become careers (apologies to Neil Young). Sadly, the Cascades would not repeat the success of this big hit, even with such beautiful compositions as "Shy Girl," that peaked at # 91 just four months later. But there's more to this CD than a reminder of a bygone America: it is a great testimonial to the heroic things that can be done to poor masters with modern recording technology. Under the adept guidance of Eliot Goshman, and the engineering genius of Dennis Ferrante, we have here a tour de force of sonic reconstruction from Taragon, demonstrating exactly how such historic recordings should be made. This is a must-have for anyone who was in his or her teens or early 20s in 1963.

Bob Dylan: Bob Dylan Live 1966, Columbia C2K-65759. This is only one of 17 Dylan albums that should be listed here. This one even sounds good.

John Lee Hooker: The Healer, Capricorn 314 538 689-2. For a while, this 1990 Grammy winner was available exclusively on a Mobile Fidelity gold CD (UDCD 567), and now that the MoFi version is out of print, it is beginning to demand high prices from gold CD collectors. The newly remastered Capricorn is a touch better sounding than the MoFi, although there is nothing in the liner notes that suggests this is anything other than a standard 16/44 CD. If you have the MoFi (I have both) you needn't replace it with this new issue since those differences are very small. There are several "guest" artists of note appearing on the CD: Robert Cray, Santana, Charlie Musselwhite, and George Thorogood among them. This is a great introduction to Hooker and The Blues for those who have toyed with trying some Blues music, but didn't know where to start.

Garnet Mimms: Cry Baby: The Best of Garnet Mimms and the Enchanters, EMI 80183. Mimms is, perhaps, one of the two most underrated and neglected Soul singers of his time; the other is Arthur Alexander. He was a victim of circumstance. Motown and Tamla were just starting to rev up with such great acts as The Miracles, The Four Tops, The Supremes, Stevie Wonder, and The Temptations. Atlantic and Stax were queuing up with Aretha Franklin and Carla Thomas. The new face of Soul didn't have that much room for wailers and screamers like Garnet Mimms. Even the great Ray Charles saw it coming and changed his act to coincide with singers like Marvin Gaye and Otis Redding (a crier in his own right, but not a wailer). But someone forgot to tell Garnet the news. In the two and a half years that he charted, he produced only one top-10 hit; none of his eight other hits managed to peak higher than #26, and he quietly slipped into anonymity. Accept no substitutes. This is the real deal with the best sound for all nine of his hits, but you'll have to special order it since most stores stock a poorly assembled CD on the Curb label instead.

Joni Mitchell: Blue, DCC GZS-1132. I often find myself musing over which of Ms. Mitchell's albums is my favorite, and I keep coming back to Blue. This one was the first of many to follow that showed us that she was more than just a folk singer. Blue is a collection of songs that tug at the heart. It speaks of human frailties, cruel lovers, and self-reliance. She writes in "A Case of You" that "love is touching souls." Surely, Ms. Mitchell, you have touched mine, and indeed, thousands of others. The original CD release in 1987 was a sonic fiasco; the HDCD version released just a year ago was much better, but still no match for the vinyl. It took Steve Hoffman to do the job right: the DCC CD sounds much better than either of the two Reprise reissues -- more natural, a less strident high end, better dynamics. Although I still find the sound on the vinyl superior to this new gold release, it isn't by much.

Various Artists: Paint It Blue: Songs of the Rolling Stones, House of Blues Records 13152. This CD is subtitled "This ain't no tribute." A straight-ahead modern blues-rock collection featuring some of the best talent currently performing: Luther Allison, Junior Wells (R. I. P.), Otis Clay, Taj Mahal, Clarence "Gatemouth" Brown, and eight others do their things to 12 of the best known Stones tunes. This is a great one for parties and those who play air guitar. Great sound, great interpretations; HDCD-encoded for those who have the right decoder.

Collectibles: Badfinger: Ass, EMI 53899. As it was in the days of the LP and the 45, Capitol/ EMI has deleted nearly all of this English group's titles in its catalog shortly after it released them. During the days when the LP dominated, copies of their albums, Straight Up and No Dice, commanded high prices from used record dealers, and the same appears to be on the verge of happening again for these two on CD. Already a collectible in high demand (with astronomical asking prices if you can find one) is their CD, Ass. Sources tell me that this CD was limited to a single pressing of 3,000 copies for Europe and North America. The album was also deleted in Europe, leaving only a relatively undesirable CD from Japan still available. The last time I checked on the web, Collectors Choice Music was listing a selling price of more than $60 for the Japanese import. All the EMI USA/Europe Badfinger original CDs sported the Apple label, just as their LPs did, and it is these two (No Dice and Straight Up) that one can still buy (unless current stock is depleted shortly). DCC, the gold label audiophile company publishes their own versions of these two, but it is not likely that they will enjoy the collector's limelight that the original silver CDs from EMI will. If you are not a collector but enjoy early '70s rock I recommend the DCC releases, as they are slightly sweeter sounding than the EMI discs. And, with solid rock hits like "No Matter What," "Without You," and "Baby Blue," these two are thoroughly enjoyable from start to finish.

Pity the poor Beach Boys fan, whose idols' catalog on CD is also currently in chaos and upheaval at Capitol/EMI. But the real tragedy is that all of their later releases on Caribou/Epic (originally on the Brother label in the LP days) have long been unavailable for all us Beach Boys fans to hear. There was a host of them, including the immensely popular Surf's Up and Holland, and far too many others to list here; all of them with the wonderful music of Brian Wilson often sounding better than they had on the LPs. All the Caribou/Epic CD titles were released in late 1990. I bought only one of them then; it appears that the others are gone forever. Collectors of gold CDs prize a single Mobile Fidelity CD of the Beach Boys (more on these later). It features two of their early '60s albums on one CD.

In an article I wrote about several oldies releases last year, I mentioned the appearance of a new Sam Cooke CD, Sam Cooke's Greatest Hits, RCA 07863-67605-2, that underwent a minor revision shortly after its original release. Finding the original version of the disc (released in late February 1998) is now impossible. Owing to some legal minutiae on ownership, RCA withdrew the original release containing 22 tracks, and reissued the disc with only 21 tracks. ABKCO owns the copyrights to Sam Cooke's Tracey masters, one of which appeared on this RCA CD. The deleted track on the current version is a pristine stereo track of Sam's 1963 smash, "Another Saturday Night." While the remaining 21 tracks are just as clean, collectors who want the earlier release of the disc are now paying very large sums for it (I know of a sealed copy that sold for $97 to a collector in Japan). This is the Cooke CD that audiophiles should own. Expect to pay a king's ransom for the 22-track version unless you are lucky enough to find one in the bins of some store with limited traffic; you can buy the newer 21-track version just about anywhere for around $13.

An earlier greatest hits collection that RCA released in collaboration with ABKCO, Sam Cooke: The Man and His Music, is in even greater demand since its deletion. Collectors want this CD for the many ABKCO-owned Tracey selections that are simply unavailable at any price here in North America. The CD is still available in Europe, for the time being, but dealers cannot legally import it for resale. So, if you want this screechy-sounding, often-mono collection for its dozen songs not available anywhere else, you will have to order it from over there. Be prepared to pay nearly $30 for this one from English sources, but don't expect it to have the collectible qualities that the American pressing has. The avid collector wants that "Made in USA" stamped in the center of the CD.

Finally, it appears that there are certain Mobile Fidelity reissues that are bringing top dollar from gold CD collectors. Most of these are the rarer early releases that were not pressed in large quantities. Pink Floyd's The Wall (UDCD 2-537) appears to be the granddaddy of them all. MoFi's license for this title had a one-year limitation imposed, so the fact that it was available for sale for such a short time contributes to its rarity. The two others that come close are David Grisman's Hot Dawg, and Jethro Tull's Stand Up. Sealed copies of these three are bringing fortunes to their sellers; opened copies bring about 30% less. There are several other gold CDs that are in demand. None of them is commanding a price near these three, however. Their time is coming. There is a site on the web that provides a wealth of information to the gold CD and audiophile vinyl collector. If you're interested, contact me and I will provide you with its address.

Speaking of out-of-print CDs in general, you might have been kicking yourself for not buying something that is now out of print, and wondering whether there were any way possible to find a copy of that elusive disc. Well, music fans, Wherehouse Music (www.wherehousemusic.com) is the perfect place for you to start. Unlike the other major sellers on the internet, they have a free service they call Lost and Found that should prove useful to those of us who meant to buy a CD that just isn't available anymore. Although they don't guarantee that they will find the "OOP" CD for you, it's great to know that there is a place where we can post our want lists at no charge. The service is new, and scheduled to be online by mid-July of '99.

Thinkpiece: Before I close, let me step on my soapbox for a few moments to discuss an issue that KWN and I think is vital to all of us who enjoy classical music. Back in early August, I was surfing the classical music category at eBay's web site to see whether I could pick up any good deals. (If you haven't bought anything through eBay, then you should check it out. It's like visiting the record store of your dreams). After spending about a half hour browsing through the listings, it began to dawn on me that very few of the 833 CDs listed for sale in the classical section had any bids on them. Many were listed asking an opening bid of just $1, which I thought a bit strange too. As I skipped through page after page of items with no bids, I started tallying what I found: only 315 of the 833 CDs listed on that day had any bids at all (that's just over 37% for all the statisticians out there). Less than 30% of these had more than one bid on them, and just estimating the average selling price for those that did have bids, I figured that it was hardly worth the sellers' time and expense to list the items. I saw a CD of some Mozart concerti that sold for 1 [cts.]; I also saw an auction still in progress that was a collection of 50 assorted classical CDs that had six bids on it, yet the high bid was just $11.43 -- that's about 21 [cts.] per CD. I could go on: how about Glenn Gould's highly revered Bach Well Tempered recordings? They were there with a high bid of $1.12. (I can imagine KWN's jaw dropping to the floor after reading this!) [Where do I send my $1.13??!! - KWN] Meanwhile, over in the classic rock category, a copy of a Sam Cooke out of print CD (see "collectibles" above) was enjoying a high bid of $32.50, there were 18 bidders on it, and the auction still had three days to go.

If this doesn't speak volumes to you about the predicament that the classical segment of the music industry is in, then, my friends, you need to listen up! On the particular day that I checked these numbers, there were a total of 122,185 music items listed, of which 57,726 were CDs; the other 64,459 items were in various categories for records, tapes and "general." I don't know whether the ratio of classical CDs to all CDs on eBay accurately reflects the industry at large, but here we find that only 1.4% of the CDs listed on eBay that day fell into the classical category, of which these classical CDs with at least 1 bid represent only 0.00546% of the total CDs on eBay. Put another way, that means, of all of the CDs listed on eBay that day, only 5.46 out of every 1000 of them were classical CDs with a bid.

There has been much talk in all of the music magazines about the decline in popularity that classical music has suffered over the past decade or so. These numbers bring into stark reality what so many others have written and said. Are there words to describe this phenomenon? I find it "terrifying" that the decline is so severe. Or might I say that it's "shameful" that so many of us who care so much about music have done so little to enlighten our friends and family on the glories of Bach, Beethoven, and Brahms? Is there anything we can do to divert the predictable course of recorded classical music, or will we, the faithful, idle ourselves with mere talk as this inexorable march continues, leading the music towards its grave? Will the music become artifacts tucked away in some dark corner of a museum? "When does the parade of Disney characters begin?"

The last time I was in Tower Records in New Orleans, I was the only browser in the classical music section, and this, folks, was on a very busy Saturday afternoon with hundreds of customers in the store. It's clear that classical music is on the critical list, but will the patient survive? I need a moment, please, to collect myself.

Got a question about anything discussed here? Drop me a line or two. My e-mail address is [e-mail].

Joseph M. Cierniak (JMC)

As with my previous picks I will be dividing my recordings of choice into "Historical Significance" and "Demo Quality Sound." And as before all recordings I list are available for purchase. A quick check of several on-line CD stores confirmed the availability of these recordings for purchase. Why rave about recordings that are no longer available? I think it only fair that someone who reads my raves about a particular CD should be able to hear exactly what I am raving about. Anyway....

Historical: Without a doubt the RCA Living Stereo 2-CD release (1996) titled The Age of Living Stereo: A Tribute to John Pfeifer (09026-88524-2) is a must-have for anyone claiming to be an audiophile. At a cost of slightly more than $10 ($10.49 to be exact) it's a steal! For those not familiar with the name of John Pfeiffer, he was the guy who played a major role in the creation of the now legendary "Living Stereo" recordings. It seems that every once in a while the right person comes along at the right time at the right place and the result is something so special that almost 50 years later the magic has never been equaled, let alone surpassed! In this case it was John Pfeiffer in 1949 coming to work for RCA Records and the magic never equaled is the resulting RCA Living Stereo recordings. Oh, the technology has advanced by leaps and bounds from 1949 and the '50s but these recordings hold up amazingly well (sound-wise) today, and the ensembles, performers, and conductors (and resulting performances) makeup a who's who of legendary greats in the music world.

This first CD (with a booklet full of notes and pictures much more than most) is a time machine, taking one back almost 50 years, starting with a segment (Prelude: Mazurka) from Coppellia by Leo Delibes, recorded December 2, 1953, Manhattan Center, New York City. Here's the great Boston Symphony, conducted by Pierre Monteux, playing like there's no tomorrow. Add to this an interpretation by Monteux that is second to none and one laments the fact that this score couldn't have been recorded in its entirety and released by RCA. This segment was an experimental setup by John Pfeiffer, one of many such experiments, as he honed in on what to do and what not to do when recording stereophonically. I am convinced that John Pfeiffer's rare combination of crackerjack engineer and knowledge of music (so knowledgeable as to point out to the great violinist, Jascha Heifetz, that Jascha wasn't playing a particular part of a score correctly!) was the reason for the magic.

