Txtraordinary Cassette Deck Valueever Offered

The most

FEBRUARY 1976 ONE DOLLAR txtraordinary cassette deck valueever offered.

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099E IV AlID XIN3Hd -99Z X ZO HiIWS NN3% 2 DOLBY SYSTEM FULL AUTO -STOP WON rP,1. 063992'08 IIS Man Thenew2121. With 00: Ever since the cassette deck stepped TAPE POLE, NI, Twin illuminated VU meters, plus Frequency Response (Chrome Tape): into the spotlight with proven high separate input level controls for each 30-16,000 Hz fidelity performance, great advances channel help you set accurate Wow & Flutter (WRMS): 0.12% J1111111111111111111111111111111111k in tape and cassette deck technology recording levels. Stereo microphone Signal -to -Noise Ratio (with Dolby): 58dB have been made. Despite this inputs as well as the headphone Input Sensitivity: 0.3mV - 63mV (mic); INIONCOSINIV; 63mV - 12V (line) progress, most of the high fidelity PHONES L N110 output jack are all easily accessible industry was convinced that it was Outputs: 450mV (line & DIN); 80mV 8 ohms on the front panel. (headphones) 03200V®®@ virtually impossible to build a really 0 By any point of reference, superior front -loading, front -control compare the CT-F2121's combination U.S Pioneer Electronics Corp., cassette deck equipped with Dolby - Switch from one mode to anutbai, bypassing Separate bias & equalization switches for any of performance and features with 75 Oxford Drive, Moonachie, The CT -F2121 comes ready for custom that could sell for less than two the Stop lever. type of cassette tape. installation. Handsome, optional cabinet with cassette decks costing much more. New Jersey 07074. walnut veneered top and sides also available. hundred dollars. Everything's up front for Versatile features increase You can come to only one conclusion West: 13300 S. Estrella, Los Angeles Pioneer thought it might be optimum operating convenience. listening enjoyment and simplify - at under $2001-, this is the most 90248 / Midwest: 1500 Greenleaf, impossible, too. But we figured it was Pioneer's engineers have designed recording. extraordinary cassette deck value Elk Grove Village, III. 60007 / Canada: worth the try. the CT -F2121 to give you the highest ever offered. S. H. Parker Co. The engineers at Pioneer were Pioneer has outdone itself on the when you want something better degree of flexibility in use. You can CT -F2121 with a host of easy -to -use given the 2121 project two years ago. stack it easily with other components They were asked to build a front - features. A long life permalloy-solid in your system because every control record and play head and a ferrite access, front -control cassette deck function, as well as cassette loading, loaded with features. A deck that erase head insure excellent signal- is operable from the front panel In to-noise ratio. The ti anspoi l uperatiny would outperform any unit In the two addition, the illuminated cassette hundred dollar price range that had levers that permit, direct, jam -proof compartment permits rapid cassette switching from one mode to another ever been built before. loading at an easy -to -see 30° angle, Th,=. rc-siiil is without having to (Ter air:. thr- shy An LED indicator lets you know when CT -F2121 -a cassette deck with lever, are a great advancement. And, you're in the recording mode. And, like Pioneer's more expensive enormous capability, performance, as all Pioneer components, the reliability and features, Pioneer cassette decks, the CT -F2121 has a eeilliels are siiiiplw to line anr1 Juputule electronic servo-systeni believes the GI -F-2121 has the logically arranged. greatest combination of value ever and a solenoid that provides automatic stop at the end of tape put into a cassette deck at such an Improved sound reproduction extremely reasonable price. travel in play, record, fast wind and with built-in Dolby B system. rewind. The CT-F2121's selectable Dolby B provides as much as 10dB improvement in signal-to-noise ratio with standard low noise tapes. There's an even greater improvement with chromium dioxide tape. An indicator light tells you instantly when the Dolby system is in operation. And to insure better, interference -free recordings of FM stereo broadcasts, Pioneer has built in a multiplex filter. Outstanding performance with every type of tape. Separate bias and equalization switches permit you to use any kind of cassette tape: standard low noise, chromium dioxide - and even the eevvest forrIchrouic formulations.1 he CT -F2121 brings out the fullest capabilities of each tape. And to PAUSE STOP/E produce the best performance, the operating manual of the CT -F2121 gives you a chart listing the most popular cassette tape brands with their recommended bias and equalization control settings. There's never any guesswork.

DOLBY SYSTEM FULL AUTO -STOP

"Dolby is a trademark of Dolby Laboratories, Inc, ((Optional cabinet with walnut veneered top and sies. Approxima above are'manufacturer's approximate v REC 0

INPUT TAPE DOLBY NR LEFT RIGHT BIAS ED

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Actual resale prices will be set by the individual Pioneer dealer at his own option. CIRCLE NO. 1 ON READER SERVICE CARD Advice from a professional recording engineerabout blank tape

When I record a session, I can't I need perfect tape to That's why, in the recording take a chance on anything less deliver perfect performance. studio so many engineers like than perfect tape. me use Ampex professional mastering tape.

;46 And at home, I use Ampex -8 -track cartridges-and open the same tape formulation as cassettes- reel tapes. These Ampex tapes the Ampex professional tapes for the home are made with- I use in the studio.

Ampex tapes are used by the Take a professional's advice- most demanding professional buy Ampex. I wouldn't record recording engineers worldwide. on any other tape-in my studio or in my home.

Discover for yourself the professional reliability builtinto every Ampex cassette, 8 -track cartridge and open reel tape. Discover what a difference this professional qualitycan make on your equipment. Try Ampex blank tape in your home. Made with thesame know-how that goes into Ampex studio mastering tape, acknowledged by recording engineers around the world as the finest professional mastering tape available. Get Ampex- the tape the professionals use. Ampex is the #1 name in studio recording- make it the #1 name in your home recording. AMPEX CIRCLE NO. 5 ON READER SERVICE CARD StFORMERLY HI FI/STEREO REVIEW Review® ereo NUMBER 2 FEBRUARY 1976 VOLUME 36 ate `Equipment NEW PRODUCTS A roundup of the latest in high-fidelity equipment 12 AUDIO QUESTIONS AND ANSWERS Advice on readers' technical problems LARRY KLEIN 16 AUDIO BASICS Glossary of Technical Terms -25 RALPH HODGES 20 TAPE HORIZONS Drop That Mike CRAIG STARK 24 EQUIPMENT TEST REPORTS Hirsch -Houck Laboratory test results on the Dokoder 1140 four -channel tape deck, Onkyo Model 8 speaker system, Tandberg TCD-310 stereo cassette deck, Rotel RA -1412 integrated stereo amplifier, and an addendum on the Uher 134 cassette recorder test JULIAND.HIRSCH 29 HARD ROCK, SOFT EARS Can loud music cause loss of hearing? ALEXBURR 52 rto usk EDDIE PALMIERI ON SALSA The rhythm's the thing for the leader of "the orchestra of the happy feet" JOHN STORM ROBERTS 58 RECORD OF THE YEAR AWARDS -1975 STEREO REVIEW'S critics and editors select the industry's top artistic achievements 61 JASCHA HEIFETZ A diamond -jubilee testimonial for an All-American violinist IRVING KOLODIN 66 LILY TOMLIN, MODERN SCREAM Her sixty-two (last count) separate personalities get another outing PAUL KRESH 79 ANNE MURRAY: TOGETHER The voice is used with increasing skill, but are the emotions being taxed? NOEL COPPAGE 82 SIMON & GARFUNKEL, SOLOISTS A pair of singer -songwriters seem to have gone astray STEVE SIMELS 88 CHARLIE PARKER ON DIAL Six albums for the record-more than we have ever had before CHRIS ALBERTSON 94 UNACCOMPANIED BACH The six sonatas and partitas for violin in two new integral versions IGOR KIPNIS 104 THE ROMANTIC REVIVAL CONTINUES "An aural feast of fascinating musical entrees" FFtAN K COOPER 108 WeRevieug BEST RECORDINGS OF THE MONTH 73 POPULAR DISCS AND TAPES 78 CLASSICAL DISCS AND TAPES 98 WeGitgulars EDITORIALLY SPEAKING WILLIAM ANDERSON 4 LETTERS TO THE EDITOR 6 TECHNICAL TALK JULIAND.HIRSCH 28 THE SIMELS REPORT STEVE SIMELS 42 GOING ON RECORD JAMES GOODFRI END 46 THE OPERA FILE WILLIAM LIVINGSTONE 48 THE BASIC REPERTOIRE MARTINBOOKSPAN 50 CHOOSING SIDES IRVINGKOLODIN 96 ADVERTISERS' INDEX 117

COVER: Portrait of Jascha Heifetz by Alan Magee

COPYRIGHT © 1976 BY ZIFF-DAVIS PUBLISHING COMPANY. All rights reserved. Stereo Review, February 1976, Volume 36, Number 2. Published monthly by Ziff -Davis Publishing Company; Editorial and Executive Offices at One Park Avenue, New York, N.Y. 10016; Telephone: 212 725-3500.Hershel B. Sarbin. President; Furman Hebb, Executive Vice President; Vincent Perry, Financial Vice President and Treasurer; Charles B. Seton, Secretary. Alsothe publishers of Boating, Car and Driver, Cycle, Flying, Modern Bride, Popular Electronics, Popular Photography, and Skiing. One year subscription rate for U.S., $7.98; U.S. possessions and Canada,.$8.98; all other countries, $9.98. Second class postage paid at New York, N.Y. and at additional mailingoffices. Authorized as second class mail by the Post Office Department, Ottawa, Canada, and for payment of postage in cash. SUBSCRIPTION SERVICE: Forms 3579 and all subscription correspondence should be addressed to Stereo Review. Circulation Department, P.O. Box 2771, Boulder, Colorado 80302.Please allow at least eight weeks for change of address. Include your old address, as well as new-enclosing if possible an address label from a recentissue. Stereo Review PUBLISHER EDGAR W. HOPPER EDITOR WILLIAM ANDERSON MANAGING EDITOR WILLIAM LIVINGSTONE EDITORIAL COORDINATOR LOUISE GOOCH BOUNDAS MUSIC EDITOR EDITORIALLY JAMES GOODFRIEND TECHNICAL EDITOR LARRY KLEIN ART DIRECTOR (----- BORYS PATCHOWSKY ASSOCIATE TECHNICAL EDITOR A\DERso\ RALPH HODGES F\N!6,\I\G POPULAR MUSIC EDITOR irk AIL 41111111111111=11111111r STEVE SIMELS ASSISTANT MUSIC EDITOR VIVIENNE WINTERRY GOODMAN MUSICAL ATTITUDES: FOUR TYPES PRODUCTION EDITOR PAULETTE WEISS ALONG TIMEago someone-was it Marilyn Monroe?-tried to put a little system CONTRIBUTING EDITORS CHRIS ALBERTSON into our understanding of what music is by observing that the difference be- MARTIN BOOKSPAN tween popular and classical is that "classical has no vocal." Don't laugh; it is a mod- NOEL COPPAGE RICHARD FREED estly useful distinction that permits us to separate the bulk of popular music (popular DAVID HALL ROY HEMMING song) from the bulk of classical (symphonic and other instrumental works). The tidy JULIAN p. HIRSCH mind, however, mother-henning all the exceptions, rejects so gross a simplicity be- GEORGE JELLINEK IGOR KIPNIS cause it doesn't account for everything: jazz, for example, is a largely instrumental IRVING KOLODIN PAUL KRESH popular music, a lot of classical music does have a "vocal," and opera-well, just STODDARD LINCOLN what is opera. . . a popular music written by classical composers? Where such J MARKS-HIGHWATER LINCOLN PERRY coarse -screen generalizations really break down is in the borderline cases; for these PETER REILLY ERIC SALZMAN only subjective judgments, adulterated with bile, bias, and unlovely ambition, will CRAIG STARK suffice. This suggests that it might be more useful (it is certainly more provocative) to JOEL VANCE ROBERT WINDELER take a step back from efforts to classify music itself, to deal instead with the funda- LONDON EDITOR mental issue-our subjective attitudes toward music.These attitudes, it seems tome, HENRY PLEASANTS are of four types (making a system of categories twice as precise as Marilyn's), ADVERTISING DIRECTOR which can be described (from one extreme to another, and throwing in a bit of hyper- JAMES J. SULLIVAN bole for effect) as: ADVERTISING SERVICE MANAGER Type I: There is no music but folk-that is, popular-music. All else is the LINDA BLUM effete, epicene nattering of bourgeois elitists, a cacophony of boringly cerebral, im- ASSOCIATE PUBLISHER potently "mathematical" noises unrelated to the natural visceral outpourings ofan STANLEY NEU FELD authentic culture. Disingenuously political or piously sentimental, this position has at EXECUTIVE ASSISTANT least one interesting flaw: whether natural outpouring or impotent cerebration,very PEGI McENEANEY little music is either written or performed by impudent, sneering aristocrats. Editorial and Executive Offices Ziff -Davis Publishing Company Type II: There is popular music and there is classical music, but they are drawn One Park Avenue, New York, New York 10016 212 725-3500 from different wells, they have nothing to do with each other. A tempting hypothesis, Eastern Advertising Manager: Richard J. Halpern Midwestern Office: The Pattis Group weakened perhaps by the fact that most of the evidence seems to be of the negative 4761 West Touhy Ave., Lincolnwood, III. 60646 312-679-1100 kind: the inability of "crossover" artists (and this is not to question their sincerity) to Arnold S. Hoffman Western Office play or sing idiomatically in foreign territory, the failure of composers to borrow con- 9025 Wilshire Boulevard Beverly Hills, California 90211 213 273-805ffi 272-1161 vincingly-in either direction-across the line. Thus, classical singers are out of their Western Advertising Manager: Bud Dean depth in popular song, jazz clarinetists speak Mozart with an accent, classical themes Japan: James Yagi Oji Palace Aoyama, 6-25. Minami Aoyama 6-Chome, Minato-ku, Tokyo, Japan make the most tawdry popular songs, and pop transplants in classical bodies trigger Telephone: 407.1930/6821,582-2851 immediate immunological reactions. Circulation Office P.O. Box 2771. Boulder, Colorado 80302 Type III: Popular music and classical music are two different things, but they ex- EDITORIAL CONTRIBUTIONS must be accompanied by return postage and will be handled with reasonable care; however, publisher as- sumes no responsibility for return or safety of art work, photography, ist in symbiosis, they feed upon each other. Adolphe Sax invented his horn for or manuscripts. "classical" purposes-but where would jazz be without it? The forms, if not the spe- Member Audit Bureau of Circulations cific melodic and/or rhythmic content, of much popular music have classical roots. Bach, Beethoven, Mozart, and others found inspiration in popular dance forms; Schubert, Brahms, and others transformed (some say successfully) folk song into classical lied; Gottschalk drew heavily on folk sources for his piano works; sympho-

ZIFF-DAVIS PUBLISHING COMPANY nists from Haydn to Mahler simply appropriated folk (popular) themes. Hershel B. Sarbin. Presiden Furman Hebb. Executive Wee President Type IV: There is classical (or "art" or "serious" or "learned") music; all else Vincent Perry, Financial Vice President and Treasurer Phillip T. Heffernan. Senior Vice President. Marketing is bad copy, degraded form, and juvenile mewling, inept at best, appallingly silly at Edward D. Muhlfeld. Senior Vice President. Spons Div. Philip Sine. Senior Vice President worst, and beneath the notice of adult minds. Like rock, of course. One trouble with Frank Pomerantz. Vice President. Creative Services Arthur W. BuDow, Vim President, Production this thesis is that it is impossible to trace the degenerative process, to "prove" that a Lawrence Sporn, Vice President, Circulation George Morrissey, Vice President Sydney H. Rogers, Vice President given popular piece had its genesis in a classical model. (In this, music is quite unlike Sidney Holtz, Vice President Al Trains, Vire President such arts as architecture, furniture design, and painting, where such influences are Philip Kormnt, Vim President Charles B. Beton, Secretary easily traced in folk artifacts.) Edgar W. Hopper, Vice President, Electronics Div. For myself, I find that I vibrate somewhere between Types II and III, depending William Ziff, Chairman W. Bradford Briggs. Vice Chairman on the particular case at hand. Steve Simels, at least from his column this month, would appear to be a strong Type II. What about you?

4 STEREO REVIEW OnlyTechnics givesyouthe world's mostprecisedrive system, any way you want it. Direct -drive precision. Now you can have it any way you want it. Because Technics uses direct drive in more kinds of turntables than anyone else. You can get it for under $200 in the SL -1500. One of four manuals, Or for about $500 you can have our professional turntable, the SP -10. There's a fully automatic single play model, the SL -1300. And the world's first direct -drive ;:hanger, the SL -1350. And all these turntables share the Technics direct -drive system. A system so superior that FM stations have been using our direct -drive turntables for years. Here's why. In our direct -drive system, the platter is an extension of the motor shaft. There are no belts or idlers to produce variations in speed. So all our turntables have less than 0.03% wow and flutter (WRMS) (0.04% for the SL -1350). You won't hear any rumble either. Because we use an electronically controlled DC motor that spins at exactly 33 or 45 rpm And, unlike rumble -producing high- speed motors, our motor introduces so little vibration into the system that any rumble remains Inaudible Direct Drive (-70dB DIN B), System And every Technics direct -drive turntable has variable pitch controls. A built-in stroboscope. And CD -4 phono cables. And for those that include a tone arm you also get viscous damped cueing. Anti -skating. Feedback insulated legs. Even a dust cover and an integral base. But we don't have to tell you how good these turntdoles are. Read some of the reviews*. And see for yourself. The. concept is simple. The execution is precise. The performance is outstanding.'The name is Techrtics. *SP -10 -Audio, 8/71; Stereo Review, 9/71; Audio, 10/73, 3/74. SL -1100A- Stereo Review, 7/73; High Fidelity, 9/73. SL -1200 - Radio Electronics, 7/74; Audio, 7/74; stereo, Fall '74. SL -1300 - FM Guide, 9/74; Stereo Review, 2/75. FOR YOUR TECHNICS DEALER, CALL TOLL FREE 800 -47-4700 IN ILLINOIS, 800 322-4400 ...... lbchnics SL 1300

CIRCLE NO. 49 if my assumption is correct that Mr. Simels is a fan of the "musical" group the Rolling Stones, then we don't have the same tastes anyway. DAVID WILLARD Pengilly, Minn. What is crystal clear is: if the public likes it, it must be bad. Yes, there is freedom of the press; yes, everyone has a right to his/her opinion. But it would be refreshing if genuinely qualified critics embarked on an educative, rather than a destructive, course in criticism. JIM MORRIS Los Angeles, Calif.

A ten -least -loved article is in poor taste at the very least, considering how many performers publicly name their least -loved critics, but to publish such an article in the De- cember issue is thoughtless. Has the Christ- mas spirit in this country depreciated to the LETTERS TOTHE EDITOR point where we express our hatred instead of love during this season? JOHNR.WALDRON Music on the Air ership for rock stations in New York has Wexford, Pa. Roy Hemming's "Music on the Air" in the dropped "drastically" (I guess he means radi- December issue covered nearly everything in cally), and goes on to say that "FM station In regard to your December article "Ten classical music broadcasting. I was especially WQIV-formerly the most adventurous of Performers I Hate," let me say that I have happy to learn how much in the forefront all-has now been turned over entirely to never read a more side-splitting narrative in "my" two stations, WQXR and WFMT, are classical music." any other (usually) serious publication. The (my home is in New York, my university in ARTHUR CROOKSHANK critics' verbal disassembly of "artists," even Chicago). New York, N.Y. ones I like, was simply too much. Thank you But one thing was missing: frequency num- forproviding this unexpected, humorous bers. It would not have taken too much space Many thanks for Roy Hemming's out- delight! to list the 108 or 174 stations you mentioned standing article (December). The information DON MACH with their positions on the dial; maybe it could itcontains on the state of "good music" Highland, Ind. be done on a map. It would be very useful to broadcasting around the country will be of in- be able to program a long trip with a sort of terest here at Dartmouth College, since we COME ON! How can you throw geniuses road map of good music, say the stations one have recently acquired a commercial FM li- likeEmerson,Lake & Palmer,John could tune to along the major interstate high- cense and programming content is under heat- McLoughlin, Chick Corea, Weather Report, ways. I find myself riding a third of the way ed debate locally. Todd Rundgren, and George Harrison into the across the country several times a year, and ARTHUR W. LUEHRMANN gutter with clowns like Bowie, Cher, Denver, on one all -too -memorable trip a friend tuned Hanover, N.H. Vinton, etc.? STEREO REVIEW has just hit the from top -40 station to top -40 station, and we top of the list of "The Magazines I Hate!" Locus Classicus BILL RIEGER were pursued all the way from New York to This is in response to what may have been Chicago by Soeur Sourire II singing an inane Cleveland, Ohio arrangement of the Lord's Prayer at us. I a rhetorical question in Editor William Ander- son's December editorial, "Can anyone tell Ienjoyed reading "Ten PerformersI couldn't do anything about it-it was his car. me who it was who said, '0, that mine enemy PETER T. DANIELS Hate" and agree with most of your music crit- Chicago, Ill. would write a book'?" ics. We are living in a world where trash is According to Bartlett's Familiar making more money than quality material, Quotations, the quotation comes from the Bi- and the record industry produces more trash The "road map" is a good idea-but we saved ble, Job 31 (35) and the actual wording is "My it for another article which will follow in good every month. desire is, that the Almighty would answer me, JOSE J. PEiiA time. The December article concerned the and that mine adversary had written a book." Corona, N.Y. state of classical -music broadcasting in the The meaning of the original quote seems to U.S., which is largely a question of econom- have quite a different slant from the one im- People have varied musical tastes, they ics. We are presently working up a study of the plied by Mr. Anderson, as the next line is, like what they like, and to me it is unfair to technical quality of those same broadcasts, "Surely I would take it upon my shoulder, sum up a performer with such criticism just and we will be asking our readers to help us in and bind it as a crown to me." because he does not correspond to our liking evaluating them. Stay tuned. GARY K. MCCONE (although I must admit I do not care for any of Tucson, Ariz. the performers listed). The article on the state of classical -music JON C. LIEBLING broadcasting which appeared in the Decem- The Editor replies: Some devil must have Van Nuys, Calif. ber issue was quite informative. It opens up quoted that scriptural line to me, giving it a all sorts of ideas for future articles (for in- mean twist that I find more understandable How dare Joel Vance compare Judy Gar- stance, one on community -antenna FM ser- (though no more excusable) psychologically vices, which are offered in some areas) as well land to Barbra Streisand in any way! Doesn't as giving encouragement to those of us who than Job's self-righteousness. he know that Miss Streisand had at least four- enjoy classical music. teen albums (all gold) and two movies at the WALTER R. GARRETT Performers I Hate time of Miss Garland's death? I'll be willing to Augusta, Ga. Ienjoyed "Ten Performers I Hate" (De- bet that Streisand's audience has been and al- cember). It's refreshing to see we are not all ways will be bigger than Judy Garland could Those who followed (and some who as- blind and deaf and that other people feel the ever hope for. sisted) the fortunes of New York's WNCN asway I do about performers like Elton John, SCOTT JONES it flip-flopped from all -classical to all -rock (as Bob Dylan, and David Bowie. I was wonder- Carmel, Calif. WQIV) and back toall -classicalwill be ing, however, if Steve Simels included Chica- amused by this irony: a recent report on go- go in his remark about 99 per cent of all ja77 Funny how "Funny Girl" made the "Ten ings-on in New York by Steve Lake (writingrock being trash. Chicago is one of the most Performers" list. Against great odds for many in London's Melody Maker) notes that listen - consistently great jazz rock groups ever, but (Continued on page 8) STEREO REVIEW 6 io 075 R. J. Reynolds Tobacco:

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711. yearsI have been saying she had no talent, An amusing wad of artificial disseminationReilly didn't keep his tongue in check rather either vocal or acting, and possessed one by your motley crew of record offenders. than in supposed cheek. thing: volume-and I suspected that it too However, the comments on Bob Dylan indi- ROBERT KELLY was a gimmick. With no competition permit- cate something more than a mild case of staff Indianapolis, Ind. ted to enter the arena, she had to succeed, the infection. STEREO REVIEW critics have pro- worst performer since Teresa Brewer. Time jected one overburdened image after another Mr. Reilly replies: "A "creative" artist's re- will prove me correct. Will she be around as upon Dylan and then criticized him for the im-sponsibility is to pass along his subjective view long as Peggy Lee has been? ages they created. of the world no matter how awry it might seem E. H. MARREN Peter Reilly's redundant observations thatin any conventional sense. Songwriters and Long Beach, Calif. "Dylan's early work was historic, mostly be- popular entertainers simply catch and inter- cause he was in the right place at the right pret (often superbly) the prevailing mood. I've To each his own, but "Ten Performers I time" and that Dylan was "cleverly repeating always admired Dylan's managerial abilities Hate" was, in my opinion, of poor quality. I in song the ferment and anger that wereand his professionalism, which I think I once would much rather have seen those pages sweeping the campuses" imply obvious in- compared to that of an Irving Berlin in shred- used for advertisements than that poor excuse dications of phoniness on Dylan's part. Final-ded jeans. It is his pose as savant and avatar for criticism. ly, Reilly pigeonholes Dylan as a "sphinx of social change that bothers me. N. NICASTRO, JR. without a secret," thus condemning the image Spotswood, N.J. that he has invented of Dylan. Too bad Mr. I agree with better than 95 per cent of the choices of all the critics, an amazing statistic in itself (and a commentary on the improving perceptions ofcritics,no doubt). Some of the targetsI particularly relished were Barbra Streisand and Chick Corea. Thanks for a delightful article. Anewhigh performance STEWART W. VANDERMARK Natick, Mass. A superfluous article. It is no surprise to additive for your car. see almost every major name in rock music on the critics' hate lists, because over the past The all -new Jensen stereo speaker compact sizes. Sweeter,'" our new few years it has become apparent that the kits won't help your car go faster. Or space -saving solid state tweeter, is popular music critics ofSTEREOREVIEW do run better. What they will do is one of the reasons why. It allowed us not enjoy listening to popular music. maximize the performance of your to develop two revolutionary new radio or 8 -track in a way you never models-the Jensen 4" and 51/4" THOMAS EKSTEDT thought possible. coaxials. Together with our 6" x 9" Davis, Calif. The next best thing to model, they now make it possible for home speaker sound. anyone to obtain home speaker sound I thoroughly enjoyed seeing those of ques- When our engineers designed these quality in his car. tionable talent get the verbal slashing they de- new Jensens, they incorporated all the Ask your local Jensen dealer for serve. On the other hand, these people per- things we know about making home a demonstration. form a useful service in that they increase our speakers. That's why inside you'll find You won't know what you're missing appreciation for genuine talent and artistry. features like Flexair® woofer until you hear these new Jensen car RANDY S. PARLEE suspension and powerful Syntox-62' speakers perform for you. Milwaukee, Wisc. ceramic magnets. They combine to For a free catalog, write Jensen provide rich sound reproduction you Sound Laboratories, 4310 Trans World won't find in any comparably priced Road, Schiller Park, Illinois 60176. An atrocity which was totally ridiculous car speaker. and served the reader in no way. But instead Another Jensen first-true coaxial car of getting steamed up over it, I want to sug- speakers in 4", 51/4" and 6" x 9" sizes. JENSEN gest another kind of review. Why not com- SOUND LABORATORIES pare a record to the same artist's other works Jensen is the only company that Divoroir oh Pemcor. Schiller Park Illamo b01 n offers a true coaxial speaker in three or to other artists' records of similar style and quality? Readers have knowledge of their favorite music and can determine from this whether or not they want it. This is a much more efficient method, I feel. Tom FRIEDLEY Dallas, Tex. I didn't exactly like what Noel Coppage said about Elton John. In my opinion he is, 1111=323111111 with Bernie Taupin, the greatest thing to happen to rock 'n' roll since the Beatles. Every- thing he does is pure showmanship. He likes people to laugh and have a good time, an attitude the business needs. Of course he loves the money he gets from it, but who wouldn't? BARBARA TIERNEY Setauket, N.Y. The "Ten Performers" comments were wonderful. My faith in the credibility of your publication is restored. BRIAN PAULSEN Grand Forks, N.D. I took Editor William Anderson's sensible editorial advice ("Hearts and Heads") before Laboratories composing this mild broadside about your De- cember issue. With sneering regularity the STEREO REVIEW gents put down Tony Or- lando and Dawn, as in "Ten Performers I CIRCLE NO. 28 ON READER SERVICE CARD STEREO REVIEW Hate." So they're mediocre, but gee whiz, golly neds, and jeepers, they do provide musical variety in the vast desert of does and cops on the tube. You don't have to buy their records. BARBARA ANN REESBY Houston, Tex.

Ah yes, but critics do have to review them. This article was much more interesting than the usual ones on favorites. As a moderate music listener since 1968 and constant reader of critics of all kinds, I have formulat- ed a few rules which seem to cover the entire situation fairly well: (1) Most performers and groups have only one good record or album, and anyone who buys his/her/their second album does so at his own risk. (2) Music criticism is not an exact science- i.e.,Noel Coppage dislikes the Fifth Dimen- sion but elsewhere in the same issue they are praised. (3) Great musicians may have extremely unpleasant voices-Cat Stevens and most opera singers are examples. (4) Average to only moderately talented musicians may have extremely beautiful and pleasant voices-Karen Carpenter is a prominent example. (5) It is inadvisable to keep the same musical style, as the critics will complain of lack of imagination and growth. (6)Itisinadvisableto change musical styles, as the critics will complain that you haven't realized your promise, that you aren't as good as you used to be, that you have for- saken your roots, etc. (7) The almost unforgivable sin, according to a music critic, is to become very popular. BROOKS A.MICK Findlay, Ohio Thif...protectr your molt evenrive David Bowie has been lambasted so many hi-fi invertment. times by so many STEREO REVIEW critics that I have become immune to, and finally even amused by, what at first I took as aspersions on my taste. So, I was hardly amazed at the appearance of Bowie on three of the lists. But Recognizing that a penny saved is a penny earned, may we suggest unexpected were the mentions of Bob Dylan, Barbra Streisand, Phoebe Snow, Roberta that trying to economize by putting off the replacement of a worn Flack, and Labelle,all of whom have re- stylus could be like throwing away five dollars every time you play a ceived ecstatic praiseinSTEREO REVIEW. record. (Multiply that by the number of records you own!) Since the Maybe rock criticism is so contradictory and stylus is the single point of contact polarized because there is still no firmly estab- between the record and the balance lished aesthetic for it. of the system, it is the most critical RANDY BYRN component for faithfully reproduc- Memphis, Tenn. ing sound and protecting your rec- Performers I Like ord investment. A worn stylus could Your December article "Ten Performers I irreparably damage your valuable Hate" inspired me to come up with another record collection. Insure against fasolo.Stet%r, kind of list. Here are "Ten Performers I this, easily and inexpensively, sim- Like": dew ply by having your dealer check John Prine-each album has a different stingbas-stove your Shure stylusregularly. And, style. putcodges beiove976. when required, replaceit immedi- Bob Dylan-his "amateurish" harmonica Cal Gil -Is ately with a genuine Shure replace- is great; also, I like rough voices. °tee deta: Bruce Springsteen-"Born to Run" is the below, ment stylus. It will bring the entire best album in rock today. cartridge back to original specifica- Steve Goodman-his versatility in song and tion performance. Stamp out waste: guitar playing is unique and beautiful. see your Shure dealer or write: Arlo Guthrie-I like his voice. Linda Ronstadt-aside from being the pret- Shure Brothers Inc. tiest girl in pop, she has a very pretty voice 222 Hartrey Ave., Evanston, IL 60204 5 I -1U 1=i E when she tries. In Canada: A. C. Simmon,ds & Sons Limited America-a good, mellow sound. * FREE! 1976 Stereo Directory & Buying Guide with the purchase of a Shure V-15 Type III,or the M95 series, M75 Type IIor M91 series of cartridges. Simply send us your warranty card with the Guess Who (Burton Cummings)-the most notation "Send Free Buying Guide" before March 1,1976. (Offer subject to supply and may be fantastic voice in rock.(Continued overleaf) withdrawn at any time.) CIRCLE NO. 46 ON READER SERVICE CARD FEBRUARY 1976 9 Jackson Browne-humor and style. Gordon Lightfoot-I grew up on "The Ca- nadian Railroad Trilogy." MIKE HOUBSICH Hallach, Minn.

Critics I Hate Since the critics handed out the compli- THE ments in "Ten Performers I Hate," I made a list of my own-ten critics I hate. Two of them are associated with STEREO REVIEW. The first is Noel Coppage.I think he and Steve Simels have a hate club for Elton John. Elton has talent and is turning out visual and musical masterpieces; he deserves everything he gets except criticism. SOUND VAULT MARK GOULD Fort Wayne, Ind.

Partridge Fancier Martha Bennett Stiles is tremendous ("A Partridge in an Etymologicon," December 1975). Give her another assignment. Has she written anything else for adults? W. E. TINSLEY Los Angeles, Calif.

We think she is tremendous, too. If you look in our April 1971 issue, you will find her article "Bel Canto Banquet." Mrs. Stiles is a serious writer on horses and racing, and in the Decem- ber 1973 issue of Esquire she writes about the horse's role in opera.

Critics' Memorial Well, I see by Music Editor James Good - friend's December column that somebody has finally erected a statue to a critic-and just look what RCA's Little Nipper is doing to it! Lincoln Perry's cartoon should be mounted over the typewriter of every one of your record reviewers to remind them that they're fal- lible too. R. HANSEN Madison, Wisc.

Delius Pearls In Richard Freed's review of the Unicorn recording of Delius' violin sonatas (Decem- ber), he asks for information on the unpub- lished sonata of 1892. That sonata was recorded by David Stone and Robert Threlf all in association with the Delius Society, and was issued by Pearl (SHE 522). The recording was reviewed on page 645 of the October Gramo- phone magazine. HARRY A.YERKES,JR. Oceanside, N.Y.

Every UD cassette gives you Pearl Records may be obtained in this country through Mr. Otto Quittner, 65-37 Austin stainless steel guidepins to keep your Street, Rego Park, N.Y 11374. recordings secure. Linda Ronstadt Tough steel pins form part of the your Ultra Dynamic cassette captures Ifound Steve Simels' review of Linda internal security system inside every UD the very best sounds (both high and low) Ronstadt's "Prisoner in Disguise" (Decem- ber) quite outrageous. The most incredible cassette. your equipment can produce. sentence of the entire review is: "Despite a They make sure your UD tape Use Maxell Ultra Dynamic cassettes lovely voice, her emotional range just isn't runs smooth and winds even. (Ordinary and you'll always play it safe. that broad, and her success, I suspect, is more cassettes have plastic posts that can Maxel I Corporation of America, a result of her lucking out on the uniform me- Moonachie, New Jersey 07074. Also avail- diocrity of the competition than anything wear out and cause wow and flutter.) else." These steel pins are another reason' able in Canada. What a horrendous statement! Steve Simels maxell® is not only slamming one of the great artists of For professional recordings our time, but at the same time he is insulting at home. every other woman singer in the United States as well! RICHARDKANAKARIS Pebble Beach, Calif. CIRCLE NO. 32 ON READER SERVICECARD 1(1 STEREO REVIEW New from Acoustic Research The New AR -16 A Best Buy from Acoustic Research

The best kind of loudspeaker is response has been extended to one that plays back the music on below 40 Hz, approximately the the record or tape with the great- lowest note on the orchestral est degree of fidelity. The best double -bass. value is the loudspeaker that comes closest to this ideal at the A new cabinet design eliminates lowest cost. This is true whether itaudible diffraction effects by is the music of The Stones, Col- avoiding all unnecessary projec- trane, or Stravinsky. What you tions and allowing for the mount- want from the record is exactly ing of both drivers flush with the what the musicians, composers, front surface. and engineers put there. Nothing more, nothing less.

Acoustic Research has been designing and manufacturing high fidelity loudspeakers based on this approach for over 20 years. It is against this background of experience that we make the statement that the AR -16 is the best buy we have ever offered the public. Cabinet diffraction effects, graphically illustrated above, are absent in the Performance AR -16 because of the elimination of finish of the cabinet sides is con- Guarantee For a price of $100, the AR -16 unnecessary moldings and projections. tinued on the front. An acousticallyThe performance specifications of offers a unique combination of transparent foam grill, mounted in the AR -16, like those of the most uniform energy response and flat These performance characteris- the center of the front baffle, is theexpensive AR speakers, are anechoic frequency response. A tics, rarely combined even in far only element that projects beyondguaranteed for five years. crossover network of much more expensive speakers, are the flush -mounted drivers. greater refinement than is found inessential for the accurate repro- For a complete description of the other two-way speaker systems duction of music under actual lis- `Best -Buy' value AR -16, fill out and mail the coupon gives the AR -16 uniform radiationtening conditions and for main- The AR -16 is an extremely accu- today. over almost as wide a frequency taining proper tonal balance for rate- and attractive- high fidelity range and solid angle as the mostlisteners in various parts of a reproducer. Its combination of expensive AR speakers. room. price, performance, and styling place it at the point beyond which The performance of the AR -16's 8Appearance improvements are achieved only inch woofer has been improved toThe special cabinet construction at disproportionately higher cost the level of most 10 inch acoustic of the AR -16 has also made pos- .. exactly what value is all about. suspension designs. With a sys- sible an attractive departure in tem resonance frequency of 55 Hzappearance from conventional and near -critical damping, usable speakers. The oiled walnut wood

Measuring 0014_ 5° *tte.,11rVE ENLEAY PLAST 08 AE -11 not eureria ax EWITC.14 SET Te 48r -ST. INPUT : 30

A TELEDYNE COMPANY Acoustic Research Rec. No. CUM 17h to c 10 American Drive sip:. -041- 1° Norwood 334, time Coast: Massachusetts 02062 Weight Nelw.: Telephone 617 769 4200 Ref. Level. 0 Th.rd Octave Band 20 40 0 1a1 3 5 630 1. 5 25 10 20 Center Frequency 8 25315 63 260 5 0 MHz 2 16 200 400 800 1.6 3.15 63 125

Energy response of the AR -16 speaker system. Woofer performance below 400 Hz (not shown above) is equivalent to that of most 10 -inch acoustic suspension designs.

Please send me a complete Please send me the AR description of the AR -16 demonstration record 'The Sound of Musical Instruments' (check for $5 enclosed) Name Address S R2

FEBRUARY 1976 CIRCLE NO. 3 ON READER SERVICE CARD 11 THE LATEST IN HIGH-FIDELITY NEW PRODUCTS EQUIPMENT ROW

Fidelitone JT-322 manufacturer's Servo-Statik1.Essentially distortion under 0.01 per cent at 6 volts. The the system is composed of three pieces; twocrossover is entirely made up of high -voltage Phono Cartridge electrostatic mid- and high -frequency FET circuits with an input impedance of "screens" for the left and right channels and 35,000 ohms. Controls on the crossover unit A new magnetic phono cartridge designed for a single dynamic low -frequency module that permit adjustment of the high- and low -fre- stereo and CD -4 four -channel applications serves as a common -bass source. A fourth quency output of the systems over a 10 -dB has been brought out by Fidelitone as the unit-an electronic crossover-completes the range; mid -range levels are fixed. The compo- Model JT-322. The user -replaceable stylus as- ensemble. nents of the Servo-Statik IA system have sembly of the cartridge has a nude diamond The large electrostatic screens -591/2 x 351/2 rosewood veneer finishes with black grilles. inches, with a depth of 8 inches-contain six Cloth is used for the woofer grille, and thin re- mid -range and seven smaller high -frequency ticulated foam for the electrostatic screens. panels each. Five of the high -frequency pan- Fore-and-aft supports permit free-standing in- els are arranged in a vertical line down the stallation of the screens. Price of the com- center of the screen to enhance lateral disper- plete system: $4,000. sion. In the base of each screen is a power Circle 117 on reader service card supply to energize the electrostatic elements and transformers through which the elements tip ground to a modified elliptical configura- are driven, presenting nominal impedances of tion that is suitable for CD -4 use. Frequency 16 (mid -range) and 8 (high -frequency) ohms to Tandberg TR 1040 response is 10 to 45,000 Hz and recommended tracking force ranges from 1.2 to 2 grams. The Stereo FM Receiver JT-322 has an output of 2.5 millivolts for a re- Occupying the lower price range in Tand- corded velocity of 5 centimeters per second. berg's line of stereo receivers is the Model TR The outputs of the two channels are balanced 1040, which provides 40 watts of continuous within I dB, and stereo separation exceeds 25 power per channel into 8 -ohm loads at any dB at 1,000 Hz. A resistive load of 100,000 frequency from 20 to 20,000 Hz with less than ohms at the phono preamplifier is recom- 0.2 per cent harmonic or intermodulation dis- mended for use with the cartridge. tortion. Signal-to-noise ratios are 82 dB for The JT-322 has an effective tip mass of 0.55 the high-level inputs and 68 dB for the phono milligram and a rated dynamic compliance of inputs. An unusual feature of the FM -only re- 10 x 10-6 centimeters per dyne. Static com- ceiver is the array of five tuning controls con- pliance is 25 x 10-6 centimeters per dyne. cealed behind a hinged section of the front The cartridge weighs 4.8 grams. Price: $54.95. panel. These are used to pretune up to five Circle 115 on reader service card FM stations of the user's choice so that any can be selected instantly at the press of a pushbutton. The hinged section also hides AR Speaker switches for such functions as mono/stereo mode, loudness compensation, a low -fre- Stands quency filter (-12 dB per octave below 70 Hz) and two high -frequency filters (-6 or -12 dB In response to considerable demand, Acous- per octave above 8,000 Hz). tic Research now offers attractively styled For its basic controls, the TR 1040 has sep- speaker stands designed especially for the arate concentrically mounted bass and treble AR -107 and AR -11. The all -metal stands are adjustments for each channel, a speaker se- finished in matte black and are approximately lector for two pairs of speakers, plus volume 14 inches wide,103/4 inches deep, and 12 and balance controls and a tuning knob. Push- inches high. Presumably they are usable with the driving amplifiers. Two amplifier channels buttons select the program source (two inputs per screen are required to operate the system. Recommended amplifier -power ranges are 100 to 250 watts per channel for the mid -range elements and 35 to 125 watts per channel for the high -frequency panels. The electronic crossover divides the drive signal to these amplifiers at 2,000 Hz, with a 6 -dB -per -octave crossover rate. Below 70 Hz the output of the Servo-Statik IA is transferred to the bass module, which has its own built-in 150 -watt amplifier. The module consists of an 18 -inch cone woofer in for high-level external sources are provided), other speaker systems that have dimensions a sealed enclosure 22 inches square and 19operate the tape -monitor circuit,and in- similar to the AR models. Price: $39.95 per inches high, supported by a 21/2 -inch base. A troduce interstation-noise muting, automatic pair. motional -feedback system is employed that frequency control (AFC), and mono reception Circle 116 on reader service card senses the movements of the woofer's voicefor the FM section. There are tuning meters coil and derives from them a "correction"for signal strength and channel center, a signal that is returned to the input of the am- stereo headphone jack, and a front -panel Infinity Servo-Statik 1A plifier, thus compensating for any motional tape -dubbing jack. On the rear panel, besides "errors" by altering the woofer drive signal. the various connectors, there are level adjust- Stereo Speaker System Rated frequency response of the system is ments for the input jacks. 10 to 30,000 Hz ±2 dB. At a distance of 1 me- Performance specifications for the FM tun- One of the most elaborate and expensive ter the system can achieve peak sound -pres- er section include an IHF usable sensitivity of speaker systems in the world is Infinity Sys- sure levels of 114 dB. The electronic crossov- 2 microvolts, a 50 -dB quieting sensitivity of tems' Servo-Statik 1A, which supersedes that er has a maximum output of 7 volts rms, with (Continued on page 14) 12 STEREO REVIEW These books cost less than $5 each, but... They just might be the best investmentsyou can make foryouraudio system!