If the first CD, along with the informative liner notes, is a time machine, the second CD is a time machine which connects yesterday with today via musical segments from 1954-1960 and commentary on these segments. The commentary is a result of John Pfeiffer being interviewed (1992-1994) by Elliott Forrest and Nataniel S. Johnson. Here's a wealth of information about the great RCA recordings -- including intimate and humorous personal notes about the various great artists at work -- presented in such an informal, informative and interesting manner as to cause this hard-core objective individual (me!) to feel so sad knowing that this wonderful and multigifted individual is no longer with us. All audiophiles owe this man so much. Oh, one thing more:

On Track 5 of this CD John Pfeiffer is asked about CD sound versus LP sound. I will not tell you exactly what he says (buy the album -- remember, I said it's a steal -- to hear the complete response by John Pfeiffer) but let me put it this way. If you enjoy LP sound then I have no argument with you. Enjoy. If you tell me that the LP technology is superior, more musical, ad nauseam, I will tell you that John Pfeiffer didn't think so. Your move.

While reading the CD classical reviews in the abso!ute sound (Issue 116, February 1999, Arthur S. Pfeffer, reviewer) I became aware that Mercury had reissued the complete recording of Swan Lake by Tchaikovsky, recorded (monophonically) December 14-15, 1954, with Antal Dorati conducting the Minneapolis Symphony Orchestra, two-CD set, number 289 462 950-2. At $20.67 the cost is only slightly less than I paid for the 3-LP set.

If this little ethnic kid was enamored with the complete Nutcracker Ballet by Tchaikovsky, Antal Dorati conducting the Minneapolis Symphony on Mercury, I entered another dimension when I played this 3-LP set.

My hands were shaking many years ago as I removed the first LP from the protective liner. I had to wait a few minutes before the hand shaking had diminished enough so that I could place the stylus on the record without causing the arm to slide across the record or a thunderous thump as I dropped the stylus onto the record. I listened to this score in its entirety in one sitting, never having heard such glorious sound and such beautiful music. About halfway through the score my father hollered from the basement, "Turn dat damn sissy music down, I'm tryin' ta listen ta da fight!" If Polkas (my father's favorite and only music) are living proof that there's a hell then my father and bagpipes are living proof that there are things worse than hell.

Even with the technological limitations of the times (mainly distortion on loud passages and when playing the inner grooves, almost painful when the loud passages were contained within the inner grooves) I firmly believed that better days were ahead although I wasn't so sure that I would live long enough to enjoy the fruits of the new technology! I did live long enough to see my belief become reality. Many of the limitations have been eliminated, some have been reduced to insignificance, and some are still with us.

This 3-LP set was the first (ever) recording of the complete Swan Lake score. I don't know who made the decision at Mercury to record the entire score of a ballet with limited appeal for the masses (read not many were going to be sold with break-even being the best that could be expected monetarily). This kind of noble "art for art's sake" outlook has been replaced by the prim and proper marketing types who are concerned not with art or what's good but what will make the most money. Sad.

The recording was made with a single microphone (Telefunken U47) using Fairchild tape machines. As Arthur S. Pfeffer pointed out, this recording was the precursor for the stereophonic technology soon to follow. It's about as good as monophonic sound can get (with one microphone, just one microphone!) even with the occasional limitations of master tape defects caused by time and limitations of the 1954 recording technology. The performance by Dorati has been equaled (maybe) but never surpassed. Buy it, you'll like it. And you will not have to put up with the limitations of antiquated LP technology (inner grove distortion, echo, limited bass, etc.) nor will you have to worry about someone hollering from the basement, "Turn dat damn sissy music down, I'm tryin' ta listen ta da fight."

Demo Quality Sound: While reading the same issue of the abso!ute sound mentioned earlier (I subscribe to just about every audio magazine out there ... in case you're wondering) I came across a review by editor Harry Pearson of a Naxos CD that he was proclaiming as a new contender for his Super CD List. Now I normally don't pay too much attention to Harry's CD reviews as he's a diehard LP person. But when he states that no LP could equal this Naxos CD for dynamic bandwidth or bass weight and authority, extended, airy highs, and transient accuracy of the extensive battery of high percussion, well, even this objective weenie has to pay attention. I was as surprised at Harry's praise of this CD as I would be (almost) if The Audio Critic published once a year!

The CD is Naxos 8.550737 ($5.49), Kees Bakels conducting the Bournemouth Symphony Orchestra, Vaughan Williams's Symphony No. 7-Sinfonia Antartica (sic), and Symphony No. 8. My comments are specifically for Sinfonia Antartica, written in 1949 for the film, Scott of the Antarctic, and then incorporated into the final score which was completed in 1953. Harry Pearson does a superb job of describing the music plus the history the movie was based on. I am here to tell you that this is a demanding recording which goes low, goes high, goes loud, goes quiet, and will test your system in all respects. The listing of instruments in the liner notes is as follows: triple woodwind, four horns, three trumpets, three trombones, tuba, tympani, and a percussion selection that includes triangle, cymbals, side drum, tenor drum, bass drum, gong, bells, glockenspiel, xylophone, vibraphone, wind-machine, and celesta, in addition to a harp, piano, organ (go to Track 3 at 3:24 and 8:28 -- try that with an LP -- and have your socks and other things knocked off by the organ playing loudly in its lowest registers) and strings, with a female chorus (Waynflete Singers) and soprano soloist (Lynda Russell).

If the recording engineer doesn't know his stuff when recording this score the resulting CD could cause one to flee for quieter places. But this recording is almost flawless in capturing myriad sounds and sound intensities (including a massed female chorus, the ultimate test of the recording art and technology), resulting in a demo disc par excellence! I will qualify my praise somewhat by saying I don't know whether this is the ultimate demo disc of a symphonic ensemble, but at a cost of $5.49 it's the absolutely best demo quality sound for the least price!

My second choice is going to surprise you. It's Drum Concerto at Dawn, Michael Carvin soloist, Mapleshade Productions, CD No. 02452, What we have here is easy listening, fun, fun, fun, and sound that decidedly relegates the legendary Sheffield Drum Record to a secondary position on the "realistic sound" listing.

I know very little about drums, less about playing drums, but enjoy the drum/percussion sound immensely. And that's saying something for a traditional symphonyphile such as myself! Heard on lesser recordings the sound of drums can give me a headache and tired ears within five minutes. But this recording I can listen to from start to finish (50:32 playing time) and not be in any pain!

The liner notes mention that Michael Carvin uses a minimalist set of Pearl jazz drums. To wit: a snare, two stand-mounted toms with a floor tom, and a small 18-inch bass drum. Cymbals are just as minimal: high hat, crash, and ride. Nothing else, absolutely nothing else. I've never heard of Michael Carvin but he's clearly one hell of a drummer! He makes the drums and cymbals come alive.

Speaking of minimalist, the engineer and owner of Mapleshade, Pierre Sprey, uses minimalist miking (two microphones), a two-track analog(!) tape recorder running at 15" per second, and other assorted things. Add to this no mixing

board, filtering, compression, equalization, etc., and the resulting sound is so clear and pristine as to make the drums sound like drums and the cymbals sizzle.

Capturing the sound of percussion instruments is very, very, difficult. Drums and percussion instruments produce sounds full of transients that will easily overload a recording amplifier and saturate a tape. A well recorded "percussion" CD present a supreme test for the playback amplifier and loudspeakers. If your system is up to it, this recording has no equals.

David M. Doll (DMD)

I betray my training as a man of the theater when I confess to wanting to see operas as well as to hear them. Accordingly I will make my picks between my latest DVDs and CDs. The most remarkably sumptuous DVD of the season has to be the RCA Red Seal Record's Turandot at the Forbidden City of Beijing. Normally, Turandot is an opera better heard than seen since most companies offer feeble attempts at the oriental atmosphere. This joint production of the Maggio Musicale Fiorentino and the Ministry of Culture of the People's Republic of China is visually incredible and musically satisfying. It may not have the very best current voices singing the principal roles but the visual images more than compensate for voices that are always adequate and quite respectable.

I still find the story a bit thick but when you combine Puccini's music with gorgeous costumes and a cast the size of a substantial army, any problems are swept away in the sheer spectacle. Given the special image quality of the DVD, this should belong to anyone serious about home theater

At this point I suggest that Franco Zeffirelli's film version of La Traviata is probably the best current example of opera as film. Teresa Stratas looks frail enough to die of consumption and Placido Domingo is visually and vocally up his role as Alfredo. The images, costumes, and decoration provided by Zeffirelli are ravishing and totally support the emotions and the narrative. This is a two-handkerchief production that will melt hearts and convert rock fans to grand opera.

Sophisticated highbrow that I am, the DVD premiere collection edition of My Fair Lady bowls me over with its visual and sonic clarity, its subtle colors, its wonderful depth of focus, and its endless attention to the slightest detail. They don't make movies like this any more and when you see them in the cinema you rarely see prints half this good. When I first saw My Fair Lady in the cinema on its first print the print was not half as crisp as the restored image on this DVD. The colors of the flowers during the opening of this film are an example of cinematography at its finest as are all the images in this film. Lerner and Loewe's contributions get their full measure of devotion as well.

Gigi is simply a classic example of shameless opulence resulting in a very satisfying work of art. Again, the restoration on DVD is incredible restoring color and sound to a new level of perfection. I note that the soundtrack is in digital stereo surround respecting the original. This is in the same class as My Fair Lady with a superb cast, striking sets, and dazzling costumes. Rent will never look or sound this good.

Seven Brides for Seven Brothers is a more modest musical that either of the above but it boasts a most remarkable cast of dancers at the beginning of their careers. It is a thoroughly American musical with a brashness and charm that I find delightful. It is a trifle male chauvinist but worked in theory in its time.

Equally impressive is The Music Man with Robert Preston. I saw the show in London with Van Johnson using pastel sets and costumes. This version remains the definitive one and reminds one that the heartland can have its moments too.

To make the transition to music DVDs without visual images, I will cheat and recommend Chesky Record's super audio disc, Chuck Mangione: The Feeling is Back, which just happens to include full motion video, as does a companion release, Sara K. Both these discs augur well for the future of super audio and can be played on DVD players with great results.

Chesky has four more releases on 96/24 Super Audio disc that deserve a listen. Ghatam the Antenna Repairman is the first of three MA Recordings that I want to call to the world's attention. This collaboration between three percussionists and a sculptor who makes unusual pots clears out any old wax or tired sounds from one's ears. The family dogs listened to the first third of the disc and then hinted that they would have preferred a thunderstorm. They became reconciled on a second hearing but still have mixed feelings. I think the rich and unexpected mix of sounds is refreshing and arresting. And even though I know the dogs have better ears, I will not defer to their initial opinion.

Peter Epstein's Solus consists of solo soprano and alto saxophone recorded in San Martino Cathedral in Lucca. More than half of the works are composed by the performer but others are by folk like J.S. Bach and Verdi. Why would someone record 57 minutes and 28 seconds of solo saxophone? Listen to this disc and you will know why.

The Old Country is a lovely recording of Eastern European music using a fascinating mix of instruments including diatonic harmonicas, ocarinas, clavichord (does that involve both clavicles?), classical guitar, and classical contrabass guitar. The disc was recorded at Hiraha Hall in a remote part of Metropolitan Tokyo. The result is worthy of international attention.

Shadow Bright is just a solo piano disc recorded in The Harmony Hall in Matsumoto, Japan. Of course, an extremely pure and sophisticated recording of composition played by Bruce Stark should never be considered ordinary or prosaic. It is a special joy to listen to a solo pianist who isn't 90 years old or a K-Mart special. Moreover, this recording captures the sound of the piano in a most marvelous manner. For more information about these and other MA Recordings check www.marecordings.com, e-mail [e-mail] or fax [phone].

Finally, although I have a dozen additional possibilities, Impulse! GRD 157 John Coltrane and Johnny Hartman is a reissue that seems brand new and irresistible. Maybe I am showing my age but my musician son gave me this disc and made it clear that he listens regularly to his own copy. There are classics that don't come from Vienna, as the saying goes.

Kevin East (KE)

Why The '70s Didn't Suck: Well, almost didn't ... For those of you just tuning in, I took a shot at the Disco Decade in Issue 75 and took a return volley square in the labonza from KWN -- the dreaded italicized brackets, the editor's prerogative to have the last word. Okay, okay, I give. So here, straight from the decade that brought you "The Brady Bunch," Archie Bunker, President Gerald Ford, bell-bottoms, and Mr. Happy Face, are my choices for essential '70s listening. (Note: Many artists have careers that extend before and beyond the '70s. Only their '70s output is noted here. I've listed albums and, for some, songs. If no albums or songs are listed, I recommend everything).

A: Ace, "How Long"; Aerosmith, Aerosmith, Toys in the Attic; Allman Brothers Band, Allman Brothers Band, Idlewild South, At Fillmore East, Eat A Peach, Brothers and Sisters; Joan Armatrading, Show Some Emotion; Atlanta Rhythm Section, A Rock and Roll Alternative; Average White Band, AWB.