Each of these books will help you get better sound and more III clip out ...mail today NMI pleasure from your equipment... your satisfaction is guaranteed! FREE TRIAL I HOW TO BUILD SPEAKER ENCLO-QUESTIONS & ANSWERS ABOUT SURES-It's a waste of money to bury aAUTO TAPE UNITS - Use this "expert" COUPON good speaker in a bad enclosure. That'sto help you select, install, and maintain a YES-please send me the book(s) checked below to examine for 15 days why the 144 indexed pages of this guidetape unit in your car. Raises 137 questions free. If not completely satisfied, I may can be so valuable. You'll learn all the -then answers them fully. Even takes up return my order and owe absolutely "whys" and "hows" of building enclosuresthe issue of cartridge vs. cassette: which is nothing. Otherwise, for the amount at a cost you can afford. $4.50 best for you? $3.95 shown, plus shipping and handling, 99 WAYS TO IMPROVE YOUR HI-FI - ABC's OF HI-FI AND STEREO-Here, I may keep and use the book(s) per- Does your stereo tape recorder "hiss"? Doin plain English, are the facts about high- manently. you hear airplanes through your hi-fi?fidelity, stereo, and four -channel sound. CHECK HERE AND SAVE 10%! I have checked at least 3 of the books offered. Does your FM reception need improve-This volume reveals shrewd shopping So 100 of the cost is deducted. ment? This diagram -filled book helps youtips -points out where investing just a few solve these problems-and 96 more! $3.50 HOW TO BUILD SPEAKER extra dollars really counts. $3.95 ENCLOSURES 20520$4.50 HI-FI PROJECTS FOR THE HOBBYISTEASY SPEAKER PROJECTS -This O 99 WAYS TO IMPROVE YOUR - Get better sound for less money. Buildpicture -filled book helps you pick the HI-FI 20876$3.50 antennas, mikes, filters,adapters, andspeakers you need, then shows exactly 0 HI-FI PROJECTS FOR THE much more. Instructions are simple - dia-how to build them yourself. Even if you HOBBYIST 20925$3.95 grammed - for the beginner who wants to O HOW TO WIRE HI-FI EXTEN- have no experience, you'll learn how to SION SPEAKERS 20935$3.95 take it slow. Yet, some of the projects willgenerate better sound from speakers in 0 FOUR -CHANNEL SOUND challenge the expert, too. $3.95 bookshelves, walls, even TV sets. $3.95 20966$4.50 HOW TO WIRE HI-FI EXTENSIONEasi-Guide to FOUR-CHANNEL/STEREO QUESTIONS & ANSWERS ABOUT SPEAKERS-Multiply the value of your - Why are four channels needed when we AUTO TAPE UNITS21002$3.95 hi-fi system- by wiring extension speakers have only two ears? This book tells you 0 ABC's OF HI-FI AND STEREO into your basement, bedroom, or diningwhy, and does it in a refreshing, conversa- 21044$3.95 area. Here are all the facts and photos you EASY SPEAKER PROJECTS tional way. Over 200 photos are included 21104$3.95 need to select and install the right exten-to help you select, install, and enjoy four - Easi-Guide to FOURCHANNEL/ sion speakers for your home. $3.95 channel or stereo equipment. $3.50 STEREO 21105$3.50 FOUR -CHANNEL SOUND-In the late GUIDE TO HIGH FIDELITY - Prepared D GUIDE TO HIGH FIDELITY 1950's, it was stereo. Today, the new step by the Institute of High Fidelity, this 21154$4.50 forward is four -channel, "surround sound." authoritative, 175 -page volume can help D FROM TIN FOIL TO STEREO This compact but thorough guide showsyou select stereo components from amps to 21205$9.95 you theory, servicing techniques, whatheadphones. And if you're just starting out, NAME equipment to buy or convert, how to create you'll learn fast with the 142 -word glos- (please print) just the effect you want. $4.50 sary and 20 -question hi-fi quiz. $4.50 ADDRESS PLUS-TO COMPLETE YOUR LIBRARY... CITY enjoy this superb collector's item! STATE ZIP Save shipping and handling costs. Enclose FROM TIN FOIL TO STEREO full payment now. MAIL TO: This classic volume - featuring dozens of rare photos and ads - Howard W. Sams & Co., Inc. traces audio history, from Thomas Edison's $10 "miracle -of -the - 4300 W. 62nd St., Indianapolis, Ind. 46206 19th -century" phonograph to equipment of today. $9.95 11111.Add sales tax whereMIMIMi applicable. so FEBRUARY 1976 13 Actual, NEW PRODUCTS unretoucheq photo of an THE LATEST IN HIGH-FIDELITY EQUIPMENT oscillograph test. 3.5 microvolts, and a capture ratio of 0.9 dB. ness compensation, high- and low-cut filter- Alternate -channel selectivityis 80 dB and ing, and FM interstation-noise muting. Mode spurious -response rejection is greater than 95 (mono, stereo, four -channel,etc.)isalso dB. Between 100 and 10,000 Hz the stereo pushbutton controlled. The AN -2016 contains separation exceeds 40 dB. Harmonic distor- headphone amplifiers with output jacks for tion is 0.2 per cent for mono, 0.3 per cent for front and rear channels on the front panel, stereo. Overall dimensions of the receiver are along with four -channel tape -dubbing jacks The oscillograph you approximately171/2 x 51/4 x 13 inches. The that duplicate identical facilities in the rear. see is an actual photo wood cabinet supplied is finished in walnut The unit has separate inputs for stereo and of a high -quality audio veneers. Price: $599. CD -4 phono cartridges, oscilloscope outputs, system "playing" a Circle 118 on reader service card and four a.c. convenience outlets among its fingerprint. other connectors. You're hearing fingerprints now through The AN -2016's preamplifier section has a your speaker system. Heathkit "Modulus" frequency response of 10 to 30,000 Hz +0, Instead of the sound -0.05 dB, with a rated output of 1.5 volts, for your precious discs Audio Center which harmonic and intermodulation distor- are capable of, And tion are both 0.05 per cent. Signal-to-noise no vacuum record "Modulus-isthe Heath Company's ap- ratios are 80 dB for the phono and high-level cleaner, brush -arm or treated cloth will proach to maximum flexibility and growth po- inputs. The high and low filters, effective remove them. None. tential in an audio system. At the heart of the above 7,000 and below 30 Hz, respectively, concept is the AN -2016 control unit (center), have 12 -dB -per -octave slopes. Usable sensi- which is actually a four -channel tuner -pream- tivity for the FM section is 1.7 microvolts, plifier with digital display of the AM or FM and 50 -dB quieting sensitivityis3.5mi- The sound broadcast frequency being received.For crovolts for mono, 35 microvolts for stereo. power amplification, Heath offers a choice of Other FM specifications include: 1.3 -dB cap- of your two stereo modules with styling to match the ture ratio; 68 -dB AM suppression; 100 -dB al - fingerprint But Discwasherm-with new du fluid -removes fingerprints completely. Along with dust. And manufacturing lubricants (added to make pressing faster) that can act like grove -blocking finger- 111.1111111=11.111111r ".1611S111111111111111. prints. All this cleaning without pulling polymer stabilizers from AN -2016: the AA -1505 (35 watts per channel) ternate-channel selectivity; 90 -dB spurious - your vinyl discs. and AA -1506 (60 watts per channel). Alterna- response rejection; and 100 -dB i.f. rejection. Discwasherric The only safe, tively, other brands or models of power am- Frequency response is 20 to 15,000 Hz ±1 dB effective way to silence the plifiers may be used with the AN -2016 (the with harmonic distortion of less than 0.3 per printed finger. At Audio Heath power -amplifier modules may also be cent. The ultimate FM signal-to-noise ratio is specialists world wide. usedwithany otherpreamplifier/control 68 dB. The AN -2016's AM section has an unit). FET front end and provides a frequency re- A principal feature of the AN -2016 is the sponse of 25 to 7,000 Hz -±3 dB. provision for optional circuit modules that Poweroutputsforthe AA -1505and plug into special sockets within the unit's AA -1506 stereo power amplifiers are 35 and chassis. At present, three such modules are 60 watts per channel continuous, respective- offered-for Dolbyized FM, CD -4 demodula- ly, into 8 ohms at any frequency from 20 to tion, and SQ decoding (the SQ decoder is of 20,000 Hz. Harmonic and intermodulation the advanced wave-matching/variable-blend distortion are both under 0.1 per cent, and sig- type). Modules for other matrix systems may nal-to-noise ratios for both units are 95 dB. become available in the future. In addition, Input sensitivity is1.5 volts for full output. there is space within the AN -2016 chassis for Input impedance is greater than 15,000 ohms. add-on four -channel FM circuitry should a The three Heath Modulus components are Discwasher, Iraq system for such broadcasts ever be approved. available only as kits. During assembly, the 909 University, The Heath AN -2016 will function as a tuner meters of the AN -2016 are used as test instru- Columbia, Mo. 65201 and control center for a modest stereo system ments for checking and adjusting internal cir- or-with the addition of another stereo power cuitry. Dimensions of the AN -2016 are 19 x amplifier and the appropriate optional circuit 61/2 x 141/2 inches; the power -amplifier mod- modules-as an elaboratefour -channel ules both measure approximately 8 x 53/a x preamplifier -tuner that can handle almost all 142% inches. Integral plastic cabinets are pro- matrix and discrete four -channel programs. vided with all Modulus components. Prices: Its main controls are independent level ad- AN -2016, $599.95; AA -1505, $159.95; justments for each channel, master volume AA -I506, $179.95. Optional modules for in- control, separate bass and treble controls for stallation within the AN -2016 are $39.95 for the front and rear channels, and a tuning the Dolby FM circuit, $49.95 for the SQ de- knob. Electrical balance of the system is facil- coder, and $79.95 for the CD -4 demodulator. itated by four peak -reading output -level me- Circle 119 on reader service card ters that are calibrated over a range of 40 dB. Therearealso tuning meters forsignal PUBLISHER'S NOTICE: Recent fluctuations in the strength and center of channel. Pushbuttons value of the dollar will have an effect on the price that light when depressed select the input and of merchandise imported into this country. So, perform all other control functions, such as please be aware that the prices quoted in this issue tone -control bypass, tape monitoring, loud - may be subject to change.

14 STEREO REVIEW %EMBER.. OUR FLAT RESPONSE TO HIGH PRICES.

1 -lb.,9 -oz. ceramic THE SUPER L EDMQ. magnet. A 11/2 " voice ONLY $99.95: coil epoxy -bonded to Our AS210A speaker gives the speaker cone for out- a power frequency response standing power handling. that's flat ( -± 3db) all the way A 11/2 "Mylar dome from 33Hz to 15,000 Hz. mid/tweeter with a hefty Your ears will also be grate- Alnico magnet. Sealed ful for what it doesn't give you. air -suspension, of course. And much more. There's no bass boom acting as What you hear is an extremely accurate copy a poor substitute for good low -end response. of the original audio input. There are no high -frequency peaks providing At $99.95, we think you'll find that our phony brilliance at the treble end. SUPER .c3. is one of the best values on the In sum: no exaggeration of highs or lows. market today. How did we do it? For details, see your Sylvania dealer. Or write By making significant improvements in a two- to: GTE Sylvania, 700 Ellicott St., Batavia, way ten-inch-one of the most thoroughly re- N.Y. 14020. *Manufacturer's suggested retail price. searched speakers. You get a deluxe 10" woofer with a powerful CMSYLVANIA

FEBRUARY1976 CIRCLE NO. 23 ON 3EADER SERVICE CARD 15 ly) that the microphones originally captured it. Since the acoustics in the home are not the acoustics of the studio or concert hall, the acoustics embodied in the recording at best can only interact with the sonic situation in your listening room to produce a plausible AUDIO facsimile of what the original musicians might have sounded like. And this can occur only when you are reproducing the sound of a small group; the larger the musical forces in- QUESTIONS volved, the less real they are likely to sound in a conventional -size listening room. During my approximately twenty-fiveyears anc of involvement with hi-fi, I've heard the sort of "plausible facsimile" reproduction I'm re- referring to only four or five times-in other ANSWERS words, when I listened with my eyes closed, I could have mistaken what I heard for "live" By LARRY KLEINTechnical Editor sound. None of the above should be interpreted as a put-down of the quest for high-fidelity. In a real sense we have already achieved high fidelity: what we are now after is absolute fidel- FM Stress Conditions cept for the speaker -selector switch and head- ity, and each positive advance in high-fidelity QSince I do most of my listening to FM phone jack. You may have to set the volume technology brings us another step closer to .rather than records or tapes, I feel it is control somewhat higher for a given loudness realizing it. worthwhile to spend the money for a top-qual- level, but this should be of no concern-it ity FM tuner. However, considering that FMdoes not indicate lack of power in your new Switched and Unswitched Outlets tuners are now available at thousands of dol- amplifier. If your receiver does not have ac- QI'm curious about the logic behind the use lars each, how much money need I spend to cessible pre/main (as the Japanese call it) con- .of the built-in switched and unswitched get the results f want? nections, your easiest course would be to a.c. outlets found on the rear panels of hi-fi ABRAHAM KANTOR trade in toward a separate preamp and tuner. equipment. How does one know which to use Bethpage, N.Y. for any particular piece of equipment? Definition of High Fidelity STEVEN GORMAN A This is a tough question to answer directlyr% My question is short and simple: what is San Francisco, Calif. tA. because of the many variables involved. the definition of high fidelity? As with several other audio components, the ARNOLD MARKS AThe switched and unswitched labels refer major difference between a very good tuner Pittsburgh, Pa. . tothefactthata component's un- and a state-of-the-art unit appears to be essen- switched sockets will provide a.c. power as tially in how well it performs under less than AI'm afraid my answer is going to be long long as it is plugged into the a.c. wall socket ideal conditions. For example, there may be . and complex-mostly because there has whether it is turned on or not. The switched large reflective objects in your reception area, never been any formal standard set in this outlets, as implied, are turned on and off by powerful sources of r.f. noise and interfer- country as to what constitutes high-fidelity the power switch on the component. ence, or many high-powered stations crowd-sound reproduction. Like "beauty," high In general, the rule to follow is this: me- ing the dial. Or it may be that you simply want fidelity is an ideal: unlike beauty, which tradi- chanical components that will be left "in- to receive distant stations with a minimum of tionally is said to lie in the eye of the behold- gear" if switched off during play should be noise. A better -than -very -good FM tuner will er, ft does not reside totally in the ear of the plugged into the unswitched a.c.outlets. help you cope with these reception difficul- listener, for it can be subjected to some objec- Straightelectroniccomponents(tuners, ties, although a good antenna with a good tun-tive evaluation. equalizers, etc.) that you may want to turn on er may be of more help than hundreds of extra High fidelity attempts to create the illusion and off with the main power switch should be dollars spent on a super tuner. of a "natural" sonic event by means of equip- plugged into the switched outlets. The reason It is certainly true that the new generationment not involved in creating the original for the unswitched outlets is that some equip- of fine tuners has much better channel separa- sound. This is usually done by recording an ment (tape recorders or record players), if tion and lower noise and distortion. Frequent-original sound or sounds, simultaneously or switched off during play, might be left with a ly, however, a fine tuner's potential audio per- separately, and then playing back the record- rubber idler wheel pressed against a drive formance far outstrips the quality of the sig-ing in such a way that a listener hears a rea- shaft. If allowed to remain in that condition nal being broadcast by most FM stations. sonable facsimile of the way some original for too long a time, there's a chance that the When astationtransmitsa compressed, might have sounded. idler will develop a flat spot or dent that may noisy, frequency -restricted, distorted audio If that definition seems somewhat vague, get audibly into the act the next time the signal, the best tuner in the world can't docoming from someone who takes pride, as I equipment isused. What is"too long a anything about it except simply tell it like it is. do, in clear expression, it's because I've tried time"? I don't know, but why take chances? to cover all bases. For example, modern elec- Incidentally,a few readers have com- Power Upgrade tronic music, when it is created directly into plained about the sparsity of a.c. outlets on I'm using a 40 -watt -per -channel receiver or with a tape recorder, has no original sonic some receivers. A cheap and easy solution to Qand I'd like to step up to a super -power reality to reproduce. As a matter of fact, if this problem is to make up a foot -long "exten- 400 -watt amplifier. Is it okay if I use my old re- you want to hear the composition exactly as sion cord" with an a.c. plug at one end (to be ceiver as a preamp and tuner, or should Ithe composer intended (assuming that there plugged into the single available outlet) and a trade it in on a new separate preconp and tun- was an intent in that area), then you must use four -socket "cube tap" on the other. You er? What would you suggest? the same speakers and amplifiers employed need not worry about overloading the exten- N. WONG during his original playbacks in order to dupli- sion as long as you don't plug a 700 -watt pow Chicago, Ill. cate the characteristic breakups and overload er amplifier into it. distortions. This is particularly important in A If your present receiver has a set of electronic music because most home audio Apreamp-out/power-amp-in jacks joined equipment will be overloaded by electronic by external jumper cables (or an internal music played very loudly. Becausethenumberofquestions switch), then remove the jumpers (or switch Furthermore, even using the finest avail- wereceiveeachmonthisgreater the switch) and install a pair of shielded ca-able quadraphonic equipment and program thanwecanreplytoindividually, bles from the preamp-out jacks to the inputsmaterial one cannot hope to reproduce in only those letters selected for use in of your new power amplifier. All the controls one's home the original sound field of the re- this column can be answered. Sorry! on your receiver will function as before, ex- cording studio(s), even assuming (it is unlike- 16 STEREO REVIEW The World's Great Performers Everywhere they appear it's "Standing Room Only." And you'll find cow . . . Eugene Ormandy conduct the Philadelphia Orchestra in out why when you hear the world's most celebrated musical artists Mozart's powerful Jupiter Symphony . . . Arthur Fiedler lead the Boston (some of them are pictured below) in TIME -LIFE RECORDS brilliant "Pops" through the bubbling Suite from The Love for Three Oranges.. . . new series, GREAT MEN OF MUSIC. You'll hear Van Cliburn re-create Here is a complete home library of legendary performances, all re- the performance that won him the Tchaikovsky Competition in Mos- corded in the highest quality stereo sound.

Conductor Fritz Reiner Boston Symphony Orchestra

Soprano Leontyne Pric

Soprano Beverly Sills Clarinetist Benny Goodman Juilliard Quartet Conductor Eugene Ormandy Conductor Seiji Oza Conductor Arthur Fiedler Play The World's Great Music Just as you cannot understand a great painter by looking at a single free. You'll receive four records of the stirring, melodic music of Peter picture, you cannot know and appreciate a great composer by hearing Ilyitch Tchaikovsky, lavishly packaged, plus the deluxe edition of The just one or two of his works. Now you can collect a sumptuous library Golden Encyclopedia of Music (a $45.87 value in all). It's just $17.95 plus of albums, each devoted to the masterworks of one immortal composer shipping and handling if you decide to buy - yours to examine for 10 - Beethoven, Bach, Mozart, Handel, Prokofiev, Rachmaninoff,and days free by returning the attached card, or writing to Time Life others. In each four -record album you hear a superb selection of the Records, Time Sr Life Building, Chicago, Ill. 60611. forms in which each composer worked - sonatas, concertos, sym-

phonies, tone poems. ... And as you hear a varietyof compositions by a

single composer ... as you compare one composer'swork with another

. . . as you follow the extensive notesthat explain what each composer was trying to do and how he achieved his effects ... you will come to appreciate the greatness of great music as you never have before. Here is a genuinely new anc exciting approach to music that can open up a whole new world of taste and pleasure for you and your family. You can discover how richly rewarding an experience great music can be by auditioning the first album in GREAT MEN OF MUSIC for 10 days

Each album contains four stereo LP records engineered by RCA to the highest standards of recorded excellence accompanied by a handsome 24 -page booklet illustrated in color and black and white packaged in a sumptuous, heavy duty box TimE, LIFEGREAT MEN OFMUSIC RECORDSGive them your own audition for 10 days...FREE shapeif passed through an amplifier which has a different amount of phase shift at different frequencies. Most components in an audio system introduce some phase shift, including loudspeakers, tape machines, phono cartridges, and various circuits in amplifiers. However, the importance of absolute phase integrity is a controversial issue. For example, it is known that out - of -phase speaker systems can upset the AUDIO listener's ability to localize sounds below about 2,000 Hz and produce destructive interference (cancellation) of low -frequency sounds within the listening room. 3ASICS It is also obvious that phase errors in 3y RALPH HODGES stereo FM tuners or four -channel matrix Amommir decoders can adversely affect their operation. Nevertheless, there is still little GLOSSARY OF TECHNICAL TERMS -25 agreement on the audibility of the more complex phase shifts between the vari- Overtones are those frequencies of alevel, and they may go considerably ous drivers of a multi -way speaker sys- musical sound that are multiples of thehigher, depending on what type of music tem, or the importance of maintaining fundamental (generally the lowest fre-it is and whether an effort has been made absolute phase integrity in amplifiers. quency in a complex tone). The harmon-to preserve the full value of the peaks. ic that is twice the fundamental frequen- These peaks represent moments of Phasing means observing a uniform cy is called the second harmonic: threevery high power demand on an audioscheme of polarity between channels times the fundamental, third harmonic-system. As a rule, they are of very brief wheninterconnectingaudiocompo- and so on. Each instrument, includingduration-so brief, in fact, that the most nents. In simpler terms, if terminal one the human voice, has a particular har-severe ones can frequently be eliminatedof a speaker system is connected to the monic overtone "structure" that is a keyin the recording studio (by a process "+" output of a stereo amplifier and ter- factor in making the sound of the instru-called "peak limiting") with little or nominal two to the "-" or "common" out- mentidentifiableanddistinguishable audible effect on the program. The ob- put,anyotherspeakersshould be from other instruments. When we referject of such limiting is usually to makehooked up to their amplifier outputs in to the audible musical frequency rangethe program easier to record and play. the same manner. This will ensure that asextending beyond 15,000 Hz, we For many years some manufacturers the diaphragms of the speakers move in mean that some instruments have signifi-of sound equipment (usually not thethe same direction (that is, in phase) cant overtones that reach that high, al-most highly esteemed of such manufac- when they are reproducing signals com- though their fundamentals are considera-turers!) rated their amplifiers in terms of mon to all of them. This prevents serious bly lower. "peak power" or some variant thereofcancellation of low -frequency sounds such as "instantaneous peak power." and other effects of phase anomalies. Pan pot ("pan"beingshortforThis rating system did not refer to the All the components in an audio system panoramic, "pot" for potentiometer) is ainstantaneous signal peaks, but was in-should have their channels "phased." control usually found on elaborate mix-stead a mathematicalmanipulation This is easy to insure with components ers.It distributes an audio signal be-whose only purpose was to inflate the using phono-jack connectors: polarity is tween two or more channels in much thepower rating. "Peak" power ratings ofdetermined by the way in which the same way the balance control on a stereothis sort should not be confused with dy- jacks and plugs mesh, and it cannot be amplifier can be used to position a mono-namic or music -power ratings. reversedaccidentally.However,the phonic signal anywhere between the two rules of phasing must be observed care- speakers. During multitrack recording Phase refers to the relationship infully when installing speaker systems work (in which each instrument is as-time of two waveforms or of the differ-and phono cartridges, since these com- signed its own tape track), the recordingent components of a single complexponents permit ready interchanging of engineer can adjust the final position ofwave. This time relationship may be cali- leads. (Fortunately, instruction manuals each instrument in the stereo spread bybrated in actual time units such as mil-for these devices are generally quite manipulating pan pots in advance andliseconds, or in phase angles, with eachexplicit about polarities and phasing re- then mixing down the multitrack tape360 -degree interval containing a full cy-quirements.) A pitfall less easy to avoid into two or four channels. He can alsocle of the waveform. involves components of different cause instruments to shift in location The concept of phase really has mean- make-microphones, for example, or during a musical selection by manipulat-ing only when distinct waveforms (such even different brands of speakers-that ing the pan pots while the mixdown isas input and output) can be compared to do not conform to any polarity standard taking place. determine the degree to which they arein the wiring of their connectors. With "in phase" or "out of phase." An out -these it is sometimes necessary to ex- Peak is the term for an amplitudeof -phase condition implies that one orperiment, trying them both ways (by in- maximum, the point(s)at which themore of the waveforms has undergone aterchanging the leads of one of them) to waveform of a signal deviates most fromtime displacement or phase shift (cali-determine which mode of connection the "zero" axis around which it is evolv-brated in degrees) that has taken it out ofgives the fullest bass response. ing. Naturally, the incidence of a peak insynchronization with the other(s). Phase In the recording studio, "phasing" has a musical waveform corresponds to ashift can also occur within a single wave- lately acquired an additional meaning: a loud passage, or, more properly, to theform, as when some frequencies of a mixing technique in which phase inter- very loudest instant of a loud passage.complex signal are displaced in time rela- ference between signals being mixed is Peaks in recorded music are quite oftentive to others. A square wave, for exam- deliberatelyintroduced,creatinga 10 dB or so above the overall "average"ple,will undergo radical changes instrange, surreal sonic effect. 20 STEREO REVIEW With an Empire wide response cartridge. A lot of people have started "trackin'with Empire cartridges for more or less the same reasons. More separation: "Separation, measured between right and left channels at a frequency of 1 kHz, did indeed measure 35 dB (rather remarkable for any cartridge);' FM Guide, The Feldman Lab Report. Less distortion: `!.. the Empire 4000D/III produced the flattest overall re- ,,pone yet measured from a CD -4 cartridge-within ±2 dB from 1,000 to 50,000 Hz:' Stereo Review. More versatile: "Not only does the 4000D/III provide excellent sound in both s ereo and quadriphonic reproduction, but we had no difficulty whatever getting satisfactory quad playback through an) demodulator or with any turntable of appropriate quality at our disposal:' High Fidelity. Less tracking force: "The Empire 4000D/III has a surprisingly low tracking force in the 1/4 gram to 11/4 gram region. This is surprising because other cartridges, and I mean 4 channel types, seem to hover around the 2 gram class:' Modern Hi Fi & Stereo Guide. For the complete test reviews from these major audio magazines and a free catalogue, write: Empire Scientific Corp., Garden City, N.Y. 11530. Mfd. U.S.A.

Choose the Cartridge Designed to Play Best in Your System Plays 4 Channel Discrete (CD4) 2 Channel Stereo and Super Stereo I-Plays -I Plays All 4 Channel Matrix Systems (SQ, QS, RM) 400D 4C0D 400D2000200D200D200020OD Model D/III D/II D/I E/III E/I1 E/I E Frequency Response in Hz 5-50,000 5-45,000 10-40,000 5-35,000 6-33,000 8-32,000 10-30,000 10-28,000 Output Voltage per Channel at 3.54 cm/sec 3.0 3.0 3.0 5.0 5.0 5.0 5.0 5.0 groove velocity:

Channel Separation more than more than 35dB 35dB 35dB 35dB 35dB 35dB 30dB 30dB Tracking Force in Grams: N to 11/4 1/2 to 11/2 '.4 to 11/2 1/2 tc 11/2 1/2 to 112 a/4 to 11/2 1 to 3 1 to 3

miniature nudeminiature nudeminiature nude nude nude nude diamond with diamond with diamond with elliptical elliptical elliptical elliptical spherical Stylus Tip: 1 mil tracing .1 mil tracing 1 mil tracing diamond diamond diamond diamond diamond radius radius radius .2 x .7 mil .2 x 7 mil .2 x .7 mil .3 x .7 mil .7 mil -4 DimensionalT"4 Dimensional'"4 Dimensional turntable or turntable orturntable orturntable or changer changer For Use In: turntable only turntable only changer changer changer changer only only

111 II I .1\411 (Yellow) tll(Black) (Clear) (Blue) (Green) (Red (White) I;I;(Smo e) CIRCLE NO. 21 ON READER SERVICE CARD Dual 1225 $139.95, less base

..with the 1225, the lowest priced Dual.. .all the turntable you may ever need. Every Dual, from the 1225 to the CS701, The Dual 1225 is a perfect example of is designed to fulfill one basic concept: to provide Dual's basic concept: to build every Dual turntable with more precision than you are ever likely to need. more precision than you are ever likely to need. The 1225's vernier adjustable low -mass Perhaps this is why more component counterbalanced tonearm can track flawlessly at owners-audio experts, hifi editors, record as low as one gram. Stylus pressure is applied reviewers and readers of the music/equipment exactly as in every Dual, around the vertical pivot magazines-own Duals than any other turntable. and perpendicular to the groove, maintaining perfect balance in all planes. Anti -skating force is These serious music lovers, whose investment in also applied exactly as in every Dual, with separate records typically exceeds their investment in calibrations for conical, elliptical and CD -4 styli. equipment, prefer Dual for only one reason. Other features the 1225 shares with all Quality. other Duals include pitch control variable over a Until recently, Dual quality has been 6% range (one semitone) and cue -control available only with fully automatic turntables with viscous -damped in both directions to prevent bounce. The powerful hi -torque motor maintains both single -play and multi -play facility. Now the speed within 0.1% even when line voltage varies choice is much broader. Of the seven Dual models, as much as 20%. The hefty 3% pound, 10%" three are single -play only. Two of these are fully diameter platter provides effective flywheel action automatic; one is semi -automatic. Dual turntables to minimize the audible effect of any possible also use all three types of drive systems: speed variation. belt, rim and direct. There are two other models in this series, each with additional refinements. The 1226, The way a tonearm is moved to and from priced at $169.95, has a one-piece, die-cast platter the record is not critical. Nor is the type of and a single -play spindle that rotates with the drive system. What is critical is how faithfully the record. The 1228, priced at $199.95, has-in tonearm permits the stylus to follow the contours addition to these-a tonearm mounted in a four -point gimbal suspension, synchronous motor, of the groove and how accurately and quietly built-in illuminated strobe and adjustable sylus the platter rotates. angle to provide perfect vertical tracking in both If precision performance and reliability are single and multi play. of primary importance to you-as they should be- you'll find them in every Dual. Dual CS701, $400, including base and cover

...with the CS701, the quietest turntable ever made. Independent test reports on the electronic direct -drive Dual CS701 have been extraordinary. ...with the new Dual 1249, One reason is that all reviewers acknowledge the which will give you more reasons CS701's performance to be superior to the than ever to own a Dual. measuring capabilities of test instruments. For example: The new 1249, successor to the 1229Q, Hirsch -Houck Labs in Stereo Review found provides every feature, innovation and the wow level of the CS701 "Essentially at the refinement of that highly -acclaimed model, plus residual level of our test record-about 0.03 per some new ones. The 8%." tubular tonearm pivots cent." So did Popular Electronics. The Feldman Lab in a newly designed four -point gyroscopic gimbal, Report in FM Guide was able to detect "no flutter suspended within a rigid frame. In single play, the whatsoever!' Stereo & HiFi Times said "arm friction tonearm parallels the record to provide perfect was lower than my capability to measure reliably." tracking; in multi play, the. Mode Selector lifts the It takes very advanced engineering to entire tonearm to parallel the center of the stack. achieve this level of performance. For example: the The tonearm can be set on the record manually or motor's unique double field coil produces a by using the viscous -damped cue -control or by perfectly consistent rotating field with no magnetic simply pressing the automatic switch. In addition flux irregularities. Another example: two specially to single play and multiple play there is also the tuned mechanical anti -resonance filters located option of continuous repeat. within the tonearm counterbalance absorb The dynamically -balanced cast platter and resonant energy that would otherwise transmit flywheel are driven by an 8 -pole synchronous acoustical feedback to the stylus. The result: motor via a precision -ground belt. Pitch is variable cleaner and smoother frequency response. over a 6% range and can be set to exact speed by The reviewers also reached unequivocal means of an illuminated strobe, readdirectly off conclusions about the CS701 performance. Note the rim of the platter. the absence of such qualifiers as "one of the" or A similar model, the 601, is available at "among the." For example: High Fidelity said: lower cost ($249.95), without multi -play facility. A ':..The Dual 701 has placed itself in the select third Dual in this series, the 510 ($199.95) has a group of products against which we must measure semi -automatic tonearm with a mechanical sensor the performance of others." And the highly that indicates when the tonearm is positioned conservative English publication, HiFi News & precisely over the lead-in groove of a 12" or 7" Record Review: "The experience of listening to record. At the end of play, the tonearm is records of the highest quality on this turntable is automatically lifted by the cue -control and the not likely to be forgotten ...you will never again be motor shuts off. satisfied with anything less perfect!'

United Audio Prodbots,120 So. Columbus Ave., Mt. Vernon, N.Y. 10553Dual Exclusive U.S. Distribution Agency for Dual CIRCLE NO. 50 ON READER SERVICE CARD F I details ..A DIFFERENT KIND OF RECORD CLUB You can now own every record or tape that you may ever want . . .at tremendous savings and with no continuing purchase obligations. You can get valuable free dividend certificates, you can get quick service and all the 100% iron -clad guarantees you want. TAPE Now you can stop price increases that leave you with less music for your record and tape budget. You can guarantee yourself more music for less money through membership in Discount Music Club. HORIZO\S Look at these benefits: 3y CRAIG STAR< TREMENDOUS SAVINGS on every record and tape in print- lommor ANIEL miliminimi Immo no "agree -to -purchase" obligations of any kind. DISCOUNTS OF 43% TO 73% DROP THAT MIKE off mfg. suggested list ... special catalog features hundreds of titles and artists. putit bluntly, I hate microphonearea or the auditorium. A couple of ALL LABELS AVAILABLE Tostands. Most of them are as heavy as wraps of electrical tape will then fasten including most imports through special sin and cost a good deal more. They'rethe mike cables to the monofilament line custom ordering service. If we don't stock it we'll get it for you. awkward to store and transport, and onwhen you've decided just how far below SCHWANN CATALOG stage they're unsightly at best ("Remem- it and how widely spaced the micro- lists thousands of titles; classical, ber, young man, this is a concert, not aphones should be hung for optimum pop, jazz, ballet, opera, musical shows, recording session!" a musical matronpickup. A couple more wraps of tape folk, rock, vocal, instrumental, country, etc. once reminded me). Worst of all, theyalong the monofilament support line will DISCOUNT DIVIDEND may transmit enough floor vibration tohold the cables to it neatly until they can CERTIFICATES muddy the recording. There must be-be brought inconspicuously over to your Dividend Gifts-Every shipment carries a dividend gift or dividend certificate. and is-a better way. recorder. When stringing up the mono - Certificates redeemable immediately "Dropping" (hanging) microphonesfilament line initially, be sure to leave for extra discounts. from overhead supports is one profes-enough excess length at each end before NEWSLETTERS sional approach, and the cables used forcutting and tying it down. This will allow happenings in the world of music; this purpose are a common sight in con-for later adjustments and for lowering concerts, critiques, new releases ... special super -sale listings at discounts of up to 73%. cert halls. True, you and I have to thinkthe whole assembly enough to reach the in terms of a local school or civic audito- mikes' cable receptacles to plug them in. DISCOUNT rium, not Boston's Symphony Hall, and If you're using omnidirectional mikes ACCESSORY GUIDE Diamond needles, cloths, tape cleaners, further, we can't usually afford the lux- (recommended,whenpossible)and etc. Discount Music Club is your complete ury of permanently installed cables inyou've been able to anchor the ends of one stop music and accessory buying service. the ceiling leading back to an acoustical-the monofilament support line in desir- QUICK SERVICE ly isolated recording studio. We normal-able places, you're all get. However, di- same day shipping on many orders . ly have to set up our gear for each per-rectional mikes such as cardioids must rarely later than the next several days. Partial shipments always made in the formance and be satisfied with an out-of-be "aimed," and even omnis may have event of unforeseen delay ... all at the-way table in the wings, or perhaps a to be swayed forward or backward to get no extra cost to you. spot up in the lighting or projection gal-the right balance between direct and re- 100% IRON -CLAD lery.That's no reason, however, toverberant sound. Here a spool of black GUARANTEES abandon the principle of using overhead carpet thread (again, it's invisible to the on all products and services. Everything is guaranteed factory fresh and free mike drops, if we can only get aroundaudience) saves the day. One length of of defects or damages of any sort. problems such as having to punch holesthread tied between the microphones Your total satisfaction is unconditionally guaranteed. in ceilings or using impossibly placedsets their maximum spacing, while addi- light chandeliers for the cables. tional lengths of thread from each micro- Discount Music Club is a no -obligation membership club that guarantees tremendous dis- Though not myself a fisherman, I'mphone to the sides of the stage or hall al- counts on all stereo records and tapes and glad there are chaps who are, for theirlows the mikes to be swayed fore-and-aft lets you buy what you want ... when you want needs led to the development of "nylonand/or side -to -side in tandem. To set the ... or not at all if you choose. monofilament line," a thin, translucentvertical angle of a cardioid, tape its cable These are just a few of the money -saving (and therefore invisible) strand of in- reasons to write for free details. You can't (about a foot from the end) to the little lose so why not fill out and mail the coupon credible strength. In "60 -pound test"plastic or metal swivel clip you would below for immediate information. weight it's not much more than one thir-normally screw onto a mike stand to hold ty-second of an inch in diameter, yet it it. The swivel action now lets you set the DISfOUNT marral-earrfT6 will support the weight of any combina- vertical tilt so you can aim for the musi- Immo 650 Main Street, New Rochelle, N.Y.10801 tion of mikes and cables I've ever used. cians. With cardioids, too, you'll need Now, in every hall I've been in I've al-two lengths of thread leading over to the NAME ways been able to find some set of an- sides, one tied to the front and the other choring points (lighting stanchions, bal-to the rear of each mike. These will let ADDRESS cony railings, or the like) at least roughlyyou aim the mikes from side to side. above the regions from which I'd like my Complicated? Not really; half an hour CITY microphones to hang, and to which Ior so when you've had a bit of practice. could tie a length of this monofilamentAnd the better -balanced sound you can

STATE ZIP line to make an invisible guy wire span-achieve by dropping your microphones ning the whole width of the performingfrom overhead will be the convincer. CIRCLE NO. 14 ON READER SERVICE CARD 24 STEREO REVIEW Garrard. The Automatic Choice. Rolls Royce. Burberry. Wedgwood. Classic Britishyour records. The Synchro-Lab motorincorporates trademarks of our time. There is another. Garrard.both a 4 -pole induction section for high starting No other brand in the world is as instantly associatedtorque and a synchronous section for constant speed. with turntables. The stylus force and anti -skating adjust- The reason is simple. An emphasis on fundamen- ments use no springs for absolute, un- tals has shaped all progress at Garrard. Precision and changing precision. The newly designed mechanical integrity have always held high priority S-shaped tonearm boasts impressively over "glamour" and pizzazz. Any modelchangelow tracking error plus low mass and bearing friction. means an indisputable improvement inperformance True, some competitors have some of these or durability, not just a new sales"promotion."features. The 990B has them all. The new 990B belt -driven, As for specifications-Rumble: - 64dB . multiple -play turntable is anWow: 0.06%. Flutter: 0.04%. excellent example Finally, the 990B is fully automatic. The basic design philosophy. We believe it to be thearm indexes, lifts at the end of play, returns best value Garrard has ever offered in its quarterto the arm rest and shuts off the motor. century of designing and producing high fidelity turn-The result is exceptionally gentle handling of tables. That's a pretty strong claim. But the 990B's your valuable record collection. Andsince the superiority to competitive record automatic mechanism is players anywhere near completely disengaged its price ($169.95) during play, you get the is readily apparent. convenience of auto- The 990B is belt - mation and multiple - play without com- driven.An idler mechanism provides an inven- promising performance. tive method of controlling speed When you purchase the as well as an additional stage of isolation new 990B, you buy two things: a between the motor and platter. It has a full size, company that has earned a superlative repu- 5 lb., die-cast, dynamically balanced tation over many years AUTOMATIC MANUAL platter which smoothes out even theof design and manufacture tiniest fluctuations of speed. Cueing isand a turntable demonstrably continuously damped in both direc-superior to anything in its price range. tions. Records are supported at the center For your free copy of the New Garrard Guide, hole and edge and the release mechanism operateswrite: Garrard, Div. of Plessey Consumer Products, at both points to ensure complete protection for allDept. A, 100 Commercial St., Plainview, N.Y. 11803 oultitAa/u1 q0The Automatic Choice

FEBRUARY 1976 CIRCLE NO. 20 ON READER SERVICE CARD 25 TEAC A-400 Stereo Cassette Deck A-1100 The 450 redefined the cassette deck as a true high fidelity component. That remarkable transport design generated a new found measure of respectability for the cassette format. Our engineers then determined that a vertical transport was best

suited for a front load application. In gravity on the cassette package itself terms of overall design integrity and is eliminated. So tape jams are mechanical stability. So rather than prevented and smooth, even tape adapt one transport design to fit packs are predictable. another need, we produced a If new design concepts superbly completely new, highly streamlined executed appeal to you, put an mechanism. From the inside out. A-400 through its paces. Just call It's called the A-400. (800) 447-4700* toll free for the name Twin rotary levers control the and location of your nearest TEAC transport functions with smooth, retailer. You'll find that the A-400 positive cam action. Which means delivers definitive TE AC performance unnecessary mechanical linkages have with the added convenience of a front been eliminated. You get peace of load component. All by design. mind instead, because fewer moving *In Illinois, call (800) 322-4400. parts assure greater reliability and long term dependability. Since the cassette loads vertically TEAC into the A-400, the adverse effect of The leader. Always has been. TEAC CORPORATION OF AMERICA 7733 Telegraph Road, Montebello, Calif. 90640 TEAC 1975 TECH \IRL TAL< 3y JULIA\ D. HI 1111111111111111111111111111

AES CONVENTION:A number of the cial power lines. The data shown in their The majority of papers presented at technical papers presented at the recent paper indicate a startling reduction (by athe AES convention were directed to the 52nd Convention of the Audio Engineer-factor of perhaps 10 to 100 times) of engineer rather than to the consumer., ing Society have implications likely toturntable speed perturbations, as com-For example, the advanced measure- affectthehigh-fidelitycomponents pared with the performance of the veloc-ment instruments and methods devel- reaching the market in months and yearsity -feedback systems used in other di-oped by some companies have made it to come. The AES, being an engineering -rect -drive turntables. possible, often for the first time, to de- oriented organization,isnot directly Many people might consider this atect and measure the transient behavior concerned with audiophile hardware, butform of overkill, considering the superi- of electronic and electroacoustic audio the research that goes into its creation isority of many "conventional" direct -components. Engineers at the Danish the basis for much of the technical -pro-drive systems over less sophisticated- firm of Bruel & Kjaer, whose beautifully gram content at the conventions. and less expensive-methods of record conceived line of test equipment is found Some of the papers concerned prod- rotation. But at least one need not have in laboratories the world over, described ucts which have already been announcedany lingering doubts about the record -a method of making virtually any type of to the public and will be available forplaying speed with the new Sony turnta- free -field acoustic measurement (these purchase in the near future, perhaps byble; its accuracy is that of the crystal -must usually be performed in an ane- the time this appears in print. For exam- choic room) in a normal room environ- ple, high -polymer (HP) plastic materials ment. The approach is simple, although can be used to make piezoelectric trans- the equipment required is not. By using ducers that resemble electrostatic driv- TESTED THIS MONTH tone -burst signals and "gating" the test ers but do not require expensive, bulky, instrumentstorespond onlyto the high -voltage power supplied. Last year, steady-state acoustic levels within the Pioneer introduced headphones based on tone burst,echoes and other room HP elements, and they have now em- Dokoder 1140 Tape Deck effects are completely excluded. This ployed this technique in omnidirectional measurement method can be extended to tweeters for their new HPM-200 speaker Onkyo Model 8 Speaker System include frequency response, directional system. According to the data presented Tandberg TCD-310 Cassette Deck characteristics, harmonic distortion, and in their paper, the cylindrical HP tweet- Rotel RA -1412 Amplifier phase response. ers are not only omnidirectional in the In a second paper by B&K engineers, horizontal plane, but they have extreme- a system for making swept measure- ly low distortion (on the order of 0.3 per ments of harmonic distortion, conven- cent) at the fairly loud listening level ofoscillator frequency, or better than 0.003 tional intermodulation distortion, or dif- 90 dB. A paper by Matsushita (parentper cent! ference -tone intermodulation distortion company of Technics, JVC, and Pana- The tone arm of the Sony recordplay- was described. To some degree, the dis- sonic) also described an electret tweeterer is conventional in design and appear-tortion characteristics of most audio (which somewhat resembles the Pioneerance, but not in its composition. Instead components are frequency -dependent. device in its operating characteristics)of a metal tube, its construction employs In the case of transducers (loudspeakers with horn loading to raise its efficiency. a carbon -filament material whose physi- and phono cartridges as well as tape re- Until recently, most applications ofcal properties minimize the unwantedcorders), the dependency is so complete the phase -locked loop (PLL) in consum-resonant modes occurring in the regionthat measurements made at one or two er equipment have been in the multiplexof hundreds to thousands of hertz, whichdiscrete frequencies give an inadequate demodulators of stereo FM tuners andcan add "glitches" to an otherwise and often misleading picture of the dis- receivers. Sony has made use of the PLL smooth response curve. Most metal tone tortion characteristics of the device. in the servo -control system of the turnta-arms we have tested exhibit this behav- The B&K swept distortion measure- ble in their new $800 direct -drive recordior at some frequencies, but the aberra- ment provides a new insight into the per- player. By locking the phase (rather thantions are of such a narrow bandwidth formance of any audio component. Simi- the speed) of the rotating platter to thethat they are difficult to measure, much lar systems have been built in the past output of a crystal -controlled oscillator,less hear. However, the purist can take basedonmodifiedaudio -spectrum they have protected the turntable control heart from the reduction in their ampli- analyzers (I recall working on such a sys- system from the vagaries of the commer-tude with Sony's tone -arm material. tem over fifteen years ago), but, in addi-

"St STEREO REVIEW tion to their considerable bulk and cost(tweeters of various types) with shaped ible. Since the presentation began with a (more in 1960 dollars than B&K's systemsignal pulses and measured the acoustic display of an ideal pulse response, we in 1975 dollars), they were limited to thepressure in the emerging wavefront at were able to judge how closely each of audio -frequency range and were unable3,000 (!) points in a horizontal plane in the drivers came to achieving theoretical to measure distortion levels much belowfront of the speaker. The data were perfection. 0.1 per cent. In contrast, the B&K in-converted to digital form, processed by a The test setup required for JVC's mea- strument, which is available commercial-computer, and stored in a digital magnet- surements was rather elaborate and in- ly, spans a range from 2 Hz to 200 kHzic recorder. The data playback was fur- volved several types of expensive in- and, judging from the data presentedther computer -processed and displayed strumentation. Little was said about the with the B&K paper, can make measure-on a cathode -ray -tube screen on an ex- possiblecorrelationofthe observed ments down to 0.001 per cent. It is a re-panded time scale so that the 100 -mil- wave propagation characteristics and the markable measurement system. lisecond measurement period could be subjective sound of the speakers, and in Probably the most impressive andviewed over a period of several seconds. a case such as this it is risky to read more advanced measurement described at theThe screen was photographed with a mo- into a measurement than appears on the AES Convention was made in the labo-tion picture camera, and the films were surface. Nevertheless, it seems probable ratories of the Japan Victor Companyshown to the audience at the presenta- that continuing investigations ofthis (JVC). The wave front emerging from ation of the paper. type, and some of the others described in loudspeaker,which is theoretically Speaking for myself (and I think the the convention papers, will eventually spherical in shape, is rarely ideal. Loud-audience shared my reaction),it was result in consumer products with im- speaker transient response is acknowl-rather eerie to see the pulse waveformproved performance. Based on what I edged to be imperfect, but most of theemerge from the speaker and fan out into heard and saw, I am happy to report that measurement techniques devised for itsa circular arc. Overshoot and ringing, as audio progress has not stagnated, and analysis also leave much to be desired.well as the drop in amplitude off the cen- that tomorrow's high-fidelity compo- JVCengineersdroveloudspeakerstral axis of the radiator, were clearly vis- nents will be even better than today's.