B: The Band, Stage Fright, The Basement Tapes, The Last Waltz; The Beach Boys, Surf's Up, Holland; The Beatles, Let It Be; Jeff Beck, Blow By Blow, Wired; George Benson, Breezin'; The B-52's, The B-52's; Big Star, #1 Record, Radio City; Elvin Bishop, Struttin' My Stuff; Blondie, Parallel Lines; Blue Oyster Cult, "Don't Fear the Reaper"; Blues Image, "Ride, Captain, Ride"; Karla Bonoff, Karla Bonoff; Boomtown Rats, The Fine Art of Surfacing; Boston, Boston, Don't Look Back; David Bowie; James Brown; Jackson Browne, The Pretender, Running on Empty; Norton Buffalo, Lovin' in the Valley of the Moon.

C: J.J. Cale, Naturally; Captain Beefheart, Lick My Decals Off Baby; The Cars, The Cars, Candy-O; Cheap Trick, Cheap Trick at Budokan; Chicago, "Just You and Me"; Eric Clapton, 461 Ocean Boulevard, Slowhand, Backless; The Clash, The Clash, Give 'Em Enough Rope, London Calling; Jimmy Cliff, The Harder They Come; Joe Cocker, Mad Dogs and Englishmen; Commander Cody, Commander Cody and His Lost Planet Airmen, Lost in the Ozone; Albert Collins, Ice Pickin'; Bootsy Collins, Player of the Year; Ry Cooder, Chicken Skin Music, Jazz; Elvis Costello, My Aim Is True, This Year's Model, Armed Forces; Creedence Clearwater Revival, Cosmo's Factory; Crosby, Stills, Nash & Young, Deja Vu, 4 Way Street; The Crusaders, Crusaders 1.

D: Derek and the Dominos, Layla; Devo, Q: Are We Not Men? A: We Are Devo!; Dire Straits, Dire Straits, Communique; Dr. John, The Sun Moon & Herbs, In the Right Place; The Doobie Brothers; The Doors, L.A. Woman; Bob Dylan, Self-Portrait, New Morning, Planet Waves, Before the Flood, Blood on the Tracks, Desire, Hard Rain, Slow Train Coming.

E: The Eagles; Earth, Wind & Fire; Dave Edmunds, Repeat When Necessary; Emerson, Lake & Palmer, "Lucky Man"; David Essex, "Rock On."

F: Bryan Ferry, In Your Mind; Roberta Flack, First Take, Roberta Flack and Donnie Hathaway, Killing Me Softly; Fleetwood Mac, Fleetwood Mac, Rumours, Tusk; Dan Fogelberg and Tim Weisberg, Twin Sons of Different Mothers; John Fogerty, The Blue Ridge Rangers; Foreigner, Foreigner, Double Vision, Head Games; Peter Frampton, Frampton Comes Alive!; Free, "All Right Now"; Funkadelic.

G: Peter Gabriel, Peter Gabriel; Marvin Gaye, What's Goin' On, Let's Get It On; Golden Earring, "Radar Love"; Grateful Dead, Live/Dead, Workingman's Dead, American Beauty, Grateful Dead, Europe '72, Wake of the Flood, ... From the Mars Hotel, Blues for Allah, Terrapin Station, Shakedown Street; Al Green; Norman Greenbaum, "Spirit in the Sky"; Arlo Guthrie, "City of New Orleans".

H: Hall & Oates, "She's Gone"; Emmylou Harris, Pieces of the Sky, Elite Hotel; George Harrison, All Things Must Pass, Concert for Bangla Desh, 33-1/3; Head East, "Never Been Any Reason"; Heart, Dreamboat Annie; Jimi Hendrix, Band of Gypsys; Dan Hicks and His Hot Licks, Strikin' It Rich!; Hollies, "Long Cool Woman (in a Black Dress)"; Thelma Houston, "Don't Leave Me This Way".

I: Janis Ian, Between the Lines.

J: Joe Jackson, Look Sharp!, I'm the Man; Michael Jackson, Off the Wall; The Jackson 5; Jefferson Starship, "Miracles"; Jethro Tull, "Living in the Past"; Billy Joel, Piano Man, Turnstiles, The Stranger, 52nd Street; Elton John, Tumbleweed Connection, Madman Across the Water, Honky Chateau, Don't Shoot Me I'm Only the Piano Player, Goodbye Yellow Brick Road, Caribou, Captain Fantastic and the Brown Dirt Cowboy, Blue Moves; Rickie Lee Jones, Rickie Lee Jones; Janis Joplin, Pearl; Joy of Cooking, Joy of Cooking.

K: KC and the Sunshine Band, KC and the Sunshine Band, Part 3; Greg Khin Band, Next of Khin; Carole King, Tapestry, Wrap Around Joy; The Kinks, Sleepwalker, Low Budget; Gladys Knight and the Pips, Imagination; Kool & the Gang, Wild and Peaceful.

L: Labelle, "Lady Marmalade"; Led Zeppelin, Led Zeppelin III, Zoso, Houses of the Holy, Physical Graffiti, Presence, The Song Remains the Same, In Through the Out Door; John Lennon, Live Peace in Toronto 1969, John Lennon/Plastic Ono Band, Imagine, Mind Games, Walls and Bridges, Rock `n' Roll; Gordon Lightfoot, Sit Down Young Stranger, Sundown; Little Feat, Waiting for Columbus; Loggins and Messina, Loggins and Messina, Sittin'In, Full Sail, Motherlode; Looking Glass, "Brandy (You're A Fine Girl)"; Los Lobos, Just Another Band from East L.A.; Nick Lowe, Pure Pop for Now People, Labour of Lust; Lynyrd Skynyrd, "Free Bird", Street Survivors.

M: Madness, One Step Beyond; Taj Mahal, Happy to Be Just Like I Am; Gustav Mahler; The Manhattan Transfer; Herbie Mann, Push-Push, Hold On I'm Comin', Turtle Bay; Manfred Mann, The Roaring Silence; Bob Marley, Rastaman Vibration, Exodus; Marshall Tucker Band, "Can't You See", "Long Hard Ride"; Dave Mason, Alone Together; Paul McCartney, McCartney, Ram; Curtis Mayfield, Superfly; MC5, Back in the USA; Kate and Anna McGarrigle, Kate and Anna McGarrigle; Don McLean, "American Pie"; Meat Loaf, Bat Out of Hell; Harold Melvin and the Blue Notes, Harold Melvin and the Blue Notes; Lee Michaels, 5th; Steve Miller Band, The Joker, Fly Like an Eagle, Book of Dreams; Mink DeVille, Cabretta; Joni Mitchell, Ladies of the Canyon, Blue, For the Roses, Court and Spark, Miles of Aisles, The Hissing of Summer Lawns, Hejira, Don Juan's Reckless Daughter, Mingus; Eddie Money, Eddie Money; Van Morrison, Moondance, His Band and the Street Choir, Tupelo Honey, St. Dominic's Preview, Veedon Fleece, Wavelength; Mott the Hoople, "All the Young Dudes"; Maria Muldaur, Waitress in the Donut Shop; Mungo Jerry, "In the Summertime".

N: Johnny Nash, "I Can See Clearly Now"; Rick Nelson, Rick Nelson in Concert, Garden Party; Willie Nelson, Red Headed Stranger, Stardust; Michael Nesmith, Magnetic South; New Riders of the Purple Sage, New Riders of the Purple Sage; Randy Newman, Sail Away, Little Criminals; New York Dolls, New York Dolls; Harry Nilsson, Nilsson Schmilsson; Nitty Gritty Dirt Band, "Mr. Bojangles", Will the Circle Be Unbroken; NRBQ, At Yankee Stadium.

O: The Ohio Players, Skin Tight, Fire, Honey; The O'Jays, Back Stabbers; Osibisa, Osibisa.

P: Pablo Cruise, A Place in the Sun, Worlds Away; Graham Parker, Squeezing Out Sparks; Alan Parsons Project, Eve; Les Paul and Chet Atkins, Chester and Lester; Pearl Harbour and the Explosions, Pearl Harbour and the Explosions; Tom Petty and the Heartbreakers, Tom Petty and the Heartbreakers, You're Gonna Get It, Damn the Torpedoes; John Phillips, The Wolfking of L.A.; Pink Floyd, Dark Side of the Moon, Wish You Were Here, The Wall; Poco, Poco, Deliverin'; The Pointer Sisters, The Pointer Sisters, That's A Plenty, Energy; The Police, Outlandos d'Amour, Reggatta de Blanc; Iggy Pop, The Idiot, Lust for Life; Elvis Presley, "Burning Love", Elvis in Concert; Billy Preston, I Wrote a Simple Song; Prince, Prince, For You; Professor Longhair, Rock `n' Roll Gumbo; Pure Prairie League, Bustin' Out.

Q: Queen, Sheer Heart Attack, A Night at the Opera, A Day at the Races, News of the World, Jazz; Quicksilver Messenger Service, Just for Love.

R: Gerry Rafferty, City to City; Bonnie Raitt, Home Plate, Sweet Forgiveness; Ramones, Ramones, Ramones Leave Home, Rocket to Russia, Road to Ruin; Raspberries, Raspberries; Lou Reed, Lou Reed, Transformer, Rock N Roll Animal, Sally Can't Dance; The Residents, Meet the Residents, Fingerprince; Minnie Riperton, "Lovin' You"; The Roches; Rolling Stones, Get Yer Ya-Ya's Out, Sticky Fingers, Exile on Main Street, Goats Head Soup, It's Only Rock `n' Roll, Black and Blue, Love You Live, Some Girls; Linda Ronstadt, Don't Cry Now, Heart Like a Wheel, Prisoner in Disguise, Hasten Down the Wind; Roxy Music, Country Life, Siren, Manifesto; Todd Rundgren, Something/Anything?; Leon Russell, Leon Russell; The Rutles, The Rutles.

S: Santana, Abraxas; Saturday Night Fever; Boz Scaggs, Boz Scaggs, Slow Dancer, Silk Degrees; Seals and Crofts, Summer Breeze, Diamond Girl; Bob Seger, Night Moves, Stranger in Town; The Sex Pistols, Never Mind the Bollocks Here's the Sex Pistols; Shocking Blue, "Venus"; Carly Simon, "You Belong to Me"; Paul Simon, Paul Simon, There Goes Rhymin' Simon, Still Crazy After All These Years; Simon and Garfunkel, Bridge Over Troubled Water; Frank Sinatra, Ol' Blue Eyes Is Back; Sister Sledge, "We Are Family"; Sly and the Family Stone, There's a Riot Goin' On; Small Faces, A Nod Is as Good as a Wink to a Blind Horse; Patti Smith, Horses, Easter; Sniff and the Tears, "Drivers Seat"; Phoebe Snow, Phoebe Snow, Second Childhood; Southside Johnny and the Asbury Jukes, I Don't Want to Go Home, This Time It's for Real; The Specials, The Specials; The Spinners, The Spinners, Mighty Love, New and Improved Spinners, Pick of the Litter, Happiness is Being with the Spinners; Bruce Springsteen, Greetings From Asbury Park NJ, The Wild the Innocent and the E Street Shuffle, Born to Run, Darkness on the Edge of Town; Squeeze, U.K. Squeeze, Cool for Cats; The Staple Singers, Bealtitude Respect Yourself; Ringo Starr, Ringo, Goodnight Vienna; Stealers Wheel, Stealers Wheel; Steam, "Na Na Hey Hey Kiss Him Goodbye"; Steely Dan, Can't Buy a Thrill, Count-dozen to Ecstasy, Pretzel Logic, Katy Lied, The Royal Scam, Aja; Cat Stevens, Tea for the Tillerman; Rod Stewart, The Rod Stewart Album, Gasoline Alley, Every Picture Tells a Story; Stephen Stills, Stephen Stills, Manassas; The Stylistics, The Stylistics, Round 2, Rockin' Roll Baby; Donna Summer, "I Feel Love"; Supertramp, Breakfast in America.

T: Talking Heads, Talking Heads 77, More Songs About Buildings and Food, Fear of Music; James Taylor, Sweet Baby James, Mud Slide Slim, Gorilla; Television, Marquee Moon; Temptations, Psychedelic Shack; 10cc, The Original Soundtrack, Deceptive Bends; Ten Years After, A Space in Time; Richard Thompson, Henry the Human Fly; Richard and Linda Thompson, I Want to See the Bright Lights Tonight; Three Dog Night, Golden Bisquits, Joy to the World; Peter Tosh, Equal Rights, "Don't Look Back"; Tower of Power, Tower of Power, East Bay Grease, Bump City; Pete Townshend and Ronnie Lane, Rough Mix; Traffic, John Barleycorn Must Die, The Low Spark of the High Heeled Boys, Shoot Out at the Fantasy Factory; T. Rex, Electric Warrior; The Tubes, The Tubes, Young and Rich; Ike and Tina Turner, Come Together, Workin' Together; Stanley Turrentine, Nightwings.

V: Van Halen, Van Halen; Velvet Underground, Loaded; Village People, "Y.M.C.A.".

W: Tom Waits, Nighthawks at the Diner; Joe Walsh, The Smoker You Drink the Player You Get, But Seriously Folks; War, The World Is a Ghetto, Why Can't We Be Friends?; Weather Report, Heavy Weather; The Who, Live at Leeds, Who's Next, Meaty Beaty Big and Bouncy, Quadrophenia, Odds and Sods, The Who by the Numbers, Who Are You, The Kids Are Alright; Jesse Winchester, Jesse Winchester, Nothin' but a Breeze; Edgar Winter, They Only Come Out At Night; Johnny Winter, Still Alive and Well; Bill Withers, Still Bill; Stevie Wonder, Signed Sealed & Delivered, Talking Book, Innervisions, Fulfillingness' First Finale, Songs in the Key of Life; Gary Wright, "Dream Weaver".

X: XTC, Drums and Wires.

Y: Yes, Fragile; Jesse Colin Young, On the Road; Neil Young, After the Gold Rush, Harvest, On the Beach, Tonight's the Night, Zuma, Long May You Run, American Stars `n' Bars, Comes A Time, Rust Never Sleeps, Live Rust.

Z: Frank Zappa; Warren Zevon, Excitable Boy; ZZ Top, Tres Hombres, Fandango!, Tejas, Deguello.

Howard Ferstler (HF)

Here is a personal list of good sounding recordings that also feature impressive bass. When I say impressive, I do not necessarily mean loud. I mean deep, with significant extension to below 30-35 Hz; sometimes well below. Indeed, some of these recordings go right down into the cellar in places. None exhibit room-shaking bass in every track, and a couple have super-deep bass in but a few fleeting segments. However, all have some demo-grade bass at one point or another, and all display exemplary sound in the frequencies above the bass range, as well. Needless to say, many of these recordings feature the pipe organ.

All but one of these transcriptions are two-channel compact discs. The exception is a DVD music video. I leave it to you to find it in the list.

Abercrombie, John: Current Events: ECM 1311.

American Tribute (works by Dan Welcher, John Cheetham, David Sampson, John Stevens, Joseph Schwantner, Donald Erb and Gunther Schuller). Summit DCD 127.

At the Meyerson: Mary Preston Plays Reubke, Reger, Sifler, and Doppelbauer. Gothic 49094.

Bach, Johann Sebastian: Organ Works. Telarc 80049.

Bach, J.S.: Organ Works. Telarc 80088.

Barber, Billy: Lighthouse. Digital Music Products CD-455.

Bart, Lionel: Oliver. Angel 55456.

Beck, Joe: The Journey. Digital Music Products CD-481.

Beachcomber: Encores For Band. Reference Recordings RR-62CD.

Bernstein, Leonard.: Chichester Psalms; Samuel Barber: Agnus Dei; Aaron Copland: In the Beginning; Three Motets. Hyperion 66219.

Brahms, Johannes: Ein Deutsches Requiem. Telarc 80092.

Catharine Crozier at Grace Cathedral (playing works by Mendelssohn, Schumann, Liszt and Reubke). Delos 3090.

Charles, David and David Friedman: Junkyard. Digital Music Products CD-491.

Classics of the Silver Screen. Telarc 80221.

Copland, Aaron: Symphony Number 3; Music for the Theater. Telarc 80201.

Davies, Peter Maxwell: Solstice of Light; Five Carols; Hymn to the Word of God. Argo 316 119.

Dello Joio, Norman: Antiphonal Fantasy on a Theme of Vincenzo Albrici; Robert Planel: Concerto for Trumpet and Strings; Vincent Persichetti: The Holl Men; Charles Ives: Variations on America. Summit DCD-145.

Dire Straits: Brothers in Arms. Warner Bros. 25264.

Dupre, Marcel: Symphony in G Minor; Josef Rheinberger: Organ Concerto Number 1, in E. Telarc 80136.

Durufle, Maurice: Organ Music (complete). Delos 3047.

Durufle, Maurice: Requiem. Summit DCD 134.

Elgar, Edward: Symphony Number 1; Pomp and Circumstance Marches Numbers One and Two. Telarc 80310.

Enya: Watermark. Geffen 9 24233.

Fiesta. Reference Recordings RR-38CD.

Flim and the BB's: Big Notes. Digital Music Products CD-454.

Fox, Virgil: Virgil Fox (Selections by Bach, Franck, Dupre, Widor, and others). Laserlight 15 313.

The Great Organ of Saint Patrick's Cathedral, New York City. Gothic 49081.

Grusin, Dave: Migration. GRP 9592.

Hindemith, Paul: Organ Works; Hugo Distler: Spielstucke; Augustinus Kropfreiter: Toccata Francese. Argo 417 159.

Hindemith, Paul: When Lilacs Last in the Dooryard Bloom'd. Telarc 80132.

Holst, Gustav: The Planets. Telarc 80133.

Holst, Gustav: Suite Number 1 in E-Flat; Suite Number 2 in F; A Moorside Suite; Hammersmith. Reference Recordings RR-39CD.

Howells, Herbert: Hymnus Paradisi; An English Mass. Hyperion 66488.

Jongen, Joseph: Symphonie Concertante for Organ and Orchestra; Cesar Franck: Fantasie in A; Pastorale. Telarc 80096.

King of Instruments: A Listener's Guide to the Art and Science of Recording the Organ. Delos 3503.

Lauer, Christof: Bluebells. CMP Records CD-56.

Loeb, Chuck: Life Colors. Digital Music Products CD-475.

Loeb, Chuck and Laverne, Andy: Magic Fingers. Digital Music Products CD-472.

Manakas, Van and Jim Brock: Letters From the Equator. Reference Recordings RR-56CD.

Mary Preston Plays Durufle & Widor at the Meyerson Center, Dallas, Texas. Gothic 49079.

Mendelssohn, Felix: Organ Works. Argo 414 420.

Michael Murray: The Ruffatti Organ in Davies Symphony Hall. Telarc 80097.

Mintzer, Bob: Urban Contours. Digital Music Products CD-467.

Mussorgsky, Modest and Maurice Ravel: Pictures at an Exhibition; Night on Bald Mountain. Telarc 80296.

Mussorgsky, Modest Pictures at an Exhibition (organ transcription). Dorian 90117.

Offenbach, Jacques: Gaite Parisienne; Jacques Ibert: Divertissement for Small Orchestra. Telarc 80294.

Organo Deco: Sophisticated American Organ Music, ca. 1915-1950. Delos 3111.

Pomp & Pipes (music by Sigfried Karg-Elert, Alfred Reed, Charles Widor, Marcel Dupre and others). Reference Recordings RR-58CD.

Prokofiev, Sergei: Alexander Nevsky; Shostakovich, Dmitri: Symphony Number 9. Dorian 90169.

Prokofiev, Sergey: Alexander Nevsky. London 410 164.

Prokofiev, Sergey: Symphony Number 5. Chandos 8576.

Rachmaninov, Sergei: Symphony Number 2; Vocalise. Telarc 80312.

Ravel, Maurice: Rapsodie Espagnole; Ma Mere l'Oye; Valses Nobles et Sentimentales; La Valse. London 430 413.

Respighi, Ottorino: Church Windows (Vetrate di Chiesa); Poema Autumnale. Reference Recordings RR-15CD.

Respighi, Ottorino: Pines of Rome; Roman Festivals; Fountains of Rome. Chandos 8989.

Reubke, Julius: Sonata for Organ; Sonata for Piano. Dorian 90106.

Rich, Robert: Propagation. Hearts of Space 11040.

Robert Noehren Premiers the New D.F. Pilzecker Organ at the Church of St. Jude. Delos 3045.

Riverside Revisited: Frederick Swann, organist. Gothic 49086.

Rorem, Ned: Organ Music. Delos 3076.

Rutter, John: Requiem. Reference Recordings RR-57CD.

Saint Saens, Camille: Symphony Number 3; Charles Marie Widor: Symphony Number 6 (Alle gro movement only). Philips 412 619.

Schnittke, Alfred: Symphony Number 3. BIS CD-477.

Schonberg, Claude-Michel: Les Miserables. Relativity/First Night 1027.

Sevag Oystein: Link. Windham Hill 11123.

Sharp, John: Better Than Dreams. Reference Recordings RR-54CD.

Shostakovich, Dmitri: Symphony Number 10; Chamber Symphony. London 433 028.

Sowerby, Leo: Organ Music. Delos 3075.

St. Philip's Cathedral, Atlanta Georgia (Alan Morrison, organist). Gothic 49083.

Star of Wonder (Christmas music). Reference Recordings RR-21CD.

Strauss, Richard: Thus Spake Zarathustra; Dance of the Seven Veils; Four Symphonic Interludes from Intermezzo. Delos 3052.

Stravinsky, Igor: Firebird Suite (1919 version); Petrouchka. Telarc 80270.

Tavener, John: We Shall See Him As He Is. Chandos 9128.

Taylor, James: James Taylor Live (a music-video DVD, done in Dolby Digital surround). Columbia Music Video CVD 50171.

Taylor, Samuel Coleridge: Ballade in A minor; Symphonic Variations on an African Air; George Butterworth: Two English Idylls. Argo 436 401.

Vaughan Williams, Ralph: Symphony Number 7: Sinfonia Antartica; Toward the Unknown Region. Chandos 8796.

The Very Best of Erich Kunzel and the Cincinnati Pops. Telarc 80401.

Organ Music of Reger and Vierne. Delos 3096.

Widor, Charles-Marie: Symphony Number 5; Francis Poulenc: Concerto for Organ, Strings and Timpani; Felix Guilmant: Symphony Number 1. Chandos 9271.

James T. Frane (JTF)

Best Of George Shearing: His Original Capitol Recordings (Curb D2-77631) has a number of tunes that have become standards, such as "September Song," "Stardust," "Autumn Leaves," and his own composition, "Lullaby of Birdland." His piano was centered in front of a wide orchestra on a deep soundstage. The separation, articulation, ambiance, and musicality combined for one of the best-sounding jazz CDs in my collection. Realistic instrument timbres and good recording techniques such as those used on this recording can bring the listener a little closer to the feeling of being there.

A Chopin Piano Recital by Jorge Bolet (1914-1990) on Everest EVC 9028 is a CD made using Sony's Super Bit-Mapping. This is a 20-bit master recording converted to 16-bit for compatibility with today's CD players. It was made from the original 35-mm, three-channel stereo master tapes of the early 1960s and used no noise reduction, limiting, or compression. The CD is intended to be an accurate digital reproduction of those original tapes. The late Bert Whyte, a significant part of the original Everest recordings, was the advisor on this transfer. The clarity and realism of this CD are outstanding. Every detail, the hammer stroke of each piano note, the fade of the notes, and the ambiance of the recording stage are all there. The wonderful sound of this CD is hard to describe, as is the excellence of the performance. On a full-range system, the piano is there in front of you. This is one of my favorite recordings of a favorite composer. Listening is a spellbinding experience.

Yo Yo Ma's rendition of J.S. Bach's Six Unacompanied Cello Suites (CBS Masterworks M2K37867), captures the timbre and resonance of the cello. It includes a multi-language booklet discussing what is known about the history of these early 18th century compositions. No other details about the recording are provided except that this two-CD set was digitally recorded. I have used this CD in several equipment reviews because of its good sound, detail, and ambiance. On a personal note, I have had the good fortune to have had my daughter grace my listening room with her cello, playing some of these same suites. Although a live rendition in one's listening room puts a hi-fi system in perspective, this recording comes off pretty well in comparison.

Kenny Burrell is no stranger to fans of jazz, and in particular, jazz guitar. On his album Guitar Forms (Verve 825576-2) he is accompanied by a wide variety of instruments and performers. Each cut is a different style and type of music, from blues, bossa nova, flamenco, ballads, and jazz. His guitar is up front with great reproduction of the string plucks and guitar body resonance and harmonics. This album is enjoyable for its variety of performances. The recording is so well done that the realism of the instruments and space is very close to being there.

Ben Webster's Atmosphere for Lovers and Thieves (Jazz Heritage 512783F), was recorded in September 1965 at Metronome Studios, Copenhagen. Mr. Webster's tenor sax is backed up on some cuts by Arnved Myer's band, and on others by the Alex Riel Trio. Three of the songs are lively tempos and the remainder are sensuous ballads. The instruments are spread across the stage with separation, depth, and spaciousness. Detail is superb, with the air moving past the reed on the sax mouthpiece clearly evident, as are a wealth of other details. This is a CD to which one has to stop and listen, rather than being background music.

Heart and Soul, an album by The Ron Carter and Cedar Walton Duo (Jazz Heritage 513354X) was recorded at New York's Soundtek Studio in December 1981. Cedar Walton's liner notes say that they initially had some sense of missing a drummer, but that the listeners didn't seem to miss him at all. The Duo played New York music saloons for about a year and then decided to preserve the sound on this recording. Ron's bass is to stage right of Cedar and is well-miked, giving it the prominence it would have in a live performance. The recording puts one into a moderately sized, dimly lighted venue. At a realistic listening level the superb sound was as if you were in the first row of tables. Clarity without etched detail, three dimensions without echo, a soft vibration through air and floor were very much like being there. A great performance and a great recording.

Janis Joplin's 18 Essential Songs (Legacy/ Columbia CK 67005) is a compilation of excerpts from the box set "Janis" that have been digitally remastered. There is great ambiance on this CD -- almost surround sound without phasiness or any disembodied, unfocused aspects. Her voice is sometimes far back in the stage, and at other times up close, but always with a natural sound. Janis' vocal range and dynamic variations are coupled with intense emotion and a lot of soul. This is a great album that includes selections from the beginning to the end of her career.

Jazz Piano: A Smithsonian Collection. This six-LP set (or four CDs) is a presentation of significant jazz pianists. The list includes Jelly Roll Morton, Fats Waller, Earl Hines, Count Basie, Duke Ellington, Nat Cole, Art Tatum, Thelonious Monk, Oscar Peterson, Hank Jones, Bill Evans, and several more. While the sampling of artists is significant, the liner notes acknowledge that there are many great jazz pianists that were not included. The cuts are all good examples of great talents. As I write this, I continually have to stop and listen, the music is so good. I found some selections more to my liking than others, but the greatness comes through with all of them.