EQUIPMENT TEST REPORTS 3y Hirsch -Houck Laboratories

Dokorder 1140 Four -channel Tape Deck

face of the deck. With the recorder placed on a table or bench of normal height, the meters and controls in its electronic section are close to eye level, while the transport controls fall easily to hand. The tape capstan is driven by a synchronous motor whose speed is switched electri- cally by a pushbutton that simultaneously selects the appropriate equalization. Two six - pole motors operate the reel hubs, which have integral spring -loaded reel hold-downs. The tape moves in a nearly straight-line path, with tension arms on each side of the head assembly. The transport shuts down automatically if tape tension is lost. Five flat feather -touch pushbuttons control the tape motion through - solenoids. A control -logic system prevents tape damage or spilling, no matter how the controls are used. An optional remote -control assembly can be plugged into a socket on the front of the base. Six pushbuttons at the left of the panel control the POWER, REEL (torque settings for 7 - inch or 101/2 -inch reels), SPEED, BIAS, cuE, and PAUSE functions. In the FIX position of the BIAS switch, the bias is set by internal adjustments which are factory set for Scotch 212 or Maxell UD-35 tape. Pushing it to the VAR position makes it possible to optimize the THE Dokorder 1140 is a de luxe, four - al can be recorded on one or more of the re- bias for any tape by means of four small knob channel, open -reel tape deck designed for the maining tracks in exact synchronism. controls on the panel (their settings are pro- advanced amateur recordist. Though not ad- The Dokorder 1140 operates at 71/2 and 15 tected by a removable plastic cover). The CUE vertised as a "professional" recorder, it has inches per second (ips), and can accommo- button releases the tape lifters so that a spe- many of the recording functions used by pro- date reels up to 101/2 inches in diameter. The cific portion of a recording can be located by fessional recording engineers. "Multi -Sync" wood -veneer base contains the nearly hori- fast search or manual tape scanning. is Dokorder's term for their track -synchroniz- zontal, slightly sloping tape transport and its Along the front center of the panel are four ing feature in which a portion of the four - operating controls. A vertical column at the red RECORD interlock buttons. When the main channel record head is used to play back a rear supports the electronic portion of the re- REC button is pressed, a red light next to each previously recorded track so that new materi- corder, which is some 7 inches above the sur- (Continued on page 32)

FEBRUARY 1976 29 PIONEER INTRODUCES AN AMPLIFICATION SYSTEM THAT WILL FORCE YOU TO TAKE A HARD LOOK AT YOUR SPEAKERS. ID U.S. PIONEER ELECTRONICS CORP., 1976.

Pioneer's new Spec 1 and amplifier with all the reserve powercompensate for any deficiencies Spec 2 are capable of producing of the Spec 2. in program material or listening a level of high -quality sound most STATE-OF-THE-ART DESIGN area. speakers are simply incapable of Spec 2 not only produces an And, so you can make sure reproducing. uncompromising amount of sound; you've made all the right So, unless you're willing to it does so in a totally adjustments, Spec 1 has a"tone listen to Spec 1 and Spec 2 at uncompromising manner. off' switch that lets you compare something less than their For example, Spec 2 uses an your setting with a completely full potential, don't make the advanced toroidal coil power flat setting. decision to invest in 1.0,1-11J transformer. It's a Spec 1 even has its own

1 them if you're not pre- 008 more expensive microphone amplifier, with its own pared to invest in a transformer than volume control. So you can mix new pair of speakers. most amplifiers use. into any program material But a more efficient without touching the main volume SPEC 2: 250 GOVERNMENT - transformer. And one control. APPROVED WATTS 0 80 3 014.4 0 .0 that keeps magnetic THE BEAUTIFUL SOUND A CHANNEL flux leakage to an OF NOTHING

11 I I UL Spec 2 was the SPECS MEC _514CT ,S SE absolute minimum. One thing Spec 1 doesn't do first power amplifier Also unlike is add anything to the sound it designed to deal with many power reproduces. The phono section the new F.T.C. amplifiers, Spec 2 has a completely inaudible signal- power regulations. It doesn't use fans. to-noise ratio of 70 dB (IHF, short- has a continuous Because fans can circuited A network). All other power output of 250 0 20 . 80 X 30 4310 80 00X 300 40 0:0 11.1 cause noise. Instead, inputs are rated at 90 dB. Which watts per channel Spec 2 has massive is even more inaudible. And it has minimum RMS. At 4 heat sinks and a total harmonic distortion of no or 8 ohms. From 20 111111111111111111111111111111111111111111 special Pioneer - --rilii.Imirilii1=11!1 ERN more than 0.03%. Which is five to 20,000 Hz. With 1111101111111 IMEN II developed protective times under what your ear is IN11111111111111111111111 I - 1111 no more than 0.1% NISH 1 1 1 1 1 1 1 1 1 11111 circuitry to keep the capable of detecting. harmonic distortion. =iiiiwommilpPi Mr, 111.41Maar' Medoperating DESIGNED FOR 621..min i &SWIM EIA MOUNTING Other power MilliilliZ=Z11.1.TAE S1 !SUM temperature under amplifiers that used - - control. Both Spec 1 and Spec 2 are to claim a lot more power can t do Spec 2 even has wattage 19"wide. So you can place them in that anymore. meters that indicate music output any standard EIA laboratory rack.

I. I 1111H I I WHO NEEDS (2STORTION. 01.1TiVr SPEC I E UUJI.511111Ail SPEC ALL THIS POWER AND WHY 111111111011111 1/1111111, When you listen to a Ij! 11211111 ril 11111 live performance it can 0180.10.8.81, CO28811.1181.1.18 0.0.80880001

have an average sound Mil11111111111111M 1111 =1111111111 level of 84 dB.Which most MINIM MN NUM IMIIIIIR111111 2 05 !OK high fidelity systems can ounkrtuvutrov reproduce with half a watt of in RMS watts at 8 ohms. These Or you can stack them like power. But a sudden musical peak had to be specially designed, too. conventional home entertainment of 110 dB takes four hundred Because conventional VU meters components. times as much power. Which couldn't give an accurate enough Which they definitely are not. means you need 200 watts of power reading. power to reproduce that peak. SPEC I: TWICE If your amplifier doesn't have that THE CONTROL OF much reserve power, you get MOST PREAMPLIFIERS SPEC I "clipping:' Which doesn't happen Most preamplifiers have two during a live performance. tone controls. Some have three. So, if you want your system But Spec 1 has four. Each of SPEC 2 to be able to give you all the which is calibrated in 1.5 dB power, all the sheer presence of clickstops. All together, they give PIONEER® U.S. Pioneer Electronics Corp., live performance, you need an you a total of 5,929 ways to 75 Oxford Drive, Moonachie, New Jersey 07074

CIRCLE NO. 54 ON READER SERVICE CARD of the four channel -recording selectors indi- A slide switch selects either NORMAL orspeeds was negligible. At 15 ips the overall re- cates when it is engaged. Behind the massive SPECIAL recording equalization to provide sponse was ±1.5 dB from 35 to 24,500 Hz and head cover and shield are four MULTI -SYNC flattest overall frequency response with tapesdown 5 dB at 23 and 32,000 Hz. However, at buttons. Pressing any one of them connects that require similar bias levels but have differ-the higher speed there was absolutely no dif- the record -head section for that channel to its ent high -frequency properties. As an exam-ference between the response curves made at playback amplifiers for synchronous addition ple, the instructions recommend using NOR- -20 dB and at 0 dB all the way up to our of other program channels. The head is MAL with Scotch 212, but SPECIAL (which has 40,000 -Hz upper measurement limit! switched automatically between recording slightly less high -frequency recording boost) Measurements with the Maxell and TDK and playback functions by the regular operat- with Maxell UD-35. Finally, a slide switchtapes showed that the Dokorder 1140 gave ing controls. turns on an internal "pink -noise" test -signalvirtually identical frequency response with all The Dokorder 1140 has an unusual and use- generator for adjusting the bias to any tapethree tapes. When the bias adjustment is ful MEMORY feature which is a more refined formulation. While recording this signal andmade using the recommended procedure, and version of the "memory" devices found on monitoring the playback output on the record- the proper recording equalization is used, this some cassette recorders. It hastwoindepen- er's meters, the bias controls for the individu-machine can produce superb results with any dent four -digit index counters whose numbers al channels are adjusted for the maximum- good -quality tape. move inopposite directionsas the tape output reading. A LINE input of 72 millivolts (mV) or a mic moves. In use, the "forward" counter is set On the left side of the electronic unit areinput of 0.3 mV was needed for a 0 -VU re- to zero at the beginning of a selection and the two stereo -headphone jacks for monitoringcording level. The microphone inputs over- "reverse" counter is zeroed at the end of the either front or rear channels with 8 -ohmloaded at 60 mV, which should be a safe value selection. If a switch at the right of the panel phones. On the right side are four jacks forfor most recording situations. The playback output depended somewhat on the type of tape used, but with Scotch 212 the maximum +5 output was 1.8 volts from a 0 -VU recording at I I (0 DB) 15 I 1,000 Hz. With the meter 'set to 0 VU by Oe/7><:711'4111e477N--es. -4...PSI.- 71/2PPS means of the playback level control, the out- // put was 0.79 volt. J / At 71/2 ips, the playback distortion from a 1 3M212 0 -VU, 1,000 -Hz recording was 1.9 per cent, 03 10 DOKORDER 1140 0 RECORD -PLAYBACK RESPONSE and the 3 per cent reference level was ob- 0-15 tained at an input of +2 VU. At 15 ips, the 0 -VU distortion was 1.6 per cent, and a +3 - ....- , 15IPS -20 '.'Ali..-.---111-..-,-,- ---.-- - VU input gave 3 per cent playback distortion. / (-20DB) 71/21PS The unweighted signal-to-noise ratio (S/N), -25I referred to the 3 per cent distortion playback - 20 30 50 100 200 500 lkHz 2kHz SkHz 10kHz 20 output level, was 55.5 dB at 71/2 ips and 54.7 +5 kH dB at 15 ips. With IEC "A" weighting, these 0 0 L11_ 71/2 IPS figures improved to 62 and 61.5 dB, respec- 41 tively. At maximum recording gain the noise NAB PLAYBACK RESPONSE -5 level was 4.5 to 5 dB higher through the mi- FREQUENCY IN Hz (CYCLES PER SECOND) crophone inputs than through the line inputs (a relatively small increase compared with the performance of many tape recorders we have tested). is set to AUTO -STOP, the tape goes into rewind 600 -ohm dynamic microphones. In the rear The tape transport had a combined wow automatically when the "reverse" counter are the four pairs of LINE inputs and outputs. and flutter (unweighted rais) of 0.085 per cent reaches zero. It rewinds until the "forward" Because of its unusual styling and many at 71/2 ips when playing the Ampex 31326-01 counter returns to zero. Since some over- control features, the Dokorder 1140 presents flutter test tape. A combined record -playback shoot is unavoidable at high speeds, the tape an impressive appearance.Its base is17 flutter measurement actually gave slightly stops, then moves forward at normal speed to inches wide by 16 inches deep, and the overall lower readings -0.07 per cent at 71/2 ips and a the zero point, where it is ready to be placed height is about 21 inches. The recorder weighs very good 0.055 per cent at 15 ips. The tape into the normal playback or recording mode. about 55 pounds. Price: $1,199.95. speed was less than 0.25 per cent fast, and in Another switch setting, REPEAT, produces the the fast -forward or rewind modes a 1,800 -foot same result, except that the tape automatical- Laboratory Measurements. The playback tape reel was handled in 90 seconds. The me- ly resumes playing from the zero point instead equalization at 71/2 ips was extremely accu- ters were somewhat slower than standard VU of waiting for an operator command. This rate, producing a response within ±1 dB over meters, reaching 60 per cent of their steady- system permits any desired portion of a tape the 50- to 15,000 -Hz range of the Ampex test state readings on 0.3 -second tone bursts (the to be repeated automatically as many times as tape. Most of our recording and playback VU standards call for 99 to 101 per cent). The desired. In the OFF setting of the MEMORY measurements were made with Scotch 212 PEAK lights were effective in disclosing exces- switch, the recorder's operation is the con- tape, for which the machine had been adjust- sive recording levels, even when the meters ventional one. ed. However, we also measured its frequency read well below 0 VU. The electronics panel of the Dokorder 1140 response with Maxell UD-35 and with TDK is.dominated by four large, illuminated level Audua (which required a different bias level, Comment. At the time we tested the Do- meters which can be switched individually to easily set with the aid of the Dokorder's built- korder 1140, only a preliminary operating - read SOURCE or TAPE (playback) levels as in test generator and the VAR bias controls). instruction manual was available, so we had modified by the playback -level controls. Each At 71/2 ips, the record/playback frequency to become familiar with its many features track has its own recording -level control with response showed the usual cyclic "ripples" (a through trial and error. While we may have an adjacent peak -overload light that flashes function of the head design) at low frequen- overlooked a few of its special operating char- on momentary peaks greater than +8 dB cies.Overall, however,it was essentially acteristics in the process, we were soon con- which might not register on the meters. The within ±1.25 dB from 20 to 24,500 Hz at a vinced that itis at least as versatile as any peak indicators function during playback as -20 -dB recording level, and was down 3 dB four -channel recorder we have seen, and easi- well as recording, minimizing the possibility from its mid -band response at 28,000 Hz. er to operate than many, in spite of its seem- of overdriving the amplifiers in the playback There was very little compression of the high ingly formidable control lineup. mode. Switches above the knobs select either frequencies at a 0 -VU recording level, so the In view of the limited repertoire of pre- mic or LINE inputs (the two cannot be mixed). overall response was ±1.5 dB from 22 to recorded four -channel tapes, it is likely that At the right of the electronics panel are two 22,000 Hz. most people will be using the 1140 for live repairs of concentric playback -level controls Starting from such an outstanding response cording by "laying down" successive tracks for the, four channels. A pushbutton selects at 71/2 ips, we could hardly expect a great im- based on an initial program track with the in- either two -channel or four -channel operation; provement at 15 ips. Except for a slightly flat- tention of mixing down ultimately to a stereo in the former mode the rear channels are disa- ter response above 15,000 Hz and some loss tape. This is the major application for tape re - bled and their meter lights turned off. of deep bass, the difference between the two (Continued on page 34)

32 STEREO REVIEW The frommart' witiin rece That'svets tri where to achieve. theThe LR-22C0 iew But Lafayette real EtB10E oerforrnance _R-2200out. comes has tk-e of of perfprmance This serious receiver performs to The highest standards with of Performance Image advanced circJitrya most selective,aM.1 stereo FM receiver, 27full performancemon wattsmusic lorhg per controls channel,jac.(s -;:f theand inducting minimum LR-2200 de:ived two fourRMS_Bothcomes t_inh-g. channel acr)S3 stereorne-ers, mamix powerfully changers The dual sensitive throughtape we specithetotaldrive LI1-2200. garrnorlic --1ica-ions, a- 8 ohms Lafayette distortionthe Mostfrom 20-20,000cowerputThe the Lafayele for moEt artyHz wfth fea:u-es,audiorecEiper np cesigners more Lafay4tethe than c ea performed 0.5% gesthas in the creation of willevermance oerlotm offered for for you. his Foronce years. LikeSeeBecause299.95 tot, hearsee Lafayette rr it ore at aof La-ayette performedthe Performers9 storein thecreat uis t en" o' -he Lafayette It cues quite a perfor- this receiver it sores coast to :cast. Or write for our free za1alog Elec tonically Spect4ing Radio Electronics Whc Knows Better Thar & Shopping l',enter-3 FEBRUARY 1976.111 Jendio 'Turnpike Syosset, L.I., Pt.Y 11791 CIRCLE NO. Lafayette30 ON READER SERVICE CARD c Latayette Radio Electronics Coroora?ic n 1976 33 corders with this capability, and one which material is monitored through the Multi -Sync ing to the "0000" index -counter reading, so the 1140 handles in an eminently satisfactory heads, one can make a "flying start" record- that replay actually begins at 0002 or 0003. By manner. ing when adding material to a previously re- making allowance for this, it is possibld to re- For example, we found absolutely no mea- corded track or inserting new material within peat or return to the beginning of any desired surable or audible difference in its response or the earlier recording. Pressing any of the re- tape segment with great precision and at con- othercharacteristicsbetween a playback cording buttons instantly converts that chan- siderable speed. through the normal playback head and a play- nel from playback to record status (and re- We found the tape -loading process to be ex- back using the recording head in the MULTI - turns it to playback when released) with none ceptionally simple, even for someone with SYNC mode. Since the switching from record of the time -delay error inherent in conven- more than the normal quota of thumbs. All to playback functions is handled automatical- tional three -head recorders. We were also solenoid -controlled recorders emit an audible ly, it is very convenient to leave the MULTI - pleased to find that the headphone volume, "clunk" when their control buttons are oper- SYNC buttons depressed and the MONITOR even with 200 -ohm phones, was very loud and ated, and this one is no exception. In any buttons in their SOURCE positions. In this way would probably be sufficient for monitoring event, none of the acoustic output of the sole- the selection of recording or playback modes during a "live" recording session. This is in noids affects the taped program. All in all, the is governed entirely by the operation of the contrast to most tape recorders, which barely performance, versatility, and striking physi- RECORD buttons and the REC master button. drive higher -impedance phones to a listenable cal design of the Dokorder 1140 add up to If the machine is put into the recordinglevel. The memory feature worked very make it an outstanding value despite its not in- mode with the channel recording buttons out smoothly. As thepreliminaryinstruction considerable price. (disengaged), and if the previously recorded manual warns, there is a slight error in return- Circle 105 on reader service card

Onkyo Model 8 Speaker System

averaged about 8 ohms over most of the audio frequency range. At the bass resonance of 70 Hz it rose to about 15 ohms. Although we would have expected the high -frequency level control to affect only frequencies above 6,000 Hz, its action began at about 600 Hz. It appeared to have a shelved characteristic-that is, all frequencies above 700 Hz or so were affected to the same degree, for a total range of ±2 db. The tone -burst response at 200 Hz, in the woofer's operating range, was very good. At 10,000 Hz, the burst decayed over a period of several cycles instead of cutting off abruptly, although there was no sustained ringing. The efficiency of the Model 8 was unusually high for a speaker of its class, so that a mid -range

input of 1 watt produced a sound -pressure level of 94 dB at a distance of 1 meter from the grille. THE least expensive Onkyo speaker sys- sponse within ±3 dB from 55 to 15,000 Hz. Comment. From the measurements, one tem is the company's Model 8, a two-way The contribution of the port to the total would expect the Onkyo Model 8 to be a bookshelf system with an 8 -inch woofer and a bass output was significant only at frequen- smooth and relatively uncolored -sounding 2 -inch cone tweeter. The electrical crossover cies below 50 Hz. The woofer distortion at a speaker with rather modest low -bass perfor- is at 6,000 Hz and a three -position switch in 1 -watt drive level was under 1 per cent down mance. And that is, in fact, a fair description the rear of the speaker provides a ±2 -dB ad- to about 60 Hz, rising to 5 per cent at 45 Hz of its sound. justment of the high -frequency level about and to 10 per cent at 38 Hz. However, distor- It came as a slight surprise, however, to the "normal" (or nominally flat) position. tion from the port measured considerably find that it was exceptionally accurate in its The Onkyo Model 8 is a compact speaker lower, reaching only 6.5 per cent at 35 Hz. handling of our simulated live -vs. -recorded measuring 21% x 11% inches, with a depth of The woofer's power -handling capacityis listening comparisonwhich excludes fre- 93/4 inches; it weighs only 16 pounds. Its duct- modest, and this was reflected in the substan- quencies below about 200 Hz. The flatness of ed -port wooden cabinet is finished in walnut tial increase in distortion when we drove the its measured frequency response obviously grained vinyl. A minimum amplifier power of speaker at a 10 -watt level. The distortion was correlates well with what one hears in a nor- 7 watts into its 8 -ohm -rated load impedance is between 3 and 7 per cent from 100 to about 53 mal listening environment. Its lack of "flash" recommended, and the speaker is rated to Hz, and rose to 10 per cent at 46 Hz. or other immediately audible characteristics handle up to 30 watts. The Onkyo Model 8 The system impedance fell to a minimum of signifies accuracy, rather than any deficiency, carries a five-year warranty covering parts about 5 ohms in the 150- to 200 -Hz area but in its behavior. (Continued an page 36) and labor. Price: $89.95.

Laboratory Measurements. At the NORMAL setting of the high -frequency level switch, the The oscilloscope integrated output of the speaker in the test photo at left shows room was unusually flat, with no significant the Model 8'sre- peaks or holes up to 15,000 Hz, above which sponse to a 200 -Hz the output dropped rapidly. The close-miked signal; at right, to a bass response showed virtually no output in- 10,000 -Hz signal. crease at its resonant frequency, so that splic- The upper trace is ing the two curves yielded a composite re- the input waveform. 34 STEREO REVIEW Ournew storage system. A safe place for your cassettes to live.

Interlocking Grooves

Wall Mounting Bracket

Title Strip

Spring -Loaded Cassette Tray Pushbutton Tray Opener 3m COMPANY

If you've ever lost 3 Cd istit an even add a carrying handle laid one down where keen ounting bracket. ruined, you'll really apifreciafe Of course, a Scotch cassette can new C-Box.rm It's a convEMen1 e a long life even without a C -Box, way to store your cassettes, Ant ecause there's a Posi-Trak backing available only with So:c10 o ielp prevent jamming, a plastic brand cassettes, cassette shell that can withstand At the touch of a butto, I511°F heat, and a tough magnetic pops out of the C-B)x, coating that can deliver great your cassette. AO C -30x soind quality even after hundreds locks on top of any o'.hcr f -Box. of replays and re -recordings. So you can stack tt.em r s you add flow that we've got the new C -Box, cassettes to your celleciiq,n. V ight IV y00, is there no stopping us?

FEBRUARY 1976 CIRCLE NO, 31 ON READER SERVICE CARD 35 Onkyo's power ratings for the Model 8 are extended low -bass response, which has been It is also worth noting that the size and completely realistic. That is to say, it will de- sacrificed in the design of the Model 8 in the weight of the Onkyo Model 8 qualify it as a liver a healthy and clean output when driven interests of higher efficiency. But be aware true bookshelf speaker that does not require by any of the lower -price receivers rated at 8 that a typical small bookshelf system is 3 to 5 extra -deep or reinforced shelves. In every re- to 12 watts per channel. However, if higher dB less efficient than the Model 8, and thus respect, it qualifies as a fine choice for use in a power (appreciably in excess of the 30 -watt quires two to three times as much power from modestlypriced-and therefore modestly maximum rating of the speaker) is available, your receiver or amplifier to achieve the same powered-home music system. one might wish to use a speaker with a more acoustic output. Circle 106 on reader service card

Tandberg TCD-310 Stereo Cassette Deck

An interesting additional feature of the TCD-310, not mentioned in the instruction II IIIIIIIIIIIIIIIIIIIIII111111111111111111111111111111111111111111111111111111111 manual, is its ability to be used as a "straight - through" decoder for FM Dolby programs. To do this, the pause control is first engaged, then both record and play are pressed. If the tunerdoesnothavetherequired25 - microsecond de -emphasis, an external adapter should be used to provide it. The top of the Tandberg TCD-310 is conventional -appearing except that the cassette well opens to the right. This is to prevent the cassette from falling out when the door is opened with the machine in a vertical position. There is an index counter next to the cassette well, in front of which are the pause and eject keys. At the left is a large "win- TANDBERG'S TCD-310 cassette deck is an has emphasized low noise in the TCD-310 dow" area, behind which are the level meters, evolutionary step beyond the company's pre- through the choice of parts and circuit de- illuminated in red and green when the unit is vious Model TCD-300. It is a three -motor, signs. In particular, the microphone pream- on. They are peak -responding meters that two -head machine with a dual -capstan drive plifiers are automatically adjusted (in gain) by monitor levels after the recording equaliza- that maintains controlled tape tension over the impedance of the microphone(s) used to tion, therefore minimizing the chances of dis- the heads. A hysteresis -synchronous motor provide optimum signal-to-noise ratio (S/N). tortion from excessive recording levels at drives the capstans and two d.c. motors pow- The control keys, unlike those of most re- high frequencies. er the reel hubs. The recorder can be operated corders, are hinged in front and must be oper- A row of what appear to be black pushbut- horizontally or vertically or even mounted on ated by pressing on their rearmost portions. A tons is just below the meters. Actually, only a wall. firm pressure is required, so that it may be three are functional-for mono recording, The transport functions are actuated by necessary to hold the machine with one hand Dolby noise reduction, and chromium -dioxide electromechanical solenoids, but the actual while operating the keys if the vertical mount- (Cr02) bias and equalization. Between the operating controls resemble the latching "pi- ing position is used. meters, a large rectangle is illuminated in red ano keys" used on conventional, mechanical- To make a recording, the pause key must when the machine is in the recording mode. ly switched transports. They can be used in first be pressed, and then the record key (not Two microphone jacks on the panel automati- any sequence without pressing the STOP key both record and play, as is the usual practice). cally disconnect the line inputs when the (although STOP must be pressed before a cas- Recording levels can then be set with the two plugs are inserted. The line inputs and out- sette can be ejected). The keys can also be slider controls, and when the pause key is re- puts, including a DIN socket, are in the rear left in their mechanically latched positions so leased the recording commences. The other of the deck. that subsequent application of a.c. power by transport controls are conventional, including The Tandberg TCD-310 measures 167/3 an external clock timer can initiate unattend- fast speeds in both directions, PLAY (its key is inches wide, 41/2 inches high, and 9 inches ed recording or playback. twice as wide as the others), and a power deep; it weighs 141/2 pounds. It is supplied As in their open -reel machines, Tandberg switch. with walnut side panels. Price: $499.50. Laboratory Measurements. The TCD-310's -1-5 I 1 1111 I playback frequency response varied less than -- -Cr02 (0 DB) ±2 dB from 31.5 to 10,000 Hz with the Nor- O -..-...... L..- MAXELLUD ...... -. tronics AT 200 test tape ("standard" equali- ..... zation). With the Cr02 button depressed, the chromium -dioxide equalization test tape gave TANDBERG TCD-310 a response within +0, -4 dB from 40 to 8,500 RECORD PLAYBACK RESPONSE A, Hz, dropping 6 dB at 10,000 Hz. The recorder was biased for Maxell UD tape, with which the record -playback fre- -20 slim! quency response was ±2.5 dB from 45 to (-20DB)-- 14,000 Hz at a -20-dB recording level. With -25 _ \ TDK KR (Cr02) tape, the response was ±2.5 20 30 50 100 200 SOO lkHz 2kHz 5kHz 10kHz 20 dB from 50 to 13,500 Hz at the same level. +5 kH NORMAL For a 0 -VU recording level, response was 0CO 0e** down 4 to 5 dB at 6,000 Hz. Dolby tracking was good, with less than 1 dB of change in the - Cr02 -5 PLAYBACK RESPONSE response at any frequency when the Dolby FREQUENCY IN Hz (CYCLES PER SECOND) system was used. 36 STEREO REVIEW At maximum gain the line inputs requiredper cent fast), and the flutter and wow were 30 millivolts (mV) for a 0 -VU recording level. among the lowest we have ever measured on a 11 I11111111I11IIII11I11111II The recording amplifiers overloaded at a very cassette recorder-respectively, 0.08 and 0.01 safe 4.4 -volt input. Since the microphone sen- per cent (unweighted rms). Another advan- sitivity is a function of the source impedance, tage of the three -motor transport was its ex- we can only say that with a 600 -ohm source a traordinarilyfastshuttling speeds, which mere 80 microvolts (0.08 mV) was needed for moved a C-60 cassette from one end to the a 0 -VU recording level, with overload occur- other in less than 34 seconds! The peak -read- ring at a 16 -mV input. However, by experi- ing meters read 100 per cent of their steady- menting with different source impedances, we state levels with the 0.3 -second tone burst determined that if the recording -level controls used to check VU meter ballistics. Even when were set at least one-half division (out of a to- we applied 50 -millisecond bursts at a rate of tal of six) above their minimum positions, the once per second, the meters read only 2 dB microphone circuits were not overloaded by under their steady-state levels. any signal that did not drive the meters above 0 VU. The playback output, which was at a Comment. We have two quibbles with the fixed level, was 0.78 volt from a 0 -VU input. human -engineering aspects of the TCD-310, A Dolby calibration -level tape gave a meter the first of which concerns the buttons located indication of -1 VU on playback (0 VU is the just below the meters. It is by no means easy nominal Dolby calibration point, and a 1 -dB to tell when the CrO2. Dolby, and mono but- error is well within normal tolerances). When tons are engaged except by feeling or closely a 1,000 -Hz signal was recorded at 0 VU, the examining them. Secondly, we are concerned The TCD-3 His tape -well cover holds a cas- playback total harmonic distortion (THD) was about the limited clearance on the right side, sette in integral slots. The clear top plate of the 1.5 per cent with Maxell UD and 1.6 per cent where the cassette is loaded and removed. If cover snaps off to permit easy head access. with TDK KR tape. The reference distortion the recorder is placed against a wall or anoth- level of 3 per cent was reached at about +3 er component, loading and unloading a cas- VU with both tapes, at which level the un- sette becomes an awkward process. weighted signal-to-noise ratio (S/N) was 52 Our overall test results dramatically show gion. In my view, the validity of Tandberg's dB with Maxell UD and 54 dB with TDK KR. the effect of Tandberg's design philosophy, choice is illustrated by the fact that, while few Applying IEC "A" weighting, which gives a which is to drive the tape with the lowest pos- people will miss-or even be able to detect better correlation with audibility, improved sible flutter and to keep noise and distortion at the absence of-the frequencies above 15,000 these measurements to 59 and 62 dB, respec- a minimum. In both respects, the TCD-310 is Hz, anyone can hear noise, and most tape re- tively. Finally, when we used the Dolby sys- one of the outstanding machines in a market cording enthusiasts will agree that there is no tem we obtained the most impressive S/N well populated with fine cassette recorders. such thing as too little flutter! measurements of 66.5 dB with Maxell UD and To achieve the outstanding performance of All in all, we must say that the Tandberg 68 dB with TDK KR tape. Although the noise the TCD-310, a "trade-off" was required in TCD-310 is a superb performer-a cassette increased through the microphone inputs (the the response at the highest audible frequen- recorder whose dynamic range and flutter amount depending on the source impedance), cies. Although no apologies need be made for compare very favorably with some first-rate the added noise at any usable setting of the a 14,000 -Hz response, itis well known that open -reel machines and are distinctly superior level controls was insignificant. some other cassette recorders have a useful to those of most cassette recorders. The tape speed was nearly exact (about 0.2 response extending above the 15,000 -Hz re - Circle 107 on reader service card

Rotel RA -1412 Integrated Stereo Amplifier two large illuminated meters and the concentric volume and balance controls. The meters have extended logarithmic scales calibrated directly in power output over the very wide range of 0.01 to 200 watts. The volume control works in twenty-two detented steps, controlling the level in 2 -dB increments down to -30 dB and in progressively larger jumps to -60 dB, with the final step being the fully off position. The balance control is a shallow ring surrounding the volume control, lightly detented at its center position. At the upper left of the panel are the pushbutton power switch and three pushbuttons OVER the years, the Rotel components we The Rotel RA -1412isphysically rather for energizing up to three sets of speakers in have tested-usually in the low- to medium - large, with front -panel dimensions of 211/4 by any combination. There are two stereo -head- price range-have more than lived up to the 7 inches and an overall depth of 17 inches. phone jacks below the speaker switches. The claims made for them. Rotel has now entered The amplifier's net weight of more than 48 upper right of the panel is devoted to the five the higher -price component market with the pounds results partially from its having two pushbutton input selectors (for two magnetic- introduction of their Model RA -1412 integrat- entirely separate power supplies that share phono cartridges and three high-level inputs). ed stereo amplifier. The RA -1412 is rated to nothing but the line cord and the power Below them is a microphone jack and its mix- deliver110 watts per channel into 8 -ohm switch. This is a costly-but effective-way ing level -control knob, which is pulled out to loads, from 20 to 20,000 Hz, with less than 0.1 of guaranteeing that each channel will operate turn on the microphone circuits. per cent total harmonic distortion (THD). It completely independently of the other. The other controls, forming a line across has just about every control feature found in The front panel, which is fitted with rugged the lower portion of the panel, include the other de luxe integrated amplifiers, plus a few handles, is dominated visually by a secondary bass and treble tone controls (eleven -position of its own. panel, across its upper censer, which contains rotary switches), between which are a pair of FEBRUARY 1976 37 1

I I I I I 1 I III- 1111 I 1 1 I I 1 z 11 11111 11 I III 0 ROTEL RA 1412 ROTEL. RA -1412 I-o.5 REFERENCE POWER (110W) 0.5 TOTAL HARMONIC rc ...... HALF POWER (-3dB) - DISTORTION (1 kHz) - --- LOW P OWER 1 -10dB) 0 IM DISTORT ON (60/7000Hz-4:1) o.2 0.2 0 I - 0 o El 0.1 2 I - rc z z .05 O.05 I - 411 z rc Wm.=11.1., ...... "M. ,.."1.. 0 ...... 0. .o2.. -...... 02 ...... *.4°' ,...... ,...... ''.. II.