Julie London's album The Best of Julie London (Liberty LST-7434) or CD (Rhino R2 70737). This album has Ms. London accompanied by either bass and guitar, or an instrumental foursome. Her closely miked sultry voice has body and character that often reminds me of a live performance in a small nightclub. Her music is warm and intimate. When played on a good system, the performance is right in the room with the listener. Her debut album, Julie Is Her Name, was with Liberty Records in 1955. A few years later, the single "Cry Me A River" was her first big commercial hit, and her name became well known. She was a guest on Perry Como, Ed Sullivan, Bob Hope, and other TV shows, had her own TV specials, and co-starred in movies such as Nabonga, The Red House, Tap Roots, Task Force, The Fat Man, The Great Man, Saddle the Wind, The George Raft Story, and others. The lead-off cut on this album is "Cry Me A River." Since I first heard this song as a new release, I've been a fan of Julie London. I never tire of her albums, most of which I have in CD or LP format (or both). The 18 cuts on The Best of Julie London are samplings from a number of her albums released from 1955 through 1967.

Dream a Little Dream (Telarc CD-83453-B) by the Gerry Mulligan Quartet (G. Mulligan on baritone sax, Ted Rosenthal on piano, Dean Johnson on bass, and Ron Vincent on drums -- Bill Mays guests on piano on two of the cuts) is a 1994 Telarc CD that was recorded in New York City. Its 14 compositions include four by Gerry. This excellent recording has depth, spaciousness, and a three-dimensional quality. It was bundled with two other Mulligan CDs. The first is Paradisio (Telarc CD-83453-A), an album of Brazilian music with Jane Duboc on vocals, recorded in New York in 1993. Ms. Duboc is a household name in Brazil, and she has become internationally known. Mulligan brings a long-term lover of Brazilian music to a recording in this enjoyable album. The third album of this set is Dragonfly (Telarc CD-83377), a 1995 recording of 10 Mulligan compositions totaling 63-1/2 minutes of playing time. The tunes are played by Mulligan and a group of his famous jazz player friends -- a great album by itself made even better bundled with the other two.

Four Symphonic Works by Duke Ellington (MHS 512335T), performed by the American Composers Orchestra. Duke Ellington was a prodigious composer of all types of music. Two cuts, "Black, Brown, and Beige" and "New World a-Comin'" were composed for appearances of his band at Carnegie Hall in the 1940s. The other two were commisioned by others, "Harlem" by the NBC Symphony in 1950, and "Three Black Kings" by the Dance Theatre of Harlem. These are powerful compositions and performances.

Gregory Koster (GK)

The last time KWN asked for a music survey I was into vielles vignes, recent recordings by old established jazz artists. This time it could be called "old wine in new bottles," because almost half the entries are reissues with special claims about the remastering techniques, or "a tribute to ...", because so many take their theme from a composer or legendary player. But it's really just what I have purchased over the last year, that I never got around to filing into the collection ("Procrastinators of the world unite! Tomorrow!").

32 Gems from 32 Jazz (32 Jazz 32102). A bargain-priced 3-CD set from the small NYC label that owns the Landmark and Muse jazz catalogs. A great introduction to the work of a wide range of mainstream, funk, and acid jazz artists. The best part is that if you like something, all 32 Jazz CDs are priced at bargain rates.

Mose Allison: Jazz Profile (Blue Note 55230). Mose Allison's blues-tinged cynicism is as hip as Dave Frishberg tries to be, although some people may find it a bit unrelenting ("I don't worry about a thing, `cause nothin's gonna turn out right"). Blue Note has taken 14 of the best cuts off three albums from 1987-94, so this makes a great introduction to Mose's later work.

Chet Baker: The Best of Chet Baker Plays (Pacific Jazz 97161). Chet is perhaps better known for his singing, which I find a little too cool. These 14 cuts are pure trumpet playing, with a mix of groups and tempos that shows off Chet's West Coast style to great effect.

Kenny Burrell: Ellington is Forever, v. 1 (Fantasy 79005). This is a tribute album, not a ghost band, but it succeeds in capturing the spirit of Duke's recordings better than most ghosts. The all-star cast could have smothered Burrell's guitar, but the sidemen are used to flavor each Ellington tune to taste, starting with a quiet solo turn on "Jump for Joy" and a 12-piece barn-burner on "Caravan" that sounds very Ellingtonian. Nobody can mimic Basie on the piano, but Jimmy Jones was Duke's own choice for a cover and he gives this CD a really authentic sound.

Frank Capp Juggernaut: In a Hefti Bag (Concord 4655). Another ghost/tribute album: not the official Basie ghost but the real Basie/Hefti charts. Basie's own band could be pretty blase after too many nights on the road, but these LA studio men are really "up" for the date. The piano occasionally gives it away -- nobody can duplicate that laconic Basie style -- but nevertheless this is a must for Basie fans.

Benny Carter: Further Definitions (Impulse 229). Recycling at its best: a 1961 remake of a 1937 Carter/Coleman Hawkins set, remastered with 20-bit SBM in 1997. Plus, if you order now, we'll throw in the 1966 "Additions" session for a total of 71 minutes of classic straight-ahead jazz. Worth it for Hawk's new twist on "Body and Soul" alone, which is better than a Ginzu knife.

Bill Evans: Conversations with Myself (Verve 521409). This has always been a controversial album, since the careful planning required for three overdubbed piano lines distilled out any spontaneity and without bass and drums Evans doesn't really swing, but at least this new 20-bit Verve Master Edition brings out the best sound and the three clear tracks make it easy to study Evans' contrapuntal lines. I've always liked it, although I'm not usually tempted to hit the "repeat" button.

Terry Evans: Come to the River (AudioQuest 1044). When AudioQuest sent me their Blues Sampler, two artists appealed: Mighty Sam McClain and Terry Evans. The picture on the cover looks like a hell-bent prize fighter, but the singing inside is more heaven-oriented with the blues theology that true love and Jesus are all you need. Get up, get ready to go back home -- and this band will lay down a groove to smooth your way.

Joe Henderson: Big Band (Verve 533451). Joe Henderson is mainly known as a tenor improviser, so this album of his big band arrangements is a real change of pace -- and a great one. Seven of the nine tunes are Henderson originals, and "Without a Song" has been reharmonized. Joe also takes about half the solos, so you get the full Henderson treatment. Good modern sound, without any special claims.

Joe Henderson: Page One (Blue Note 98795). This is a more usual setting for Henderson: a quintet with pal Kenny Dorham and a swinging rhythm section. This 1967 recording is one of Henderson's best-known, so it was chosen for the 24-bit remake as a "Rudy Van Gelder Edition." The careful remastering brings out the music very clearly, although RVG's secret in the LP days may have been recording a little too close up. "Recorda Me" has its first appearance here, and makes an interesting contrast to the newer version on Verve above.

Fred Hersch: Evanessence (Evidence 22204). Subtitled "a tribute to Bill Evans," this is not at all an attempt to copy Evans' sound. Fred swings with more energy than Bill usually did, and gives an interesting new spin on the Evans repertory. Next on my wish list is his Monk album.

Bill Holman: Brilliant Corners (JVC XRCD-0028). What a segue: not Evans-tinged Monk but big-band Monk! Translating Monk's jagged piano sound to big band demands a really creative rethinking of what Monk was about, and Bill Holman delivers a tour de force. Maybe too much so: the opening cut is so far from the expected that some friends wrote the album off straight, with no chaser. Stick with it -- the rest isn't so far out and overall this shows what a tribute album can be. My version is the 20-bit XRCD remaster, which has great sound, but the original JVC should be good too at half the price.

Milt Jackson: Bags Meets Wes (DCC 1093). Two greats in a swinging blowing session, and a gold remaster to ensure the best sound. After listening hard to Holman's Monk, this is a relaxing aperitif.

J.J. Johnson: J.J. Inc. (Columbia/Legacy 65296). Outside of Dixieland, jazz trombonists don't get much respect-and J.J. also suffers from "Jay & Kay" syndrome. But this album is serious stuff as attested by Steve Turre's new liner notes (ya gotta respect the all-time conch-shell virtuoso), and Columbia/Legacy/Sony's 20-bit remaster has great sound.

Shelly Manne: At the Blackhawk, v. 1-5 (OJC 656-660). I've never particularly enjoyed drummer-led groups, so when I include five CDs by Shelly Manne you should know it's something special. These discs document three nights at the legendary Blackhawk nightclub (legendary for its fine acoustics, which produced wonderful recordings like these) in San Francisco, Sept. 22-24, 1959. Each CD feels like a set, and the quintet swings so solidly that any one of them will satisfy -- but since no song is repeated on another CD (even with the bonus tracks), all will satisfy even more. The first three are absolutely essential.

Wynton Marsalis: The Midnight Blues (Columbia 68921). I guess Wynton sells too many records to get any respect as a real jazz musician (poverty and narcotics being the expected hallmarks), but this is an odd set: kind of his "Charlie Parker and Strings" album. It's an impressive tour de force on trumpet, but it doesn't really swing. My one regret on this list.

Mighty Sam McClain: Journey (AudioQuest 1048) - KWN damns Mighty Sam with faint praise as smooth Memphis blues -- but hey, I prefer Maine barbecue! This is smooth in the sense that the recording isn't gritty and distorted, but Sam's emotional delivery is anything but and the tunes on this CD are personal reflections of Sam's life journey. Keep the faith.

Art Pepper: New York Album (Analogue Productions 3012). Did you ever shop in a store where the clerks tried to make you feel that taking your money was somehow demeaning to them? (I wasn't thinking of a high-end audio salon, but yeah -- that too.) This Analogue Productions CD cheeses me off the same way, with a whole column of info on the cutting lathe and playback equipment, and not one word about the A/D converter. Hello??? I bought the CD, not the LP, okay? Thank you, I feel better now. I had to get past that, because this remastering job is so good it's just like Art Pepper is in the room. And Art was at his best when he recorded this set in NY (plus one solo cut from LA). Essential.

Jimmy Smith: The Master (Blue Note 30451). It's equally essential to have some Jimmy Smith in your collection, but hard to pick one to recommend. Bashin', newly remastered on Verve (539061), is an obvious choice-but this 1993 concert in Japan is another great introduction to his B-3 sound and many of his best-known tunes.

Larry Young: Unity (Blue Note 97808). Almost all B-3 players sounded like Jimmy Smith, except Larry Young. Cross Smith with John Coltrane, or imagine the perfect B-3 accompanist for Trane: that's Larry Young's organ. This was his best recording and the Rudy Van Gelder Edition 24-bit remastering gives it truly audiophile sound.

Tom Lyle (TL)

In Issue 76, which featured recommended components, Joe Cierniak wrote that the most important component of a high-end system is the source material. I couldn't agree more. It was music that compelled me to embrace the high end, and it is music that continues to do so. Here are the artists and albums that have made an impression on me over the last year.

In the last recordings issue, I discussed my long-term favorites -- those selections that I've listened to continually over the years. I also listed some that I've become drawn to in more recent times. One of these that I mentioned was the composer Anton Bruckner, yet I've come to like his music a great deal more since I wrote that column.

I wouldn't be the first to proclaim that his music is an acquired taste -- and in my case this is unquestionably true. I suppose I have matured, and now I've finally seen the genius in his music. This is the same music that I once perceived as having an excess of pomposity and bombast. OK, I still think his music is pompous and bombastic -- except now I love it. I have at last realized that his orchestrations (especially when put into historical perspective) are very unorthodox and make for some very thrilling listening. This is especially true when played on a high-end system at realistic levels.

And I am not an expert on ranking the different versions of his symphonies. There are many different edited editions, and many recorded versions available that I haven't heard that are thought to be the "best." In fact, I hope I never become an "expert," as I already have more than enough obsessions to occupy my time.

Nevertheless, I like all nine (or 10, depending on how they are numbered) of his symphonies, but especially Seven through Nine. His Fourth and Fifth are awfully good, too. I have just about every symphony on vinyl conducted by Eugene Jochum on British EMI, and the digital versions by Gunther Wand that I've heard are hard to fault (his Eighth that I mentioned in my last musical picks on RCA is phenomenal). I also have both the Fourth and Fifth Symphonies as conducted by George Tintner on the budget label Naxos, and I enjoy them very much. But again, I'm not an authority on Bruckner, and many other versions are surely revered by his legion of followers that I hope to hear before too long.

In a recent Double Double column, KWN and I pitted two versions of Gustav Mahler's Ninth Symphony against each other -- Pierre Boulez's Chicago Symphony Orchestra reading on DG, and Jesus Lopez-Cobos' Cincinnati Orchestra's version on Telarc. We really couldn't decide on a "winner," and how could we? [Speak for yourself! As much as I admired the Boulez, I thought I made it pretty clear that the Lopez-Cobos was my favorite ... - KWN] These are both very impressive CDs. However, as time has gone on the Lopez-Cobos has spent much more time in my CD player then the Boulez. I can't imagine how many versions of this symphony I've heard over the years. Yet from every version from Bruno Waiter's to Georg Solti's to Raphael Kubelik, Klaus Tennstedt, Bernard Haitink, Christoph Von Dohnanyi, to well, just about every conductor that I respect because of their interpretation of this work (which includes Pierre Boulez) -- Jesus Lopez-Cobos's version seems to capture almost all that is "right" with regard to all of them, on one incredible-sounding CD. It is of reference quality -- in both its recording and performance.