' 1, 4`"., , .7 .01 20 50100 200 500 1kHz 2kHz 5kHz 10kHz 20 2 5 10 20 50100200 500 FREQUENCY, IN Hz (CYCLES PER SECOND CONTINUOUS AND EQUIVALENT SINE-WAVE WATTS/CHANNEL three -position lever switches that bypass the to provide almost any desired amount of bass products were principally second and third tone controls or select turnover frequencies and treble boost at low listening levels. harmonics). of 200 or 400 Hz for the bass, 2,500 or 5,000 The last front -panel control is the TAPE At the rated output, the THD was virtually Hz for the treble. Two more switches operate MONITOR switch, whose five positions permit constant across the audio -frequency range- the low- and high -cut filters, which have listening to the source or the playback with between 0.025 and 0.033 per cent from 20 to 12 -dB -per -octave slopes and turnover fre- either of two tape decks or dubbing from 15,000 Hz, with a maximum of 0.045 per cent quencies of 15 or 30 Hz for the bass and 8,000 either machine to the other. at 20,000 Hz. At outputs of -3 and -10 dB, or 12,000 Hz for the treble. The MODE switch All signal inputs and outputs (except for the distortion was always less than at full selects normal or reversed -channel stereo and speakers) are located on the right side panel power. feeds either left or right channel or their sum of the RA -1412. The connections for the two A high-level input of only 40 mV was need- (mono) to both speakers. tape recorders are duplicated by DIN sockets. ed to drive the amplifier to a reference output Two lever switches perform functions that Slide switches under the phono inputs provide of 10 watts, and the signal-to-noise ratio (S/N) are found on many amplifiers, but in a manner a choice of three different cartridge load re- was an excellent 80 dB. At the three rated unique to the RA -1412. The loudness -com- sistances (25, 50, or 100 kilohms) and input phono sensitivities of 2, 4, and 8 mV, inputs pensation switch provides two different re- sensitivities of 2, 4, or 8 millivolts. There are of 0.6, 1.1, and 2.2 mV drove the amplifier to sponse characteristics, identified somewhat separate preamplifier-output/power-ampli- 10 watts with an equally impressive 75.5 -dB cryptically on the panel as 6 dB/20 dB and 3 fier-input jacks normally connected internally S/N. The phono-overload capabilities of the dB/10 dB. The specifications make it clear that by an adjacent slide switch. RA -1412 broke all records for amplifiers we these numbers refer to the maximum boost at On the left side panel of the amplifier arehave tested; depending on the input sensitiv- 10,000 and 50 Hz, respectively, at the lowest heavy-duty binding posts for three pairs of ity, the circuits overloaded at 310, 580, or settings of the volume control. The MUTING speakers. The rear of the unit is devoted al- 1,150 mV. The microphone input sensitivity switch introduces either 10 or 20 dB of at- most entirely to the output transistors and was 0.54 mV with a 72 -dB S/N, but it was able tenuation, either as a temporary volume re- their heat sinks, below which are the line fuse to accept the full 10 -volt output of our audio duction or (in conjunction with the volume - and four switched a.c. outlets. There are no generator without clipping! control and loudness -compensation circuits) user -accessiblespeakerfuses,sincethe The bass tone controls had a variable turn- RA -1412 has an effective electronic protec- over frequency (at or below the value indicat- tion system that shuts it down instantly in the ed on the panel), and the treble controls were event of an overload or short circuit that "hinged" at approximately the indicated fre- might damage the amplifier. When it shuts quencies. For the listener who knows what he down, a red light comes on between the me- wants to hear, these tone controls should be ters. To restore normal operation, the amplifi- able to provide almost any desired frequency - er must be switched off for a moment and response characteristic. The filters, as rated, turned on again. The protective relay also had desirable 12 -dB -per -octave slopes. The provides about 15 seconds delay every time -3 -dB frequencies of the high filter were the amplifier is turned on, preventing any 6,300 and 9,500 Hz, and for the low filters transients from reaching the speakers. Price: they were at 20 and 35 Hz. Either of the latter $749.95. should do an effective job of turntable -rumble reduction with absolutely no effect on audible Laboratory Measurements. Following the program content. one -hour FTC preconditioning period and five The loudness contours have been chosen so minutes of full -power operation (which the that they do not begin to take effect until the amplifier easily took in its stride), we mea- volume control is set below its -20 -dB posi- suredtheclipping power output with a tion (about mid -way in its range). However, 1,000 -Hz test signal. Into 8 ohms, it was 128 the bass boost was very mild until the volume watts per channel; it increased to 182 watts setting reached -37 dB, below which it be- into 4 ohms (the protective circuits were came rather drastic. As indicated by the spec- tripped at that level), and decreased to 81 ifications, the 3 dB/10 dB setting of the switch watts into 16 ohms. gave about half as much boost as the 6 dB/20 The THD at 1,000 Hz was about 0.015 per dB setting. However, choosing between the cent at almost any listenable power level, two seems almost unnecessary in view of the reaching 0.03 per cent only at the rated power 10- and 20 -dB attenuator settings, which output. It was still less than 0.05 per cent just should permit the volume control to be set for before clipping occurred at about 130 watts. almost any desired degree of loudness com- Intermodulation distortion (IM) was between pensation at the chosen listening level. The 0.025 and 0.05 per cent from about 20 mil- high -frequency boost of the loudness circuit liwatts (mW) to 130 watts, and it rose only to was hardly measurable except at the lowest 0.13 per cent at about 3.5 mW output. This at- volume settings. tests to the lack of crossover -notch distortion The RIAA phono equalization was accurate in the output of the RA -I412 (the distortion (Continued on page 40)

38 STEREO REVIEW THE END OF THE DOUBLE STANDARD.

OUR LEAST EXPENSIVE RECEIVER HAS THE SAME LOW DISTORTION AS OUR MOST EXPENSIVE RECEIVER. IM Distortion Comparison YAMAHA Brand "A" Brand "B" Brand "C" CR-1000.1% .1% .15% .3% At Yamaha, we make all our CR-800 .1% .3% .3% .5% top -of -the -line receivers. stereo receivers to a single CR-600 .1% .5% .5% .8% Unless you're a true audio- standard of excellence. CR-400 .1% 1.0% .9% 1.0% phile, some of the features on A consistently low inter - With most manufacturers, price determines quality. However, in our top -of -the -line receivers the above chart, you can see how Yamaha alone offers the same modulation distortion of just quality (low distortion) throughout our entire line, regardless of might seemabit likegildingthe 0.1%! price. lily. Selectable turnover tone A figure you might expect on less and less distortion. standard in the production of controls, variable FM muting, only from separate compo- Particularly intermodula- fine sound. And now, with our two -position filters, even a spe- nents. Maybe even from our tion (IM) distortion, the most entire line of receivers and cial five -position tape monitor $850 receiver, the CR-1000. irritating to your ears. By vir- other stereo components, selector. But a figure you'll surely be tually eliminating IM's brittle we've defined the standard of However, you don't have to surprised to find in our $330 dissonance, we've given back its reproduction. pick one of Yamaha's most ex- receiver, the CR-400. to music what it's been missing. pensive receivers to get a full So what's the catch? A clear natural richness and Four different receivers, complement of functional fea- There is no catch. Simply a brilliant tonality that numbers built to one standard. tures as well as our own exclu- different philosophy. Where alone cannot describe. A new Between our $330 CR-400 sive Auto Touch tuning and high quality is spelled low purity in sound reproduction. and our $850 CR-1000, we have ten -position variable loudness distortion. two other models. control. You'll find Yamaha's single- A musical heritage. The $460 CR-600 and the mindedness particularly grati- Our seeming preoccupation $580 CR-800. The End of the fying when compared to the with low distortion, in general, Since all are built with the Double Standard. amount of distortion other and the resulting low IM dis- same high quality and the same Just keep in mind that all manufacturers will tolerate tortion, in particular, stems low distortion, you're probably Yamaha stereo receivers, from throughout their product lines. from Yamaha's own unique asking what's the difference. the most expensive to the least (See chart.) musical heritage. The difference is, with expensive, have the same high Particularly gratifying and Since 1887, Yamaha has been Yamaha, you only pay for the quality, the same low distor- easily explained. making some of the finest musi- power and features that you tion, the same superlative cal instruments in the world. need. tonality. Less of what Pianos, organs, guitars, wood- Unless you have the largest, It's a demonstration of prod- irritates you most. winds, and brass. most inefficient speakers, plus uct integrity that no other While other manufacturers You might say we're music a second pair of the same play- manufacturer can make. And, are mostly concerned with people first. ing simultaneously in the next an audio experience your local more and more power, With our musical instru- room, you probably won't need Yamaha dealer will be de- Yamaha's engineers have ments, we've defined the the abundant power of our lighted to introduce you to. concentrated

(*)YAMAHA International Corp., P.O. Box 6600, Buena Park, Calif. 90620 CIRCLE NO. 55 ON READER SERVICE CARD FEBRUARY 1976 39 Rotel RA -1412 Integrated of the time their readings were close to correct for a 4 -ohm load. Stereo Amplifier Some of the most attractive aspects of the RA -1412 do not lie in the area of specifications or electrical performance. Once an amplifier has been refined to the point reached in (Continued from page 38) this one (as well as some others of comparable quality), the human -engineering factors become more important in making distinc- within ±0.5 dB from 100 to 20,000 Hz, with a tions between competitive products. slight bass rise to a maximum of +3 dB at 35 The "feel" of the controls and switches of Hz. It was essentially unaffected by cartridge the Rotel RA -1412 almost defies description. inductance, so that the response varied less Every control has a combination of smooth- than 0.5 dB up to 20,000 Hz when we drove ness, lightness, and positive detenting that is the phono inputs through the coils of several better experienced than described. One of the popular cartridges. most impressive things we did with the RA -1412 was to switch between its inputs Comment. The performance of the Rotel with all gain controls at maximum and the RA -1412 speaks for itself. In our tests, it easi- speakers connected. Needless to say, the ly surpassed its significant published speci- high-level program sources were turned off fications. By the most critical standards this (but still connected) for this test. Most am- amplifier is superb, and in today's market it is plifiers-even expensive ones-will give some so priced quite competitively. (In other words, indication of a switching transient (seldom se- we doubt that a better amplifier, with similar vere enough to blow out a speaker, but at power and control features, can be bought for least audible) when operated in this manner. less money.) The Rotel RA -1412 was totally silent. Wheth- The power -output meters are a useful fea- er this has been achieved by special shorting SAE MARK XVII ture, if only for educational purposes. Many switch contacts or by good electrical design people will find it difficult to believe that their Dual -Channel Equalizer we do not know. The point is that this amplifi- average listening is done at levels of a few er not only does everything it is supposed to milliwatts, and yet peaks can drive the meters do, but at the same time it does nothing that it to many tens of watts. The meter indications is not supposed to do. The latter considera- on our sample were somewhat optimistic, tion is often overlooked, but it is to us an in- Your tone controls are just not reading from 20 to 50 per cent higher than the dication of a truly excellent and well -thought- designed to compensate for true power into 8 -ohm loads (which we as- out design. Room acoustics sume they were calibrated for). In fact, much Circle 108 on reader service card Speaker placement Old or bad recordings We built the Mark XVII Equalizer to solve these problems and more. These are some of the ways: Individual Octave Control for each Addendum: Uher 134 Cassette Recorder channel Long throw, oil -damped linear WHEN we tested the Uher CR 134 cassette gave an outstandingly fine response with TDK recorder (STEREO REVIEW, November 1975) SD-nearly flat over the full range and within slide pots for greater accuracy we noted a frequency -response characteristic ±1.5 dB from 29 to 13,000 Hz. It appears Dual range operation (controls that suggested incorrect biasing for the tape therefore that most high -quality ferric -oxide operate over either ±8dB or we used (TDK SD). Uher informed us recent- tapes will provide satisfactory performance. ±16dB) ly that the recorder was biased for Maxell A playback -response measurement yielded Plus UD. A second unit was submitted for test, a curve very similar to that of the first unit, Capable of driving any system and we measured its record -playback fre- with slightly flatter overall response. Other Low distortion-less than 0.03% quency response with Maxell UD. The result characteristics, such as flutter, were essential- was quite different from what it was with our ly identical in both samples tested. Our con- THD and IM first sample: a rising high -frequency response clusion is that the Uher CR 134 is indeed an Low noise-greater than 90dB instead of the original droop, and an overall excellent machine, fully on a par with many 5 -year parts and labor service response of ±2.5 dB from 33 to 13,500 Hz. home cassette decks in all its essential charac- contract We repeated the measurement with TDK teristics. In addition, it has the special virtues SAE's reputation as the finest SD tape, which had shown a loss of highs on of compactness and battery operation. manufacturer in the audio field the first machine we tested. The new machine Circle 109 on reader service card You'd have to look a long time to find an EQ that delivers this much 4-5 value. SAE innovation has done it. 0 (0 DB) Components for the connoisseur. 0 5 J 1 1 C0-10 UHER CR 34 0 RECORD-PLAYBACK RESPONSE 0 15 Scientific Audio Electronics, Inc. SR -2-76 P.O. Box60271,Terminal Annex 20 Los Angeles, California90060 (-20013) Please send me the reasons (including available liter- 25 ature) why the SAE MARK XVII Dual -Channel 2030 SO 100 200 500 )kHz 2kHz 5kHz lOkHz 20 Equalizer is the "$300 Alternative." +5 kH NAME o ADDRESS PLAYBACK RESPONSE CITY STATF 7IP i FREQUENCY IN Hz (CYCLES PER SECOND) CIRCLE NO. 41 ON READER SERVICE CARD 40 STEREO REVIEW High praise forADC MKII lowmasscartridges.

"This cartridge ( ADC XLM MKH ) "Tracking ability at low and middle gave us some of the smoothest frequencies was exceptional...the high and cleanest high -end results we have level required half the tracking force heard from record reproduction. of most other cartridges... oneof Heavily recorded difficult musical the best 2 -channel stereo cartridges passages were handled with ease and and better than most CD -4 types." overall musical accuracy was maintained." (ADC Super XLM MKH) The Len Feldman Report Hi-Fi News and in FM Guide Record Review

°ADC XLM MIKE cartridges embody principles found in no other cartridges, as evidenced by our U.S. Patent. They feature a unique "induced magnet" whereby the magnet is fixed and the magnetism is induced into a tiny hollow soft -iron collar. This collar in turn moves between the pole pieces thereby allowing for a major reduc- :ion in the mass of the moving system. This LOW MASS permits :he stylus to trace the most intricate modulations of the record grooves with a feather -light tracking force-as low as 3/4 of a gram. This results in super -linear pick up especially at the higher 'requencies of the audible spectrum, which other cartridges either distort or fail to pick up at all. This low tracking force also assures minimal erosion and a longer playing life for the records. This family of LOW MASS Cartridges is offered with Shibata type and elliptical diamond styli. For detailed specifications, write ADC.

AOC AUDIO DYNAMICS CORPORATION A BSR Company New Milford, Conn. 06776

CIRCLE NO. 8 ON READER EERVICE CARD tire Lennon and McCartney oeuvre, reduced it to a set of rules, and tried to compose their own rock tunes. It didn't work, of course, and they were eventually forced to throw in the towel, disgusted and mystified. To this day they probably don't understand why they failed, why you can no more "compose" good rock than you can sit down at a piano and sort of "jam" Bartok. I have indulged in the preceding ramble because I want to make it quite clear that I am a THE SIMELS firm believer in the sufficiency of rock; it needs no justifications whatsoever along the lines of "rock as poetry," "rock as art song," or "rock as theater." I am also considerably less than enamored of discussions of High versus Low Art, global villages, or any such 3y SIEVE SMEIJ gobbledygook. I do think, however, that rock, for what it's worth, is somehow becoming well, for lack of a better word, more mature. For reasons that should be obvious by now, PULP MUSIC I am somewhat uneasy with that thought, and I certainly am not ready to concede, as one SOMEONE(Edmund Wilson, maybe?) once Viewing rock as pulp also helps us to under- critic colleague has, that we are entering the said that reading pulp fiction was the mark stand why the various "serious" musiciansage of -adult" music. But there's no question of a truly second-rate mind. If that's the case, who have flirted with it (as well as those rock- that a number of our better artists have gotten I have to plead guilty; I'd much rather spend ers who have gone high -brow) have generally a bit reflective of late, perhaps as a reaction to an evening with H. P. Lovecraft's inbred fallen on their faces, just as Raymond Chan-the unfortunate times we live in, perhaps New Englanders or Raymond Chandler's cor-dler stumbled in his dismal attempts at main- (more likely?) simply as a result of getting old- rupt Los Angelinos than five minutes with stream fiction. Whichever side of the street er. The Stones, as usual, anticipated this Erica Jong at the airport or John Updike in the you're coming from, it just never works, andtrend with "Exile on Main Street," and last groves of academe. This dissociation of sensi- we might as well face it: the music of Toddyear alone we saw such albums as Neil bility (a tip of the Hatlo Hat to T. S. Eliot for Young's "Tonight's theNight," Dylan's that nifty turn of phrase) has, I'm afraid, been "Blood on the Tracks," Springsteen's "Born lifelong; I remember only too well the sorrow- to Run," and "The Who by Numbers," all of ful look my eleventh -grade English teacher which dealt with personal concerns in an un- gave me when I ventured that Matthew Lew- precedentedly honest and powerful way. is'early -nineteenth-centuryporno -Gothic The Monk was a better novel than a lugubri- WHICHbrings us to Patti Smith, about ous weeper like Jane Eyre. whom I have been bending your ear for the The very best pulp fiction, of course, ulti- last few months. She finally has her album mately becomes Literature; pulp music is out, and I'm afraid there's simply no way to rarely so lucky. This should not be surprising, deal with it except in terms of what I've just really; we all know that Bach gets far less at- been talking about: if ever there was an adult tention in our public schools than Shakes- record, this is it. It's a fiendishly difficult piece peare, and that a college student is far more of work, and I suspect that as a result it's go- likely to be exposed to literary critics Lionel ing to polarize people like crazy, which is too Trilling and John Ciardi than to music critics bad, because for all its overreaching, I can't Ernest Newman and Sir Donald Tovey (that remember a first album that exhibited such is, if he or she can even read by the time col- overwhelming potential. lege rolls around, which is looking less and What it boils down to is whether or not we less likely if the decline in S.A.T. scores is are willing to admit that rock means anything any indication). "Serious" music is for all in- more than "it's got a good beat and you can tents a bastard child as far as the educational dance to it." Personally, I've never made up community in this country is concerned, and my mind (and I suspect that that very ambiva- rock-and-roll is an embarrassment at best, al- lence is part of what gives rock its power). most beneath contempt. Nobody even both- Certainly, I'm distrustful of records that re- ers to make statements to the effect that lis- quire two pages of arch intellectualizing for tening to rock is the mark of a second-rate their proper appreciation, and yet I simply mind; you don't get your intellectual dander can't abide the mindless android -like disco up over what is merely a youthful aberration stuff that seems just now to be about the only on a level with goldfish swallowing. alternative. Let me hasten to add that I'm not arguing And so, either you'll be simply knocked out for increased "legitimate" recognition for by what Patti is attempting with "Horses"- rock-far from it. The very last thing we need the mating of "traditional" poetic diction (in is another bit of excessive wretchedness such her case the Symbolists and the Beats) with as Wilfrid Mellers' scholarly tome on the Bea- Rundgren, Rick Wakeman, ELP, and the rest the diction of rock and creating an appropri- tles or any of those patently absurd andof the synthesizer cut -ups is no more and no ate musical style to go with it-or you'll hear toadying college courses in "rock history." I less gauche than Leonard Bernstein's Mass or only a mannered, technically limited chick simply think that it's significant that rock, likeWilliam Russo's Concerto for Blues Band and singer waxing obscure in front of a mono- itsequivalentsinothergenres-science Orchestra. chromatic rock band, the whole sounding like fiction, the detective novel, comic books, There is a story, probably apocryphal, that an only slightly less pretentious version of the even the good old Hollywood film-and unlike some years ago a group of twenty or so lead-Velvet Underground. I am myself convinced jazz, has maintained its astonishing popular-ing American composers took a look at theup front, despite the album's limp production ity despite the various misguided cultural ob- enormous sums of money the Beatles were job, because there's real passion here-you servers, critics, politicos, and academics who raking in and decided that it was ridiculous for can tell what a labor of love this was for Patti, have attempted to put it under the micro-them to be eking out livings at universities and on all levels. And I would suggest that the scope. Its pulp statusstill remains, thankdepending on foundation grants for their ar- skeptical check her out in person before mak- God, secure. tistic survival. So they sat down with the en- ing up their minds. 42 STEREO REVIEW READ WHAT THE EXPERTS SAY ABOUT HEATHKIT HI-FI: ggOnce assembled,you CReal hi-fi performance at a can't tell the difference rock -bottom price." AR -2020 between the finished product Hi-Fi Stereo Buyer's Guide, Fall, 1974 and factory -assembled receivers costing at least I-eathkit AR -2020 $150 morel, AR -2020 AM/FM 4 -Channel Receiver Stereo, Fall, 1974 ggThe electrical performance of the Heath AA -1640 makes ggAs faras sound quality is comment superfluous. In concerned, the AA -1640 will every respect it ranks with probably be a new standard the finest high -power ampli- of excellence to which other fiers on the market. We were high power hi-fi equipment constantly impressed with will be compared ...our the conservatism of its con- listening panel described the struction and ratingsli ," AA -1640 sound as 'Overwhelming in Stereo Review, May 1975 Heathkit AA -1640 clarity and definition. Virtu- Stereo Power Amplifier ally a new standard of AiA g The secret of Heath's excellence.), FiStereoBuyer's Guide, success, I think, lies in the September/October 1975 preparation of their excellent ggOnevery count, the com- manuals. If you follow their pleted AR -29 either met or step-by-step instructions, exceeded its published you can't go wrong, no performance specifications- matter how complex the end Heathkit. AR -29 Stereo, Fall, 1974 and did so with only the AM/FM Stereo Receiver product.), normal adjustments spelled out for the kit-builder.11 AR -29 High Fidelity Test Reports, 1974 Convince yourself. GeTall tne details on Heath's sophisticated design, outstanding performance, and complete line of hi-fi components, including speakers, at prices tc match every budget. You'll find it all in the ,-iew Heathkit catalog. Send for your FREE copy today. The world's largest catalog of electronic kits. More than 400 in all. Send for it today! FREEIN rElm==mom= HEATH Heath Company, Dept. 40-14 Benton Habor, MI 49022 Schlumberger IlI Yes, plea rush my FREE Heathkit Catalog! I NAME I ADCRESS I I I ICITY STATE HF-300 ZIP I Heath Company, Dept. 40-14, Benton Harbor, MI49022111.M.111111111.=M111.==.11111.11111=.1

FEBRUARY1976 CIRCLE NO. 25 ON READER SERVICE CARD 45 Great things from Uher. Some facts everybody should know about tape recorders There are two kinds of stereo GONG open -reel tape machines in this world, those that offer superb specifications and those that give 0\ RECO an outlet to creative souls. Uher changed all that by By JAMES GOODFRIEND combining both in the SG -560. Music Editor There's more to this professional machine than meets the eye. It starts with impressive specs and SEEING MUSIC total flexibility to do what you want to do with a tape machine. As anyone who has gotten beyond the nine by twelve inches, that includes the com- Never one for mediocrity, Uher warm -bathstageoflistening knows, pleteorchestralscores of Mendelssohn's there are many levels of sophistication on Midsummer Night's Dreammusic (all of it), designed the SG -560 as a which one can hear, understand, and appreci- theHebridesOverture,Calm Sea and Pros- recording studio with ate music. Although varying degrees of in- perous Voyage,and the Third and Fourth reverberation and concert -hall born ability and learned knowledge are in- Symphonies. In other words, almost all of effects at the touch of a button. volved in how different people listen to music Mendelssohn's most important music for or- and how their listening habits change and de- chestra, reprinted from the original Breitkopf velop, the purpose and the invariable result of & Fliirtel edition of the collected works. more sophisticated listening is greater enjoy- The same outlay will get you (in a similar - ment and deeper appreciation. It is not just an sized volume) the complete string quartets of intellectual thing. As Bernard Jacobson once said in describing his own method of music criticism: "The first part of criticism is the un- conscious part: I simply watch my gut to see

how it reacts. . . The intellectual part is the task of drawing the lines that connect the ob- Flanlo I. served event and the reaction." I bringthisup as a method of fore- Plant" II. stalling-temporarily, at least-the inevitable negative reaction of the nonmusician to the Oboe I. suggestion that he look at a musical score. "But I don't read music," is a perfectly un- Oboe II. derstandable rejoinder to such a suggestion. I would counter by saying that you really don't Clarinet to Iin A haveto read music to follow a score, and that the additional comprehension and enjoyment Clarinet lo II in A of the piece that will most likely result from doing so is worth far more than the small Fargotto I effort involved. Fan -of In II Of course, it's easier if youcanread music. But really, as recondite as a musical staff may We could write a book about the appear to most people, dynamics are supplied Corni. In E SG -560 starting with its remote inletters(ppptofff,etc.), tempos are in words, time signatures are in numbers, and 'rrombe in E. capability, end -of -tape stop, there are only three ways a melodic line can interchangeable two- and four - go: up, down, or sideways. Once you can as- Op hicleide. track heads, slide projector sociate hearing an upward movement with Timpani in E II cueing, built-in amplifier and seeing an upward movement in an instrumen- speakers, and easy -to -use tal part, you have begun to follow a score. Of course, if you are following the score of a vo- Violino I. functional controls. cal work, beginning is even easier: you can It doesn't take a pilot's license to start by following the words. operate this machine, it almost Scoresusedtobeeither monster -size flies by itself. affairs-thick, heavy, -and bound in card- Violino board-for conductors' use and costing the Make it happen with Uher. earth, or little yellow or grey affairs (miniature scores), often badly printed and invariably poorly bound, which you used to buy in Viola. LIHER the most unswept corners of music stores. Violoncello. Things have changed. For example, for a 621 S.Iiindry Avenue $7.95 cover price you can buy a handsome Basso. Alhgrodi nolto. Inglewood, California90301 soft -bound volume (with a reproduction of a (213) 649-3272 Fuseli painting on the cover), well printed in The opening measures, in score, of Mendels- readable music type, and measuring about sohn'sMidsummer Night's DreamOverture. 46 STEREO REVIEW Ludwig van Beethoven (also from the B. & H. edition), and for $4.50 apiece you can purchase two volumes offering,respectively, Schubert's C Major String Quintet, fifteen string quartets, and two string trios; and the Trout Quintet, the Adagio and Rondo Concer- tant for piano quartet, and the two piano trios plus the single -movement Notturno. These The Avid103. treasures (and treasures they are) are published not by a music publisher, but by Dover Few people would expect Publications, the same company that has mar- keted excellent and useful hooks in the fields more in a loudspeaker. of art, photography, craftworks, science, music, and dozens of other subjects. Among their other scores are the complete quartets of For most people, the Avid Model Mozart, Brahms' string chamber music, Cecil 103 really is the ultimate speaker. Sharp's famous collection of one hundred Not that you can't pay more for a English folk songs, the collected piano works speaker. You can. A lot more. of Scott Joplin, American songs of the 1890's, But, for most audio enthusiasts two volumes (in addition to the Joplin) of pi- any difference between the Avid 103 and ano rags, a volume of Debussy's piano music, more expensive speakers just isn't going another of Gottschalk's, and so on. to justify the added cost. As it is, the 103 Now, precisely what will one of these clearly outperforms speakers costing up scores do for you if you follow it while listen- to twice their price. ing to your favorite recording of that particu- The Avid 103. lar work? In essence, it will let you hear more You owe it to yourself to find out of the music, much more more, in all probabil- why it is rapidly becoming the popular ity, than could be achieved by doubling your new reference standard for 3 -way investment inreproducing equipment. The systems. For your nearest Avid dealer, natural tendency of the human ear is to focus please write: on one element of a complex sound-the highest, theloudest, or the most actively moving-accepting the rest as a sort of un- detailed matrix. There are, therefore, things CORPORATION going on at any moment in music that we do 10 Tripps Lane, East Prov., R 02914 not hear, or do not hear at first, and some of these may be of surpassing importance and interest. The "Russian" theme inthe slow Sound products for Avid listeners. movement of Beethoven's Quartet, Op. 59, No. I, for example, is first stated in the cello. CIRCLE NO. 9 ON READER SERVICE CARD But the cello's entrance is coincidental with a trill in the first violin, and the unwarned ear gravitates first to the violin (higher pitch and faster motion) and only later tumbles to the fact that the theme is elsewhere. This is by no The Superex "Classic"... means a particularly important example, but it is an obvious one. In the complexities of four- part writing, all sorts of counter -themes, im- where in the world plications of things to come, reminiscences, and references remain buried, for unsophis- ticated ears, under the principal matter at will you find a hand. But there is far more to music than the uppermost theme (if there weren't, Rimsky- stereophone that Korsakov would be as great a composer as Haydn). and anything that aids us in hearing sounds better... what else is there is contributing to our understanding and to our pleasure. Correct perfor- at $55? The Superex CL -1Classic is an out- mance, well-balanced recording, topflight re- standing example of superb performance without producing equipment, and plain knowledge the usual headphone bulk found in other Isola- and listening experience allhelp. But the tion -Types. It features: score is an inexpensive, easy, and enormous- Unique, super -soft, cushions that rest gently ly valuable aid in getting to the heart of things. on the ears for total seclusion; lightweight feel. Exclusive, wide -range Mylar driver that THERE is pleasure too in being able to see delivers dramatic clarity and smoothness. just how a composer has done something. The 0.03% distortion at four opening chords of Mendelssohn's Mid- 400Hz; Frequency summer Night's Dream Overture are invari- Response of 20- ably referred to as "magical." Their "magic" 20,000Hz Superex offers 14 advanced design lies in their scoring, for each chord is scored 11 oz. of total stereophones including our new weight that feels as "'Trans -Linear' open design differently. The first is for two flutes alone, principle and proven Isolation - natural as your Types. From 519.95. See your dealer. the second adds two clarinets, the third adds favorite hat. two bassoons and one horn, and the fourth, Fully adjustable For free literature write: which is markedpianissimo(the first three are head band plus 15 ft. IrkSuperex Electronics Corp. marked only piano), adds the second horn and coi:-cord with olio. 11-C151Veonpkt.ers.710Lu0d5low Street. the two oboes. It does not lessen our enjoy- In Canada: ment to actually see this. A kiss in the dark Paco Electronics Ltd., Quebec can be a pleasure, but the pleasure may be increased if we know who we are kissing. And even if it is not, maybe that is better than hat- ing ourselves in the morning. CIRCLE NO. 48 ON READER SERVICE CARD FEBRUARY 1976 47 Crown POWER reveals a new level of listening THE Discover the five elements of Crown power that make hearing the DC300A such a unique listening experience. OPERA FILE Extreme low distortion: Maximum total harmonic and intermodulation By WILLIAM LIVI\GSTO\E distortion of 0.05% over a bandwidth of 1-20,000 Am dm& Hz.Such minutelevels madeitnecessary for Crown to design its own intermodulation distortion analyser, now in use industry wide. SAMPLING THE MET Continous power: 155 watts/channel minimum RMS into 8 ohms ABeverly Sills points out in her radio ap- eras: The Barber of Seville, Carmen, and La stereo, 310 watts minimum RMS into16 ohms peals for the Young Audiences organi-Gioconda. All three were included in the mono, over a bandwidth of 1-20,000 Hz. zation, there is nothing special about people Met's first season, 1883-1884, and they have who enjoy music, theater, and ballet exceptbeen sung there frequently ever since. Ros- Complete protection: that they have been lucky enough to be ex- sini's Barber of Seville represented 150 years posed to the performing arts and have devel- of Italian opera in New York. (Performed The DC300A isfully protected against shorted oped a taste for them. The Met still has its gla- loads, mismatched connections, overheating and here in 1825 by a company that included the excessive line voltage, input overload as well as mour, but since moving to Lincoln Center in Spanish tenor Manuel del Popolo Vicente RF burnout. And this amp will drive any type 1966 the company has done a lot to remove load, resistive or reactive. the snobbery and class consciousness from opera. For example, the clothing code in the house Uncommon reliability: has been abandoned, and people are no longer The DC300A's reliabilityislegendary. Leading turned away from the Met because of the way big name rock groups demand DC300A's be- they are dressed. The free summer perform- cause of their rugged ability to withstand tour - ances in the parks have done a lot to reduce long punishment and still produce flawless sound. the -element of social intimidation, and they And major recording studios insist on Crown to keep time losses at a minimum. The professionals have also shown large audiences that it is ex- know from experience Crown's -unqualified citing entertainment. When Renata Scotto dependability. sang Madama Butterfly in Central Park last July, the crowd was estimated at 100,000 people. Exclusive warranty: In an effort to expose more young people to Crown's unique warranty covers not only parts the lyric theater, the Lincoln Center Student and labor but round-trip shipping for three Program takes a variety of short operatic en- years. These shipping costs are an important factor in our warranty, and itis not surprising that tertainments into New York schools. And no other amplifier manufacturer offers this through the Metropolitan Opera Guild's youth service. programs, this season 40,000 students will attend live performances at the Met at little or no cost. In the student "rush" plan any tickets still at the box office thirty minutes before performance time are sold to students for only $4. This season a new audience -expansion program, the Met Sampler, was introduced for young adults (under thirty-five) who do not qualify as students. A Sampler is a "mini -subscription" which costs $30 and includes orchestra seats for three operas, a libretto for REGINE CRESPIN For color brochure, write Crown, Box 1000, Elk- each, a backstage tour of the opera house, A confidently attractive Carmen hart, IN 46514. For the most sensational sound and a trial subscription to Opera News. demo of your life, take your best material to the According to the Met's advertising and pro-Garcia and his daughter Maria Malibran, it nearest Crown dealer. motion coordinator Patrick Veitch, who origi- was the first Italian opera sung in the original nated the Sampler program, its components, language in this city.) And the hundredth an- if bought separately, would cost between $55niversaries of Carmen and La Gioconda were and $75. The $30 price was made possible by observed during the 1975-1976 season. support from the New York State Council on Wondering what a young adult might see on the Arts. Eight of the ten Sampler series origi- his Met Sampler, I went to these three, and nally offered included at least -one of the sea- I'm pleased to report that even had he paid son's new productions. The first ten sold out the full price, I think he would have gotten his so quickly that six more were offered andmoney's worth.. In the performance of The were immediately snapped up. Barber of Seville I saw he would have gotten crown A series that particularly appealed to me in- the well seasoned comic characterizations of WHErl LISTEr111-10 BECOMESinnRRT cluded the season's three "anniversary" op-Fernando Corena as Dr. Bartolo and Jerome CIRCLE NO. 12 ON READER SERVICE CARD 4X STEREO RFV1F.W Hines as Don Basilio plus a youthful, high- spirited trio as Rosina, Count Almaviva, and Figaro. John Nelson conducted with obvious affection for the score, and although the produc- Face the facts: tion is old, the comic business was fresh and superior sound, spontaneous. When Figaro was shaving Dr. Bartolo, Greek baritone Kostas Paskalis put better price. so much lather onto Corena's face that some of it got into his mouth and he was briefly un- The D-2 from Design Acoustics. A new able to sing. Though about to break up him- member in a line of highly acclaimed self, Paskalis managed to sing Bartolo's lines loudspeakers destined to perpetuate the until Corena recovered. The audience laughed tradition of superior performance established a lot and left the theater happy. by the D-4, D-6 and D-12. A more somber view of life in Seville was The D-2 is a two-way, wide -dispersion, presented inBizet's Carmen with Regine floor standing system that you've got to Crespin. She sings the title role in the centen- nial recording issued by Erato and imported hear to believe. And, it's all wrapped by RCA (it is reviewed in this issue), but it up in a stretched fabric grille and capped was recorded before she had performed the with rich walnut veneers. role on stage, and it gives only hints of how Rich sound and good looks. It's a steal effective she now is in the theater. She is the at 150 bucks. best Carmen I have ever seen. Most singers make Carmen hyperactive and desperate for attention, but Crespin plays the role with the confidence of an attractive woman who knows her power over men and doesn't have to do anything strenuous to in- trigue them. She looked wonderful, handled the language like a great actress, and was in splendid voice. She developed the character with sensitivity,intelligence, and subtlety over the span of four acts. I found her especially compelling in the Card Scene, and by the last act she had built enough tension that ieN.desi gn when Jose stabbed her, several people around For specifications and dealer information, write: me were so stunned they gasped. k 1 acoustics Design Acoustics, Inc., 2909 Oregon Court, Torrance, Calif. 90503 or phone: (213) 320-4981. THE same kind of subtlety and vocal acting that distinguished Crespin's Carmen made CIRCE E NO. 13 ON READER SERVICE CARD Matteo Manuguerra's villainous Barnaba in La Gioconda a completely believable, three- dimensional character. The performance was also notable for the idiomatic conducting of Giuseppe Patane (another new acquisition at the Met). But the big surprise for me was Martina Arroyo as Gioconda. Usually rather placid and uninvolved dramatically, Miss Arroyo has obviously worked very hard on this opera and has devised an original interpretation suited to her own tem- perament. She emphasized the youthfulness of Gioconda the street singer, striving constantly to clarify the intricate plot. Though she did not convey maximum passion in some of the climaxes, she was always winning in her sincerity and touching in her vulnerabili- ty. In the last act Manuguerra for a few moments actually made one feel sympathy for the villain, and Arroyo moved me to such pity Realistic STA-225 that I had to blink hard to keep back the tears. Stereo Receiver. La Gioconda and Carmen may be a hun- About $400. dred, but they haven't lost their seductive - - powers, and after 150 years The Barber of Se- ville is still among the top ten operas in this country(110performanceshereinthe Who's #1 in audio equipment? 1974-1975 season). All three are available on Three famous national component brands, each with fine equip- records for anyone who cannot easily go to ment at all the traditional price points, each with fine magazine ratings the Met or the country's other major opera and lots of customers. Naturally we at Radio Shack like to think companies. Although these operas were not in Realistic* is top dog. Our reasoning goes like this: Maria Callas' Metropolitan repertoire, she re- Realistic has over 4000 stores-the entire worldwide Radio Shack corded them for Angel, and I am partial to her system - and 21 'years of manufacturing experience. Realistic interpretations. For those who do not respond has exclusive Glide -Path* and Auto -Magic" controls. An audio con- to the Callas magic or would prefer actual Met sultant named Arthur Fiedler. Service like no tomorrow. And prices casts I recommend London's Gioconda with like yesterday. Renata Tebaldi, Deutsche Grammophon's Maybe a better question is who's #2? Carmen with Marilyn Horne, and RCA's. ® sAreTaatndsoyuCnodmspinacney.1923 Barber of Seville with Roberta Peters, Cesare Valletti, and Robert Merrill. With these sets Radio Ihaek you can sample the Met at home. Over4000 Stores/Dealers - USA, Canada, England, Australia, Belgium, Germany, Holland, France 'Registered Trademark. FEBRUARY1976 CIRCLE NO. - 38 ON READER SERVICE CARD 49 ALLISON: ONE THE BASIC REPERTOIRE 3y MARTI\300

TCHAIKOVSKY'S FIFTH SYMPHONY

PIOTR ILYITCH TCHAIKOVSKY,perhaps many: the meltingly beautiful French horn more than, any other composer in Western solo that forms the principal theme of the civilization, has suffered from the snobbism slow movement (some years ago, when Tin of self-appointed taste makers who find the Pan Alley was discovering Tchaikovsky, this music of the Russian master too open emo- theme took on a new identity on the air and in tionally, too naively uncomplicated, too me- the nation's jukeboxes as MoonLove).Then lodically memorable-in short, too (horrify- there is the previously mentioned "Victory ALLISON:ONE$360' ing thought!) popular. But the music ofThrough Struggle" aspect. At the very begin- Tchaikovsky has a larger public today than ning of the symphony the clarinets state a ever before, with a wider spectrum of his somewhat sinister theme in E Minor; subdued StereoReviewNOVEMBER 1975 works becoming known and performed. Once and reflective,it recurs in the succeeding By Hirsch -HouckLaboratories obscure symphonic poems are now available movements as a sort of nightmarishidie fixe. "LaboratoryMeasurements. The in multiple recorded performances, and the It is heard again at the very opening of the last averaged frequency response in the Fourth, Fifth, and Sixth Symphonies-reper-movement, but this timeitisstartlingly reverberant fieldof our test room, toire staples from the time they were writ- changed; it is now in the major rather than the with the speakers installed as recom- minor mode, thus assuming a completely new mended, was within approximately and heroic cast. And, after a whole series of ±2 dB from 35 to 15,000 Hz, with the exhilarating adventures, Tchaikovsky once slope switch set for flattest response. again brings back the motto theme at the very The woofer response matched Tchaikovsky brings back end of the movement, this time triumphantly Allison'spublishedcurveswithin the motto theme so that the in the brass so that the.blaze, the splendor of better than 0.5 dB over its operating the key of E Major carries all before it. range, and its overall response was blaze of the key of E Major a startling - and excellent - ±1 dB from 40 to 400 Hz." carries all before it." MOSTamong the many available recorded performances of the Fifth Symphony steer a "Judging only from its sound and neutral course between faithful literalness themeasurements we 'made,the Allison:Oneeasilymerits aplace and capricious self-indulgence. That way, of among today's finest speaker sys- course, lies routine dullness. My own taste tems." ten-are now being joined by their three pred- runs to the extremes: either the tightly orga- ecessors in the Tchaikovsky canon. nized, brilliantly played objectivity of a Clau- It is to the Fifth Symphony, however, that I dio Abbado (Deutsche Grammophon 2530198, 1CB2C1 would direct the reader in search of his first cartridge 89443, cassette 3300217), an Antal Tchaikovsky symphony recording. The Fifth Dorati (Mercury SG 75056), or a Seiji Ozawa D D r1-10 . ocToBER fins played a crucial role in the composer's crea- (RCA LSC 3071, cartridge R8S-1119); or the "The prevailing impression is one tive life, for in the decade between the crea- delirious abandon of a Leonard Bernstein of transparency, minimum coloration tion of his Violin Concerto (1878) and the (Columbia MS 6312), a Zubin Mehta (London effects, and a broad sound -front - in Fifth Symphony (1888) he had been unable to CS 6606), or-most outrageousof all- short, the kind of highly accurate produce any symphonic work of significant Leopold Stokowski (London SPC 21017, car- sound -reproducer that would attract proportions. There were those, Tchaikovsky tridge M 95017). Stokowski's performance the serious listener who is both mu- among them, who wondered if he had written sically oriented and technically astute could, I suppose, be thought sheer madness. enough to appreciate really fine himself out. After several early performances He pulls the music this way and that, he adds sound. In our view, the Allison One of the Fifth Symphony in St. Petersburg and some touches of orchestration all his own, is among the best speaker systems Prague, Tchaikovsky wrote to his benefac- and he makes cuts and emendations here and available." tress, Nadejda von Meck: "I have come to there. But how the music lives and breathes in the conclusion that it is a failure. There is his performance, what a cumulative impact it Descriptive literature on ALLISON something repellent, something superfluous, has! loudspeaker systems which includes patchy and insincere, which the public in- All the above -mentioned recordings are in technical specifications is available stinctively recognizes." History quickly re- the full -price category. There are a number of on request. versed Tchaikovsky's harsh appraisal; the performancesavailable on budget labels, Fifth, a noble work in the "Victory Through among which the choice ones are the perform- Struggle" mold of Beethoven's Fifth, is now ances conducted by Josef Krips (London STS ALLISON ACOUSTICS INC. indisputably one of the cornerstones of the 15017) and George Szell (Odyssey Y 30670). 7 Tech Circle, Natick, Massachusetts 01760 orchestral literature. The Krips account is something of a sur- The reasons for its popularity are not hard prise-anunexpectedlyfull-bloodedap- *Higher in West and South to find. First, the symphony overflows with proach to the music, well played by the Vien- CIRCLE NO. 4 ON READER SERVICE CARD radiant and inspired melodies. One among na Philharmonic and richly recorded. 50 STEREO REVIEW Now...a rare opportunity to audition the definitive interpretations of Tchaikovsky's 3 Greatest Symphonies A strictly limited edition of the master's incomparable Fourth, Fifth and Sixth Symphonies superbly performed on world-renowned recordings by Yevgeny Mravinsky and the Leningrad Philharmonic Orchestra

Unavailable in this country for over five years, this connoisseur's edition was below suggested retail), you may choose another one from a list of critically -acclaimed LP's and pay just half price! exclusively commissioned for reissue by To enhance your enjoyment of the recommended selection, you The International Preview Society ,- will also receive the exclusive Carnegie Hall Selection Committee. Report prepared by the distin- Plus a Special Added Bonus: guished panel of experts who fCFLVIKOVSKY comprise The Carnegie Hall Tchaikovsky's Selection Committee. By replying "Swan Lake" and "Sleeping Beauty" now, you assure yourself the privilege of receiving-for future ballet suites previews-fine classical releases. Yevgeny Mravinsky's inspired renditions Here at last is a singular oppor- of Tchaikovsky's Fourth, Fifth and Sixth tunity for you to enjoy free Symphonies have been hailed as perfec- previews of outstanding classical tion itself. And now, although these recordings chosen by experts and, desirable recordings have been unavail- I you wish, to purchase any album able in this country for many years, they -after you've auditioned it- can be yours as a new member of the in a superb imported pressing, celebrated International Preview Society. together with exclusive Com- You will also receive two other master- mittee Report...a/ways at works of extraordinary beauty, Tchaikov- substantial savings sky's legendary Swan Lake and Sleeping ALI. El. TR RE( (RIDINGS over the regular retail (regular list price S3I. Beauty ballet suites, with Herbert von YOURS FOR THE price. 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The Society's exclusive Selection Committee Report, which accom- Robert Layton. The Gramophone panies the recordings, describes why these towering renditions were "These are immensely powerful virtuoso readings, full of masculinity chosen for this special introductory offer. Here is a rare opportunity ...beautifully phrased in structure; melodic breathing and balance of for music lovers to experience the definitive performances of orchestral forces!' Ates Orga, Records And Recordings Tchaikovsky's best -loved and finest symphonies. Under Mravinsky's masterful direction, the famed Leningrad If coupon has been removed, write to: Philharmonic achieves a sensitivity and precision beyond compare, The International Preview Society, 175 Community Drive, Great Neck, N.Y. 11025 performing these symphonic masterworks as the composer meant them to be heard! The genius of the dean of Russian conductors is All 4 Records For the Price of 1 richly conveyed by the superb Deutsche Grammophon records them- ...plus future free previews of important classical recordings exclusively selves-silent-surfaced European pressings manufactured to the selected for Society members by the Carnegie Hall Selection Committee! highest quality control standards with the resulting realism of a live, concert hall performance. All four recordings come in a handsome SEND NO MONEY...MAIL COUPON TODAY! hinged presentation case, and are accompanied by an illustrated brochure and an exclusive Committee Report. The International Preview Society, This introductory offer is indeed limited, so please mail the coupon 175 Community Drive, Great Neck, N.Y. 11025 on this page today. Send no money. Listen for 10 days...free! Then Please send for my free preview, Tckaikovsky's Fourth, Fifth and Sixth either return the albums and pay nothing, or keep them for only $7.98 Symphonies, plus the Swan Lake and Sleeping Beauty ballet suites. I may return all four records after 10 days and owe nothing, or keep (plus a small postage/handling charge). This is a savings of a full them and pay just 57.98*plus a small postage/handling charge). This $23.94 off the retail price of comparable recordings! is 523.94 off the retail price of comparable recordings. Every other month I will he notified of The Carnegie Hall Selection Committee's Preview the greatest classical recordings...free! recommended selection. I may keep any album for far less than sug- The International Preview Society is a unique record program gested list price, or return it without obligation.For every one of these dedicated to bringing you outstanding classical compositions in their sets I buy at your members' low price. I may also choose one record at half price from your special list. My only obligation is to purchase most splendid performances. Every superb recording comes to you one album during my first year's membership. Thereafter I may canon a free 10 -day trial basis. You only need purchase one recording cel my membership at any time. during your first year's membership. Thereafter, you may cancel your membership at any time. About 6 times a year, the Society's Carnegie Hall Selection Committee-headed by Julius Bloom, Executive Director of Carnegie Name (please print) Hall-will choose an album of extraordinary merit and importance. You will then receive the Committee's International Preview Society Address Apt. No. Bulletin highlighting the current selection and other brilliant releases. If you want to receive the Committee's selection, you need City State Zip do nothing. It will be sent to you automatically. 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Sociocusis,incase youdidn't that stage -monitor speakers that can know, is the damage to hearing reproduce a level of 130 dB at the per- sulting from one's social or leisure former's ears are accepted as "loud SOFT activities. Sport shooting, auto racing, enough," while levels of "only" 105 to and loud -music listening have all been 110 dB are required for discos. Such recently condemned as potential haz- sound levels are apparently far in ex- EARS ards to hearing. Rock music in particu- cess of the noise levels permitted in in- lar has been singled out-usually bydustry by current Occupational Safety those not overly involved in its plea- and Health Act standards (see accom- sures-as being an especially insidious panying box "Noise and the Law") source of hearing damage. and would appear to portend the com- In May 1974 an article appeared in ing Day of the Deafened Disco Dancer. these pages describing the audio equip- In England, at least, concerned local ment requirements for listening to rock authorities have reacted by proposing or classical music. The necessity of various legal restrictions on permissi- achieving realistic volume levels to- ble public sound levels. Yet some ex- gether with a dynamic range adequate perts on hearing damage seem uncon- to convey the music's impact and ex- cerned. Such disagreement, explicit or citement were feltto be important implied, leaves the question of greatest characteristics in the selection of suit- concerneffectivelyunanswered:Is ByAlex Burdable equipment, and it was reported there a real risk?

52 STEREO REVIEW Ears and Hearing (not an audio waveform), to the brain. The sensitivity of the ear varies con- At its most sensitive, this system can siderably with frequency, being most To understand the problem, youdetect pressure variations that are little sensitiveinthe mid -range between have to know something about thegreater than the random movements of 1,000 and 7,000 Hz. The level of sound hearing process itself. The ears are aair molecules. At the other extreme, itat this frequency that can just be de- remarkably efficient pair of transducers can withstand sound pressures that aretected by a person with good hearing is for converting complex air -pressureone million times as great, enough totaken as the base line (0 decibels) from variations into electrical signals, which produce a physical sensation of pain inwhich sound -pressure levels are mea- are then interpreted by the brain asthe ear. Pressures in the range of 10sured. A curve joining values of the sounds. Each ear includes an ear drummillion times greater will inflict irre-pressure that can just be detected at which is set into vibration by soundversible damage on the ears' internaldifferent freqencies is known as the waves and a mechanical coupling sys- sensors or on the moving parts. Thisthreshold of hearing, and this threshold tem of three bones that transfers the range of sensitivity, encompassing the isimportantforaudiometry,the drum movementintoafluid -filled entire range of natural noises, is the re- science of hearing measurement. chamber called the cochlea. Within thesult of the millions of years of evolu- cochlea there is a membrane (Basilar)tionary development that permittedIT has been known for many years that which is set in motion by the pressureprimitive man to detect the quietestsound levels which may not be instan- variations in this fluid. Myriad nerve footfall of a predator while at the sametaneously damaging can nevertheless fibers then detect the minute motionstime sparing him auditory overloadproduce a gradual deterioration of the of this membrane and feed the informa-from the noise of a thunderstorm or ahearing faculty. Boiler making, for ex- tion, in the form of electrical pulses large waterfall. ample, has traditionally been regarded rr.15XLANKY 17/V 53 taken together, allow us to calculategous to that of the radiation dosimeters the "noise immission level" to which worn by workers in the field of nuclear the listener is exposed, and from thisenergy since it also indicates when the value a prediction can be made of theaccumulated dose over some time peri- risk to his hearing. (Noise "immission" od approaches the danger point.) is not to be confused with "emission"; There is a fundamental difference be- immission is that which impinges on tween the American and European someone, and emission is that which is standardsfornoisedosimeters.In SOFT produced.) America a doubling of the noise immis- Sound -levelmeterscan measure sion is taken to correspond to a 5 dB in- EARS continuous sound levels with reason-crease in the Leq, while in Europe such able accuracy. However, when the a doubling is equivalent to a 3 -dB in- Andre Gill's nineteenth-century caricature sound levels vary over a considerable crease. The European standard implic- suggested that redesign of the ear might be dynamic range-as is normal with mu-itly accepts that it is the total impinging necessary to accommodate Wagner's music. sic-it becomes more difficult to assessenergy that affects one's hearing while anything other than the peak levelsthe U.S. OSHA standard (see box) is and, to some degree, to estimate the more lenient in the levels allowed. as an occupation that would renderdynamic range covered. Certainly as It is possible on the basis of such me- those working in it increasingly deafthe dynamics exceed 7 or 8 dB the deci-ter measurements to calculate equiva- throughout their working lives. Manybel number obtained by visual averag- lent values of noise immission which other industries, such as weaving or ing of a wildly swinging meter needle representatrade-offbetweenthe shipbuilding, have similar reputations. will deviate more and more from theequivalent continuous sound level to Industrial studies have shown that correct value. which a person is exposed and the peri- people whose working environment ex- Recentlya new instrument,the od of the exposure. The accompanying poses them to sound levels of 90 dBAnoise -dose meter, has been developed,table is based on a Code of Practice for or more will suffer a gradual raising of permitting the equivalent continuousindustrial purposes which recommends their threshold of hearing. Among audi- sound level of a varying signal to be de- a maximum continuous exposure of 90 ologists, this is referred to as "thresh- termined. Portable versions of such adBA for an eight -hour day. It also indi- old shift." A person who is immersed meter (often called a noise dosimeter) cates the values of Leq that would be in such, a sound level for all his working can be carriedinthe pocket and, accepted for progressively shorter peri- life stands a fair chance of being par- together with a microphone attached to ods. However, for music to be equiva- tially deaf by the time of retirement. Ofyour collar, will give an indication of lent to the industrial situation these ex- course, the picture is not that clear-the total noise dose to which you have posures would have to be repeated ev- cut-all of us lose some of our hearingbeen exposed. (Its purpose is analo- ery day. acuity with advancing years while, at the other extreme, some people show a remarkable resistance to hearing damage-but statistically, the observations are valid. The music sound levels of up to 130 Noise and the Law dB mentioned earlier certainly seem to point to the existence of a real hazard. 1" HEOccupationalSafetyand sitive. Sound -levelmeasurements Health Act (OSHA), which bethat conform to this weighting system Of course itis important to keep in came- law in late 1970, places limits are given in decibels according to the mind that sound levels are usually not on the noise conditions to which em- A scale (dBA). continuous at the quoted figures (music ployers may subject their workers. Although it is comforting to know would be incredibly monotonous if The maximum allowable sound levels thattheU.S.Governmenthas they were); the numbers merely indi- and per -day exposure periods are giv- officially recognized excessive noise cate momentary peaks. How, then, can en in the adjoining table. For indus- as a health hazard, the maximum lim- we assess the possible hazard that may tries that fall under the jurisdiction of its allowed by the OSHA regulations result from listening to loud music? the Act, these limits have the force of should not be assumed to be uncondi- law, and an employer is obliged to Itis accepted by most authorities tionally "safe." There is good evi- take corrective steps ifitis found dence that physical tolerance for loud that it is the total energy absorbed by that any employee is being exposed sounds varies with the individual. the ear that affects the hearing system. to noise that exceeds them. It should And there is also the question of the Two factors contribute to this energy. be noted that the sound levels, given psychological effects of noise, stud- The first is the equivalent continuous in decibels (dB), are weighted to give ies of which are still in their infancy; sound level, or Leq. The Leq is that most prominence to the frequencies these may be as important as the sound level which, if it were present to which the average ear is most sen- physiological effects. -R. H. continuously, would contain the same total energy as the noise (or music) being considered. In other words, a five- EXPOSURE-TIME/SOUND-LEVEL EQUIVALENTS minute noise that measures 90 dB SPL Exposure duration Maximum sound level (Leq in dBA) has the same energy content as a noise (hours per day) that measures 93 dB for 21/2 minutes, or European U.S. 87 dB for 10 minutes. In the case of 8 90 90 music, of course, where the level var- 4 93 95 ies constantly, the measurement and/or 2 96 100 1 99 105 calculation is somewhat more compli- 1/2 cated. The second factor is the dura- 102 110 tion of the exposure in terms of hours, weeks, and years. These two factors,

54 STEREO REVIEW Research Results Audiometry During the past seven years there has been a considerable amount of re- MEASUREMENTS to determine the search into the sound levels of music weakest sounds to which a and the resulting effects on hearing. subject responds are the business of The contradictory nature of the results the branch of science known as audi- produced proves, more than anything ometry. The test stimulus is normally a pure tone which may either sweep else, the difficulty of testing adequate continuously through the desired fre- numbers of subjects under sufficiently quency range or be presented as dis- stringent conditions.It possibly also crete (individual) frequencies. The reflects a variation in the sensitivity of subject responds when the tone is subjects and perhaps even a degree of heard by flicking a switch. In self - self-selection in those listening to loud recording audiometry the tone in- music-those whose ears can take it creases in loudness until the switch is like it loud. depressed; it then decreases until the Interestinglyenough,thosetests switch is released. Such a control, in which have attempted to simulate loud - conjunction with a continuously glid- ing tone, makes it possible for the music exposure underlaboratorycon- subject to plot his own audiogram. In A technician oversees the automatic ditions have in general not subjected discrete -frequencyaudiometryan platting of an audiogram for a subject the subjects of the experiment to suffi- operator adjusts the level and fre- isolatedinasoundproof cubicle. ciently high levels to produce convinc- quency of the tone in response to the ing results. Other tests have been car- subject's reactions. ried out at pop concerts and disco- The standard threshold of hearing vals, since a difference of this magni- theques, but many of these results have is obtained from measurements on a tude is necessary to produce an easily been affected by the difficulty of setting very large number of young subjects recognizable change of level. who have not been exposed to loud The test tones can be played over up adequate on -site conditions for au- noises. The level of sound corre- loudspeakers in a special listening diometric tests. sponding to the zero mark presented booth, but it is much more common Those researchers who claim to have to a subect is then controlled by the to carry out such measurements with found a shift of the hearing threshold in audiometer to correspond tothis headphones. Evert so, it is necessary some of their sample report only small standard threshold level. Variations that the background noise levels in changes. A recent attempt to compare from the zero indication then give a the listening booth be extremely low the hearing thresholds of a group of direct reading of the hearing acuity of if they are not to interfere with the frequent attenders of pop concerts with asubject. The consecutivescale subject's judgment-particularlyif a group that claimed never to attend at 5 -dB inter - with normal hearing. found a difference of 5 dB in hearing - threshold sensitivity among the 10 per NAmE±raarr24._j_gl6-nsasp______No. al,_ 1703ReconlingAudimeter cent most sensitive subjects. However, Grason-Stadlerautc.,., AGEIL_SEXM_DAT0197TIPAEIIMBYATAUDIOMETERNO. -r in view of the uncertainties of audio-

LEFT RIGHT metric tests,itis difficult to ascribe -10 10 much significance to such a small dif-

I I ' ference, this despite the fact that a con- ' Lb.atmair' k,,A1111,11,41Il°. siderablenumberofinvestigators armed with instruments have reported 22C 20 measured sound levels which exceed .1 30 30 various damage -risk criteria. However, 0 40 in many cases the methods of measure- it 50 50 ment have been restricted to peak lev- 60 60 els and their relevance to hearing -loss - 70 70 prediction is therefore limited. t al) 80 Sensing that at least part of the rea- 90 90 SOO1000200030004900600080005001000200030004000600080051000 son for contradictory resultsarises FREQUENCY IN HERTZ from a lack of data on the specific char- PRP,No 17. TOP PRINT. ON U S 6 acteristics of the sound sources in- Audiogram showing left -ear hearing loss due to acoustic trauma volved, Sandy Brown Associates, an architectural/acoustics firm of which I The self -recordedaudiometric called a "temporary threshold shift" am a partner, made measurements in a trace shown above is an example of(TTS). Repeated exposure to the number of dance halls, discotheques, one that might be found in the case of same sound stimulus will convert this recording -studio monitor rooms, di- a person suffering from a slight noise - temporary loss to a permanent one rectly from recordings, and at rock induced hearing loss. Such a drop in called "Permanent Threshold Shift" concerts. Factors investigated in pre- responseisnormally foundfirst (PTS). dicting possible hearing loss included around 4,000 Hz;itsubsequently Superimposed on, but separate in the dynamic range of the music, the widens and deepens to cover a great- nature from, any possible hearing peak sound levels, and the equivalent er frequency range. A threshold shift damageisaneffectknownas of this kind would be found immedi- presbycusis, which is the more or less continuous sound levels. ately after exposure to a loud noise normal progressive loss of high -fre- The dynamic range for the different and would normally disappear in a quency sensitivity that is a result of types of music varies from 12 to 55 few minutes or hours; it is therefore the aging process. dBA, with live music in dance halls lying somewhere in the middle of this range. The extremes of dynamic range

FEBRUARY 1976 55 Culver Pictures erage duration is 2 or 3 hours, and it isBut this argument does not take into possible to exceed a recommended account the fact that the additional cu- noise-immission level if one were to at-mulative hearing loss due to extra extend daily. However, again, it is unlike-posure is small as these things are cally that people would go to such con- culated. To take an example, an addi- certs more frequently than once a tional eight -hour -per -week exposure to week, if only on the grounds of costan Leq of 100 dBA for ten years in- and availability of tickets. Thus thecreases the Leq calculated over an SOFTnoise (music!) dose would not be ex-eight -hour day only from 90 dBA to ceeded on a weekly basis. However,91.8 dBA. The corresponding hearing EARSperformers, engineers, and other re-losses averaged over the frequencies cording -studiopersonnelfrequently 500, 1,000, and 2,000 Hz might increase work extremely long hours, and this,from 4 to 5 dB for an average person or were measured on discs by Pink Floydtaken together with measured Leq val-from 18 to 20 dB for the 10 per cent of and The Strawbs, two groups whoseues in excess of 90 dBA, would seem to most sensitive subjects. compositions cover a very consider- indicate the existence of real danger. able range of loudness. Peak levelsBut, oddly enough, measurements of IT is apparent that opinions are still di- measured for live music varied fromhearing losses that have been made on vided on the seriousness of the prob- 103.5 dBA in a dance hall, through 110a limited number of engineers do not, lem of hearing damage from music. It is dBA in a discotheque, to 122.1 dBA infor some reason, confirm this unpleas- also probable that a hazard does exist a recording -studio monitoring room. ant expectation. in extreme cases, and certainly anyone For each of the measurements carried leaving a concert conscious of ringing out the Leq was also measured, either ears or dulled hearing should interpret on site with a noise -dose meter or by the symptoms as an early warning sig- subsequent analysis of tapes recorded nal. And aside from the sound in public at the concert. In the dance halls and places, itis worth remembering that discotheques the Leq was approxi- "Modern audio components many headphones are also capable of mately 10 dBA lower than the max- have given us a wonderful providing levels in excess of 120 dBA. imum. level. For the measurements opportunity to deafen There is a tendency when listening made on records, a difference of per- through headphones to compensate for haps 3 dBA was found on a Diana Ross ourselves without being a nuisance to family lack of overall body reaction to loud disc and 9 dBA on the Pink Floyd re- music-the literal "punch" of sound- cording. In the recording -studio moni- or friends." by turning up the volume control. Mod- tor room the differences were greater, ern audio components have, it appears, amounting to 17 dBA in some cases, given us a wonderful opportunity to presumably due to occasional pauses in deafen ourselves without being a nui- recordingsessionsfordiscussion, sance to family or friends. That is odd coffee breaks, and so forth. enough, but an even odder paradox is On the basis of these measurements Controlling Music Levels that many audio enginers, who depend it seems probable that the values of upon their hearing acuity for their liv- equivalent continuous sound level in It has generally been accepted, in ing, musicians who probably play best most musical establishments lie be-England at least, that law -making is un- when they can hear what they are do- tween 85 and 105 dBA. Most dancelikely to prove a workable form ofing, and rock -music enthusiasts who halls lie in the range 90 to 100 dBA, popsound -levelcontrol.Attempts have love their music are all, in varying de- concerts from 95 to 105 dBA, and re-therefore been made to enlist the coop- grees, gambling on damaging their au- cording -studio control rooms from 85eration of involved parties in working ral apparatus in pursuit of their respec- to 95 dBA. Comparable measurementsout and drawing up a Code of Practice. tive crafts and pleasures. have not been made for classical mu-Such codes as have been advanced for To answer the question up front, sic, but it is probable that the results discussion are based on industrial prac- then, is there a real risk? Yes. . . but. would show a greater variation be-tice in that they adjust the acceptable With the best will in the world it is im- tween individual events. Some studieslevel on the basis of a daily dose-thatpossible to arrive at unequivocal "yes" have indicated that the peak levels foris, they would allow a person to repeatand "no" answers to (a) problems that orchestral concerts probably reach 105the exposure each day. involve too many variables or (b) prob- dBA but that the equivalent continuous Several arguments are advanced in lems about which some of the impor- sound level is unlikely to exceed 85support of this attitude. The industrial tant variables may not even be known. dBA because of the greater spread be-code accepts that in some work envi-We can expect to see-and, indeed, we tween loud and soft passages in orches-ronments that meet the 90-dBA limit aneed to see-more studies of this ques- tral music. hearing loss will occur over time, but tion, but we should learn to look at limits it to a level that will barely con- them very critically, particularly those NEXT, it is evident that in order tostitute a social disability in the majority most heartily endorsed by passionate assess any potential for hearing dam-of workers by the end of their workinganti -rock or pro -rock partisans. In the age it is necessary to make estimates oflives. However, to experience the same meantime, it won't hurt to be a little the duration of exposure of the varioustotal dose and resultant disability with- careful about the sound levels to which attendees and participants. For dancein the shorter span of one's teenage you expose your ears. Would you like halls, it is probable that the average years wouldcertainlyconstitutea us to repeat that-a little louder? time spent is about four hours, but thismuch greater handicap. is unlikely to be repeated more than It is argued that many of those at- twice a week. It therefore seems un-tending rock concerts in the evenings Alex Burd was associated with the BBC for likely that such exposure would consti-will also have experienced an industrial eighteen years before joining Sandy Brown tute a hazard. For rock concerts the av-noise dose during their working day. Associates, an acoustical consultancy firm.

56 STEREO REVIEW - Disco use challenges a cartridge... that's why Stanton is the overwhelming first choice of disco pros

Richie Kaczor, Disc Jockey at Hollywood DiscoNew York City. Discotheques represent one of the most Stanton has two cartridges eminently suited grueling professional situations for a pickup to Discotheques, both designed with optimum that can be imagined. Not only must the car- ratios of vertical stylus force, compliance, sty- tridge achieve a particular high level of sound lus shank strength ... the calibrated 681SE, excellence, it must do so in the "live" environ- which possesses superb audio performance, ment of back cueing, slip cueing, heavy track- and the more modest 500AL. Both are tough. ing forces, vibration and potential mishandling Both perform beautifully, and dependably. And . where a damaged stylus means much more that's what a Discotheque needs. than lost music, it means lost business. Whether your usage involves recording ... The Discotheque is a commercial venture. It broadcasting ... disco or home entertainment, must have as little "down time" as possible ... your choice should be the choice that is why disco operators look for durability of the Professionals ...STANTON. and reliability in their equipment. And, that is For further information write: why leading dealers and professional distribu- Stanton Magnetics, Inc. tors recommend the Stanton product for this Terminal Drive, purpose. Plainview, New York 11803. srarrron

Ronnie Soares, Disc Jockey at Ipenema. Two views of the Action at the II enema Disco, New irk City. Wha he music can do. laic FEBRUARY17/U CIRCLE NO. 44 ON READER SERVICE CARD 57 EDDIE PALMIEu, prominent in thebales, and at some point in any inter- like it, I couldn't even stand the instru- current waye ofLatinmusic view he is likely to remark: "I'm a frus- ment-all I wanted to do was get on the known as salsa, has the reputation trateddrummer."Latinmusic-at drums!" of leading both themost innovative and least those forms of it, such as Cuban The major source of the modern La- the most swingingly popular of salsa music, with strong African antece-tin music called salsa is Cuban dance bands. In a sensethe combination of dents-is rhythmicallyvery sophis- music, and, like most New York Latin experimentation aid success sums up a ticated, and Latin drummers are impor- musicians, Eddie Palmieri has an al- whole series of op)osites that are at the tant men. But Palmieri's is a conceptu- most reverent regard for it. "It's my heart of his creaivity. For example, al creativity, and it was not sufficiently life. That is how I feel about it: it's my the two most interesting tracks on his stretched by the timbales. So he wentwhole life. I was very fortunate when I recent album "The Sun of Latin Mu - back to the keyboard. The time spent met a gentleman called Manny Oquen- sic" are Un DiaBonito (A Pretty Day) with the timbales was not lost, how- do, who worked for me for many and Una Rosa Espaiiola (A Spanish ever. "I think it has enhanced my piano years. He is the one who taught me Rose). The first bgins with a long experimental prelude: combining elements of European classical piano music and electronictechniques.Thesecond harks back to anold Cuban ballroom dance, the danzo7, treated here with originality, wit, aid fire. The two are very different, butPalmieri, pianist and bandleader, thrives on balancing op- posites-on the same record or even within the same torie if need be. EDDIE Palmieri was born in 1936 in New York's Spanish HHarlem, but when he was five his familmoved to the South Bronx, to KellyStreet between Long - wood and Interale.It was a nice PALMIERI neighborhood, mostly Jewish, he says, "But little by littie Spanish families started to move in. And when that hap - pens, everybodystarts to cut out. ON SALSA `They're arriving!' That bit." It wasn't long before his bliJcic was neatly divid- ed, half black arid half Latin. "The By John Storm Roberts confrontationswerev immense-but stickball always ptiled us through!" But Palmieri hinself was not too in - volved in street life. His mother saw to that. Like his older brother, Charlie-

playing, because of the rhythmic pat- what it is to play the bongos, what it is terns.Latin musicis unique inits to play the conga, how you structure a ". ..there's nowhere else thathas rhythmic complexity. But the piano is number. And it was through him that I anything that comes up to Cuba! the primary instrument, being a com-also became aware of Cuban music, It was noticeable the way Latin bination of melodic and rhythmic. It's awhich I wasn't aware of at all in those music fell apart after 1959." percussive instrument, but at the sameyears." time the whole musical scope is there." The first specific Cuban influences on Palmieri, who tends to alternate be- Palmieriwere twopianists:Jestis tween modesty and all -embracing rhe- Lopez, who played with a leading torical flights, claims he's not too good charanga (band), Arcario y Sus Mara - also a superb pianfist/organist and band- a pianist. "I haven't given it its proper villas; and Lili Grinan, pianist with the leader-Eddie found himself at thehours of study. The technique of the in- great trumpeter Chapottin. "Grinan keyboard at theageof eight. Reluctant - strument must be achieved, and to dodrove me nuts! They were the daddies, ly. "I didn't likethe instrument! I was that we're talking about twelve and those guys recording in the Thirties and constantly on it,with a great teacher Ifourteen hours a day. But I will become Forties. Unless there's another planet had from my br>ther; her name wasa pianist one day!" By technique, Pal-around that we don't know about, Margaret Bonds --she's in the blackmieri means much more than nimble there's nowhere else that has anything history books.But the other kidsfingers. "We're talking about weight that comes up to Cuba! It was notice- laughed at me because I couldn't play distribution, we're talking about know-able the way Latin music fell apart af- ball. I had to do nny lessons, otherwise ing the human body." ter 1959. The day after the break [of my mother'd sock it to us!" This had Have his theories led him to the con-U.S. relations with Cuba] it was all its advantages. "vly neighborhood was servatory elements that seem evidentover here for Latin music." heavy, but I missd all the fights." in some of his recent work-notably Despite a present-day popularity that Eddie Palmierirebelled against the some rather Debussyesque moments in has gone beyond the bounds of the La- piano as soon ashe could. Aside from his long preludes to Adoracton and Untin community, as shown by recent stints singing tohis brother's accom-Dia Bonito? "Not consciously, be-coverage in both Time and Newsday, paniment, his firs. appearances were as cause I don't listen to classical music. Palmieri was not an immediate success. a player on theirums known as tim- When I studied classical music, I didn't It is hard to understand now, but even

58 STEREO REVIEW the two -trombone front line of theorchestras just add Latin players, notapproaches. And geometric inversion. group that made him famous, La Per- knowing what has to be done withThere's only four ways you can play a fecta, was at first a challenge to listen- them, it sticks out like a sore thumb." melodic line-forward, backward, up- ers and dancers. "I wasn't accepted in side-down,andupside -down -back- the beginning because of the sound," N the whole, salsa is a fairly sty-wards. And now that we're going into he says. "Who could cope with twolized music, though with plenty ofquadraphonic. . . . trombones coming at them like a house scopeforimprovisation.Eddieis "It'll come like this from the speak- on fire?" sometimes said to lead a jammingers [a coming -from -all -directions ges- And yet eventually the public, a big band. How does that fit with his experi-ture] so the engineer can really give me public,did"cope" with the new mentalism, I asked, and is it related tothe sound, and it's really going to be sound. It may have been the first timehis outstanding sense of swing? Heinteresting!" one of Palmieri's experimental ideas laughed. "Sure, improvisation plays a achieved popularity, but it certainly tremendous part in my orchestra. Ev-IT'S going to be interesting. That's a remark that punctuates the long flow of Eddie Palmieri's conversation. What- ever he does, you always know one thing: it's going to be interesting. But who listens to the music of a man ob- sessedwithgeometricinversion? "When we play a concert it's a complete, equal division of English-speaking kids, white, black, Puerto Rican. At the dances it's a majority of Spanish and black. And it's not college kids that go to my dances. So when I play something like Un Dia Bonito in the clubs I just play the melody straight down, and then I cut in the band right away and they're dancing. "After all, we happen to be the hot- test orchestra in my field-the one other musicians don't want to meet on a bandstand! And Latin rhythm will always be exciting to the organism, due to its complex rhythmic patterns. Us- ing that properly, we will become the orchestra of the happy feet!" So there's no danger of an avant- garde limbo? Of looking around and finding nobody there? No tension between creativity and popular taste? wasn't the last. For the most basic anderybody has to be a soloist, I insist on essential thing in his approach contin-that. But you have to be careful how ues to be his ambition to reach a wideyou use the word lam.' It's only be- "Latin rhythm will always be public with a music that is not only tipi- cause my music is so well engineered exciting to the organism, due to its co (true to its Caribbean roots) butthat it sounds loose. Everybody knows complex rhythmic patterns. Using highly experimental as well. what they're going to play. that properly, we will become "The first thing I think about is sim- "About swing, you must remember the orchestra of the happy feet!" plicity.Take the Orquesta Aragon,that I'm a frustrated drummer. When I which happens to be my favorite or-start thinking about a chart, I think chestra. If you listen to them carefully, what my rhythm's going to do. I'm the there's nobody moving except to do hisdrummer, I'm the bassist, I'm every-"That will never happen, because I specificjob-concentrationbeyondthing in my head. I see the structure-won't permit it to happen. I will never complication. Like a bass player whothe way the number's going to go-alter the rhythmic patterns. And I even may only be playing two notes, or threeimmediately. The cierres [breaks], andrefuse to talk English in my concerts. notes, but he's constantly digging, dig-the coro [refrain], and the ride-every-It's a Latin music. But I believe that ging, digging. The tipico is the dancething. I do that in seconds. But by thethe deeper you play the music, the band that really socks it to you! Andtime I get through with the number itmore exciting it becomes and the more that means simplicity and each in-takes me months. That number on myit's accepted. dividual concentrating on his thing." new album, Un Dia. Bonito, took me "Sure, there's tension. It's helpful. Salsa was heavily affected by jazz,over a year and a half to put together. It makes me work that much harder. and Palmieri has a large black audi- "My next album's going to be dedi-My nerves want to pop out of my skin ence, but he denies a strong jazz influ-cated to Argentina, to one of the great-when I go on the stage every night, till ence on his work. "I do not play jazz atest tango singers that ever lived, Carlostap off and hear my band. And if we've all, though I've used jazz phrasingsGardel. I'm going to be doing his El Diagot it, I know in seconds that we've got that I could comprehend and feel. JazzQue Me Quieras. I'm going to do theit. And then you see a smile come over can be very complementary to our mu-melody with a French horn-thosemy face. You know when you have it, sic, but you have to be careful how you melodies are gorgeous, man! and it's really such a great feeling, use it, either way around. When jazz "I'm going to use some Bach fugueman!"

FEBRUARY 1976 59 :Z

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STEREO REVIEW'S awards for the out- But just as not every reader will like standing records of the yearmodern music or rock, not every crit- are predicated on the musicalic (or editor) will either. And so, there and technical excellence of the re-is a general tendency for the greater cords involved. By this time (this is number of votes to flow toward the the ni nth year the awards have been middle of the stream, rather than given), that goes almos-. without say- drifting into the byways-even those ing-tie critical and editorial staffs of byways we have discovered ourselves the magazine cast the ballots, andand have favored with awards in pre- critics and editors are notoriously im- vious years. mune totheinfluer ceofsales We are proud, for example, to have figures, publicity hypes, and band-taken note of John Denver long be- wagon tactics. fore anyone else did, but that does But the range of records selected,not obligate us to continue to praise both for awards and for honorablehim. We are happy we gave a Record mention, deserves some explanation.of the Year Award to Bruce Spring- A critic or editor is free to vote for anysteen two years ago, before he was a record reviewed during the calendarmarket success, but the voting this year cf 1975, or even for a record thatyear did not reflect a necessity for giv- did not get reviewed if it was releaseding him another award because he and, theoretically, could have been has now. achieved that well -deserved reviewed during that time. Critics are success. In the classical area, we rath- not officially bound by their own spe-er often find awards going to record- cialties, but, naturally, any critic willings of music of our own century. But probably have heard more records in itis both interesting and balancing his sr ecial area than in others. Sincethis year to see an award going to one each critic, in a sense. represents asuch work-and another to a record- certain specific portion of the reader-ing of the most basic item in the sym- ship of the magazine (that portionphonic repertoire. (And, by the way, most interested in his specialty), the these two finished, respectively, sec- variety of records chosen to receive ond and first in the overall balloting.) awards reflects the variety of tastes of We have more honorable mentions our many different readers. than usual this year, reflecting, again, All this within reasor, , of course. Athe variety of people's tastes, and, really outstanding record will get no-happily, the fact that once again-for ticed regardless of its category, forrecords at least-it was really a very critics, being at heart music lovers, good year. will have made every effort to hear it. -James Goodfriend, Music Editor

61 FEBRUARY1976 *Y -14-r,

CHICAGO (John Kanter -Fred Ebb). MOZART: Piano Concertos Nos. SCHOENBEtC: Hose; und Aron Origina Broadway cat.t. ARISTA AL 14-19 (Peter Serkin, piano; Alexander (Michael C ielen, conou: or). PHILIIPS 9005, cartridge 8301-9005N, cassette Schneider, conductor). RCA 6700 084. 5301-9065N. ARL3-0732. 'EifERSO STORSHIP

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IGOR ICPNIS: Ths .7ngtsh CIRCLE: Paris Concert (Anthony BEETHOVEN: Syr-v.hoi-4o. 5 Harpsiciord. ANC EL SB 33-6. Braxton -Chick Corea). ECM 1018/19 (Carlos KleAber, conductor). ST, cartridge 8F-1018/19, cassette DEUTSCHE GRAMMOPHOIN 2530 516, CF -1018/19. cartridge CS 3300-472. Honorable Mentions

JOAN BAEZ: Diamonds and Rust. MAHLER: Symphony No. 10 A&M 4527, cartridge 8T 4527, cassette (Adagio); Kindertotenlieder (Janet CS 4527. Baker, mezzo-soprano; Leonard Bernstein, conductor). CCLUMBIA Roriuu7) JEFF BECK: Blow k,Bliow. EPIC M 33532. PE -33409, cartridge PEA -33409, cassette PET -33409 MONTEVERDI: L'Incoronazione di Poppea (Nikolaus Harnoncourt, SELECTED CHOPIN: Etudes, Op. 10 and Op. 25 conductor). TELEFUNKEN 635247. (Vladimir,Ashkenazr, piano). LONDON BY THE EDITORIAL CS 681-4. MONTY PYTHON'S FLYING CIRCUS. PYE 12116. BOB DYLAN AND THE BAND: The STAFF AND CRITICS Basement Tapes. 03LUMBIA C2-33682, MOZART: Die Entfiihrung aus dem cartridge C2A-33682, cassette Serail; Der Schauspieldirektor (Karl FOR THE READERS C2T-33682. Bohm, conductor). DarrsavE GRAMMOPHON 2709 051, cassette FALLA: Piano Music QAIida de 3371 013. OF STEREO REVIEW Larrccha, piano). LONDON CS -6881, cartridge 08-6881, casette 05-6881. MICKEY NEWBURY: Lovers. ELEKTRA 7E-1030, cartridge ET -81030, cassette GRIEG:: Lyric Pieces (Emil Gaels, TC-51030. piano). DEUTSCHE GRAMMOPHON 2530 476. EDDIE PALMIERI: Sun of Latin -Music. Coco CLP 109XX. HANDEL: Solomon 16Ctannes Somary, conductor) VANGUARD RACHMAN' NOFF: Etudes Tableaux, VSD 71204/6. Op. 33 and Op. 39 (Jean -Philippe Collard, piano). CONNOISSEUR SOCIETY EMMYLOU HARRIS: Faeces of the CS 2075. Sky. REPRISE MS 2213. cartridge M8 2213. RENATA SCOTTO: Verismo Arias (Renata Scotto, mezzo-soprano; HAYDN: Symphonies Nos. 93-104 Gianandrea Gavazzeni, conductor). (Antal Dorat), conductot). LONDON COLUMBIA M 33435. STS 15319/24. SHOSTAKOVICH: Symphony No. 8 HEIFETZ COLLECTION Oascha (Andre Previn, conductor). ANGEL Heifetz, violin). RCA 1RM4-0942/47. S-36980. MILT JACKSON: Olinga. CTI 6046, BRUCE SPRINGSTEEN: Born to Run. cartridge CF8 6046, cassette COLUMBIA M 33795, cartridge PCAT CTC 6046. 33795, cassette PCAC 33795. WAYLON JENNINGS: Dreaming My ART TATUM: The Tatum Solo Dreams. RCA APL1-1 W., cartridge Masterpieces. PAato 2625 703, APS1-1J62, :assette APK1 -1062. cartridge S10-723/729/730. THAD JONES/MEL LEWIS LOUDON WAINWRIGHT III: ORCHESTRA: Potpourri. Unrequited. COLUMBIA PC 33369, PHILADELPHIA INTERNAP,IONAL KZ 33152, cartridge PCA-33369, cassette cartridge ZA 33152. PCT -33369. ( Certificate of Merit awarded to Jascha Heifetz =or his outstanding contributions to the quality of American musical life Sansui. The turn thetables Sansui now offers a complete line of turntables Statically balanced S-shaped tonearm, skating force for every taste and pocketbook. Sansui is now one of canceller. Low capacitance cables. the leaders in the manufacture of high quality Sansui SR -3132 at under $170.00!' Two speed, turntables. Sansui has it all. From belt to direct belt drive by 4 -pole outer -rotor synchronous motor. drive, from stereo to 4 -channel capability, from 4 -pole S-shaped tonearm, advanced suspension, lateral bal- synchronous to 20 -pole servo -controlled brushless ance, skating force canceller. Heavy aluminum alloy die- motors. All in all Sansui, with these new turntables, lives cast platter. Low capacitance cables. Wow and flutter up to its reputation as creative innovators in sound less than 0.06%. Direct -reading styluspressure scale. reproduction technology. And Sansui's new tonearm Sansui SR -5253 at under $280.00' Direct drive. design and unique drive systems clearly representa 20 -pole DC brushless servo -motor. S-shaped tonearm, manor advancement in high quality turntables. special Sansui resonance absorber, knife-edge support Here is the line-up: system. Low capacitance cables. S/N: better than64 dB. Sansui SR -212' at under $130.00, Auto -return, Pitch controls. Illuminated stroboscope. Heavyaluminum two speed, belt drive by 4 -pole synchronous motor. die-cast platter. Sansui SR -7172 at under S350.00' Direct drive. 20 -pole DC brushless servo -motor. Wow and flutter less than 0.03%. Statically balanced S-shaped tonearm, one point/knife-edge support. S/N: better thar 66 dB. Pitch controls. Illu- Direct read-out stylus pressure dial. Sansui FR -30302 at under S200.00' Full automatic, two speed belt drive. S-shaped -onearm with Sansui's Dual- Magnet cartridge, St ibata stylus, skating force canceller. For any 4 -channel or 2 -channel record.

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Sansui CIRCLE NC. 42 ON READER SERVICE CARD 66 STEREO REVIEW JA6C1-114 1-1P.IrPTZ: A diamond -jubilee testimonial by Irving Kolodin

WELL over fifty years ago, the quality of American musical lifeHeifetz never had to play the violin when the Twenties were(on the seventy-fifth anniversary ofwith mittens." Nicely put. But what just beginning to roar, two his birth in Vilna, Russia, on Febru-are the chances of Nureyev's being talented brothers in search of mate-ary 2, 1901) not merely merited butcited as a standard of comparison rial with which to entertain party -overdue. sixty years after his New York de- giving friends hit on the idea of a No Gallup, Harris, or other pollbut? That would be somewhere in patter song called Mischa, Jascha, has ever been conducted on the sub-the year 2025, by which time (as- Toscha, Sascha. It wasn't by any ject, but insofar as I can discover by suming that all reliable precedents means the best song the Gershwinsoffhand count, there are only tworemain intact) one, two, or three ever wrote, but it was one in whichways in which Heifetz is faulted byother top terpsichoreans-Lett, or Ira was able to make a small lyricala generation of critics unborn whenLapp, or whatever-are likely to mark by rhyming "Auer" withhe was already famous:(1)he have surpassed Nureyev's accom- "sour"-to wit: doesn't play in public as often as heplishments and displaced him as a should, and (2) he has been knownstandard. That has not yet happened When we began, at times to play not wisely but tooto Heifetz, whose command of his Our notes were sour- well (in terms of the material on instrument may well remain unchal- Until a man which he has lavished his art). Tolenged for another eon or two, (Professor Auer) Set out to show us, one and all, the first objection a question may bewhose name even then will remain a How we could pack them in, in opposed: How many violinists whopermanent, seven -letter synonym Carnegie Hall. began concertizing at seven were for violinist. (are) still at it fifty years later? As Pride of place, it may be noted, for the second objection,it was F one is to have any real compre- was assigned to Mischa. This was aOthello who asked that he be re-hension of what the Heifetz career proper concession to seniority, butmembered as "one who loved nothas meant to American music, one Mischa (Elman) rarely rated aheadwisely but too well"; if Heifetz's has to talk in terms not of years but of Jascha (Heifetz) again. Indeed, lifelong love affair with the instru-of decades. Ideally, I suppose, one even in 1921 (when the song wasment for which (and by which) heshould remember it all, one should written), priority, if not seniority,has been living since the age of three have pursued a parallel course, year had already gravitated to Heifetz. induces censure in Shakespearianby year, decade by decade. In one Of the celebrities grouped in theterms, it is, as putdowns go, censureway or another-student, admirer, Gershwins' foursome, Jascha alone on a very high level indeed. critic-I have had (with the excep- still endures (as fortunately, too, In the aggregate, and despite all tion of the first half -dozen of those does the man who put the wordssuch quibbles, the identity of Hei-years) that order of experience, and together), an undefeated champion. fetz as a paragon, a nonpareil, aI would rate the course that Heifetz Were there such a thing as a Davismonarch of the violinistic realm is has run as a tireless, matchless mar- Cup for international eminence inso long and so widely established athon. Without making any special the execution of down -bows, spic-that it is cited as a standard even bypoint of it, or firing a Parthian shaft catos, fingered octaves, and stac-those who have very likely neverfrom his bow in anger, Heifetz has catos, Jascha Heifetz would longheard him perform, least of all infaced down every challenge to his since have retired enough cups to person. In the reportage of last fall's supremacy. He has always had in put a dent in the world's silver sup-World Series, a columnist for thereserve some special distinction- ply. But he has, in other ways and in New York Times was searching for such as playing the Bach Chaconne sundry manners now almost forgot-an image with which to illustrate the better at seventy than he did at sev- ten, amassed enough credentials as indignity implied in expecting high- enteen-somesingularitythatis a public figure, as a citizen with apriced baseball talents to perform at lacking even in so surpassing a sym- solid social consciousness, and as atheir best at night in Boston's usual- bol of violinistic excellence as the musicianofone-world/one-wordly blusterylate -October weather. late David Oistrakh. The other old- identity to make an award to himExpostulated Dave Anderson: "Nu-er -generation figures-Stern, Mil- for his outstanding contributions toreyev isn't asked to dance on ice, stein, Menuhin, Francescatti, Gru-

FEBRUARY 1976 67 in a box, drawn by curiosity (as were many others) to the first appearance of a youth whose name had already be- acome familiar from accounts, in both the musical and general press, of his great success in Berlin. Neither of the parties concerned has endured to give sworn, authenticated testimony of who said what to whom, but the issue of the New York Herald (later merged with the New York Tribune) in which the Heifetz debut Circa 1910: child prodigy in Russia was covered has. Reproduced herewith (probably for the first time since the historic event) are the exact words with which the Herald of the Sunday following the Saturday afternoon concert of At the time of his New York debut, 1917 October 27, 1917, headlined the event: ANOTHER GREAT VIOLINIST COMES miaux, Szeryng-are great violinists OUT OF RUSSIA all, as without question are the younger Jascha Heifetz Younger Than Messrs. ones-Perlman, Zukerman, Zukof sky, Elman and Zimbalist and as 1924: a worid-famous concertizer Spivakov. But a Heifetz? The question Individual as Either implies its own answer. Those who didn't know the HeifetzAfter three preliminary paragraphs of of the Twenties and Thirties, the living, praise and appraisal, the anonymous corporeal, concertizing being (and rare-writer (more likely than not staff mem- ly have two adjacent decades so aptly ber Paul Morris) commented: summarized the distinction between a Big sweeping things are not as yet in Mr. feast and a famine) simply don't know Heifetz's line. He is an interpreter of refined Heifetz. He soared into the Twenties emotions, a technician of high attainments. on the thrust of a success whose powerHis harmonics for the most part were su- and range have scarcely been matched perb, his double stopping was admirable and 1936: trying anotherinstrument on the American musical scene in a his tone full of vitality and beauty. He is a hundred years except by Paderewski,player that should interest American audi- Caruso, Horowitz, Flagstad, Callas, ences everywhere. Many leading musicians were in the audi- and Van Cliburn. Heifetz had every-ence. Mischa Elman sat in a box with Leo- thing-and the word is every thing- pold Godowsky. After the first number and going for him, not merely matchless the audience had responded with great ap- talent, good looks, ease, and grace in plause, Mr. Elman turned to his companion. doing the impossible impossibly well, "It's rather warm," he said, wiping his fore- but even a priceless anecdote which head. summed it all up in an unforgettable "For violinists, perhaps," Mr. Godowsky one-liner. answered, "but not for pianists." Was it hatched in a press agent's That same issue of the Herald also 1938: a movie star mind? Was it apocryphal? Or was itfurnished the weather for the day: merely an excellent instance of thatthere was a low of 55 degrees at 3 a.m., classic definition of repartee: "Whata high of 64 degrees at 2:30 p.m.- you think of on the way home?" Im-though inside temperatures, including pelled by curiosity, and determined tothat of Carnegie Hall, might be expect- run the story to its source, I researcheded to have been a little higher! the matter painstakingly through the ar- chives and discovered that it was, un- HEIFETZ, for all that he was born in believably, exactly what it had always Russia, had conquered the New World been professed to be: an apt rejoinder, before he did the Old (though he made on the spur of the moment, by a wit inhis debut as a child in Berlin). He left full possession of his faculties. It was Petrograd with his parents just as the 1945: USO tour with Seymour Lipkin addressed to a suffering colleague who first shots of the Russian revolution was more than a little perturbed by the were being fired, traveling east by way storm of applause that swept throughof Siberia and Japan and on to San Carnegie Hall after the first piece (Vi- Francisco and New York. Western Eu- talli's Ciacona) performed in public on rope and Heifetz thus discovered each American soil by Jascha Heifetz. other the wrong way around, so to The suffering colleague was (almostspeak: the six thousand people who by predestination) Mischa Elman; the crowded Royal Albert Hall for his Lon- wit in full possession of his facultiesdon debut in 1920 knew he was Rus- was pianist Leopold Godowsky. Bothsian, but they also knew that he came had given Carnegie Hall recitals during from "the States." It was the same the preceding week. They were seatedwith audiences in Paris, Brussels, and Circa 1950: a household word