I also mentioned last time that one of my favorite Dmitri Shostakovich symphonies is the Fifteenth. The version I listed was Vladimir Ashkenazy's performance with the Royal Philharmonic on London. I still think that version is excellent, but more for the recording quality than the performance. I have many other conductors and orchestras performing this symphony and they all have their merits. But once one becomes familiar with this magnificent work of art one must hear the chamber version as arranged by Viktor Derevlanko, and played by the Kremerata Musica, which features Gidon Kremer on violin. Since it's on an imported DG it's somewhat hard to find, but it is worth searching for. It is a sparse arrangement -- simply for violin, cello, piano, and celesta, but also included is a vast array of percussion. Sound quality is excellent; this is one of the "4D" DGs that all seem to be state-of-the-art discs. When given a choice, I'll almost always choose an orchestral piece over a chamber piece. But this is different. Hearing this gave me a deeper understanding of the irony and the extremely unconventional arrangement of this piece. This is truly one of my favorite CDs.

Another album released in the past year that I've really taken a liking to is Reich Re-Mixed on Nonesuch. This album, of Steve Reich pieces remixed by DJs and electronic dance artists, (most of whom weren't even born when the majority of these pieces where written) pay homage to Reich using fragments and re-arrangements of his recordings. It's more for electronica fans than Steve Reich fans, really. But truth be told, it's not the most definitive tribute album (would that award go to the excellent If I Were a Carpenter, a tribute to none other than the Carpenters?) but it is certainly good listening, and has spent an awfully long time on my turntable (yes, None-such also released it on vinyl).

In my last musical picks I said that Jimi Hendrix's Are You Experienced?, Axis Bold of Love, and Electric Ladyland are classics in every sense of the word. Of course I still think they are. Recently, the Hendrix family wrestled control of his estate away from those that didn't deserve it in the first place, and released two of my favorite albums of the year, Live at the Fillmore East, and Live at Woodstock. These two CD sets are both over two hours long, one recorded with his newly formed Band of Gypsys (sic) on New Year's Eve 1969/70, and the other with an extended line-up at the summer of '69 Woodstock festival. Both these bands were under-rehearsed, and at times it sounds it. But on these CDs are also some of the best live playing by any guitarist at the time or since, and I am extremely grateful that both of these albums were released. Considering the relatively prehistoric recording techniques of the time, the quality is pretty darn good, and it's fun to turn up the volume and bathe in the sound.

I have no idea what Experience Hendrix (the name the Hendrix family is using for their company) is planning to release next. But I hope that it is the Maui concert of July 1970, recorded just two months before his death. Only a small portion has ever been released -- as a part of the film Rainbow Bridge. I have a bootleg of most of the concert, but the sound quality isn't too great. The first half of the show is the normal "set"; the second half is entirely improvised. It is an astounding performance, and the world deserves a decent-sounding official release.

Although I feel it is about 25 years late, the Miles Davis complete Bitches Brew sessions have finally been released. Any comments I make about this set will only be added to the multitude of reviewers who have already commented on it, and all I have to add is that they are dead wrong to imply that there are any weak moments on this entire four-CD set. In spite of that, my one complaint is that it is so expensive. The booklet and metallic case are nice, but they should have released this four-CD set in a more modest package. When I was a teenager I took a chance on this hip-looking double album, and after taking it home and playing it, I was changed forever. I doubt a kid is going to lay out 70 bucks just to check it out. The original is still available so I don't know if my complaints are that valid, but the new issue sounds so much better. For them to not to have the chance to discover this set and possibly have the same awakening that many, as I did, is a shame. I guess the option is always to borrow an adult's copy, which is a very realistic option of course. [A remixed two-CD set of the original has recently been released -- hey, kids, run out and buy it! -KWN]

And a few others: Sibelius, Karelia Suite, Tapiola and other works conducted by Colin Davis. A collection of short works on RCA with different orchestras. Recorded throughout the 1990s including Nightride and Sunrise that are the only way I could describe them -- musical landscape paintings.

Electronic music on TIP, Flying Rhino, and Twisted Records. Techno of the GOA trance variety out of England that is the most creative I've heard utilizing the "four on the floor" straight beat. Analog synth mania to the max. I've also been listening to Ed Rush and Optical's album Wormhole on Virus quite a bit. It is the best progressive drum and bass I've ever heard.

I hardly purchase any rock 'n' roll by bands that are still around any more -- that is except for those by Fugazi and Sonic Youth. Fugazi's latest, End Hits, is one of their best albums ever. SY's most recent A Thousand Leaves continues in the tradition of their beautiful disharmony. That both bands have the "normal" guitar/bass/ drums/vocal line-up belies their inventiveness.

David Milford (DM)

I've always wanted to publish a big list of my favorite albums. Well, here it is, after selecting my most favorite of favorites. Actually, this is only half of the list: perhaps next year I'll write up the other half so it will be complete! These are all CDs (although many might be fine LPs as well), and were all chosen for musical content, not for sound quality. Those that do happen to have exceptional sound quality I have marked with a "+" symbol.

Largely absent are Classical and Jazz. I love "old-school" Jazz, and I'm sure I would love some very modern stuff too, if I were exposed to it. I don't know that much about it though, so I'm leaving it to the Jazz experts here at the magazine. As for Classical, I am convinced that the best listening spot is on stage, above and behind the orchestra. Because I am often treated to this perspective in rehearsal and performance, singing with the New Mexico Symphony Orchestra Chorus, it's difficult for me to settle for less than the real thing.

William Walton, Belshazzar's Feast, Robert Shaw, Atlanta Symphony Orchestra & Chorus. +(Telarc CD 80181) Few are familiar with this amazing 20th-century Classical choral spectacular. A masterpiece.

Steve Reich, Music For 18 Musicians. (ECM 1129) Avant-garde classical, very rhythmic. This might be my #1 favorite piece of all time. It keeps getting better each time I listen.

Michael Hedges, Aerial Boundaries. +(Windham Hill WD-1032) New Age. The first time I heard "Ragamuffin", I couldn't believe the way he was playing that guitar!

Steve Tibbetts, Safe Journey. +(ECM 1270) New Age Rock music. I once took a small recording studio class taught by Tibbetts. He's a down-to-earth guy in person, but his music is out of this world.

Brian Eno, Apollo. (EGCD 53) Atmospheric synthesizers. This music was written by Al Reinert to accompany the film of the Apollo missions to the moon. I have not found this film yet, but I desperately would like to watch it.

Pieter Nooten, Sleeps With The Fishes. (4.A.D CAD710 CD) The singer of the industrial-dance band Xymox made a solo album with more rich, dark, mysterious qualities than most who attempt such a sound.

Tannahill Weavers, Dancing Feet. +(Green Linnet GLCD 1081) Scottish folk music. Absolutely beautiful traditional songs with some new as well. Get thee up and blithely dance my laddy O!

Clannad, Anam. (Atlantic 82409-2) Some songs in Gaelic and some in English from a very modern but folk music inspired Irish band. Pacifying stuff, good for late-night relaxing.

Bobby McFerrin, Spontaneous Inventions. +(Blue Note CDP-7 46298-2) It's incredible the things a single human voice is capable of when used with lots of talent, training, practice, and originality.

Bruce Cockburn, The Charity Of Night. (Rykodisc RCD 10366) Modern Canadian folk-rock from a master songwriter who's been at it since at least 1970. I'll be buying many more of his albums.

Billy Bragg, Don't Try This At Home. (Elektra 9 61121-2) Bragg is the kind of songwriter that continually surprises you with the sheer quantity of emotion his tunes can inspire in you. How does he do that?

Robbie Robertson & The Red Road Ensemble, Music For the Native Americans. +(Capitol CDP 8 28295 2) Rock music infused with the pride, anger, and prayers of generations of Native Americans. Powerful.

Steven Stills, Steven Stills. +(Atlantic 82809-2) Crosby, Nash, and even Jimi Hendrix are guest musicians on some of the tracks. No introduction necessary.

Joni Mitchell, Blue. +(Reprise 2038-2) My favorite album from an unbelievably talented woman. She even paints well. Good late-night driving music.

Cocteau Twins, The Pink Opaque. (4.A.D EMCD 8040) Songs from E.P., singles, and albums that make a surprisingly cohesive whole. The lyrics are a mix of jibberish and mutated English, but somehow it makes sense.

Shawn Colvin, Steady On. (Columbia CK45209) This is about as close as I get to Country music, though real Country fans would call it Rock. Good late-night acoustic-ish soul searching.

Suzanne Vega, Suzanne Vega. +(A&M CD5072) I had a middle of the night love affair with this album out in the desert once while on powerful mind altering substances. I'll never be the same.

Kate Bush, Hounds Of Love. (EMI CDP 7 46164 2) Kate's sweet, dreamy voice comforts you in a special way. The lyrics really hit home with the meanings of different relationships.

Joan Armatrading, Show Some Emotion. (A&M) While we're handing out trophies for mushy sweetness, don't forget to give one to her. Not too mushy, mind you, some of these songs really move.

Cat Stevens, Footsteps In The Dark. (A&M CD 3285) This "greatest hits volume two" is truly a collection of some of his finest songs, some of which are hard to find elsewhere.

The Beatles, Magical Mystery Tour. This, Abbey Road, and Sgt. Pepper's are their three must-have albums. I haven't bought it because I'm waiting for the DVD-audio version.

The Cranberries, To The Faithful Departed. +(Island 314-524 234-2) One of the few new '90s bands that I consider worth listening to. Everything from soft to hard with a decidedly Irish flavor.

Xymox, Medusa. +(4.A.D CAD 613CD) A very melodic variety of Industrial Dance music. These British modernists really know how to evolve something until it sounds new and unique.

The Cure, Kiss Me Kiss Me Kiss Me. (Elektra 9 60737-2) Seventeen amazing songs, many very danceable. My favorites are the ones that did NOT become big hits, go figure.

Big Country, Steeltown. +(Mercury 532 324-2) This remastered CD has five wonderful bonus tracks. The Scottish textures, both rhythmic and harmonic, fit in perfectly with other Rock influences.

Pink Floyd, Wish You Were Here. +(Columbia CK 68522) I wish more Rock bands would create long, developed pieces like "Shine On You Crazy Diamond", instead of only short, radio-friendly songs.

Tears For Fears, The Seeds Of Love. +(Fontana/Polygram P2 38730) Slightly Jazzy Rock music, with Oleta Adams on backup vocals. Always surprising in its depth and complexity.

Peter Gabriel, Security. (Geffen 2011-2) Not your usual songs, they ebb and flow in the extreme. This is one of those albums with its own characteristic exotic feel.

Eurythmics, Sweet Dreams. (RCA PCD14681) The first album I ever heard by these artsy players. Now I have many of them, but this is still my favorite.

Icehouse, Primitive Man. +(Massive 7320262) I first heard "Great Southern Land" in the Australian film Young Einstein. The film was crummy, but good thing I saw it because it introduced me to Icehouse.

The Smiths, Meat Is Murder. (Sire 25269-2) More British dance music -- do you see a trend emerging here? There are some quiet songs on the album too.

Siouxsie And The Banshees, Tinderbox. +(Geffen 24092-2) Still more you-know-what! The lyrics are about as dark as possible, but don't be scared off. The music is just exquisite.

Simple Minds, Once Upon A Time. (A&M CD 5092) Something of a European phenomenon, SM used to sell out stadiums routinely. Too bad music lovers here in the U.S. don't quite have such good taste.

U2, October. (Island A2 90092) Only their second album. I still think it's their best. The most passion, the most raw energy, the most straight-ahead Rock sound of them all.

The Police, Zenyatta Mondatta. +(A&M 75021 3720 2) I cannot fathom how something I have heard so many times for so many years can continue to surprise me with its mastery and brilliance.

Thom Moon (TM)

"Girl Singers" -- and Dave Frishberg: In her liner notes for Rosemary Clooney's Girl Singer, Linda Ronstadt said she was told early in her career, "... something that will make (your) life a lot easier. In this town, there are four sexes: men, women, homosexuals and girl singers." I think the point is that girl singers are a breed apart from the rest of humanity. They seem to look at life, love and other less critical matters from a different viewpoint. I'll admit it: I'm a "girl singer" junkie. Every time I look at my CDs, I'm amazed at how many albums by female singers I've collected.

Another thing I noticed while writing this piece is how many of them have the good judgment to record songs by Dave Frishberg. It's no wonder: he's the wittiest songwriter of the day.

Here are a few of my favorites, both girl singers and Frishberg songs.

Rosemary Clooney: Girl Singer. Concord Jazz CCD-4496. This is an exquisite album. Period. Opening with a easily swinging "Nice 'n Easy," Ms. Clooney weaves her way through 14 great songs. Among the best are Dave Frishberg's "Sweet Kentucky Ham," a wonderful, very tongue-in-cheek version of "Miss Otis Regrets" and "Straighten Up and Fly Right." The last starts with a clip from the audition recording of the song she and her sister Betty cut at Cincinnati's WLW Radio in 1945. Needless to say, she's improved in 50 years. Throughout the album, the backing musicians provide perfect accompaniment. It's a CD I pull out regularly for background music, then end up paying rapt attention to the artistry.

Pam Bricker: Lookin' Good: The Songs of Dave Frishberg. Mad Romance CD-107 (Available in the Washington, DC area). My wife and I often left the 'burbs to travel into DC to catch a performance of Ms. Bricker and her husband, Rick Harris. Pam Bricker is both a singer and a song stylist. She has impressive chops, but also has a style that can be considered individualistic. However, her approach is in perfect sync with Frishberg's tunes and lyrics. Of special note: "Peel Me a Grape," "Let's Eat Home," and a signature for both Bricker and Frishberg: "Our Love Rolls On." On this album, she's accompanied by the man himself. It's a great collaboration!