68 STEREO REVIEW wherever else he went. From the firstAve Maria played more beautifullyForge, and Deems Taylor, Heifetz at- appearance on he was to remain iden-than he dreamed anyone could play it,tended the first annual meeting (at New tified with America. He never craved a least of all a pupil of his own. York's Plaza Hotel) of a new organiza- Swiss chalet, a French chateau, or a Back in the States, there was worktion called the American Guild of Musi- castle in Spain. He went, constantly,and play. Heifetz could draw 12,000 incal Artists. Tibbett was its president, repeatedly, to Australia (1921), to thethe "old" (Eighth Avenue) MadisonHeifetz itsfirst vice president. The Orient (1923), to Palestine (1926), andSquare Garden to benefit musiciansstated purposes of the organization around the world (the first of four timesmade jobless by hard times; that was were "to promote and foster good will in 1927). But always he came backwork, considering the quality of thebetween the musical performers them- home, after 1925 as a naturalized U.S.public-address systems of the time. He selves and the other organized groups citizen. could play for as many as Carnegieof the musical world, and to establish a "Home" was, for a long time, NewHall could hold, as often as was pru-mutual understanding and friendly rela- York's Manhattan, first an apartmentdent-a recital or two early in the sea-tions between the artists of this country on Central Park West (shared with hisson, orchestral appearances later. Oneand other nations." Founded by seven parents). He was easily at home amongof the latter, in a rather special way,men (of whom Heifetz is the only living the pre -Beautiful People of the time,marks the decade as Heifetz's own. Offounding officer), AGMA was modeled the Upper Crust, the Smart Set, the all possible soloists, it was Heifetz whoon Actors' Equity in that it was orga- dudes, dolls, and dandies, spending astood in the middle of the New Yorknized by men and women who didn't

as family man: sailing for Europe with first wife Florence; picking apples (1938) on his Connecticut farmwith children Jose- pha and Bobby; returning from Europe (1947) with second wife Frances; and watching son Jay improvise (1951) in Beverly Hills.

summer or two at socially suitable Nar-Philharmonic when Arturo Toscaninineed its protective shield on behalf of ragansett Pier in Rhode Island, just amade his "farewell" appearance as theother professionals who did. Its origi- sail across the bay from Newport andorchestra's music director on April 29,nal total membership was 113, almost Bailey's Beach. Life and the surround-1936. Like his greatest colleagues, Hei- all of them solo performers. ings in which it was lived took a differ-fetz always rose to an Occasion: as so- When these solo performers banded ent turn when, in August of 1928, heloist in the Beethoven Concerto on thattogether to give a benefit in those De- married Florence Vidor, a beauty assurpassing occasion he was at his sur-pression times (in Carnegie Hall on well as a queen of the silent screen. Shepassing best. February 27, 1937), it was something to had divorced her first husband, the remember. Sharing the backstage areas celebrated director King Vidor, three BENEFITS were almost weekly events and, in relays, the stage were, among years before. For a time, the Heifetzes'in those days; Heifetz was enormouslyothers, Josef Hofmann, Jose Iturbi, new home was a penthouse on top of aresponsive. Most of them, like the one Kirsten Flagstad, Lotte Lehmann, Lily Fifty-seventh Street apartment housenoted above in the Garden, were mas-Pons, Gladys Swarthout, Lawrence withinhailing distance of Carnegiesively public. A more intimate one took Tibbett, and Lauritz Melchior. What Hall. The living was easy not only inplace on January 31, 1936, in his ownbrought them together was a desperate summer but in winter time: Heifetzhome (again a penthouse, this one atopneed for relief funds for the victims of could be booked anywhere, his feesa famous old structure at 247 Park Ave-floods in the Ohio and Mississippi val- were excellent, and taxes hardly a hin-nue). It was spacious enough to accom-leys. Benefits, of course, come and go, drance to putting it all together. modate an exclusive four hundredbut who could forget an evening in The Thirtiesbegan with Heifetzguests who paid $250 each for an eve-which Melchior and Tibbett joined in twenty-nine. The Depression was on,ning of music by the host, Lawrencethe great duet from Verdi's Otello (an but he could still tour. He went to Mex-Tibbett, and Jose Iturbi. The moneyopera the legendary Wagnerian tenor ico, where he was photographed withwent into a fund for "destitute German was never permitted to perform in New an admirer he admired right back: Die-professionals"(meaning victimsofYork), one in which Heifetz, who was go Rivera. He returned to Russia forNazi terror). appearing that same Saturday night the first time in 1934, had a hysterical In addition to this evening at homewith the Philadelphia Orchestra at the success as a "visitor" from America,and the one in Carnegie Hall with Tos-Academy of Music, joined Efrem Zim- and remet his old (pre -Auer) teachercanini, 1936 was also memorable for an balist in a performance of the Bach Professor Johannes Nalpandian, whoApril day (the 18th) on which, alongDouble Concerto-via a telephone line stood in the wings and wept as he heardwith Tibbett, Alma Gluck, Richard Bo- to Carnegie Hall? Wilhelmj's arrangement of Schubert's nelli,Gladys Swarthout, Frank La Fortyyearsafteritsfounding,

FEBRUARY 1976 69 When war came, he soon decidedName a worthwhile violin work of the that playing benefits and raisingmoneyeighteenth or nineteenth century (ex- through War Bond saleswas notcepting Paganini's concertos, which enough. He acquired a USO uniformdidn't seem to rate in the "book" of and marching orders that took himtothe Auer school) that Heifetz didn't almost as many fronts as therewere play and the charge may wash. And GI's. On at least one occasion theas- too, we must remember that he played sembled troops gave little evidence ofand recorded twentieth-century works' knowing who the visitor wasor of car-by Sibelius, Prokofiev, Elgar, Bloch, ing much for what he did. Indeed,as I and Walton as well. Was it thenper- have heard it, Heifetz was booed. Ithaps lack of enterprise? Hardlya just was perhaps in response to such an ex-complaint about a man who haspre- perience that he decided to lighten hisferred Faure's A Major Sonatato repertoire to include transcriptions (ofFranck's on numerous occasions, who his own devising) of melodies from has given life to Spohr's Concerto No. Gershwin's Porgy and Bess. Theywere 8 ("Gesangsszene") and Double Quar- Heifetz subsequently issued on Decca discs in At the time of his television debut, 1971 tet, legitimacy to the E -flat Sonata of 1946 (RCA was still immobilized by the Richard Strauss (four recordings-and musicians' union ban on recordings), a whack on the hand from a pipe -wield- along with other sides that included AGMA is, next to the AFM, the most ing Israeli for playing it in Tel Aviv in Irving Berlin's White Christmasper- 1953), and luster to the Scottish Fanta- influential organization of musicians informed with an orchestra directed by the fifty states. It now takes in not only sy of Max Bruch, a work all but forgot- T. Camarata. ten prior to the 1947 recording by Hei- hundreds of instrumentalists, but chor- Less demonstrably a matter of isters, cause fetz. (It has recently begottena tribute comprimarios, other salariedand effect is Heifetz's affection for thein kind from the fastidious Arthur Gru- members of the nation's operacompa-lighter, slighter, and even triter (be- nies, and ballet dancers as well. It has miaux-the most Heifetz-like perfor- cause it is of greater length) material he mance not by Heifetz of anything I remembered its original first vice presi-sponsored "live" and on discs in the dent on several later occasions, includ- have ever heard.) ing the twentieth anniversary Thirties, Forties, and Fifties. Is itan Then why not the sonatas/concertos year ofexample of Bad Taste? Can aman with 1956, by re-electing him to office. ofBartok,Schoenberg,Sessions, a profound, lifelong affection for theBerg, Hindemith (save for a single,un- The later Thirties witnessed the briefmusic of the three big B's be givena appearance of Heifetz in a role not so repeated venture in 1936), Stravinsky, failing grade in musical judgment? Is itSzymanowski, Britten, Barber, Shos- widely known as that of violin vir-lazinessinlearning new literature? tuoso. He had acquired a farmhouse takovich? And why, oh why, in their and attached studio/barn in Westport, Connecticut, as a suburban retreat for his wife and children Josepha and Rob- ert. When a benefit appearance by Hei- Right: Heifetz with his long-time accompanist fetz was announced at the nearby Nor- Emmanuel Bay in January 1938. walk High School, the New York He- rald -Tribune sent a reporter to findout what it was all about. It was, he discovered, to provide funds to fighta propos- al to dam the Saugatuck River at the little village of Valley Forge. To his visitor Heifetz explained: "This controv- ersy is not of personal interest to me; none of my land will be flooded or in- jured. But with many other residents it may be otherwise. I volunteered my services because I love America, which is one of the few remaining countries where a man can own his own land and Above: Heifetz with not be disturbed." pianist Joie Iturbi Love for America and its institutions and baritone Lawrence took another turn in 1940 when, incon- Tibbett, January 1934. junction with the Cultural Division of the Department of State, Heifetzspent six months in South America, perform- Right: the greatest ing in all sixty recitals. At about this trio of modern times- time he also appeared in a film for the Heifetz, Artur first time, playing the congenial role of Rubinstein, and Emanuel Jascha Heifetz. He then decided to Feuermann, 1941. make California home for his wife and growing children, in a house with amu- sic room big enough to serve as a studio (the one in which the famous trios with Rubinstein and Feuermann werere- corded in 1941). 3

70 places, the works of Gruenberg, Korn - Maria Callas'preferred Schoenberga full day twice a week (Tuesday and gold, Rozsa, and Castelnuovo-Tedes-piece-Pierrot Lunaire or Erwartung? Friday). Monday and Thursday he co, all of which (plus the Walton con-The answer, of course, is neither: she spendsansweringcorrespondence, certo) Heifetz either commissioned ordidn't even sing Wagner in German.keeping up with paper work, records, sponsored? Does this put Heifetz in the prima don- etc. Wednesday is the housekeeper's Some exclusions and preferencesna category? Perhaps. But it also putsday off, but the yardman's day on, and (ConsforBritten,Waltonforhim in the category of knowing what thegrounds(Heifetzparticipating) Stravinsky) may be charged to temper-suits his art and what doesn't. have to be kept up. Weekends are for amental bias, a liberty to which any ar- the beach house and the water (the tist is entitled. But much more, I am in- AFTER his first marriage ended in di-house is just across the channel from clined to think, can be attributed to a vorce, Heifetz remarried, became a fa-Catalina Island). The violinists he has bias on behalf of the instrument withther again (another son, named Joseph worked with include Erik Friedman, which he has had a lifelong love affair. and known as Jay), and tended to tour Elisabeth Matesky, Beverly Somach, Somegreatinstrumentalists-Isaacless. When (after a million and .a halfand, perhaps most notably, young Eu- Stern is one-can pocket the musicalmiles of travel, 100,000 of them bygene Fodor-very good violinists all, sound for which they have paid so highplane, and 70,000 hours of practice and with perhaps a great one in the making. a price in effort and sponsor the totallypublic performance, which translatesBut the results hardly serve to catego- differentqualities demanded by the into eight years, twenty-four hours arize Heifetz as another Auer or Galami- works of Bartok, of Hindemith, of day) he decided that the life of the tour-an. He has sometimes, on the occasion Stravinsky. Heifetz doesn't see it-oring virtuoso had lost its charm, Heifetzof one of his increasingly infrequent in- hear it-that way. The closest instance, did not exchange it for idleness. As oneterviews, complained of "not being perhaps, came in his playing and re-discipline was phased out, another re-able to get all those I would like to cording of a sonata by the British com- placed it: conveying to others what he work with. . . they [the teachers and poser Howard Ferguson. had learned in fifty years of applica-the schools] don't send me their best Clearly, to be acceptable to Heifetz,tion. In a decade and a half of histalents, even for a short period." Some a work must (as a precondition to otherprofessorshipattheUniversityofschools regard the Heifetz approach as virtues and merits) treat his instrumentSouthern California (or under other out-and-out raids: the schools, he says as he prefers to have it treated. It is notauspices in the Los Angeles area) hewith a touch of arrogance, should an unreasonable demand, foritis has given his time and thought to more"send me their best" (something no shared by many other interpreters whothan a hundred and fifty artist -pupilsschool relishes). have spent years learning how to treatfrom Far East and Near, from Europe their instruments with respect. Howand Asia, Israel, North and. South THE present leisurely life of this once much Dallapiccola, Nono, and BerioAmerica, the world. peripatetic virtuoso is a perpetual puz- did Renata Tebaldi sing? Which is Attention to his classes occupies him zler for those who expect him to act out their own fantasies: going about, seek- ing the applauding multitudes, earning new laurels from the younger generation of concert goers as long as life per- < Left, in 1947: composer Erich Korngold and mits. Artur Rubinstein suits these ex- 2conductor Vladimir Golschmannwith Heifetz. pectations exactly; Heifetz frustrates them. What's the matter, the queries go, can't he cut it any more? If Casals could, why not Heifetz? Actually, Heifetz's life at seventy- five is the most distinctively American thing about him. He is fulfilling the American dream of exercising his in- alienable right to do, at seventy-five, exactly what he wants to do. His days are planned, the nights are for friends, for dining in or out, most often as a prelude to a program of chamber music. On the other side of those millions of miles and thousands of hours was a rig- Above: Mr. and Mrs. Heifetz dine (1948) with orous routine that began at three, and radio music director Heifetz has not forgotten. On a social Donald Voorhees. occasion some years ago during which celebrities were rehashing the early ages at which they began to be self-sup- Left: Heifetz with porting (nine, eleven, fourteen) Heifetz a frequent partner, put in: "I started to make a living at cellist Gregor seven"-at which Groucho Marx was Piatigorsky, in 1960. heard to comment, "I suppose that before that you were just a bum." It might be laboring the truth to pro- claim that Heifetz is a model of anything. But he is a better example of most things that make a good Ameri- can, I think, than many others, politi- cians and musicians included. 0

71 Maybe you've heard. A new line of high performance receivers will to introduced in April. Untitier,, do the very best you can.

CIRCLE. NO. 45 DN READER SE STEREO REVIEW'S SELECTION OF RECORDINGS OFSPECIAL MERIT BEST OF THE MONTH

Soprano Beverly Sills Opens Up a New Career in Angel's "Music of Victor Herbert" WITH her new Angel album ofthan their singers. Even so, there is noers of those "vacationing" opera stars V V Victor Herbert songs, Beverlyhint of the great diva out slumming in as well as a number of singers who Sills demonstrates that she does not in- non -operatic ghettoes; she sings themade their careers almost exclusively tend to let anyone escape: one way orsongs with utmost warmth, conviction,in radio (primarily with operetta favor- another she will conquer us all. If you and sincerity. German and Austrian op- ites)-such singers as Jean Dickinson, have not been overwhelmed by her op-era singers have always sung the Cen-Frank Munn, and Vivian della Chiesa. eratic triumphs, impressed by her work tral European operetta literature with For others, it will call to mind the early as a concerned citizen lobbying for mu-similar affection, just as Spanish opera musical films that accustomed a gener- sicalinstitutionsand other worthystarssingzarzuelafavorites.Butation of Americans to the sound of the causes, or completely won over by herAmerican operetta has suffered sadclassically trained voice-the movies wit and charm on TV talk shows, sheneglect since the great days of radio inof Grace Moore and Jeanette Mac- may well recruit you as a fan with thisthe Thirties and Forties, when such op- Donald, for example (two of Mac - record. I, for one, find it irresistible. era singers as Gladys Swarthout, James Donald's greatesthitsare included I cannot remember when I last heardMelton, and Rise Stevens also had im- here, Italian Street Song and Alt! Sweet the nine songs included in thisre- portant careers in radio and regularlyMystery of Life). But I don't know lease-I had forgotten how beautifulfilled the airwaves with Herbert, Sig-quite what younger people, who have they are. And I never knew Miss Sillsmund Romberg, and Rudolf Friml. no nostalgic associations with these could sing them so well-usually in this And so, hearing Beverly Sills singsongs, will make of the album. I hope repertoire the songs are much betterVictor Herbert will remind some listen-they will at the very least be able to ap-

FEBRUARY 1976 73 preciate the beauty of the melodies and them luck in trying to match what shehear them shouting 'Viva' to the diva." the felicity with which the excellent has achieved in this album. Okay. Of all Beverly Sills' many rec- lyrics are matched to the music; this Miss Sills' own favorite of theseords, this one has given me the most may help them to understand why songs is When You're Away. I find itpleasure-so, Viva Diva! these songs not only became popularhard to choose. I'm very fond of her William Livingstone hitsof the musical theater beforewistful Tothe Land of My Own World War I, but why they continuedRomance, but I'd vote twice for her VICTOR HERBERT: Music of Victor Her- to be sung as light classics for decades Kiss Me Again-it is simply ravishing bert. A Kiss in the Dark; Italian Street Song; afterwards. When you hear older peo-the way her voice falls from the high To the Land of My Own Romance; Kiss Me ple complaining that they don't writenote on the line "Tenderly pressed/ Again; Ah! Sweet Mystery of Life; Art Is songs the way they used to, these areClose to your breast" and the way it Calling for Me; Thine Alone; When You're the songs they are talking about. throbs with urgency when she pleads Away; Romany Life.Beverly Sills(so- Herbert was primarily a great melo-"Kiss me again! Kiss me! Kiss me prano); London Symphony Orchestra, An- dist: as Miss Sills puts it in the lineragain!" There is a surprising amount of dre Kostelanetz cond. Orchestral Medley: notes, "I don't think Victor Herbertvibrato present in some of the songs, I'm Falling in Love with Someone; Moon- ever composed an ungrateful vocal beams;Gypsy LoveSong;Habanera. but it is more than made up for by a OrchestralMedley:SweetheartsWaltz; phrase." She is very likely right; cer-warmth in the middle voice which I March of the Toys; Toytand; The Streets of tainlyeverything hereisextremely haven't heard in her operatic work forNew York; Indian Summer. London Sym- grateful to Miss Sills' voice. Her oper-some time. phony Orchestra, Andre Kostelanetz cond. atic background is evident in the secu- Andre Kostelanetz, an equal col- ANGEL SFO-37160 $6.98. rity of her high notes, the ease withlaborator here (he has recorded an which she executes the vocal orna-orchestral medley for each side of the ments, and her long breath, which per-disc) is completely at home with this mits her plenty of very useful flexibility music. He had a great career in radio, in phrasing. of course, and he has successfully Most of the songs are songs of senti- brought all that experience to bear in ment, tender expressions of love andre-creating with the London Symphony A Delightful Disc of romance, and in them Miss Sills is atthe instantly recognizable sound of his her best. An American artist singingold radio orchestra. The total sound of Perfectly Up-to-date the American language, she projectsthe disc, by the way, has brilliance,Early Piano Music by the lyrics well, knowing exactly whichclarity, and a marvelous, free openness words to stress, just when to pause a in SQ quadraphonic playback, tighten-The Late Darius Milhaud bit for emphasis, when to put a littleing up only slightly in stereo-it would smile into the voice. American singersbe a little hard, I think, to tell the differ- can compete with anyone in musicality,ence without instantaneous A-B-ing. IT seems as though we are always on but they are hard put to compete, say, The only song on the album I hadI the verge of rediscovering the late with Italians in making an Italian arianever heard before is the comedy num-Darius Milhaud, and it is just possible exciting. But, in just the same way, theber Art Is Calling for Me (I Want to Bethat William Bolcom's excellent new American singer has no peer in this rep-a Prima Donna). Its amusing lyrics album of his piano music on the None- ertoire.I hope other Americans will bring out Miss Sills' beguiling soubrettesuch label may do the trick. follow Miss Sills' example, and I wishquality. One of the lines is "I long to The period 1915-1925 is a particularly attractive one in Milhaud's work, and the music he wrote in that time can now be seen to be an essential part of post- World -War -I abandon and exoticism. As Bolcom points out in his fine notes, Milhaud would never fit our twentieth- century notion of the artist as introvert- ed, alienated, and anxious. He considered himself a happy man and always insisted that he created out of love, not agony. One result of this was that he gleefully soaked up experience of every kind; the world was his oyster, and no kind of musical expression was really alien to him. The result, of course, was that in his music he could mix the mostunlikelyingredientstogether quite unselfconsciously. In the case of the early piano works at hand, a subtle blend-and itis subtle-of ragtime and jazz, of Brazil -

Left, Darius Milhaud (seated) accepts the congratulations of fellow composer Georges Auric at a 1966 party celebrating his nomi- nation for the Legion d'Honneur. On fac- lL ing page, singer/songwriter Joni Mitchell.

74 STEREO REVIEW ian music and pop, with an unmistak- More Than a Sprinkling Johnny Mandel -Jon Hendricks relic of able French style makes the music not jazzbo slickness called Centerpiece that only irresistible but, in some strangeOf Symbolism in Joni deals not only with the problem of "liv- way,perfectlycontemporary.The ing happily ever after" but with the famed polytonality, for example-inMitchell's "The Hissing problem of centerpieces-their having effect, the right and left hands playing more to do with making an impression in different keys-is certainly perfectlyOf Summer Lawns" than with supplying nourishment. natural -sounding today. It is a difficult album, you see, partly The three suites recorded in this because Mitchell is not moralizing, not Nonesuch release make an interesting IONIMITCHELL'S viewpoint has usual-boiling a situation down so any right- sequence. Le Printemps, begun in 1415, ly been first -person -singular, with the thinking listener can interpret it in only is the least known and least character-world seen as an incidental part of theone way. It is difficult too because it istic; the influences of Debussy and Sa-examination of the quandary inside adoesn't sound like anything we're ac- tie are still noticeable, along with morerelationship. In her new album "Thecustomed to, familiar as we are with than a bit of dissonant originality. TheHissing of Summer Lawns," the view- the machinery behind the popular song, Saudades do Brasil (loosely, "Saluta-point seems more nearly general, lessnor does it go out of its way to be pretty tions from Brazil") are two books ofspecific, and the stories she tells collec-or tuneful. The Jungle Line, for exam- short pieces named for districts of Riotivelyyield some truths (or maybe ple,is about an asphalt jungle-but de Janeiro and dedicated to acquaint-they're only suspicions) that are social seen as something a beautiful madman ances and colleagues of the period as well as personal. such as the "primitive" painter Theo- when Milhaud was secretary to the There isstill the question of howdore Rousseau might have created French minister to Brazil (poet -drama-much romanticism balanced against("Beauty and madness to be praised," tist Paul Claude') in what was then thehow much "reality" is good for us, but she says in another song, about a mov- Brazilian capital. The Rag-Caprices-ait is complicated this time out by theie -style greed for the root flavor of highly stylized notion of rag, to beirony of what has happened to the set-life). It is an experiment, a successful sure, but brilliant pieces of work none-tings, the environments-the city hasone,exquisitelylyricalimagesen- theless-are among the relatively fewparadoxically become the place prime-hanced by almost frightening synthe- masterpieces of European twentieth- val, while the country (nowadays thesizer whoops and warrior drums, and it century piano music. William Bolcomsuburbs) has become the place where doesn't mind being pulled out of the al- (who, incidentally, studied with Mil-too much civilization is beginning tobum to be considered as a separate haud) performs all this with a greattake its toll. Joni Mitchell shows uswhole. Most of the other pieces don't feeling for its special sensibilities: thepeople trying to recapture a certaindisengage from theoverall context pieces are filled with the joy of livingirresponsibility or a spontaneity-thequite so easily. and graced with the gift to be simple abilityto dance, to play-and they Throughout, I am alternately struck (though sophisticated). Just now, ex-come off looking either a bit tawdry or the notion that she has done little actly what we'd all like to be. frantic. Or she has them (us) lookingwork on her melodies, that she has just Eric Salzmanforsomethingthrough"lifestyle"ambled along the path of least re- affectations in New York, city of cities, sistance, and by the opposite notion MILHAUD: SaudadesdoBrasil;Trois or trying to beat back boredom and (fostered by the delicacy of the tune to Rag -Caprices; Le Printemps. William Bol- ragein Suburbia-especially this,I Shades of Scarlet Conquering, or that com (piano). NONESUCH H-71316 $3.96. think. She has built a song around the of Shadows and Light) that she is up to

FEBRUARY 1976 75 something too subtle for me to detect at this early stage in my relationship with the music. The lyrics, too, sometimes remind me of what Wilfrid Sheed said about symbolism: if the reader (or listener) gets it, you've taken an unneces- sarily roundabout way of communicat- ing with him, and if he doesn't get it you haven't communicated with him at all. That's just the trouble with symbolism, though, and certainly no reason not to use it. There's more to poetry thansimplecommunication-otherwise telegrams would be literature. And so the appeal of Mitchell's meta- phors lies in their richness, in how long you can continue to pull new ideas and fresh slants out of them, no matter how many of them came from her head, how many from yours. I hope I've made it clear that this isn't much of a party record; you'll have to deal with it privately, as you would read a book. But it should keep you occupied for about as long as you want it to-and how often does "popular" music do that? Noel Coppage

JONI MITCHELL: The Hissing of Summer ANTHONY BRAXTON: unhampered by strained pretentiousness Lawns. Joni Mitchell (vocals, guitar, piano, synthesizer); John Guerin (drums); Max Bennett (bass); Larry Carlton (guitar); other musicians. In France They Kiss on Main Street; The Jungle Line; Edith and the King- in fact, not a musical revolutionary;a smattering of pretense about him, it is pin; Don't Interrupt the Sorrow; Shades of what he does is rather tame comparedin his use of schematic diagrams as ti- Scarlet Conquering; The Boho Dance; Har-to the output of most of his contempo-tles for his compositions: I find it a bit ry's House -Centerpiece; Sweet Bird; Shad- raries in the field of the so-called "newtoo cute, quite apart from the fact that ows and Light. ASYLUM 7E-1051 $6.98, C) music," yet it is thoroughly modern bymy typewriter is incapable of rendering ET8-1051 $7.98, C) TC5-1051 $7.98. any reasonable standards. Braxton'ssuch drawings. That, however, is a improvisations are structured-whichvery minor complaint, and thisal- in some circles is considered downrightbum-unlike the previous one-does sinful-and they are as liberated andcontain one tune with a typable title, fresh as Louis Armstrong's solos were the 1940 ballad You Stepped Out of a fifty years ago, unhampered by theDream, which Braxton and Dave Hol- strained pretentiousness that marks theland play beautifully as an alto saxo- Anthony Braxton: efforts of such groups as the Art En-phone and bass duet. Braxton has re- Improvisations as semble of Chicago, which, like Brax- corded standards before, but he should ton, sprang from Chicago's Associa-do them more often. Liberated and Fresh tion for the Advancement of Creative Trumpeter Kenny Wheeler and Dave Music. Holland, who also appeared on Brax- As Louis Armstrong's Sad to say, most of Braxton's col-ton's last album ("New York, Fall leagues from the AACM appear to suf- 1974," Arista AL 4032) show even fer from the misconception that musi-greater rapport with their leader this REVIEWINGrecords canentaila cal freedom means a total disregard for time around, and drummer Barry Alt- great deal of suffering when one is the past. They forget that the true in-schul is excellent as well. All three men forced to sit through entire albums thatnovators-menlikeLester Young,are forces to be reckoned with, and all normally would not rate ten 331/2 rpm's CharlieParker,and Bud Powell-seem to have in common with Braxton of one's time, but once in a while theremerely took the music of their pre-a refreshing refusal to compromise or comes an album that makes up for suchdecessors a step further; had they notbow under to the commercial pressures auralassaults.AnthonyBraxton's themselves been in complete commandthat so often turn outstanding jazz tal- "Five Pieces 1975" is such an album: a of their instruments, and had theyent into contestants vying for that car- significant new release by an artist whomerely broken with tradition for the rot the industry calls a gold record. may well be the most important jazzsake of being different,the world Chris Albertson composer/player since John Coltrane. would soon have forgotten them. Brax- Some new artists are considered im- ton is breaking new ground without ANTHONY BRAXTON: Five Pieces 1975. portant by critics because they breaksmashing the old, he is master of his in-Anthony Braxton (saxophones, flutes, clari- with convention. Too often, this sort ofstruments, and he is an aesthetic crea- nets); Kenny Wheeler (trumpet, flugelhorn); thinking has catapulted into the lime- DaveHolland(bass);BarryAltschul tor with a fertile musical imagination(drums). You Stepped Out of a Dream; light musicians who are high on gim-that has yet to reach its zenith. G-647. . etc.; 4038-NBS . . . etc.; 489 mickry and low on talent, but such is Anthony Braxton is also a most in- M ... etc.; BOR. etc. ARISTA AL 4064 not the case here. Anthony Braxton is,teresting composer, and if there is just $6.98.

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77 FEBRUARY1976 POPULAR DISCSA\D TAPES Reviewed by CHRIS ALBERTSON NOEL COPPAGE PAUL KRESH PETER REILLY JOEL VANCE

AMAZING RHYTHM ACES: Stacked Deck. Lead singer Russell Smith seems capable of with the suggestion of a beaded curtain click- Russell Smith (vocals, guitar, harmonica); subtler stuff than he suspects (in his other role Butch McDade (drums, vocals); Barry Burton ing softly in the background. Rex Fowler has as the group's busiest songwriter); the songs written everything here, with the exception of (guitar, mandolin, dobro, vocals); Billy Ear- tend to be breezy and/or standardized and heart (keyboards); Jeff Davis (bass, vocals); Shulman's Walking on Air, and if youcrave a don't really tax him. There'sa sense of little night music in whichone band runs James Hooker (piano, vocals). Third Rate Ro- groundwork being laid, though, and it carries mance; The 'Ella B'; Life's Railway to Heav- effortlessly into another, then you'll probably over into the instrumentals-the discipline is enjoy it very much. Their voices blend well, en; Hit the Nail on the Head; Who Will thethere, and so is some admirable restraint, and Next Fool Be; My Tears Still Flow; and six Shulman plays excellent acoustic guitar, anda the suggestion is planted that more imagina- couple of things (I'm in Love Again and It's others. ABC ABCD-913 $6.98, ® 8022-913Htion is on the way. The band, that is, is off $7.98, © 5022-913 H $7.98. to a Going on Saturday) certainly show that they smooth, unspectacular start.If the band are headed in the right direction as musicians Performance: Good caught a good case of inertia from the publi- and as performers. A little livelier material cists, that could be a good omen. Recording: Very good N.C. might perk things up, though. P.R. The Sensible Rhythm Aces would bemore BRIAN AUGER'S OBLIVION EXPRESS: like it, as this is a band that plays uncluttered TONYBENNETT/BILL EVANS:The Tony Reinforcements. Brian Auger's Oblivion Ex- Bennett Bill Evans Album. Tony Bennett (vo- music influenced by the sounds of those Ten- press (vocals and instrumentals). Brain Dam- nessee spas, Memphis and Nashville. Some cals); Bill Evans (piano). Young and Foolish; age; Foolish Girl; Plum; and four others. RCA The Touch of Your Lips; My Foolish Heart; members of the band were involved in Jesse APL1-1210 $6.98, OO APS1-1210 $7.95, © Winchester's Canada tour and with the inclu- When in Rome; and five others. FANTASY APK1-1210 $7.95. F-9489 $6.98, sion of an inferior version of whatwas to be 8160-9489 H $7.95. the Rhythm Aces'firsthit,Third Rate Performance: No wonder Performance: Rough and reedy Romance, in Winchester's "Learn to Love Recording: Very good Recording:Good It" album. The version recorded here iscon- There was a time, ten years ago, when Brian siderably more appealing, although compar- Here's an album that probably sounded better Auger was considered one of England's most in concept than it does in actual execution. ing it to your expectations might produceun- promising jazz pianists, but the sudden, Bea- easinessif Both Bennett and Evans are formidable tal- your expectations have been tles -provoked adult acceptance of rock lured jacked up by the promotional campaign that's ents of the recent pop past. But, while the him down the more popular path. He should passing of time has only sharpened and been working on mine. The inertia is interest-have maintained his original course. After the ing, though: it took music -industry promoters refined the piano talent of Evans, it has unfor- demise of his not -too -successful Trinity, Aug- tunately taken a noticeable tollon Bennett's a long time to start hyping Southern bands,er formed Oblivion Express in 1971, and, if and now it's going to take them a long time to voice as an instrument. It isnow a pretty this album is any indication of the group's di- ragged thing:reedy, forced, and with a stop. rection, oblivion is clearly their destination The Rhythm Aces would profit from a slow- sweaty vibrato that can make for uncomfort- and the express will deliver them there before able listening. Bennett's strong points have al- er, cooler build-up; this is not a very exciting very long. When they don't sound like a album, but it's a sane and promising one. ways been his warmth, his dopey sincerity, rhythm track, they try to sound like Stevie and his kind of charm. They are all still there Wonder, getting about as close as Mrs. Miller in abundance, particularly in Young and Fool- did to Petula Clark. It isn't funny. C.A. ish and Days of Wine and Roses, but he'snev- Explanation of symbols: er had or developed the kind of musicianship = reel-to-reel stereo tape AZTEC TWO STEP: Second Step. Aztec Two that can pull a singer whose voice has deteri- * = eight -track stereo cartridge Step (vocals and instrumentals); other musi- orated through a whole album. The result here = stereo cassette cians. I'm in Love Again; Our Lives; Faster is a bit grim. All of the flawsare nakedly em- = quadraphonic disc Gun; Cosmos Lady; Move Up to Love; andphasized with only Evans' piano to back five up E = reel-to-reel quadraphonic tape others. RCA APL1-1161$6.98, 0 the voice, and the miking seems intenton nat- E = eight -track quadraphonictape APS1-1161 $7.95. ural sound. At this point perhaps Bennett Performance:Quiet would be better advised to get himselfone of Monophonic recordings are indicated Recording: Good those control -room Merlins to play with the by the symbol g dials and a sizable orchestra and cleverar- Aztec Two Step, Rex Fowler and Neal Shul- ranger to cover up the rough, raw edges. P.R. The first listing is the one reviewed; man, tread very softly indeed through this other formats, if available, follow it. quiet, workmanlike, and often engaging al- HARRY CHAPIN:Portrait Gallery. Harry bum. It's sort of early Simon and Garfunkel Chapin (vocals and guitar); orchestra. Dreams 78 STEREO REVIEW Go By; The Rock; Bummer; Babysitter; Star soggiest pit is reached in an attempted revival er the subject isCarmellaorThe Chineseor Tripper; and five others.ELEKTRA7E-1041 ofMinnie the Moocherwith a humorless, The Army,he comes across as a warm, pre- $6.98, (:) ET -81041 $7.97, © TC-51041 $7.97. leaden imitation of the great Cab Calloway maturely wise man, with humor, sensitivity, performance. Hoyt Axton, through his very and, most of all, a genuine affection for his Performance: Boring, boring smooth production work, has tried to cover audiences. Some of the early stuff is pure tyro Recording: Good up the essential triteness here, but it would stuttering, but as you listen along to his Harry Chapin is, and has been for a long time take a Flo Ziegfeld to accomplish that. P.R. growth as a man and as a performer you begin now, a windy bore. There-I've said it and to return the affection that he radiated. This set is a must for his fans, of course, I'm glad. Constantly and depressingly on the RECORDING OF SPECIAL MERIT alert for new twinges of "loving feelings" but it is also something of a revelation for those (Sandy),"social consciousness"(Bummer), JIM CROCE:The Faces I've Seen.Jim Croce who never got acquainted with Croce's work or our apocalyptic future(The Rock),he be- (vocals and guitar); various orchestras.Coun- during his too -brief life. P.R. rates rather than entertains. He, also 'has a try Girl; Big Fat Woman; Railroad Song; habit of seizing one specific attitude per song Stone Walls; Gunga Din; Mississippi Lady; CROSBY AND NASH:Wind on the Water. and blasting away "angry," "happy," "com- Chain GangMedley; and seventeen others. David Crosby, Graham Nash (vocals, guitar, passionate" (the worst), or "tender" through LIFESONGLS 900 two discs $11.98. piano); Russ Kunkel (drums); David Lindley the entire length of the song. (guitar); Leland Sklar (bass); Craig Doerge Performance: Very fine (piano); other musicians.Carry Me; Mama Operating on the theory that if you can't Recording: Good say something nice, don't say anything at all, Lion; Bittersweet; Take the Money and Run; I have nothing more to say. P.K. I'm sorry to say that I was pretty much out of Naked inthe Rain;and six others. ABC things when Jim Croce's songs such asTime ABCD-902 $6.98. COMMANDER CODY AND HIS LOST in a Bottle, You Don't Mess Around with Jim, Performance: Advancing sideways PLANET AIRMEN:Tales from the Ozone. andOperatorwere proving that somebody Recording: Excellent Commander Cody and His Lost Planet Air- with real talent could also write and perform men (vocals and instrumentals); orchestra. real hits. This lovingly assembled album (by This is touched with a certain elegance, but it Connie; Honky Tonk Music; Cajun Baby; two of his close friends and associates, Terry isalso rather ponderously tuneless. That Gypsy Fiddle; Minnie the Moocher;and seven Cashman and Tommy West), however, gives doesn't matter so much when a mood is work- but others.WARNER BROS.BS 2883 $6.98, ® M8 me more than a glimpse of just how much I ing, as happens inTo the Last Whale, 2883 $7.98, M5 2883 $7.98. missed. Croce was a natural in every depart- overall it blurs some not -that -bad lyrics and ment. His lyrics have the gritty realism and gives the album an abstract, detached, disin- Performance: Routine the romantic tang of Kerouac at his best, and terested feel. David Crosby, whose lyrics are Recording: Good his music has a deeply American feel. This al- slightly the more sophisticated, has written, it Commander Cody and His Lost Planet Air- bum is a collection of previously unreleased says here, some tunes that are so vague and men come limping in straight out of the com- material dating back to his days in the early rambling you wonder if even he could play mercialc -&-w galaxy, and, mostly, they Sixties with a group called the Spires (and, them, by ear, the same way twice. Graham aren't very good.Honky Tonk Musicis their from all accounts, fairly unin-Spired they Nash's melodies have beginnings, middles, high point here, and that, believe me, isn't too were) to November of 1971. He died in a and ends, but -they are stale and utterly pre- high.Their run-through ofThe Shadow plane crash in 1973; that it was a great loss be- dictable. The voices, of course, sound good Knowsis more boringly typical: clumsy fool - comes particularly evident in a series of together (Nash sounds better with Crosby in' around by Commander Cody as lead vo- "raps," tapes of his stories to his audiences than without him), and the instrumental back- calist and routine backing by hisgroup..The between songs. They are pure delight. Wheth- ing-whileit won't surprise anyone who

Lily Tomlin, Modern Scream

Goo!) news for Tomlin fans! Lily has done high-school diploma, diagnoses the complaint it again. Perhaps nothing on her new rec- of a physician suffering from "interference on ord can live up to its lurid "Modern Scream" the line" and explains cuttingly why Ma Bell cover (got up to look like a copy of a fan mag- cannot make house calls. Edith Ann, the brat azine complete with those little ads telling with the chocolate -smeared lips,offers a how to add three inches to your bust and ob- course in sex education for adults in her com- tain a birth certificate for $1 by mail), but it's munity. A Joyce Brothers type reads letters no slouch either. aloud from lovelorn listeners and supplies As her legions of admirers know, Tomlin chilling advice. A "rubber freak" reports on has at least sixty-two separate personalities, her shameless descent from the innocent and in the course of a single show she is capa- munching of rubber bands to the ultimate dis- ble of metamorphosing without warning into a grace of hiding Goodyear tires in her closet. different one every minute. The present re- The Tasteful Lady spends a night in traffic cording is strung-rather vaguely-on a run- court. ning gag which has a slow-witted reporter (Lily) plaguing our heroine (Lily) with hair - THE whole album is a bit on the frantic brained questions (Q. "Is Hollywood corrupt- side, tricked out with perhaps too much by ing?" A. "That's why I'm here") as they way of sound effects and studio laughter, and splash about in the swimming pool of Lily'sthere's more ingenious intercutting than is California residence ("Welcome to my luxuri- strictly necessary-but I found it constant fun ous Hollywood home"). anyway. -Paul Kresh In between the interview episodes, which grow increasingly mad as the program pro- LILY TOMLIN:Modern Scream.Lily Tomlin ceeds, there are welcome encounters with the (comedian).ExclusiveInterview;Rubber Other Selves. Susan Sorority, the gushing un- Freak; Suzie Sorority; Adult Sex Education; dergraduate,abandonsalldiscretion and Judith Beasley Exclusive; DearDr.Dacey; breathlessly admits that she loves the Lennon The Trip; On Call; Bad Carma; Grrr; Boogie Sisters ("I am not ashamed to play their rec- Broadcast; Hipigrams. POLYDORPD 6051 ords"). Ernestine, the phone operator with a $6.98, ® 8F 6051 $7.98, CF 6051 $7.98.