Claire Martin: The Waiting Game. Linn/Honest HON CD 5018. While I like Ms. Martin's debut, Old Boyfriends, I really like this follow-up. This girl singer is one of those you'd expect to find in a smoky nightspot with a minimal stage and her first show starting at 11:30 P.M. If that were the case, I'd be there every night at the front table. On some of the cuts, like Joni Mitchell's "Be Cool," or Lieber and Stoller's "Some Cats," she is the picture of unapproachable cool. But, then, you get a real sense of wistful resignation in her voice on "The People You Never Get to Love" and "It's Always Four A.M." And, for real surrealism, listen to her take on Thomas Dolby's "The Key to Your Ferrari." Very tasty stuff!

Nancy LaMott: Beautiful Baby. MidderMusic MM CD001. What's Good About Goodbye? Midder Music MM CD006. I first heard about Nancy LaMott from friends in New York, where she was a fixture in places like the Cafe Carlyle and the Algonquin. Frankly, she's an acquired taste. Sometimes, the vibrato she used drives me up the wall. And then, at the next turn, she would phrase something just so beautifully that I forgive all. On the first album, I'm particularly enamored of her versions of "Skylark," "Surrey With the Fringe on Top" and "Why Don't We Run Away?". On the second, a collection released after her untimely death from breast cancer, the song "We Live on Borrowed Time" never fails to hit me right where I live.

Diana Krall: Stepping Out (The Early Recordings). GRP GRD-9825. All for You. Impulse IMPD-182. Love Scenes. Impulse IMPD-233. I'll admit it: in my fantasies, I'm half a foot taller, 15 years younger, and Diana Krall has a crush on me. I first heard her on "Prairie Home Companion," where she did "I'm an Errand Girl for Rhythm" and "Gee Baby, Ain't I Good to You." And I was hooked. She doesn't have the purest voice I've ever heard, but she knows how to use it to her absolute advantage. And, she's an exceptional piano player. I like many of the songs on Stepping Out best, because on this recording, her voice and performances are fairly straightforward. All for You was her initial experiment at doing a jazz trio with guitar but no drums. The liner notes point out that in a drummerless combo, you get no break; each member has to be responsible for carrying the beat constantly. And Krall and her partners do. Love Scenes has memorable performances, but none so good as a Frishberg ditty, "Peel Me a Grape." Compare her version to Pam Bricker's. As much as I like Ms. Bricker, Ms. Krall has everything about the song down perfectly -- a pouty, steamy delivery with just the right phrasing. And that, of course, brings up a fear I have: that her handlers are trying to make her the Jazz sex symbol of the Millennium. Yes, she's attractive and can deliver a song as sexily as Peggy Lee on "Fever," but she's too good to be put into a box. With luck, she will keep developing her formidable talents and individualistic style. OK, I'm down off my soap box.

Susannah McCorkle: Sabia. Concord Jazz CCD-4418. From Bessie to Brazil. Concord Jazz CCD-4547. Ms. McCorkle is another girl singer who may not have absolutely the most flawless voice, but she can "sell" a song like few others. When she sings a lyric, you believe it, and you enjoy. I first heard her Sabia CD on a Jazz radio station and loved her versions of "Tristeza," "So Danco Samba," and "Manha de Carnaval" (I also have bossa nova jones that must be satisfied). Then, I heard her do, you guessed it, a Frishberg tune called, "Quality Time" (on From Bessie to Brazil). On that latter album, she also turns in a great version of the Jobim piece, "The Waters of March" and a killer version of "The Lady is a Tramp." Also, it is interesting to compare her version of "The People You Never Get to Love" to that of Claire Martin. The latter's is much more wistful; McCorkle's is that quintissentially American attitude: it's a shame that we missed each other, but there are other chances around the corner. All in all, Ms. McCorkle is a performer who's hard not to like and appreciate.

Peggy Lee: The Capitol Years. Capitol CDP 7243 8 21204 2 1. For years, I've been searching for a hissless version of Peggy Lee's "Fever." After finding the song on three different CDs, I have to say no version I've heard is devoid of tape hiss, but this is the best one yet. Besides "Fever," the CD has an incredible version of "I'm Gonna Go Fishing," an unlikely title for a song from Duke Ellington's score for the movie, "Anatomy of a Murder." Ms. Lee wrote the words. She's accompanied by a band led by Bill Holman, best known as one of Stan Kenton's arrangers, and let me tell ya, this group SWINGS! If you like Peggy Lee, this is one to have in your collection.

Holly Cole Trio: Don't Smoke in Bed. Manhattan CDP 0777 7 81198 2 1. I first encountered Ms. Cole on an episode of Due South, an enjoyable TV show about a Canadian Mountie who somehow ends up attached to the Chicago police, and in which, Toronto masquerades as The Windy City. Ms. Cole, to put it bluntly, is a piece of work (on the liner notes, she thanks, among others, "Kurzweil and Kurt Weill, Doris Day and Sly and the Family Stone"). She's among the most individualistic performers of the day. She plays with tempos, with phrasing, with almost everything about a song. And she covers multiple musical styles: semi-reggae ("I Can See Clearly Now"), American schmaltz ("The Tennessee Waltz" and "Que Sera Sera"), American Popular Song ("Everything I've Got" and Cole Porter's "Get Out of Town"), all in a very distinctive style, one that's abetted by the other members of the trio, Aaron Davis and David Piltch. As with Pam Bricker, Holly Cole can be an acquired taste. But I enjoy her singular takes on the songs she performs.

Finally, there is Janis Siegel of Manhattan Transfer. I think she might have taught Ella Fitzgerald and Mel Torme a thing or three about scatting. Check the credits on nearly any ManTran album, and she's responsible for many of the most imaginative vocal arrangements. The first time I heard the group perform "Birdland," I was transfixed. To this day, it's my favorite jazz vocal performance, courtesy of words by Jon Hendricks and arrangement by Janis Siegel.

So there you have it, one of my deep, dark secrets: I think girl singers are a national/international treasure. And these are just a few of the ones I really enjoy. And Dave Frishberg is the wittiest songwriter since Cole Porter or Dorothy Fields. If you're not familiar with his work, check out any of the discs mentioned above or his own Classics (Concord Jazz CCD-4462). You'll be doing yourself a favor!

Roy Nakano (RN)

Choosing favorite recordings is sort of like trying to compare New York pizza with Chicago hot dogs. What I want to hear at the stroke of midnight in a dark listening room may be a whole lot different from what I want while cruising in my car. Moods change as venues change. With that in mind, I submitted my favorite recordings during the last installment of The Sensible Sound's staff picks. Here are five more favorites, representing a new set of circumstances and listening environments.

Favorite Recording in Rush Hour Traffic: Top Gun: Original Motion Picture Soundtrack, Special Expanded Edition (Columbia/Legacy CK 6555-4 Compact Disc). In my last installment, I singled out Keith Jarrett's The Koln Concert as my recording of choice for cruising the California coast. Well, what I want to hear while cruising the coast is a whole lot different than what I want to hear on the freeways in rush hour traffic. Top Gun has been a perennial favorite among hot rodders, and it's the recording of choice for the freeway venue. The CD's first cut, "Danger Zone," seems particularly appropriate for rush hour traffic. I put the Tiptronic into manual mode for Top Gun. It keeps me alert and quick on my toes. The 1999 re-release has five additional songs (some very good ones), and the recording quality is equally good. Your vehicle's sound system must be able to reproduce the full frequency range to enjoy this one at its fullest.

Favorite Recording While Working on the Computer: 600 Series Compilation CD (B&W Music Compact Disc). I hesitate in recommending this one, since it's not available for sale. B&W gave it out as a promotional. It's a mix of mostly high energy jazz, ranging from Latin to techno. The recording is very good, as can be expected from B&W. What makes this particularly suitable for a good computer sound system is that it sounds great in a near-field environment: i.e., where the speakers are within a couple of feet from your ears (as with computer systems). Most of the selections also provide a repetitive backbeat that seems to enhance productivity on the computer. One selection off this CD, Ben Watkins and Mike Maguire's "Guardian Angel," is almost hypnotic in this fashion.

Favorite Recording Where Kids Insist on Listening: The Lion King: Original Motion Picture Soundtrack (Walt Disney 60858-7 Compact Disc). Audiophiles with small children carry some responsibilities not shared by their childless counterparts. For instance, finding a time and place to listen alone is a rare occurrence. Thus, it's great to find a recording that can please the whole audiophile family. Disney movies always generate some good music, but none so abundantly as The Lion King. Much of the music never made it to the movie, but it was good enough to inspire a second album (Rhythm of the Pride Lands), which was later re-mixed for a third album (Lion King II). The orchestral score by Hans Zimmer and pop music by Elton John and Tim Rice work well together and create some nice sounds.

Favorite Recording of New Eclectic Music: Morning Becomes Eclectic (Mammoth 35498-0209-2 Compact Disc). KCRW's Morning Becomes Eclectic plays everything from classical to hip hop, and everything in-between. Many well-known artists like to drop in on the program and perform live in the radio studio. Rare on Air: Volume One, the first compilation of radio studio recordings from the program, made my first list. The latest compilation is simply called Morning Becomes Eclectic, and it features Sixpence None The Richer, PJ Harvey, Angelique Kidjo, Cake, Joe Henry, Lyle Lovett, and a host of other performers. As with the earlier recordings, this collection shares the sense of intimacy that one hears from live radio studio performances. If your computer can work with the Real Networks and Liquid Audio software, you can actually download some of the songs from KCRW's Web site at www.kcrw.org.

Favorite New Latin Pop CD: Shakira: Donde Estan Los Ladrones? (Sony LAK-82746/2-485719 Compact Disc). You can say all you want about the over-saturation of Ricky Martin songs on the radio, but Latin pop music is here to stay. My favorite singer happens to be a young Columbian singer and songwriter named Shakira Mebarak R. Her singing style has traces of Alanis Morrisette, Tori Amos, and Sinead O'Connor. Although this CD is (very nicely) produced by Emilio Estefan Jr. (of Miami Sound Machine fame), Donde Estan Los Ladrones? will strike many as more rock than Latin-sounding. If there were only one record I could take on a desert island from this list, this would be it. It is that good.

Karl W. Nehring (KWN)

Most of the recordings mentioned below are CDs that I have picked up over the past year; in a few cases, however, they are CDs that I somehow overlooked when I compiled my list last year. Last year, I separated classical recordings from everything else; this year, I'm throwing everything together into one big list, as I do in More Jazz Than Not.

Astral Project: Voodoobop. (Compass Records 7 4268 2) Some of the tightest, swingingest, togetherest jazz going, played by five veteran New Orleans musicians who bring out the best in each other.

Bach: Brandenburg Concertos. Boston Baroque/Martin Pearlman (Telarc CD-80368 [1,2, and 3] and CD-80354 [4, 5, and 6]) Old instruments, new sound, timeless music.

Bach: Sonatas for Violin and Piano. Mela Tenenbaum, violin/Richard Kapp, piano (ESS.A.Y. Recordings CD1066/67) Great music, joyous music making, and robust sound make you want to play this CD again and again.

The Band: The Band. (Capitol D 101633) Not many recordings from the late '60s/early '70s still appeal to me today. This one, however, sounds as fresh, exciting, and original as it ever did.

Beethoven: Symphonies 3 and 4. Tonhalle Orchester Zurich/David Zinman (Arte Nova 74321 59214 2) Zinman's Eroica is driving and exciting, and the 4th is a nice filler.

Beethoven: Symphonies 5 and 6. Tonhalle Orchester Zurich/David Zinman (Arte Nova 74321 49695 2) One of the best 5ths I have ever heard, and a darn good 6th, too.

Beethoven: Symphony No. 9. Tonhalle Orchester Zurich/David Zinman (Arte Nova 74321 65411 2) Zinman's 9th crackles with energy. This is a driving performance that will leave you in breathless awe.

Arthur Blythe: Lenox Avenue Breakdown. (Koch Jazz KOC-CD-7871) A welcome reissue of a jazz recording that blew me away in 1979 and still does two decades later.

Brahms: A German Requiem. Mormon Tabernacle Choir/Utah Symphony/Craig Jessop (Telarc CD-80501) An overwhelming recording both sonically and musically of Brahms's Requiem, sung in English in a translation by the late Robert Shaw.

Harold Budd: The White Arcades. (Opal Records 9 25766-2) The kind of music you might expect to hear played at, say, the Monterey Bay Aquarium. A wonderful blend of synthetic and acoustic instrumentation.

Judy Collins: Colors of the Day. (DCC GZS-1130) An excellent collection of Ms. Collins's music in a carefully remastered version by DCC's Steve Hoffman.

John Coltrane and Johnny Hartman. (Mobile Fidelity Sound Lab UDCD 740) The best-sounding version of this ultra-mellow jazz classic.

Coteau: Highly Seasoned Cajun Music. (Rounder CD 6078) This CD sounds like a hybridization of Beausoliel, The Grateful Dead, and The Allman Brothers Band -- whew!

Miles Davis: A Tribute to Jack Johnson. (Columbia/Legacy CK 47036) Big fun musically, but I hope they let Bill Laswell remix this thing someday to punch up the sound.

Bill Frisell: Nashville. (Nonesuch 79415-2) Amazingly pleasant music that I can enjoy any time, anywhere.

Jan Garbarek: Rites. (ECM 1685/86) Pulsating and powerful, a synthesis of acoustic and electronic sound that reveals the both creative and interpretive dimensions of Garbarek's boundless talent.