FEBRUARY1976 79 heard Crosby, Stills, and Nash-employs knowing, world-weary baritone voice that r some of James Taylor's associates and is seems more versatile than the ones it reminds - clean, thorough, and nicely detailed. My im- you of-John Kay's, say, or David Clayton When - you pression is that it's a gentle, earnest, well-Thomas'. There's a touch of pomposity in it meaning album that just never lightsup and here, but that can be fixed. Sneaky Pete isone hear the becomes musical. N.C. of the very best pedal steel players, but it's difficult to sneak when you're calledupon to incredible ELECTRIC LIGHT ORCHESTRA: Face the provide so much basic filling, as he is here,so Music. Electric Light Orchestra (vocals and the guitars are going to have to get into the sound... instrumentals). Waterfall;EvilWoman; game a bit more. The song selection seems Nightrider; Poker; and three others. UNITED too involved with formula following and im- ARTISTS UA-LA546-G$6.98. age preserving; having the name and having a Performance: Mutational greatsteel ("country" instrument) player Recording: Very good does not necessarily obligate a group to tryto top George Jones on his own terms-and the The Electric Light Orchestra, led by formerhonky-tonkers, Why Baby Why and Dim Move member Jeff Lynne, is better than most Lights, Thick Smoke, sound like rock-and-roll groups who try to combine rock with classical dilletantes are running them througha meat motifs. At least the ELO is skillful andunpre- grinder. Hot Burrito #3 is evenworse; it tentious. But what is the sense of mixing sounds pointless. But Building Fires isa when you whiskey and wine? The powers, techniques, strong cut, with some shining work by Klei- effects, and schematics of rock and classical now and some evidence that the other "lead" touch the music are at polar odds with one another. vocalists, Gene Parsons and Gib Guilbeau, Outside of relief from the boredom of playing ought to sing more harmony and less lead-in sense eve, the twang -thump of rock, there doesn'tseem the interest of style if not competence-and to be any valid reason to try to achieve this You Left the Water Running and Wind and mutant sound. And, even though ELO's Fire are the kind of stock I'd be taking right responsive classical orchestrations are neatly done, they away if I were this band. Hill needs to be cannot disguise the basic weakness of the worked harder, Kleinow needs freedom from controls... rock material. J. V. routine work, and the vocal harmonies need more emphasis. But mostly the preconcep- THE FLYING BURRITO BROS.: Flying tions need to be dismantled. N.C. Again. The Flying Burrito Bros. (vocals and instrumentals). Easy to Get On; Wind and GRAEME EDGE BAND/ADRIAN GURVITZ: Rain; Why Baby Why; Dim Lights, ThickKick Off Your Muddy Boots. The Graeme Smoke; You Left the Water Running; and five Edge Band, Adrian Gurvitz (vocals and in- others. COLUMBIA PC33817 $6.98, ® PCA strumentals). Bareback Rider; In Dreams; 33817 $7.98. Lost in Space; Shotgun; The Tunnel; and four Performance:Good others. THRESHOLD THS 15$6.98. and when Recording: Good Performance: Okay You can'tfly home again, but this may prove Recording: Elaborate you see a worthwhile shakedown run to somewhere Graeme Edge of the Moody Blues and Adrian else. This isn't the Burrito Brothers theway Gurvitz have teamed up to write, produce, the beautiful they were-the holdover members are steel and perform in this album, and they'vecome player Sneaky Pete Kleinow and bass playerup with an amiably gaudy time waster. Edge's Chris Ethridge, and they don't figure promi-talent on drums remains, and he can workup craftsman- nently in the singing-but this band may profita kind of vitality and energy that the material by taking stock of what it has, rather than bycertainly lacks, but Gurvitz's work on the ship... concentrating on what its namesake had. Joel lead vocals is so undistinguished in everyre- Scott Hill's singing is impressive; he hasa spect that the tracks blur into a pleasant sort

THE FLYING BURRITO BROTHERS Left to right, Kleinow, Hill, Ethridge, Guilbeau, and Parsons

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CIRCLE NO. 36ON READER SERVICE CARD 80 STEREO REVIEW of background noise. Lots of good, tricky laboration at its glittering, luminescent peak. bum, one that deserves to stay in the catalog production work andexcellentrecorded Many of the Horne classics are here: Cole forever. P.R. sound make it listenable in a vapid way. P.R. Porter'sbrittle,elegant,andnonchalant kiss -off, Just One of Those Things, with Lena ELTON JOHN:Rock of the Westies. Elton GEORGE HARRISON:Extra Texture (Read tossing it off like she's throwing a half -empty John (vocals, piano); Ray Cooper (drums); All About It). George Harrison (vocals, guitar, bottle of Joy into the waste basket simply be- Davey Johnstone (guitar, mandolin); Kenny piano,synthesizer); Jim Keltner (drums);cause it's gotten to be a bore; Alec Wilder's Passarelli (bass); other musicians. Yell Help/ Klaus Voormann (bass); David Foster (pi- lovely, affecting I'll Be Around, sung with all Wednesday Night/Ugly; Dan Dare (Pilot of ano); Jesse Ed Davis (guitar); other musi- the warmth and sincerity of a lullaby; a pas- the Future); Island Girl; Grow Some Funk of cians. You; The Answer's at the End; This sionate and willful performance of Noel Cow- Your Own; Street Kids; and four others. Guitar (Can't Keep from Crying); World ofard's Mad About the Boy; a wheedlingly hor- MCA MCA -2163 $6.98, ® MCAT -2163 $7.98, Stone; Tired of Midnight Blue; Grey Cloudy ny Baby Won't You Please Come Home; and © MCAC-2163$7.98. Lies; and three others.APPLESW -3420 $6.98, her triumphant, inimitable version of Harold Performance: Disgusting ® 8XW-3420 $7.98, © 4XW-3420 $7.98. Arlen's Stormy Weather. Hayton's arrange- Recording: Casual ments always hit exactly the right mood and Performance:His best lately theright temperature, and Horne's voiceThis should be quite useful to anyone re- Recording:Sumptuous moves so easily within them that there is nev- searching just how cynical a performer can My guess is that George Harrison is a hum- er a strained moment. This is a gorgeous al- (Continued on page 83) mer. His songs have that musing quality I seem to recognize (this being the kind of thing Rust Hills calls "the schlock of recognition") from my own humming days. I used to do a lot ofit and in the damndest places-in crowded elevators, in the on -deck circle, at the The first convincing argument free-throw line. . . . It was embarrassing, but only when I noticed. The thing about humming is the preoccupation that goes with it, and in favor of 8 -track. that's the thing about Harrison's songs. The lyrics here, for example, could have been "I love you, to dum . . ." and "This guitar, mmmumbledebumble . . ." and so forth and you'd hardly notice the difference-you're just not motivated to concentrate on them any harder than George did. The melodies have the same glancing effect; if you don't strain yourself, you don't mind so much how they run together or how they continually borrow parts from each other. There are certain optical phenomena that, it is said, can only be seen out of the corner of the eye. A hummer's humming and George Harrison's music work the same way. That's how 1 finally learned to appreciate this album, anyway. Once I abandoned the head-on ap- The fully -automated HD -830 for audiophiles. proach, I found it does have extra texture. Keyboards by Gary Wright, Leon Russell, David Foster, and Harrison himself have Sure, cases have been made for 8 -track before. been emphasized slightly, and there are some But nothing quite as convincing as our new Meriton HD -830. spiraling and nifty horns fitted in, just so, by It's a component -quality stereo recording and playback such craftsmen as Jim Horn and Tom Scott. cartridge deck that's designed specifically for audiophiles. But these are technical descriptions. What's important is that the production itself hums, And it's also designedio give you more quality and more gorgeously, and almost never conflicts with performance for your money than any comparable cartridge Harrison's musing. As long as you keep it on deck can offer. the periphery of consciousness, it works just fine; find yourself a few other things to think Consider the vital statistics. The wow and flutter about and you won't find it necessary to casti- are a mere 0.15% (WRMS) in, playback and 0.25% (WRMS) gate George for doing "All Things Must in record/playback. The frequency response goes all the Pass" one more time. N.C. way from 40Hz to 13,000 Hz. Not only that. It has the right combination of RECORDING OF SPECIAL MERIT features. A completely automatic system that ejects the LENA HORNE:Stormy Weather. Lena Home cartridge, cuts off the power and prevents over -recording, (vocals); orchestra, Lenny Hayton arr. and cond. Just One of Those Things; Ridin' on the mechanical pause control, fast forward, continuous play Moon; I'll Be Around; Summertime; Mad switch, illuminated VU meters, left and right slide About the Boy; and six others.STANYANSR recording level controls, and a simulated walnut veneer 10126 $6.98 (from Stanyan Records, 8440 hardwood cabinet. Santa Monica Blvd., Los Angeles, Calif. 90069). All in all, the HD -830 is enough to change your mind about 8 -track. But don't let us convince you. Performance: Exquisite Recording: Good Listen for yourself and trust your ears. Gorgeous is as gorgeous does. This is a collection of prime Lena Home cuts from several meriton® years ago, now re-released on Stanyan. The Trust your ears. conducting and arrangements are by her then husband Lenny Hayton, who had been work- Meriton Electronics Inc., Moonachie, N.J. 07074/Compton, Calif. 90220 ing with her since their days together at Metro in the Forties. The album shows the col- CIRCLE NO. 34 ON READER SERVICE CARD

FEBRUARY1976 81 " her surprisingrange...a smoother -than -Dynaflow modulation"

OGETHER" brings the number of ways Through all this, she was using her voice, producers seem to view Anne Murray a there)-as I perceive in Murray's singing the marvelous instrument to begin with, with in- naivete and dignity and caring of the folkie up to two. By producers I mean to include creasing skill; the question was whether she Murray herself, not to single out individualsso approach, which is not at all formal. was taxing her emotions the least bit. What we-I, anyway-have been wanting much as to contemplate how the power is bal- "Together" is an improvement and at the anced in studio decisions that collectively de- from Murray was an album that would last same time a slight frustration. Murray, if you longer than the fads that figureso prominently termine what kind of impression a recording can concentrate on just her and the musicians makes. The one who's called the producer has in the writing of many songs. Thatseems to ranged close about her-the cat -like rhythm have been in the minds of those responsible to take the rap, of course, but sometimes you section anchored by drummer Jim Gordon, wonder. Brian Ahern produced the previousthe soloists and back-up singers-definitely for putting this one together, too, but where spate of Murray albums and has to take the the earlier ones seemed to ignore just how seems engaged this time. The songs she, or special her talent was, this one perhaps stands blame for leaving the impression that she they, or (nominal) producer Tom Catalano- would rather be popular than deal with the a little too much in awe of it. It is taken seri- or someone-selected seem to interest her in- ously to the point of being overproduced- although Catalano, or whoever, didseem to t, be trying to keep the vocalsup where they could be fully appreciated and touse the sup - E.2 porting sounds as a sort of neutral wash, like lighting. Ironically, neutrality isa quality that calls attention to itself. Murray seems to be keeping hersense of perspective, however; she seems to enjoy needling the nostalgia craze with Everything Old Is New Again and gives it a virtuosovo- cal-invoking her surprising range, her feel for pacing, a smoother-than-Dynaflow modulation-but she neither overwhelms thesong nor allows its inherent cuteness to become arch. She does not join the strings in further sweetening up the romanticism in David Gates' Part Time Love, nor does she let Blue Finger Lou ("My woogie wants to boogie with you," indeed!) surrender to itsown basic hokiness. Her singing of the title "standard" is understated and wistful, and the orchestral c_Anne wash behind her there is sympathetic and unobtrusive; this version of this over -recorded song will last. Murray: n TOGETHER"makes new and impressive technical demands on Anne Murray's abilities Together but essentially it liberates her fromone set of conventions only to chain her to another. What she needs, I think, is an existentialap- question of whether she owed somethingto dividuallyandintrinsicallyas her talent. It was the song selection primarily something proach. She has an exceptionally responsive beyond potential singles for various thorough- and versatile vocal instrument-start from that said this, a casual mix of the familiar with ly researched markets. But the album's sound the catchy -but -shallow. Yet thatsame Brian there and take nothing else for granted. Does goes beyond that in the way it presents Mur- a song need an orchestra or two acoustic gui- Ahern produced Emmylou Harris' "Pieces of ray. It has very few moments that don't bulge tars and a bass? Depends on how Murrayre- the Sky" and allowed it to be packed with thewith old-fashioned orchestration, and the kinds of songs Harris-a newcomer lates to the song; Sunday Sunrise got just we woulddrift I get from this is thatsomeone in power expect to lose any serious power struggle with what it needed. . . and then got an orches- this time construes Murray to bea rich man's tra piled on top of that. So it goes. a veteran producer-likes, including some singer to be institutionalized in time-honored hard-core country ones without a ready-made Some talents are so impressive, ofcourse, ways, as Sinatra and Streisand have been. that producers-all that word implies-are broad -based pop -rock audience. And he letThis strikes me as an overcorrection, basical- eternally afraid of them. This may beone, but her band play its own way throughout. In lypoliticalinnature. The orchestrations view of that, it seems unlikely that Ahern is "Together" does illuminate a host of good in- speak of dressing up, being formal, going tentions and a willingness to change catego- the sort to have stood over Anne Murray withuptown. a bullwhip ordering her to Think Bubblegum. ries. The truth, as it pertains to accurately representing Murray, still seems stubbornly Popularity was achieved, in any case, and IUST a bit beyond that is the Streisand/Min- with all kinds of audiences. Publicists beamed uncategorical. It lies, as a big voice from the nelli show -biz -to -the -core image, and Isus- different versions of Anne's image out in all sky said in a New Yorker cartoon, Somewhere pect the real Anne Murray is no closer to be- In Between. directions: she appeared, from back home in ing that than she is to being the lightweight, -Noel Coppage Nova Scotia, a fairly pure Canadianon a for- carefree hit -maker just off campus. She does ANNE MURRAY: Together. Anne Murray ay into the States; she was fashionable andnot put herself above the songs in "Togeth- up-to-date for the rock audience, turningup (vocals); orchestra, Lee Holdridge, Michael er," but the orchestral arrangementsseem de- Omartian, Artie Butler, arrs. If It's All Right curly -headed and patchy -dressed at just about signed for the Big Star who would do just the right time; and her name was kept in the with You; Sunday Sunrise; Out on the Road that. As a listener, I receive conflicting infor- Again; Part Time Love; The Call; Everything pot in country music-partly because she had mation, then-except in the rare case where a natural affinity for the straightforwardness Old Is New Again; Lady Bug; Player in the the orchestration is lithe and spontaneous,as Band; Blue -Finger Lou; Together. CAPITOL of it and partly because someone bothered to it seems to be in If It's All Right with You learn how to pitch an ad for Music City News. ST -11433$6.98,(1) 8XT-11433 $7.98, © (some subtlety with cellos works wonders 4XT-11433 $7.98.

82 STEREO REVIEW get. You may think such people have enough micks of which Kottke is so fond and which Itis possible that the album might have to study already, with Bob Hope's mono- he uses to real musical effect. been better if more attention had been paid to logues, David Bowie's choreography, and But the programming of the album is slop- the sequencing of performances. "Chewing Howard Cosell's syntax already threatening py. The weakest material is all on the first Pine" is worth having if only for its high- us with data pollution on the subject of what side, while the strongest material is crammed lights, but I advise you to start with side two some celebrities think they can get away with, onto the second. Side one opens with a vocal, of the album and stay there. J. V. but here it is, anyway, a monotonous, muddy, Standing on the Outside, written by Kottke slapdash, utterly rotten album. Elton John is and his wife. So far, so good. It is followed by RECORDING OF SPECIAL MERIT not musically illiterate-you can easily tell his version of Procol Harum's Power Failure, he's not when you listen to any of his other re- which he devised while on tour with the group LITTLE FEAT: The Last Record Album. Lit- cordings, whether you like them or not-so he in Europe. His vocal is strained and the mix is tle Feat (vocals and instrumentals). Down Be- must have been up to something when he con- poor. The charming and harmless Venezuela, low the Borderline; Somebody's Leaving; All trived this mess. I can't imagine what it was if There You Go is followed by Don't You That You Dream; Mercenary Territory; and it wasn't to test the frontiers of gullibility. His Think, a standard c -&-w robber written by four others. WARNER BROS. BS 2884 $6.98. other albums have a certain sound to them; Marty Robbins, which is given an undistin- Performance:Outstanding regardless of how preposterous Bernie Tau - guished reading. Side one closes with Regards Recording: Evocative pin's lyrics were at times and regardless of from Chuck Pink, so similar to Venezuela that how exploitative and glittery and cute a figure it renders both invalid. Iam mightily impressed by Little Feat, cap- John cut at times, you had to admit he was always stylishly melodic. Not this time; anyone exposed to fifteen minutes of chord change patterns could have written these "tunes," and they are run through what sounds like a road band being broken in (or rehearsed for the first time) gently on the easiest, most obvious routines. There is, fortunately, a limit to how far Elton John or anyone else can take this kind of thing: the most gullible audience possible is the youngest audience possible, all other things being equal, and it isn't very far from this album to the cut-off point-a recording that already exists, thanks to the wonders of modern science, of the sounds a fetus hears inside the womb. N.C.

RECORDING OF SPECIAL MERIT GLADYS KNIGHT AND THE PIPS: Second Anniversary. Gladys Knight, Bubba Knight, William Guest, Edward Patten (vocals); instrumental accompaniment. Money; Street Brother; Part Time Love; At Every End There's a Beginning; Georgia on My Mind; and four others. BuDDAHBDS 5639 $6.98. Performance:Excellent Recording:Good Okay, I surrender. Maybe Gladys Knight and the Pips have been this good all along and I couldn't hear it, or maybe they are finally being themselves even though it takes half a dozen people to produce and gather material for them. Whatever it is, this is a delightful album, full of sparkle and class. There is noth- OPEN REEL ing like hearing professionals being profes- TDK sionals and having a good time about it.J. V. LEO KOTTKE: Chewing Pine. Leo Kottke PROUDLY ANNOUNCES (guitar, vocals); Bill Berg (drums, percussion); Bill Peterson (bass); Bill Barber (pi- THE BIRTH OF A CASSETTE. ano); Jack Smith (organ). Standing 'on the Outside; Power Failure;Venezuela, There The TDK Audua Cassette. It has a lot of the bigopen- You Go; Don't Witt Think; Regards from ChuckPink;andsixothers. CAPITOL reel sound of its illustrious parent. ST -11446 $6.98. And why not? The same technology which makes Audua Performance: Diffused Open Reel "The Master Recording Tape" now delivers that Recording: Good big beautiful sound on cassette. Since I am a fan and admirer of Leo Kottke and have a high regard for him personally, it The Audua Cassette replaces the famous TDK ED Cas- makes me uncomfortable to say that this is a sette-with added high -end brilliance. It delivers outstanding disappointing album. Some of the material, like The Scarlatti Rip -Off, is first-rate, and his sound at normal or high bias settings. From TDK, of course. version of Wheels (recorded by the Ventures The Audua Cassette is available in C 60 and C 90. in the Fifties and written by Buddy Holly's producer) is another example of Kottke's TDK Electronics Corp., ability to move from the near -sublime to the 755 Eastgate Boulevard, cheerfully mundane with no qualms. Trom- 44TDK® bone is pensive, and Can't Quite Put It into Garden City, N.Y. 11530. Wait till you hear Words contains one of those startling gim- Also available in Canada. what you've been missing. FEBRUARY 1976 83 unsigned letters to the huts and castles of the world, all addressed to "Occupant." This current disc is heavily influenced by reggae and is most notable for two fine instrumentals, When I Feel the Sea Beneath My Soul and Why? . .. And We Repeat! The other performances are mostly collages of the various styles mentioned above. But, despite its charm and force, there is something eerie and disturbing about Mahal's music. He seems to be a man compulsively in search of an identity and yet fearful of what it might be-a private eye who puts himselfon his own caseand may have to turn himself in. J. V.

DAVE MASON: Split Coconut. Dave Mason (vocals, guitar); Mark Jordan (keyboards, da- vinet); Emil Richards (marimba); David Cros- LITTLE FEAT by, Graham Nash, the Manhattan Transfer Disciplined, expert blending of rock, country, blues, and jazz (supporting vocals); other musicians. Split Coconut; Crying, Waiting and Hoping; You tained by Lowell George (he is the composer Can Lose It; She's a Friend; Save Your Love; ano); instrumental accompaniment. Music and four others. COLUMBIA PC 33698$6.98. of Willin', one of the many fine songs from.Keeps Me Together; When I Feel the Sea Be- Linda Ronstadt's "Heart Like a Wheel" al-neath My Soul; Dear Ladies; Aristocracy; Performance: Very good bum). A clinical description of why this album Further On Down the Road; and five others. Recording: Clean works so well would include the way the band COLUMBIA PC 33801 $6.98, PCA 33801 This charming and harmless album is a pleas- expertly mixes the better aspects of rock, $7.98, © PCT33801$7.98. ant way to pass an hour. Mason and his gang country, blues, and jazz; the discipline of the Performance: Very good are lighthearted about the Caribbean rhythms group; and their dramatic understatements, of they use, which is all to the good and just the which only fine musicians are capable. Emo- Recording: Good tionally, it's one of those few albums where way it should be. Crying, Waiting and Hoping Taj Mahal has won a loyal following with his is from the Buddy Holly catalog andproves you're convinced by the middle of the firstaccomplished acoustic guitar playing,his once again what a minor master he was of track. Listen only two or three tracks ata iconoclasm, and his careful/carefree mixing simple, direct, and sentimental pop writing. time-superior wine is best sipped. J. V. of folk, blues, jazz, rock, and Carribbean You Can Lose It has a persuasive "hook" styles. He projects himself as a very private, and would probably do wel as a single. "Split TAJ MAHAL: Music Keeps Me Together. Taj suspicious man who does not allow anyone to Mahal (vocals, banjo, mandolin, guitar, pi- Coconut" is a pleasure-Mr. Mason, for this get too close. It is as though he were sending relief, many thanks. J. V. Gordon Miller Music We've gota lot to offer theperson who really knows stereo equipment.

AKG / AR / Avid / Dual/United Audio / Dynaco / Infinity / Marantz / Phillips / BACK by popular demand and updated from its original (1966) Pioneer / SAE / Sony / printing, Music Editor James Goodfriend's Calendar of Soundcraftsman / Classical Composers is a listing of the most important composers Tandberg / TEAC / from theyear 1400to the present, grouped according to the Technics / And many stylistic periods - Renaissance, Baroque, Classic, Romantic, more brands. etc.-in which they worked. This 12 x 24 -inch aid, guide, and Write for more detailed complement to your music listening is printed in color on heavy, information and a nonreflecting stock suitable, as they say, for framing. A key to personal quote. the calendar, consisting of capsule accounts of the principal stylistic characteristics of each musical period, is included. The whole will be sent rolled in a mailing tube to preventcreases; we paypostage. All you do is send 250 to: Gordon Miller Music. Calendar of Classical Composers 8802 Orchard Tree Lane Stereo Review, 1 Park Avenue, New York, N.Y. 10016 Towson, Maryland 21204 301-825-7333 CIRCLENO. 22 ON READER SERVICE CARD Rd CTFRFC1 RPVIPAAJ JONIMITCHELL: The Hissing of Summer Lawns (seeBest of the Month, page 75) Why any cartridge RECORDING OF SPECIAL MERIT (even ours) SAM & DAVE:Back at 'Cha. Sam & Dave (vocals); instrumental accompaniment. Come into My Life; When My Love Hand Comes with an elliptical stylus Down; A Little Bit of Love (Cures a Whole Lot of Bad); There's a Party in My Heart; Un- der the Boardwalk; Shoo Rah, Shoo Rah; and must be considered just four others. UNITED ARTISTS UA-LA524-G $6.98. a bit old-fashioned. Performance: Fabulous Recording: Excellent Asa premium stylus, elliptical de-grams, a Shibata stylus is easier on your Deanie Parker, head of publicity for Stax Re- signs have only one real advantage overrecords than an elliptical stylus trying cords almost from the beginning, once told a Shibata stylus: lower cost. Which isto track at 1/2 -gram! New records last me: "Honey, you can talk all you want about why we still offer them. longer, old records sound better, and the Memphis sound,the Muscle Shoals But when it comes to performance, ayou can play every kind of two or four - sound, the Florida sound-it's all the South- Shibata stylus is far, far better. It pro-channel record made. ern sound!" She was right, of course, but vides the small scanning radius needed All Audio-Technica Universal Series within the "Southern sound,"Ithink the to track highs (up to 45 kHz for CD -4),cartridges have genuine Shibata styli. "Memphis sound" (a biracial product) is and but without the penalty of requiringAnything less would be false economy always has been the best of the lot. We have extremely low stylus force settings. for you...and out -dated technology for heard very little of it recently, so I am happy In fact, even when tracking at up to 2us. Prove it to yourself today. to report that it has made a glorious return with this Sam & Dave album. "Back at 'Cha" is a comeback album for Sam & Dave (Hold On, I'm Comin' and Soul Man), who were part of the original artist ros- UItNIII\/Cf SA BEST FOR 1/2/4 CHANNEL ter of Stax/Volt Records' early, superb days. AT12S AT14Sa AT15Sa The duo have lost none of their power and AT2OSLa expertise-it has been there all this time, just waiting for another chance. And the people surrounding them here add their own wonder- audio -technic&INNOVATION/ PRECISION/INTEGRITY ful bits of Memphis: Steve Cropper, the pro- AUDIO-TECHNICA U.S., INC., Dept. 26F, 33 Shiawassee Ave., Fairlawn, Ohio 44313 ducer/guitarist,bassistDonald"Duck" Available in Canada from Superior Electronics, Inc. Dunn, and drummer Al Jackson, Jr. were three-quarters of Stax's Booker T. & the MG's (organist Booker is now in California misusing his great talent). Wayne Jackson and the Memphis Horns are also cherishably present. As a guitarist, Cropper is always spare Get your new Radio Shack catalog and precise, knowing exactly when and where to put the right lick. He has also written two fine tunes in the great Memphis tradition, Give at one of our4000stores today! It What You Can and Don't Close the Curtain (Before You See the Play). Save! Our Prices Everyone here has a marvelous time, an Are Within 1% of old -home, down-home time. And Memphis- EDITION you will hear it if you listen-is paradise. J. V. FREE Our July, 1974 Prices! OVER 2000 PRODUCTS EXCLUSIVES ON EVERYPAGE Hi-Fi CB Kits Parts RECORDING OF SPECIAL MERIT BEAUTIFUL FULL COLOR Phonos Recorders Tape 164 pages of thefinest Radios Antennas Tubes LEOSAYER: Another Year. Leo Sayer (vo- in hipline and hobby cals); orchestra. Bedsitterland; Unlucky in electronics Auto Tuneup Much More Love; Moonlighting; Only Dreaming; Another See what's really new. It'sthe most - Year; and five others.WARNER BROS.BS wanted, most popular catalog in 2885 $6.98, ® M8 2885 $7.98, © M5 2885 electronics, and loaded with our own $7.98. exclusive nationally advertised Performance: Good-and getting better brands: Realistic, Micronta, Archer, Recording: Very good Science Fair, others - you've seen them advertised on TV. Come in for Little Leo's growing up fast and creatively. your free copy today! He still shows a certain spitball irreverance in r1, Fr, things like Moonlighting,afunny, touching AVAILABLE BY MAIL TOO - story about a runaway couple and their elabo- JUST SEND US THIS COUPON rate plans, and The Last Gig of Johnny B. Goode, the tale of a rock star on the skids. 654 But even these songs have novelistic insights ITo: Rath. lhaeit and touches of perception that set them well P.O. Box 1052, Ft. Worth, TX 76101 apartfromSayer'spreviouswork. The Rush me your 1976 catalog. strongest piece of material here is a song titled I (Please Print) Bedsitterland, harsh and stinging and saturat- ed with moodiness.It probably will have IName Apt. # more impact in England, where it is more per- 1Street tinent and where there will be instant recogni- City tion of the situation in which so many people live out vacant, empty existences in those old State ZIP

FEBRUARY1976 CIRCLE NO. 39 ON READER SERVICE CARD 85 mansions and townhouses that have beenHungry Years; and fiveothers. ROCKET converted into bed -sitting rooms, each person PIG -2157 $6.98, ® PGAT-2157 $7.98, C) tucked into a cell-like room, each surrounded PGAC-2157 $7.98. by his own wall of indifference, apathy, and, often, despair. Not precisely an upbeat sub- Performance: Excellent ject, but it's beautifully and sensitively han- Recording: Very good dled by Sayer. He chooses as his protagonistDuring the tumid height of rock, the arbiters someone who's been out on the streets, who of pop culture would, every once in a while, has finally found a place of his own, no mattercast a snigger or two back over their shoul- how dreary, but who is beginning to wonder if ders at the then -recent past (the late Fifties the fight has been worth it, surrounded as heand early Sixties) when trying to sum up is now by the chilly silence of unlived lives. something as beneath notice and would label Powerful, gutsy stuff and, I hope, a harbingerit "Neil Sedaka stuff." They, of course, had a of a big, big talent about to erupt. P.R. copy or two of the Berkeley Barb or Stone around and knew that at last the Lumpen- NEIL SEDAKA: The Hungry Years. Neil Se- proletariat had found their real means of mu- daka (vocals); orchestra. Crossroads; Badsical expression, and that most of what had Blood; Stephen; Baby Blue; Tit for Tat; The gone on before was, au fond, only a commer- Try to beat NEIL SEDAKA our price! Master of the really popular song You can't with a stick.If you want the lowest possible prices on any famous brand name cial rip-off of these little people's little hopes audio/stereo components you'll have to shop and dreams and fears (meanwhile grandly ig- Discount Sound. noring in their midst such prole-pleasers as the Monkees). It was during this period of Heavy Thinking-and even weightier prose- OD PIONEER' that Sedaka's reputation and record sales be- The most extraordinary gan to resemble those of Kate Smith's. Strmsui_.' But lo! The last couple of years have seen Pioneer values ever offered! Sedaka not only bounce back but almost Amonsimp shazam back to the top of the charts with one hit song after another. (Well, things aren't MEM, e quite the same at Berkeley as they were a few ono E7S noonn years ago, either. It's interesting to note that whereas psychology was the most sought- RECEIVERS after degree for almost a decade, economics has now replaced it. Hmm.) Sedaka's new al- RECEIVERS TAPE DECKS 9090 $490 bum is almost a textbook exercise in the art of 8080 $435 the really popular song. His viewpoint has SX-1010 - $450RT-1020L - $448 881 $350 toughened a little (Tit for Tat), in one song SX-939 $399RT-1020H- $448 (Bad Blood) chillingly so, and he skitters 771 $287 lightly over some social issues (New York SX-838 $333 CT -F9191 - $307 661 $234 City Blues), but he still remains a vastly gifted SX-737 $267CT -F7171 - $253 551 $174 pop entertainer. Even his wistful, sad -sweet SX-636 $233 CT -F6161 - $205 The Hungry Years, a song about the closeness that hard times can bring to a couple and the SX-535 CT -5151 $199 - $185 regret of success ("With everything and noth- SX-434 $159CT -F2121 - $152 ing too/It wasn't worth the price we had to AKAI. pay"), has the universal appeal of a soap- opera situation. Corny ashell,but also AMPS & TUNERS TURNTABLES TAPE DECKS damned true. He finishes up here with his golden oldie from 1962, Breaking Up Is Hard SA -9900 - $500 PL -71 - $198GXC-5100 - $250 to Do, and he sounds exactly the same as he SA -9500 - $333 PL -55X - $165GXC-710D - $280 did all those years ago-when I couldn't stand SA -8500 - PL-A45D him. (Yes, dear reader, I too went through a $267 - $116GXC-75D- $320 Meaningful Phase.) The voice-well, let's SA -7500 - $200 PL-15DII - $924000DS - $213 just say that it's unique, couldn't be anyone TX -9500 - $267 PL -12D11 - $734000DB - $270 else but Sedaka, and seems to suit his com- TX -7500 - $167 municative purposes, and let it go at that. But GX-630D - $492 don't let this album go by-it's worth several listens, if only to hear Sedaka's self-effacing mastery of his own material. P.R. PATTISMITH: Horses (see The Simels Re- discount port, page 42) RECORDING OF SPECIAL MERIT sound 301-881-8890 SPLINTER: Harder to Live. Bill Elliott, Bob 1616 ROCKVILLE PIKE, ROCKVILLE, MD. 20852 Purvis (vocals); Earl Palmer (drums); Bill All orders shipped immediately Phone orders accepted Use your BankAmericard or Master Dickinson (bass); Chris Spedding (guitar); Charge Call or write for price quotes on all the Tom Scott (horns, synthesizer, percussion); top audio brands Write for free catalog All other musicians. Please Help Me; Sixty Miles merchandise is factory sealed cartons with full Too Far; Harder to Live; Half Way There; man ufact urer's warranty. Which Way Will I Get Home; Berkley House Hotel;andfourothers.DARK HORSE CIRCLE NO. 15 ONREADERSERVICE CARD 86 eTribUrlREVIEW SP -22006 $6.98, ® 22006 $7.98, © 22006 mon; The Fourth Man; The King Is Coming. tagiously tuneful gospel songs with a country - $7.98. MERCURY SRM-1-1051 $5.98. music cast to them. In two beautifully produced albums, they manage to scan the con- Performance:Excellent tents of both the Old and the New Testaments Recording:Excellent THE STATLER BROTHERS: Songs of the New Testament. The Statler Brothers (vocals); and to come up with pleasant and unforced, if Bobby Purvis and Bill Elliott put Tom Scott in instrumental accompaniment. Who Do You cornpone, musical commentaries as they go. charge of the sound of their second Splinter Think?; The Kingdom of Heaven Is at Hand; Their version of the Good Book may not have album (George Harrison, who produced the Beat the Devil; The Brave Apostles Twelve; the wit of Marc Connelly's The Green Pas- first one, co -produces one track), and the re-The Teacher; The Lord's Prayer; There's a tures, but the Statler Brothers do manage sultis a sad and elegant paradox. Purvis' Man in Here; How Great Thou Art; Lord Is It most of the time to sidestep the curse of cute- songs tingle with quiet desperation behind an I?; The King of Love; The King Is Coming. ness that too often blights such undertakings. amiable, occasionally smiling, front; there is MERCURY SRM-1-1052 $5.98. Things begin at the very beginning with the in them what someone said it takes to be mid- Creation, liven up as soon as Eve enters Performance: Good-humored gospel ("You were only a rib and look what you dle-aged these days, a little hope and a lot of Recording: Excellent cope. John Lennon used to create the same did . . ."), and never flag through the stories feeling sometimes, before he left the Beatles That old-time religion gets a lively going-over of Noah, Moses, Samson, David, Solomon, and his desperation became not so quiet, and from the Statler Brothers, a team of siblings and Daniel. Samson is twitted gently with the Paul Simon knows it well. Scott, without do- with a flair for turning Biblical tales into con- (Continued on page 89) ing anything radical, has worked with the already well -scrubbed singing of Elliott and Purvis to keep the thing sounding more optimistic than it really is. The metaphor Purvis uses and reuses is travel, movement, and just under that is a yearning to Get Home, wherever that is-the Berkley House Hotel is all Some things holdup but deserted, its furniture covered up, but, Purvis says, "something istelling me to stay." At least he knows the place and he's here; it gets to be called home, at least tem- better than others. porarily, by default. A couple of the songs don't work so well if you pull them out of the The accepted concept of durability is The materials are the finest available. album's interlaced thematics, but the better based on several very important factors. The design and engineering ones, including Sixty Miles Too Far and Material. Design. Engineering. incorporate the ultimate in turntable Which Way Will I Get Home, say enough to Function. And inherent value. Coinci- technology. Functioning flawlessly, carry the others and have the melodic grace dentally, these are also the hallmarks of it originates state-of-the-art that others and pacing that help you separate the inspired the Thorens TD- 125 AB Mark II. have yet to achieve. To match the songwriters from the hard-working ones. impeccable performance, this Thorens Purvis and Elliott are going to need grace, particularly, if they're to keep on grinning and is constructed to hold up ... not wear bearing it, cursed with this awareness.N.C. down. It has inbred longevity instead of built-in obsolescence. STARRY EYED & LAUGHING:Thought The precision performance Talk. Tony Poole (vocals, guitar, keyboards); of the TD -125 AB Mark II serves Ross McGeeney (vocals, guitar); fain Whit- as continuing proof of the more (vocals, bass); Mike Wackford (percus- Thorens determination to remain sion); other musicians. Good Love; One Foot in the Boat; Since I Lost You; Down the the classic name in turntables. Street; Fool's Gold; Believe; and four others. There are other models, too, COLUMBIA PC 33837 $6.98. starting at $169.95. Performance:Under the influences Elpa Marketing Industries, Inc. Recording:Very good East: New Hyde Park, N.Y. 1040; West: 7301 E. Rock doesn't seem likely to regain its old vitality until something diverts attention away Evans Rd., Scottsdale, from it so some relatively untainted young- Ariz. 85260. sters can develop where the shadows aren't so long and the influences aren't so pervasive. Folk music performed such a service for rock by way of the Beatles once, and another breather is needed now. Here's another new rock band demonstrating that need; this one comes on with an electric twelve -string guitar as its main visual gimmick and a penchant for airy vocal harmonies, but it doesn't simply copy the Byrds-it just copies in general. The songs have that ninety -ninth -time -this -has- been -done quality about them, and the instrumental sound is what you'd call light metal. Technically, there's no hint of incompetence here;theseyoungsters have done are- spectable job, but no cigar, for their work is, through no fault of theirs, tainted. N.C. THE STATLER BROTHERS: Songs of The Old Testament. The Statler Brothers (vocals); instrumental accompaniment. In the Begin- ning; Eve; Noah Found Grace in the Eyes of the Lord; Have a Little Faith; The Dreamer; Led Out of Bondage; The Ten Command- ments; Samson; Song of David; Song of Solo-

FEBRUARY 1976 87 "...justa weebit less significant than its been madeout to be ..."

INEVITABLY, whenever a critic, be it the late it has a truly spectacular arrangement that for they have cast a retroactive pall on some of Ralph Gleason (check his liner notes for once bears some relationship to the lyrics. his earlier work. "Parsley, Sage, Rosemary and Thyme") or There are a few others that good (most notice- Art Garfunkel's new album (which con- Stephen Holden (check back issues of Rolling ably The Boxer), and some that succeed sim- tains, like Simon's, My Little Town-their Stone), wants to make a case for rock as poet- ply as records if not as songs (a distinction I one-shot reunion effort) is even easier to dis- ry, the example that is trotted out is Paul Si- truly wish more of the critics who fawn overmiss. "Breakaway" (from what?) is simply mon. To be fair, it's not completely Simon's that dreariest of creatures, the Singer/Song- producer Richard Perry's latest MOR greeting fault. True, he tends to wear his higher educa- writer, could grasp). But for me his finest card, and Art is as overwhelmed by Perry's tion on his sleeve, has been through analysis, hour remains that superb first solo album, one depressing slickness as Ringo Starr is. Fans of has been known to write lyrics that on a few of the great records of the Seventies. I don'this humorless choirboy soprano will doubt- occasions almost stand up as honest -to -god, think there's a single cut on it that is less than lessly lap up such miscalculations as his ver- well -thought-out poems, and generally di- inspired, and the overall impression it leaves sion of the Beach Boys' done -to -death Disney vorces himself from the rest of the pop hier- is of a glorious musical eclecticism and a con- Girls, or his resuscitation of the Flamingo's archy (his backing musicians have included cise, probing, and funny lyrical awareness. Fifties approach to I Only Have Eyes for You. such esoteric types as the Jamaican studio The follow-up, "There Goes Rhymin' Si-There is a great comfort in preaching to the bandthatbacked JimmyCliff-several mon," was a lot more ambitious and a lot less converted. -Steve Simels months before reggae was anything more than satisfying, the eclecticism giving way to an a funny word to American audiences-and everything -but -the -kitchen -sink approach and aging jazz cats like Stephan Grappelli). But, an over -reliance on the Muscle Shoals side-PAUL SIMON: Still Crazy After All These at least in person, he seems much less the Se- men who play exactly the same way for Paul Years. Paul Simon (vocals, guitar); Hugh rious Artiste than his devotees claim. The guy Anka. But there was at least one cut on it so McCracken (guitar); Richard Tee (piano); just writes songs. good that it validated the whole album (Amer- David Hood (bass); Roger Hawkins (drums); Which is not to say that his reputation isn't ican Tune, a just -about -perfect poem, song, other musicians. Still Crazy After All These considerably inflated, that the bulk of his or record). Years; My Little Town; I Do It for Your Love; work isn't just a wee bit less significant than Simon's newest, "Still Crazy After All 50 Ways to Leave Your Lover; Night Game; it's made out to be. His Sixties stuff, by and These Years," is, I'm afraid, just terrible, a Gone at Last; Some Folks' Lives Roll Easy; large-I have, of course, the benefit of hind- totally uninspired rehash of lyric and melodicHave a Good Time; You're Kind; Silent Eyes. sight-strikes me as vintage kitsch. The ideas he has used far more profitably in the COLUMBIA PC 33540 $6.98, ® PCA 33540 Sound of Silence is every bit as sophomoric as past. The insights are more like cheap shots $7.98, © PCT 33540 $7.98,111 CAQ 33540 its title (Freshman English Poesy to be sure- than anything else ("Nothing but the dead and $8.98. oh alienation! oh loneliness!), and, strictly as dying back in my little town," indeed), and al- music, most of his work before his breakup though there are a few clever lines, the bulk ART GARFUNKEL: Breakaway. Art Garfun- with Art Garfunkel remains cotton candy, of this study is totally predictable. Most la- kel (vocals); orchestra. I Believe (When I Fall fluff. Catchy and attractively crafted, certain- mentably, the album is dominated by the kind in Love It Will Be Forever); Rag Doll; Break ly, but basically lacking in, uh, glands. Wit- of supper -club cocktail jazz so many of our Away; Disney Girls; Waters of March; My ness that overripe piece of soap opera cum older stars seem to think is "mature" (it Little Town; I Only Have Eyes for You; Look- gospel Bridge over Troubled Waters. Pure makes the latest Joni Mitchell album, for me, ing for the Right One; 99 Miles from L.A.; The corn. unlistenable). Simon has flirtedprofitably Same Old Tears on a New Background. There are a few wonderful exceptions, of with the genre in the past, for what I took to COLUMBIA PC 33700 $6.98, ® PCA 33700 course. Fakin' It is a masterpiece; subtle, be ironic purposes, but here he seems to be $7.98, PCT 33700 $7.98, CAQ 33700 poignant, with marvelous shifts in emphasis, deadly serious. The results are so vile that $8.98. Simon a-; Garfunkel, Soloists

88 STEREO REVIEW lines "Tell me, Samson,/If these things are in her recordings that she's one of the genuine sons. Jimmy Cliff and Bob Marley are begin- true/How could you let a woman/Get the best dramatic and musical phenomena of our time. ning to have some commercial success, but of you?" (one gathers that the Statler Broth- So what if the kid's a ittle cocky? P.R. both of them have made adaptations in the ers are not particularly ardent women's -lib- music to cozy up to black American pop. As a bers). What's good about their work is itsRECORDING OF SPECIAL MERIT writer Cliff is erratic, and Marley's music is easy handling of gospel themes and rhythms almost entirely subordinate to his politics. in a tradition that has about as much of theTOOTS AND THE MAYTALS:Funky Kings- But Toots! He is undiluted and treasurable. Mills Brothers in it as of the church. The char-ton. Toots and the Maytals (vocals and instru- Toots and the Maytals were one of the groups acter studies may be somewhat oversim-mentals). Time Tough; In the Dark; Funky featured in the now -famous The Harder They plified, but I find it very easy to believe their Kingston; Love Is Gonna Let Me Down; Lou- Come soundtrack album, where their record- description of Solomon (he "had it all togeth-ie Louie; and five others.ISLANDILPS 9330 ings of Pressure Drop (reproduced here) and er") and Joseph ("God made his dreams $6.98. the saucy, zany Sweet and Dandy were stand- come true") and even the exhortation to Performance:Terrific outs. "Funky Kingston" is surely the reggae Moses in the desert ("Go and climb that Recording:Good album of the year, one of the very few re- mountain, Moses"). leased here that is low-down, sweaty, funny, When they get to the New Testament, Reggae has had mixed success in this country. direct, and human. Sheer delight. J. V. though, the Statler Brothers tend to trade in It was touted to be The Next Big Thing a few their good-humored close harmonies for rath- years ago, which it wasn't for various rea- (Continued overleaf) er preachy ballads about the miracles of Jesus ("There'sa man who turnswater into wine . . .") and a syncopated version of the Lord's Prayer that turns devotion into unadul- terated old-fashioned molasses -covered mush. Yet even at their stickiest, the Statler Brothers seldom smother us in solemn pieties. Instead, they rejoice in their appreciation of Jesus as, to quote their own liner notes, "the greatest Christmas gift of all time." P.K.