John Hiatt: Slow Turning. (Mobile Fidelity Sound Lab UCDCD 741) Hiatt's best in its best-sounding incarnation.

Keith Jarrett: The Melody At Night, With You. (ECM 1675). In my Issue 72 list, I mentioned that I would include just about every release from Keith Jarrett as a favorite. This new collection of solo standards is simply beautiful.

Charles Lloyd: Voice in the Night. (ECM 1674) Lloyd on tenor, accompanied by John Abercrombie (guitar), Dave Holland (bass), and Billy Higgins (drums) in an intensely lyrical set that never lacks for imagination or inspiration.

Jacques Loussier Trio: Satie: Gymnopedies/ Gnossiennes. (Telarc CD-83431) Delightful interpretations of the music and spirit of Erik Satie by a jazz piano trio, very powerfully -- almost too powerfully -- recorded.

Mahler: Das Knaben Wunderhorn. Anne Sofie von Otter/Thomas Quasthoff/Berliner Philharmoniker/Claudio Abbado (Deutsche Grammophon 289 459 646-2) Many of these melodies worked their way into Mahler's symphonies. This is an especially comprehensive and well-performed version of these magical songs for voice and orchestra.

Mahler: Das Lied von der Erde. Christa Ludwig/Fritz Wunderlich/New Philharmonia Orch./Philharmonia Orch./Otto Klemperer (EMI Classics 7243 5 66944 2 2) Freshly remastered version of a CD that was on my 1998 list.

Mahler: Kindertotenlieder, 5 Ruckertlieder, Lieder eines fahren Gesellen. Janet Baker/Sir John Barbirolli (EMI Classics 7243 5 66996 2 5) Baker and Barbirolli interpret Mahler with energy, clarity, and color.

Mahler: Symphony No. 1. Chicago Symphony Orch./Pierre Boulez (Deutsche Grammophon 289 459 610-2) Precision playing, but plenty of color and emotion.

Mahler: Symphony No. 1, Lieder eines fahren Gesellen. Dietrich Fischer-Dieskau/Bavarian Radio Symphony Orch./Rafael Kubelik (Deutsche Grammophon 449 735-2) A benchmark performance of the 1st, remastered and now paired with a vigorous version of the Songs of a Wayfarer.

Mahler: Symphony No. 2 and Brahms: Symphony No. 4. London Symphony Orch./New Philharmonia Orch./Leopold Stokowski A majestic reading of the Mahler and a perversely fast but undeniably exciting romp through the Brahms make this two-disc set a sleeper keeper.

Mahler: Symphony No. 3. Los Angeles Philharmonic/Esa-Pekka Salonen (Sony Classical S2K 60250) Last year I listed several recordings of this work -- this new one from Salonen eclipses them all overall.

Mahler: Symphony No. 5. New Philharmonia Orch./Sir John Barbirolli (EMI Classics 7243 5 66962 2 8) Slow but satisfying.

Mahler: Symphony No. 9. Philharmonia Orch/Benjamin Zander (Telarc 3CD-80527) A really good recording of this magnificent work, plus a spoken musical exegesis -- with musical examples -- thrown in on a bonus disc.

Branford Marsalis: Requiem. (Columbia CK 69655) Although it seems that in published interviews Marsalis cannot string five words together without one of them referring to excrement, his playing, while earthy, rises to a loftier level than his vocabulary might indicate. This is an intense and rewarding blowing session -- some downright powerful poop!

Nils Petter Molvaer: Khmer. (ECM 1560) This young Scandinavian trumpeter has done a lot of listening to Miles Davis and put together a recording that sounds like a Jack Johnson for the '90s. Great stuff, powerfully recorded.

The Mormon Tabernacle Choir: Come, Come, Ye Saints. (BWE Classics BWE 0098) Big-scale arrangements of classic Latter-day Saint hymns for the full Mormon Tabernacle Choir plus organ and orchestra, all recorded in audiophile-grade sound. You don't have to be Mormon -- or even religious -- to appreciate this beautiful and inspiring recording.

The Other Ones: The Strange Remain. (Arista GDCD 4062) The core of the Grateful Dead team up with Bruce Hornsby and some neo-Garcia-style guitarists to make a killer live album of Dead classics and a few Hornsby tunes. Phil Lesh's bass playing anchors the recording, and the sound is amazingly good for a live set.

Mozart/Brahms: Clarinet Quintets. David Shifrin/Emerson String Quartet (Deutsche Grammophon 289 459 641-2) Clarinetists rejoice! Here are two fine performances of two fine pieces in simply sterling stereo sound.

Peter Rowan and The Rowan Brothers: Tree on a Hill. (Sugar Hill SH-CD-3823) Contemporary bluegrass with timeless appeal.

Rubbra: Symphonies 4, 10, and 11 and Symphonies 3 and 7. BBC National Orchestra of Wales/Richard Hickox (Chandos 9401 and 9634) Edmund Rubbra (1901-1986) was a wonderful symphonist whose works are hardly known in the U.S. These are two outstanding CDs in terms of music, performance, and sound.

Sibelius: Symphonies 6 and 7, Tapiola. Lahti Symphony Orchestra/Osmo Vanska (BIS BIS-CD-864) Three late orchestral works by Sibelius, played with remarkable clarity and recorded in demo-quality sound.

Sonia Dada: A Day at the Beach. (Capricorn 42037-2) Good singin', good playin', good recordin'. One of the few rock records from the last five years to stay in my collection more than a few days.

Tiny Town: Tiny Town. (Pioneer Music Group 92801-2) From the ashes of the Subdudes, something even better. Another recent rock keeper.

The Traveling Wilburys, Vol. I. (Wilbury Records 9 25796-2) Bob Dylan, Jeff Lynne, Tom Petty, George Harrison, and especially Roy Orbison are all singers of whom I can say that at least to these ears, a little of their individual voices goes a long way. Blend these voices together, though, and the end result is really special. This was a silly little recording that was -- and still is -- great fun to listen to and sing along with (speaking of voices of which a little goes a long way!).

Veljo Tormis: Forgotten Peoples. Estonian Philharmonic Chamber Choir/Tonu Kaljuste (ECM New Series ECM 1459/60) Haunting and powerful -- hard to forget.

Ross Traut/Steve Rodby: The Great Lawn. (Columbia CK 44472) This one dates from 1987 and may be long out of print, but if you ever see it, grab it. That's what I did, following the advice of a complete stranger who out of nowhere pushed this CD on me as I was casually browsing through the $3 bin at a used CD store. Talk about three bucks well spent! Guitarist Traut and bassist Rodby (now bassist in the Pat Metheny Group) lay down some wonderful interpretations of popular and jazz tunes, including "Up on the Roof," "Round Midnight," and the great Delfonics cut, "La La Means I love You." Great, great stuff -- trust me ...

Vaughan Williams: Symphonies 5 and 9. Bournemouth Symphony Orch./Kees Bakels (Naxos 8.550738) Not a sonic spectacular like these forces' version of RVW's Symphony No. 7, but to get two of RVW's best symphonies in superb sound for under six bucks is wondrous value indeed.

John J. Puccio (JJP)

What readers will probably wonder about is why so much of the stuff is non-audiophile and why so much of it is from the '50s, '60s, and '70s. The answers are (1) because most audiophile recordings are filled with vacuous content and (2) because I'm old, man.

1. Gene Autry: "Back in the Saddle" (1939, from The Essential Gene Autry, Columbia Legacy CK 48957)

2. Joan Baez: "Farewell Angelina" (1965, from Greatest Hits, Vanguard 811 677-2)

3. Count Basie: "One-Nighter" (1973, from Basie Jam, Analogue Productions Gold CAPJ 022)

4. Beatles: "Ballad of John and Yoko" (1969, from Past Masters, Volume Two, Parlophone CDP 7 90044 2)

5. Harry Belafonte: "Jamaica Farewell" (1959, from Belafonte at Carnegie Hall, Classic Compact Disc LSOCD 6006)

6. Dave Brubeck Quartet: "Take Five" (1959, from Time Out, Columbia Legacy CK 65122)

7. Buffalo Bills/Shirley Jones: "Lida Rose" & "Will I Ever Tell You?" (1962, from The Music Man, Warner Bros. 1459-2)

8. Jimmy Buffett: "Son of a Son of a Sailor" (1978, from Son of a Son of a Sailor, Mobile Fidelity UDCD 713)

9. Eric Clapton: "Wonderful Tonight" (1977, from Slowhand, Mobile Fidelity UDCD 553)

10. Patsy Cline: "Crazy" (1961, from The Patsy Cline Story, MCA Records MCAD-4038)

11. Nat "King" Cole: "The Very Thought of You" (1958, from The Very Thought of You, DCC Compact Classics GZS-1119)

12. Judy Collins: "Amazing Grace" (1970, from Whales & Nightingales, Elektra 75010-2)

13. Ry Cooder: "Coast of Malabar" (1995, from The Chieftains: The Long Black Veil, RCA 09026-62702-2)

14. Ry Cooder: "Happy Meeting in Glory" (1978, from Jazz, Warner Bros. 3197-2)

15. Creedence Clearwater Revival: "Down on the Corner" (1969, from Chronicle, Fantasy Gold CCGCD-22-2)

16. Eagles: "Take It To the Limit" (1975, from Their Greatest Hits, DCC Compact Classics GZS-1039)

17. Fleetwood Mac: "Songbird" (1977, from Rumours, Warner Bros. 03010-2)

18. Carlos Gardel: "Por Una Cabeza" (1998, performed by Viveza from Tango Tango, Omega OCD 3030)

19. Grateful Dead: "Ripple" (1972, from What a Long Strange Trip It's Been, Warner Bros. 3091-2)

20. Arlo Guthrie: "Last Train" (1974, from The Best of Arlo Guthrie, Warner Bros. 3117-2)

21. Mickey Hart: "Temple Caves" (1991, from Planet Drum, Rykodisc RCD 10206)

22. Buddy Holly: "Rave On" (1958, from The Original Master Tapes, MCA Records MCAD-5540)

23. Ink Spots: "I'll Get By" (1943, from Greatest Hits, Decca MCA Records MCAD-31347)

24. Al Jolson: "About a Quarter to Nine" (1947, from Best of the Decca Years, Decca MCA Records MCAD-10505)

25. Jim Keach/Ry Cooder: "Wildwood Boys" (1980, from The Long Riders, Warner Bros. WPCP-3160)

26. Frank Kimbrough Trio: "Northwest" (1988, from Lonely Woman, Mapleshade 56282)

27. John Klemmer: "Touch" (1975, from Touch, Mobile Fidelity UDCD 522)

28. Erich Wolfgang Korngold: "The Sea Hawk" (1972, from The Sea Hawk, Charles Gerhardt, National Philharmonic, RCA 7890-2-RG)

29. Loggins & Messina: "Watching the River Run" (1973, from Full Sail, Mobile Fidelity UDCD 733)

30. Arthur Lyman Group: "Yellow Bird" (1961, from More of the Best, DCC Compact Classics DZS-096)

31. Bob Marley & the Wailers: "One Love/ People Get Ready" (1977, from Exodus, Mobile Fidelity UDCD 628)

32. Mills Brothers: "Paper Doll" (1942, from Original Hits 1941-1955, Decca MCA MCAD-31348)

33. Mickey Newbury: "San Francisco Mabel Joy" (1988, from In a New Age, Airborne Records ACD-101)

34. Nitty Gritty Dirt Band/Mother Mabelle Carter: "I'm Thinking Tonight of My Blue Eyes" (1972, from Will the Circle Be Unbroken, EMI CDPB 7 46589 1/2)

35. Roy Orbison: "Blue Bayou" (1963, from The All-Time Greatest Hits, DCC Compact Classics GZS-1118)

36. Persuasions: "I Wonder Do You Love the Lord Like I Do" (1986, from No Frills, Rounder CD 3083)

37. Peter, Paul and Mary: "Don't Think Twice" (1963, from In the Wind, Warner Bros. 9 26224-2)

38. Pink Floyd: "The Great Gig in the Sky" (1973, from Dark Side of the Moon, Mobile Fidelity UDCD 517)

39. Preservation Hall Jazz Band: "His Eye Is on the Sparrow" (1977, from Volume I, CBS/Sony MK 34549)

40. Monty Python: "The Galaxy Song" (1983, from Monty Python Sings, Virgin Records 2-91781)

41. John Renbourn: "The Earl of Salisbury" (1970, from Sir John A Lot, Shanachie 97021)

42. Rolling Stones: "It's All Over Now" (1966, from Singles Collection, the London Years, Abkco 1218-2)

43. Santana: "Oye Como Va" (1970, from Abraxas, Mobile Fidelity UDCD 552)

44. Paul Simon: "Kodachrome" (1973, from There Goes Rhymin' Simon, Warner Bros. 9 25589-2)

45. Frank Sinatra: "One for My Baby" (1958, from The Capitol Years, Capitol CDP 7 94317 2)

46. Sons of the Pioneers: "Blue Shadows on the Trail" (1947, from The RCA Years, Vol. 1, RCA 9744-2-R)

47. Cat Stevens: "Morning Has Broken" (1971, from Teaser and the Firecat, Mobile Fidelity UDCD 649)

48. John Tropea: "Honky Tonk" (1986, from NYC Cats Direct, DMP CD-453)

49. Mark P. Wetch: "The Entertainer" (1982, from Ragtime Razzmatazz, Vol II, Wilson Audiophile WCD-8212)

50. Roy Rogers and Dale Evans: "Happy Trails" (1952, from Songs of the West, Rhino R2 71263)