BARBRA STREISAND:Lay Afternoon. Bar- braStreisand(vocals); orchestra, Rupert Holmes arr. and cond. My Father's Song; Shake Me, Wake Me; By the Way; You and I; Moanin' Low; and five others. COLUMBIA PC 33815 $6.98, ® PCA 33815 $7.98,fie, PCT 33815 $7.98. Performance: Good Recording: Holmesian Another outing on the Streisand starship. This one's a little hokier, a lot broader, and a good deal less satisfying than usual because she's let herself be upstaged (almost) by her newest producer, Rupert Holmes. Rupert, as he's shown in some of his previous albums, believes in stupendous, tricky arrangements and the kind of production sound that rolls out of the speakers on casters. Even Streisand, believe it or not, seems to be running a bit winded as she tries to keep up with Rupert's hot flashes of inspiration in his "disco" version of Shake Me, Wake Me, with the result that she sounds cross-eyed from the effort of trying to get the meaning across-up, INTERFACE:Am through, and around his effects. But, as usual, Streisand is able to work her particular magic on several of the other bands: a sensitive but It doesn't missabeat. gutsy reading of the old Libby Holman torch hit, Moanin' Low; a beautifully modulated and surpassingly well -sung version of Stevie For me, transient response isplayer is amazed at the bass re- Wonder's You and I; and, best of all, a deeply crucial. That's why I chose the sponse. Clear, without rumble all felt and wonderfully acted new song, by Interface:A. I needed a speaker/ the way down to 32 Hz. Holmes, called My Father's Song-one of those tour -de -force performances that can playback system that would ac- If you want to hear what you raise the hair on the back of your neck and curately reproduce drum tracks,really sound like, check out the that fully justifies Streisand's place as our exactly the way I put them down. Interface:A. You can put a lot of finest actress -singer. (It even justifies her own Interface:A sounds just like me. drums in this little box. obviously high opinion of herself, something that seems to infuriate so many of her critics.) A powerful bass kick gets $450 the pair, including equalizer Her potentially exciting version of Lazy Af- missed by other speakersI've Slightly higher in the West. ternoon is, however, hamstrung by Holmes' heard. But not Interface:A. And bloated approach, and the definitive recording Interface :A catches even my fastest of that loveliest of songs remains the one by moves with extreme accuracy.Electro:Voicw, Marlene Dietrich. Light cymbal passages that used The liner notes, supposedly by Streisand a.gultancompany herself (the Holmes weakness for purple to go unnoticed standout. Tom-tom prose is all too apparent), are mildly hilarious resonance is crisp, at any volume, Dept. 264 F, 616 Cecil Street as an exercise in The Care and Feeding of a regardless of speed. Even my bass Buchanan, Michigan 49107 Super -egotist. But who really gives a damn? Streisand's been proving over and over again CIRCLE NO.17 ON READER SERVICE CARD FEBRUARY 1976 89 ans). Ray Ellington Quartet (instrumentals); Romans and the ancient Britons in the days SPOKEN WORD Max Geldry (vocals); orchestra, Angela Mor- when England was conquered by Rome. The ley cond.The Dreaded Batter Pudding Hurlerdates are given in Roman numerals, the jave- of Bexhill -on -Sea; Old Man River; They Were lins fly, the English lose. Doing the Mambo; The Histories of Pliny the But trying to tell about what goes on in an Elder; You Made Me Love You; This Can'tepisode of "The Goon Show" is like trying to Be Love; Get Happy.PYE 12118 $6.98. relate a half -recollected dream over break- Performance: Surrealist's delight fast. The show has a special charm which may Recording: Good elude some American listeners, especially when the references are too local and haven't In the days before there wasMonty Python's traveled well. You either like this sort of thing Flying Circusto tube -feed the home surreal- or you don't. I find it funny most of the time, ist, a radio program calledThe Goon Showbut it flounders occasionally in reasonably was diverting British listeners over the BBC complete confusion. P.K. ALBERT BROOKS:A Star Is Bought.Albert with giant helpings of insanity. Presided over Brooks (comedian): orchestra.In the Middle; by Peter Sellers, Spike Milligan, and Harry PETER SELLERS Phone Calls from Americans; Promotional Secombe, with scripts by Mr. Milligan,The Presiding over a dadaist comical kitchen Gimmick;and twelve others. ASYLUM 7E- Goon Showcame over the airwaves like a se- 1035 $6.98, ® ET -81035 $7.98. ries of custard pies hurled by a crazed chef Performance: Only fair from a dadaist kitchen. The fun was fast and Recording: Good furious, flying in all directions, its targets pre- tension and solemnity of every sort. Now Pye StrangethatAlbertBrooks, who comes has released two samples of the product for across on his TV appearances as a likable, international consumption. inventive young comic, should make such an On one side, we haveThe Dreaded Batter - unimpressive recording. Lavishly produced Pudding Hurler of Bexhill -on -Sea,in which and obviously much fussed -over in the mak- the mystery of why moist batter -puddings are ing, it remains an album with only occasional being hurled at one "dear old silver -bearded gusts of laughter. Mostly it's a tee-hee here, a lady" named Minnie Bannister is pursued in trendy chortle there, and a God -but -aren't - the time-honored style of the detective novel, I -creatively -clever? miasma overall.Alice but rather as if a standard mystery story's Cooper, who seems to make more guest ap- pages were tossed aloft by an inebriated de- pearances on other people's albums than tective and reassembled in no particular order anyone since Mr. Needle Fuzz, also shows up to form a script. Side two tackles TheHisto- here for some reason. P.R. ries of Pliny the Elder,trotting out all those clichés so dear to historical fiction. In this ci GOON SHOW CLASSICS. Peter Sellers, case, the plot, mercifully abandoned almost at Spike Milligan, and Harry Secombe (comedi- once, concerns a football match between the

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capdol, CAPITOL MAGNETIC PRODUCTS A DIVISION OF CAPITOL RECORDS, INC. LOS ANGELES, CALIFORNIA 90028 CIRCLE NO. 10 ON READER SERVICE CARD THE SOUNDS OF '76. Adapted and produced lehem Orchestra, Russ Garcia cond. BETH- by Wade Denning. Pickwick Society of Per- LEHEM 3 BP 1 three discs $11.98. forming Arts (players). Pledge to the Flag; Performance:Soap opera PRICE WAR America the Beautiful; The Boston Massacre; Recording:Less dated than the contents AMERICA's #1 VALUE LEADER Paul Revere's Ride; The Boston Tea Party; NINASIMONE: I Loves You Porgy. Nina Si- Quotes of Famous American Revolutionaries; STEREO CORPORATION Of AMERICA The Battles of Lexington and Concord; The mone (vocals); instrumental accompaniment. Story of Yankee Doodle; The Battle of Bunker Mood Indigo; Don't Smoke in Bed; He Needs N ,,,,,on ,, .r wa,,,,,ImoF.47:._le Hill;Quotes from"Poor Richard'sAl- Me; Little Girl Blue; Love Me or Leave Me; My Baby Just Care for Me; I Loves You manac"; The Declaration of Independence; Mastercharge/Bankamericard --- Porgy; and four others.BETHLEHEMBCP Phone For Immediate Shipments. Betsy Ross; John Paul Jones; The National AR SHURE Anthem. Pickwick/33 SPC-3576 $1.98. 6003 $6.98. Performance:Instant history Performance:Sultry and splendid Recording:Good Recording:Very good - ° ...r.i.---- Educational recording companies are dusting Whether Porgy and Bess is regarded as a MARANTZ PIONEER DUAL off their collections of patriotic speeches and "folk opera," as its composer called it, or folk songs and rushing to the barricades as something grander, or just a glorified Broad- AUDIO DISCOUNTING STARTED IN NEW YORK & NOW WITH THE END OF fast as production schedules permit with al- way musical with recitatives,itis certainly bums suitable for Bicentennial exploitation, not vaudeville. Its detractors may be put off FAIR-TRADE WE ARE SURE THAT NO so this capsule American history lesson from by the treatment of blacks in the libretto, by ONE CAN BEAT OUR PRICES: Pckwick is up against stiff competition from the arias that are really hit songs, by glib lines We Discount Over 70 Major Brands all sides. Still, after a somewhat wobbly open- in the lyrics, by pretentious stretches. But Over 10 Years Of Reliable Service In ing ("How did the United States come into Porgy is a music drama that works in perform- The Mail Order Field Largest Inventory/Lowest Prices! being? It wasn't easy . ."), this review of ance and seems likely to survive its own "America's struggle for freedom in words shortcomings. Nothing composed for the op- We Get The Best Deals From The Manufac- and music" performed by an uncredited cast eratic stage in this country surpasses it in dra- turers. You Get The Best Deal From Us! of singers and actors comes off rather well. matic and musical effectiveness. WRITE OR CALL! SHOP BY PHONE! For lowest of the Sound effects abound, as water sloshes at the On records, the 1935 original -cast highlights $1.00 Will Be Deducted Boston Tea Party, horses' hooves accompany with Todd Duncan as Porgy and Ann Brown low quote From Any Paul Revere on this famous ride, and the can- as Bess remain available on Decca. The full (212) 338-8555 Orders Over $100. nons boom at Lexington and Concord. The opera was made into a marvelous Columbia 9-5 Mon. thru Sat. acting is pretty good, too, and the script is no- album in the Forties by Goddard Lieberson, table for such interesting sidelights as how we with a splendid cast headed by Lawrence STEREO CORPORATIONOf AMERICA

Winters as Porgy, Camilla Williams as Bess, got to be called Yankees (that was how it Utica Avenue came out when the Indians tried to pronounce Inez Matthews as Serena, Warren Coleman as Dept. S -R2122 the word "English"), the quotations from Crown, Avon Long as Sportin' Life-the en- Brooklyn, N.Y.11234 Thomas Paine, and an intriguing little sketch tire cast, including members of the original Tel. (212)338-8555 in which General Washington meets Betsy Broadway company, under Lehman Engel's Ross and tells her what sort of design he has superb direction. That album has been treated CIRCLE NO. 47 ON READER SERVICE CARD in mind for the American flag (I was rather with synthetic stereo by Odyssey, but at least surprised at the general's Southern accent, as- it's still for sale. suming that those early Virginians all spoke Yet, for some reason, in the Fifties Beth- DOUBLE likeEnglishmen, but who can know for lehem Records got the notion that it could do sure?). Interspersed with the events recapitu- better by rounding up such unlikely perform- SAVINGS lated on "Sounds of '76," which takes us as ers as night-club singer Frances Faye and her far as John Paul Jones and The Star-Spangled crooning protege Mel Torme to play the lov- MAIL ORDER PRICES WITHOUT Banner, aresuch sayingsfrom Poor Richard's ers and employing a whole cast of non -opera EXTRA FREIGHT OR Almanac as "Make haste slowly" and " Lit- singers, a chorus, and several big bands- INSURANCE CHARGES tle strokes fell great oaks." I found theseincluding Duke Ellington's-to improve on depressing. I'm sure, though, that Ben Frank- what George Gershwin had wrought. The al- FEATURINGTechnics by Panasonic lin would have approved the $1.98 price of bum has always attracted interest among this bargain history course. P.K. Gershwin collectors, and it has just been reissued. Too bad. What we have here is surely not an opera or a "folk opera," but a primer about one in the form of a sort of interminable soap opera suitable for broadcast in daily fifteen -minute episodes, with narration punc- tuated by ineptly realized production numbers MODEL over six dragging sides. SL -1500 Mr. Torme and Miss Faye sing the great duets as though they were offering a midnight - Mail order shopping is made easy the show club medley for their patrons, with im- dUDi EX?0 mense affection but not the slightest under- way. Freight and insurance are already standing of the characters they are allegedly included in low Audio -Expo price. attempting to portray. Everything difficult has been cut or simplified to the point of absurdity WRITE FOR OUR FREE CATALOG THEATER FILMS and bridged over by the narration, which goes on forever, delivered in the style of a weary THE PRICE YOU sports announcer by Al Collins. Mr. Ellington and his band, the Australian Jazz Quintet, the SEE IS THE PRICE GERSHWIN:Porgy and Bess. Mel Torme, Pat Moran Quartet, and the Stan Levey Group Porgy; Frances Faye, Bess; Betty Roche, are all out of their elements. There are, occa- YOU PAY Clara; George Kirby, Sportin' Life; Johnny sionally, pleasant little improvised jazz instru- Hartman, Crown; Sallie Blair, Serena; Frank mental stretches, but these are more in the na- Rosolino, Jake; Loulie Jean Norman, Straw- ture of intrusions on than enhancements of ilUDI.;=. EXPO berry Woman; Joe Denise, Honey Man; Bob Gershwin's music. The doo-wah doo-wah 5509 Connecticut Ave. Dorough, Crab Man; others. Duke Ellington style of choral singing in the picnic scene is an and His Orchestra; Australian Jazz Quintet;embarrassment. There are some bright mo- Washington, D.C. 20015 Pat Moran Quartet; Stan Levey Group; Beth- ments, as when George Kirby broadly tackles 202-996-1640

FEBRUARY1976 91 CIRCLE NO. 7 ON READER SERVICE CARD It Ain't Necessarily So, or when the Strawber- brated album just re-released by the same ry Woman and the Crab Man come on touting company.Simone demurely correctsIra their wares with an unexpected and welcome Gershwin's handkerchief -head grammar and adherence to the score as composed, but most drops the "s" to make it "I love you Porgy," of the time this attempt to have "brought Por- but nothing else is demure in her throaty, gy and Bess up to date" was hopelessly dated bluesy, devastating treatment of this piece, or when the album first came out, and it is even of any of the other jazz classics she tackles in more so now. her gutsy style on this fine program. When the Yet Gershwin's tunes-in or out of con- song is a marvel, like Mood Indigo, she lives text-have always lent themselves gracefully up to it. When it's a nothing, like Don't Smoke and flexibly to every sort of stylistic ap- in Bed or her own Central Park Blues, she still proach. Nothing could better point up the lu- makes it sound like something. Simone made dicrousness of Frances Faye's unintentional- all her own arrangements for the subtle ac- ly comic treatment of I Loves You Porgy (and companiments that back her (Jimmy Bond's you are hearing this from one who spent ev- beautiful bass, Al Heath's lush drums), and GARY BARTZ:The Shadow Do. Gary Bartz ery spare evening in Los Angeles at the Cre- between songs she plays a mean piano. Not (alto and soprano saxophones, synthesizer, scendo one season adoring Frances Faye) all re-releases are necessary, but this is onevocals); other musicians. Winding Roads; than Nina Simone's version in another cele- record it's good to have back. P. K. Mother Nature; Love Tones; Sea Gypsy; and four others. PRESTIGE P-10092 $6.98. Performance:Commercial chaos Recording:Good I was happy to see a new Gary Bartz album because I think he is an extremely talented musician, but then I noticed the producer credit: Larry Mizell. Anticipation turned to apprehension. I placed the disc on my turntable, and, sure enough, Mizell has done it again, turned a good jazz musician into a drowning popularity-seeker-drowning, that is, in gimmick -ridden arrangements cluttered with synthesizers, sound effects, and mean- ingless vocals. Unfortunately, this tasteless miasma will probably have sufficient appeal to encourage encores, but Bartz had better enjoy whatever benefits this sort of thing may bring him now, because there is no longevity in it. I suggest some of his early Milestone al- If you truly appreciate sophistication in sound bums are a sounder investment. C.A. reproduction, you should know aboutAccuphase. ANTHONY BRAXTON:Five Pieces 1975 (see Uncompromising audio electronics for those Best of the Month, page 76) who have the ear for it. CHICO HAMILTON:Peregrinations. Chico To that end, TEAC Corporation of America has Hamilton (drums, percussion); other musicians. Andy's Walk; It's About That Time; reserved a free copy of a very informative book- The Morning Side of Love; Sweet Dreams; let for you. In it, you'll finda comprehensive and six others. BLUE NOTE BN-LA520-G collection of test reports on Accuphase equip- $6.98, ® BN-EA520-H $7.98. Performance:Overembellished ment. In-depth, unabridged investigations and Recording:Excellent conclusions by the nation's most respected Remember the wonderful music Chico Hamil- experts and testing laboratories. Reports that will ton used to turn out when he had Eric Dolphy and a cello aboard? Well, that high level of likely surprise even the most knowledgeable musicianship is in evidence here, but every- audio enthusiast. thing that is good about this album suffers from the curse of modern recording tech- To claim your free copy, simply sendus this niques, which allow producers to add such embellishments as vocals borrowed, one sus- completed reservation. If you have theear for it, pects, from some Hollywood Biblical epic. we think you'll agree that the critical acclaim is The electronic guitars are a bit overdone, too, but a strong rhythm section, strokes of imagi- as impressive as the product itself.L24'll native arrangment, and solos by saxophonists ccuphase Arthur Blythe and Arnie Lawrence still make this a worthwhile album. C.A.

JEFF HEST: Tip of the Iceberg. Orchestra and vocal trio, Jeff Hest arr. and cond. Mercy, Mercy, Mercy; Got a Hold On; Squawk Talk; Your name Where the Grass Is Green; and two others. PROJECT 3 PR-5091SD $5.98, 5091 $5.98. Youraddress Performance:Insipid Recording:Excellent This album is both a visual and an aural disas- ter. "Tip of the Iceberg" is not, as I first assumed, the name of a new rock group, but TEAC Corporation of America7733 Telegraph Road, Montebello, CA 90640 rather an appropriate-because itis to be steered away from-title for an album con - 92 STEREO REVIEW tamingsixdreadfullydullarrangements the fall of 1974, no one expected the careers Ross, MJQ members Percy Heath and Connie played by a seventeen -piece studio band with of its individual members to come to a halt. Kay, and Lewis himself, has lost none of its an it' s -all -in -a -day's -work vocal trio. The Pro- Most unlikely to fade into the shadows were, original charm. It was shortly after European ject 3 label specializes in designed -for -quad of course, Milt Jackson and John Lewis, both Windows appeared that Ornette Coleman sound, and the result is reminiscent of the of whom had occasionally divorced them-shook tradition with a free -form style we now bland fare we used to get on those "doctored selves from the MJQ during its long lifetime call the "new music," but John Lewis' music for stereo" Command records in the last days to create personal asides. One such side trip for this album already had a traditional sound, of mono. Producer Jeff Hest's arrangements, produced John Lewis' European Windows se- even when measured against what preceded labeled "contemporary jazz rock," are none venteen years ago when Gunther Schuller andColeman's emergence. It has aged well, and of the three, and even fine crew members Ur- he were exploring the fusion of jazz with might have been taken for a new release ex- bie Green, John Faddis, and Marvin Stamm classical music, which they called the "Thirdcept for the fact that the album is mono only. fail to get this effort off the ground. C.A. Stream." As it turned out, the stream quickly (RCA obviously doesn't want you to know dried up, and subsequent efforts in the genre, that, since such information is revealed only such as Ornette Coleman's "Skies of Ameri- on the label, and the sleeve, which gives the RECORDING OF SPECIAL MERIT ca," have met with little success. But Lewis' recording dates, omits the year!) JAMES P. JOHNSON:Charleston-The Song Windows, six compositions performed by The Columbia album, "P.O.V.," is new. That Made the 'Twenties Roar and Other De- members of the Stuttgart Symphony Orches- There are traces of the Third Stream here, lectations. Dick Hyman (piano, organ, arr. tra,English baritone saxophonist Ronnie (Continued on page 95) and cond.); Ruby Braff (cornet); Vic Dicken- son (trombone); Bob Wilber (soprano saxophone); Bob Haggart (bass); Everett Barks- dale (banjo); Bob Rosengarden (drums); other Announcing the NEW STANDARD musicians. Charleston; If I Could Be with You One Hour Tonight; Caprice Rag; Selections STRECERE RTESTD in Stereo Testing! from "Runnin' Wild"; Snowy Morning Blues; FOR HOME AND AibRATORY DOE Steeplechase Rag; and six others. COLUMBIA M 33706 $6.98. Performance:Excellent The All -New Model SR12 Recording:Excellent James P. Johnson is one of the seminal figures STEREO TEST RECORD in American popular music. The two best- 1.st known tunes he wrote were Charleston (part For .) of the score he did for the 1923 Broadway mu- The most complete ...most sophisticated.... 9 8 sical Runnin' Wild) and If I Could Be with You One Hour Tonight. His career spanned most versatile Test Disc available today...$5 nearly half a century, from the ragtime era to the bop experiments of the Forties, and he was a wonderfully diversified composer, writ- Whether you're an avid audiophile, a casual listener or a ing everything from rags and pop tunes to professional technician ... the new MODEL SR12 will be the symphonies, tone poems, concertos, stage most important disc in your entire collection. musicals, and a one -act opera. Johnson was MODEL SR12 has been produced by Stereo ReviewMagazine also one of the most able practitioners of for music lovers who want immediate answers to questions "stride" piano, almost unheard today except about the performance of their stereo systems and how to get from such re -creators as Dick Hyman and the as yet unrecorded Mike Lipskin. (The most the best possible sound reproduction. famous "stride" pianist was the great Thom- It is the most complete test record of its kind - containing as "Fats" Waller, Johnson's star pupil.) the widest range of checks ever included on one test disc. Hyman has collected samples of Johnson's popular music and presents it in piano solos, Make these important stereo checks BY EAR... piano or organ duets with cornetist Ruby (no test instruments required) Braff, and as small -band jazz. The perform- Frequency response-a direct warble -tone check of nineteen Attention Professionals Model SR12 is also designed to sections of the frequency spectrum, from 20 to 20,840 Hz, which be used as a highly efficient design and measurement tool. Tests be- ances are energetic and at all times tasteful. will pinpoint any frequency response defects in your system. low have been controlled to laboratory tolerances-affording accurate numerical evaluation when used with oscilloscope. Chart recorder, out- Johnson is long overdue for recognition and Separation-an ingenious test which Indicates whether you have put meter, intermodulationdistorlion meter and flutter meter. adequate separation for good stereo. high -frequency response joyful study. Let us hope this nobly inspired of1, 0000,.-Hnzysacti:urepswaves to test transient and Cartridge tracking-the most sophisticated tests ever devised album will be to Johnson what Gunther Schul- for checking the performance of your cartridge, stylus and tone arm. 500 to 20,000 Hz frequency -response sweep. ler's "Red Back Book" collection was to Channel balance-two broad -band, random -noise signals which Scott Joplin. J. V . permit you to eliminate any imbalances originating in cartridge, Sine -wave lone -bursts to test transient response of pickup. amplifier, speakers or room acoustics. Intermodulation test using simultaneous 400 -Hz and 4,000 -Hz signals. Hum and rumble-foolproof tests that help you evaluate the actual audible levels of rumble and hum in your system. Intermodulation sweep to show distortion caused by excessive res- JOHN LEWIS:European Windows. John onances in tone arm and cartridge. 111, Flutter-fruttrtsitilycLI:mrn=te:rt ,t,figireck whether your turn - Lewis (piano); Percy Heath (bass); Connie 1.000 -Hz reference tones to determine groove velocity. Kay (drums); Ronnie Ross (baritone saxo- PLUS! Cartridge and Speaker Phasing Anti - 3,000 -Hz tone for flutter and speed tests. Skating Adjustment "Gun Shot Test" for Stereo Spread phone); Gerry Weinkopf (flute); members of Sample waveforms-illustrating both accurate and faulty responses are the Stuttgart Symphony Orchestra, John Lew- Multi -purpose Musician's "A" Equal -tempered Chromaticprovided in the Instruction Manual for comparison with the patterns is cond. Midsbinmer; The Queen's Fancy; Octave Guitar -tuning Tones. appearing on your own oscilloscope screen. England's Carol; and three others. RCA fd) APM1-1069 $6.98. FREE- IZiff -Davis Service Div., Dept. R, 595 B'way, N.Y., N.Y. 10012. An informative O Please send the SR12 Stereo Test Record @ $5.98, postpaid Performance:Time -tested third stream manual which ($8 outside U.S.A.). Recording:Good mono 0 Enclosed is $ (Residents of Calif., Col., Fla., Ill., includes charts, Mich., Mo., N.Y. State, D.C. and Tex. add applicable sales tax.) P.O.V. John Lewis (piano); tables and JOHN LEWIS: diagrams. O CHARGE: C] American Express 0 Master Charge Harold Jones (flute); Gerald Tarack (violin); 0 BankAmericard 0 Diners Club Fortunato Arico (cello); Richard Davis (bass); Account # Exp. Date Mel Lewis (percussion). Nina; Games; Mir- CHARGE YOUR ORDER 1.0 Master Charge Interbank # (4 numbers over your name) andthreeothers. YOUR AMERICAN EXPRESS janaof My Heart; BANKAMERICARD, Signature COLUMBIA PC 33534 $6.98. MASTER CHARGE OR Print Name DINERS CLUB ACCOUNT. Performance:Shades of the KM Address Recording:Excellent 4 MC= City State Zip When the Modern Jazz Quartet broke up in FEBRUARY 1976 93 GG ...an important niche in the overall recorded history of jazz ..." somme=nome

JAZZ has had its share of creative geniuses, order; there are as many as four takes of some but few have been as influential as Charlie tunes, but repetitiousness is nullified by Par- Parker, the guardian spirit of bop, who died in ker's constant flow of new ideas-it is this, in 1955 at the age of thirty-four. Parker shaped fact, that makes the collection so interesting. modern jazz and left a mark that will be felt as The four and a half hours of music contained long as the music to which he devoted his in these albums capture Parker both at peaks- short life is played. of his creativity-such as his classic 1947per- His first recordings as a leader were done formances with a rhythm section consisting of for the Savoy label in November 1945, but Duke Jordan, Tommy Potter,and Max three months later he signed a short, hand- Roach-and during moments when he faceda written contract making him an exclusive art- physical breakdown. Yet, even in the famous ist on Dial Records, a small company newly Lover Man session in 1946, when Parker liter- Charlie Park formed by Ross Russell. Strapped for money ally had to be propped up for his solo, there- to support his drug habit, Parker breached his sult is a thing of rare beauty. agreement in 1947 to do another Savoy ses- Chaotic circumstances surrounded the re- sion, but he did make a series of remarkable cording of many of these Dial sessions, and recordings for Dial between March 1946 and there are numerous rough spots in the ensem- December 1947, all available takes of which bles and solos, but such was the brilliance of have now been gathered into six remarkable Charlie Parker that no one of these takes can albums on the Spotlite label. Dial did not sur- be overlooked. Historically and musically, vive long as a company, and for many years Parker's Dial sessions occupy as important a only some of this material has been available niche in the overall history of recorded jazzas on bootleg issues, but the Spotlite albums, as- Louis Armstrong's Hot Five sessions do. This sembled by British Parker authority Tony is not everything Charlie Parker recorded for Williams, have been prepared with the bles- Dial; further material, now generally thought sings of the Parker estate and the cooperation to be lost, may be unearthed still. But it is of Russell himself. more than we have ever had before, and our The six albums (they are available individu- gratitude goes to Tony Williams and Ross ally) contain thirty-nine selections represent- Russell for gathering it into these six volumes. ed by eighty-eight takes, some of which have The discographical notes are complete, the never been issued before. With the inexplica- annotation is informative, and the sound is ble exception of three tracks on Volume 5, the generally very good. And, above all, the mu- six albums are programmed in chronological sic is outstanding. -Chris Albertson

CHARLIE PARKER: Charlie Parker on Dial, Dexterity (two takes); Dewey Square (three Volume 1. Charlie Parker (alto saxophone); takes); Bird of Paradise (three takes); Bong DizzyGillespie,MilesDavis,Howard Bop (two takes); The Hymn (two takes); Em- McGhee (trumpet); Lucky Thompson (tenor braceable You (two takes). SPOTLITE l 104 saxophone); others. Diggin' Diz; Ornithology $6.98. (three takes); Loverman; Moose the Mooche (three takes); Yardbird Suite; Night in Tu- CHARLIE PARKER: Charlie Parker on Dial, nisia; The Famous Alto Break; Max Making Volume 5. Charlie Parker (alto saxophone); Wax; The Gypsy; Bebop. SPOTLITE g 101 DizzyGillespie,MilesDavis(trumpet); $6.98. Lucky Thompson, Flip Phillips (tenor saxophone); Duke Jordan, Dodo Marmarosa, Ted- CHARLIE PARKER: Charlie Parker on Dial, dy Wilson, Erroll Garner (piano); Red Norvo Volume 2. Charlie Parker (alto saxophone); (vibraphone);others.Klact-oveeseds-tene Erroll Garner (piano); Red Callender (bass); (two takes); Out of Nowhere (three takes); Harold "Doc" West (drums); Earl Coleman Scrapple from Apple (two takes); Bird Feath- (vocals). This Is Always (two takes); Dark ers; My Old Flame; Don't Blame Me; Moose Shadows (four takes); Bird's Nest (threethe Mooche; Dark Shadows; Hallelujah. takes); Cool Blues (four takes). SPOTLITE SPOTLITE i 105 $6.98. 102 $6.98. CHARLIE PARKER: Charlie Parker on Dial, CHARLIE PARKER: Charlie Parker on Dial, Volume 6. Charlie Parker (alto saxophone); Volume 3. Charlie Parker (alto saxophone); Miles Davis (trumpet); J. J. Johnson (trom- Howard McGhee (trumpet); Wardell Gray bone); Duke Jordan (piano); Tommy Potter (tenor saxophone); Dodo Marmarosa, Russ (bass); Max Roach (drums). Crazeology (two Freeman (piano); Barney Kessel (guitar); oth- takes and two excerpts); Drifting on a Reed ers. Relaxin' at Camarillo (four takes); Car - (three takes); How Deep Is the Ocean (two yin' the Bird (two takes); Cheers (four takes); takes); Bongo Beep (two takes); Charlie's Wig Stupendous (two takes); Home Cooking I, II, (three takes); Quasimado (two takes). SPOT- III. SPOTLITE Ifli) 103 $6.98. LITE Ot 106 $6.98. CHARLIE PARKER: Charlie Parker on Dial, Volume 4. Charlie Parker (alto saxophone); (All six volumes are available by mail from Miles Davis (trumpet); Duke Jordan (piano); SpotliteRecords, Box1660,Escondido, Tommy Potter (bass); Max Roach (drums). Calif. 92025.)

94 STEREO REVIEW and there are passages that resemble thethey have taken on new forms, new direc- sound of the MJQ, particularly as far as Mel tions, and Scott -Heron has not moved with Lewis' percussion work is concerned, but them. when we hear the MJQ in these tracks we are Brian Jackson's voice has no redeeming actually hearing what a tremendous contribu- qualities that I can hear, and a dull voice sing- tion John Lewis made to the venerable quar- ing dull material makes for dull listening, tet's sound. I suppose Mr. Lewis' music can which about sums up my feelings for this best be described as distinguished, a charac- album. C.A. terization that also eminently fits the man himself. His very piano style is a tasteful DON SEBESKY: The Rape of El Morro. Don blend of Bach and blues, and there is plentySebesky (keyboards); studio orchestras, inof it here. Lewis has been accused, of being an cluding Randy Brecker and John Faddis incurable romanticist, and I think he is. But(trumpet), Mike Brecker and Dave Sanborn make no mistake about it, John Lewis can (saxophone), Roland Hanna, Pat Rebillot, and generate a great deal of swing, and he can be Don Grolnick (piano), and Joan LaBarbara as funky as a ham hock on a bed of collard (vocals). Moon Dreams; The Entertainer; greens. C.A. Skyliner; and three others. CTI CTI-6061 SI $6.98, ® CTI-6061 HT $7.98, © CTI-6061 HC THE NEW YORK JAZZ QUARITT: In Con- $7.98. cert in Japan. Frank Wess (flute, soprano sax- Performance:Splendid ophone); Roland Hanna (piano); Ron Carter Recording:Excellent (bass); Ben Riley (drums). Little Waltz; Well You Needn't; Introspection; Mediterranean Don Sebesky has held trombone chairs in nu- Seascape. SALVATION SAL 703 S1 $6.98,®merous big bands, including that of Maynard SA8-703 $7.98, © SAC -703 $7.98. Ferguson, which also served as a launching pad for his arranging skills. His charts have Performance:Good to excellent framed the artistry of some of the country's Recording:Good remote top recording stars, and he has also written The New York Jazz Quartet consists of foursome very ambitious symphonic works, but in previously established players led by the for-recent years he has perhaps been best known midable Ron Carter, who also gets producer as the house arranger for CTI, the man largely credit for this debut album recorded during a responsible for the slick, often imaginative Tokyo concert last April. Frank Wess, a vet-sound that characterizes the label's output. eran ofseveral big bands-most notably This album is less ambitious than "Giant Ina Count Basie's-is generally credited with be- Box" (CTI CTX-6031/32), the impressive ing the first modern jazz flutist, but his skill on two -record set CTI issued under Sebesky's that instrument is often overlooked in favor name in 1973, but it is no less appealing. The of musicians who are solely devoted to the selections range from Footprints of the Giant, flute. Here he gets full opportunity to display a Sebesky original based on Bartok themes, to highly original arrangements of Charlie Bar- class that side of his talent on Ron Carter's Little Waltz and Thelonious Monk's bop classic net's rarely -heard theme, Skyliner, and Scott Well You Needn't, but Roland Hanna's Medi- Ioplin's The Entertainer, Tin Pan Alley's all- terranean Seascape is the piece that brings outtime top sleeper. Most interesting is the ti- the most impressive playing by Wess (on so- tle song, written by Sebesky and featuring prano saxophone) and the rest of the group. good solo work by pianist Roland Hanna and by Hannaalsowrote the aptlynamed tenor saxophonist Mike Brecker with some Introspection, which he plays as a ten-minute rather unusual vocal calisthenics by one Joan unaccompanied solo, but, despite a certain LaBarbera, a lady who sings more than one lack of cohesiveness, I much prefer to hear note simultaneously.. There are good solo pas- the whole group together. C.A. sages by trumpeter Randy Brecker, pianist itself. Don Grolnick, and guitarist Joe Beck, and GIL SCOTT-HERON/BRIAN JACKSON: there is the usual complement of strings and The Phase Linear 400 Power From South Africa to South Carolina. Gil flutes-slick, vivid production in the CTI tra- Amplifier has only one serious Scott -Heron (vocals, electric piano); Brian dition, blatantly commercial and thoroughly competitor when it comes to Jackson (keyboards, flute, vocals); the Mid- professional. C.A. advanced design, superior perfor- night Band. The Summer of '42; Essex; A mance, made -one -at -a -time Lovely Day; A Toast to the People; and four CAL TJADER: Last Night When We Were craftsmanship, proven reliability, others. ARISTA AL 4044 $6.98, ® 8301-4044H Young. Cal Tjader (vibraphone); other musi- elegant appearance . . . and $7.95, © 5301-4044H $7.95. cians. Emily; What'll I Do; A Child Is Born; incomparable value. And that's Performance:Predictable For All We Know; A House Is Not a Home; the Phase Linear 700B. Hear Recording:Unbalanced and three others. FANTASY F-9482 $6.98, @ 8160-9482H $7.95. them both at your dealer soon. If you are looking for range or clarity, you Performance:Soft and pretty won't find it in the singing voice of Gil Scott - Recording:Excellent Heron; but, as was the case with Billie Holi- day, Scott -Heron's voice has a prepossessing After initially attracting attention as a percus- gpittf4e timbre, and he has the ability to render lyrics sionist with some Dave Brubeck experimental with the skill of a good storyteller. Unfortu- groups in the very early Fifties, Cal Tjader wneert nately, he does not have the same talent for emerged on vibes with the commercially suc- writing lyrics, and none of the songs in this al- cessful George Shearing Quintet of the mid - bum-all with words by Scott-Heron-can Fifties, and he achieved real success as the compare with The Bottle, his 1973 hit. One vibes -playing leader on a succession of highly 400 problem seems to be that he is locked into a rhythmic, often lush, often Latin -oriented al- THE POWERFUL DIFFERENCE social protest bag. This was considered very bums in the Sixties. This album is neither 201 watts per channel, min. RMS at 8 ohms hip a few years back, but times have changed, highly rhythmic nor Latin -flavored, but it is from 20 Hz -20 kHz with no more than .25% and Scott -Heron's social commentary lacks lush. Pianist Frank Strazzeri and guitarist Ed- total harmonic distortion. the sophistication that might get his songs die Duran help Tjader play pretty in this col- across today. In South Carolina he sings lection of ballads, and it's all enveloped in PHASE LINEAR CORPORATION "Whatever happened to the protests and the sweeping strings-not thought -provoking, but 20121 - 48th Avenue S.W. rage?" Well, I submit that they still exist, but mighty easy on the ears. C.A. Lynnwood, Washington 98036 CIRCLE NO. 37 ON READER SERVICE CARD FEBRUARY 1976 95 same breath with Pollini, he would hardly make it_ His Wanderer is, indeed, a little breathless and understated, the G Major So- nata being more within his present range of dynamic power and re -creative input. In both, nonetheless,there are evidences of that Schubertian lilt without which almost all other virtues of interpretation are insufficient. A very talented-and musical-pianist of Hun- garian training, Ranki has a future that should be both guarded and well documented by Hungaraton. CHOOSI\G Christoph Eschenbach might be described as a licensed mystic, one who tends by nature and disposition to take on the most sizable challenges of the composers to whose music SDES he is attracted-he has, for example, recorded Beethoven's B -flat Hammerklavier Sonata 3y IRVI\G

Schubert's late keyboard works demand an approach more musical than pianistic

96 STEREO REVIEW quietly reflective A Minor, Op. 143, of 1823), with a choice, a piacere, of two or three of the sixthe composer began and finishedin 1817-1819. That adds up to nine or ten, leav- EXERCISE YOUR SYSTEM. ing a number of others as either tentative Check out Tomita, the ultimate sound experience. A genius behind straws in the wind of the direction Schubert would later take, or promising efforts lacking the synthesizer, no one comes close to the quality and dynamic range one or more movements. (and music) thatTomita produces. Hear him now on his newest album, To be sure, if the earlier works have some- Stravinsky's "Firebird:' what less interest for the listener, knowledge of them has certainly contributed to making Klien the formidable interpreter of all the Schubertian gambits he is today. They have provided him with an intimate awareness of the progression from work to work, beginning with those in which conformity to earlier models overshadows individuality, followed by those in which the elements are in total balance, and on to the extraordinary half -dozen in which individuality leads Schubert to des- tinations rarely attained by any composer previously and by no one since. The outcome is an uncommonly even inter- pretative tone which blends one work into another and eventually enablesKliento plumb the depths of Schubert even when they are somewhat obscured beneath turgid, mud- dying chordal writing or clouded by garlands of figuration. This is especially the case with the final three sonatas (in C Minor and A Ma- jor in addition to the famous B -flat). Alfred Einstein has suggested that they were written by Schubert out of a feeling that he had a "historic duty" to supplement what Beetho- yi==MINNORINIMWf:M=ERMA ven had done in his last five sonatas. Of in- i; i; rIN VOW...e 9 spiration there was, thank God, no want in Schubert; of constructive means, however, extension often takes the place of development as chordal repetitions do of a ready ac- Also available in,======,27)Quadradisc cess to the next trend of thought and as RCA Records and Tapes tremolandi do of contrasting lines of interest. Rather than pounding away at these endear- ing inadequacies as if they contained really heavy meaning, Klien works his way around them, almost always with a line of connection leading to what follows, the sense of a dilem- ma resolved, and a new direction defined- IlltintoshCATALOG much in the manner of that great Schubertian unifier Artur Schnabel. As Klien's Vox Box II and FM DIRECTORY (Vox 5466) contains both the A Major (D. 959) Get all the newest and latest information on the new McIntosh Sol- and C Minor (D. 958) sonatas, I would recom- id State equipment in the McIntosh catalog. In addition you will mend it as the preferred one of the three. receive an FM station directory that covers all of North America. As for the B -flat Sonata, D. 960 (which Klien plays well, but not well enough), a survey of catalog alternatives offers an interesting company of unlikely fellow travelers. The oldest still in circulation is perhaps the Vladi- mir Horowitz recording (RCA LM 6014) re- tained in the Twenty-fifth Anniversary Album documenting the Carnegie Hall recital of Feb- ruary 25, 1953; it is the epitome of the "pianistic" treatment. The most effortfully uncomfortable is the Artur Rubinstein recording MX 113 of 1969 (RCA LSC 3122, and the last of four efforts to produce a version to meet with his FM/FM STEREO - AM TUNER AND PREAMPLIFIER satisfaction). The most solemn-and eventually somnolent-is the Wilhelm Kempff (DG McIntosh Laboratory, Inc. 139323), the most passionately personal is the East Side Station P.O. Box 96 version by Clifford Curzon (London CS Binghamton, N.Y. 13904 6801), and the most dispassionately persua- SEND Dept. SR sive is the-alas-discontinued Artur Schna- belperformancelastavailable on Angel I NAME COLH 33. For best value I would nominate Philips 6500 285, on which Alfred Brendel TODAY! ADDRESS combines the B -flat Sonata with the Wanderer CITY STATE ZIP Fantasy. Brendel may not consistently include everything that makes for greatness, If you are in a hurry for your catalog please send the coupon to McIntosh.. but he consistently excludes much that makes For non rush service send the Reader Service Card to the magazine. for dissatisfaction in the efforts of others. CIRCLE NO. 33 ON READER SERVICE CARD

FEBRUARY1976 97 CLASSICALDISCS A\D TAPES Reviewed by RICHARD FREED DAVID HALL GEORGE JELLINEK PAUL KRESH STODDARD LINCOLN ERIC SALZMAN

J. C. BACH: Quartet in D Major; Quartet in C Ristenpart cond.SINE QUA NONSQN 147/2 part does, and he seizes on repeats as oppor- Major. W. F. E. BACH: Trio in G Major. two discs $7.96. tunities for injecting more varietyof color into W. F. BACH: Duet in F Major. Jean-Pierre Performance: Inspiriting the works. The dance movements are charac- Rampal, Eugenia Zukerman (flutes); Pinchas Recording: Good terizedbya wonderfullightness.Munc- Zukerman (violin,viola); Charles Tunnell linger takes the Courante in the First Suite (cello). COLUMBIA M 33310 $6.98. J. S. BACH: Suites for Orchestra, BWV 1066- at about the same tempo as Ristenpart does, Performance:Delightful 1069.Ars Rediviva, Milan Munclinger cond. with just an all but imperceptible degree of Recording: Clear SUPRAPHON 1101361-2 two discs $13.96. greater relaxation that makes for greater lilt Performance: Robust, affectionate (not at all inappropriate) and enables the wind It is sheer delight when fine soloists in their Recording:Rich playerstobe alittle more adventurous. own right come together, blend but maintain There's not a hint of an appoggiatura in No. their own individualities, and produce cham- One of the first recordings to draw my atten- 3's Gavotte, but what a beautiful presentation ber music of the highest order. That is pre- tion to the invariably inspiriting musicianship of the much -abused Air! All the playing is on cisely what has happened in this recording of of Karl Ristenpart was this one of the Bach the highest level: beautiful, rich (but not too music by J. S. Bach's oldest and youngest suites, made by the Club Francais du Disque, rich!) string tone, crackling -clean winds. The sons and one grandson. originally issued here on Everest's Counter- sound quality, too, is as good as or better than The music itself, beautifully crafted, witty, point/Esoteric label in the early 1960's, and anything Supraphon has achieved heretofore and charming, was obviously written for ga- reissued about a year ago as Everest set (the date on the labels is1974), though the lant diversion. Its lightness is perfectly caught 3354/2. What struck me in particular was the surfaces of my review discs were marred by in the silvery sound of two flutes heard alone very emphatic appoggiatura in the opening some audible gouges (easy enough to check in the fascinating Wilhelm Freidemann duet. phrase of the Third Suite's Gavotte: it was for this, since Supraphon discs generally are There is slightly more weight to the Wilhelm rather a shock, and seemed grotesque at first, not "factory sealed"). R.F. Friederich Ernst trio, in which the flutes are but after hearing this one a few times, listen- joined by a viola. The fullest sound and finest ing to any other version was like listening to BEETHOVEN: King Stephen-Incidental Mu- music is heard in the two Johann Christian an "Add -a -Part" record with one of the in- sic, Op. 117; Elegiac Song, Op. 118; Opferlied, quartets, both with flutes and cello but one struments missing. In general, all Ristenpart's Op. 1216; Bundeslied, Op. 122; Calm Sea and with viola and the other with violin. The per- tempos are sensible, and his phrasing is as Prosperous Voyage, Op. 112. Lorna Haywood formances, razor-sharp and elegant, bring filled with life as it is devoid of stuffiness; the (soprano); Ambrosian Opera Chorus; London forth the joy of the sophisticated pre -Classi-playing itselfisnever less thanfirst-rate Symphony Orchestra, Michael Tilson Thom- cal style. S.L. (Roger Bourdin is the flutist in Suite No. 2, as cond. COLUMBIA M 33509 $6.98. Maurice Andre leads the trumpets in Nos. 3 Performance:Fine RECORDINGS OF SPECIAL MERIT and 4), the ensemble seems just the right size, the sound is quite good, and the pressings Recording: Excellent J. S. BACH: Suites for Orchestra, BWV 1066- themselves exceptionally clean. There is no This is a most enjoyable Beethoven compen- 1069.Saar Radio Chamber Orchestra, Karl comparably attractive set of the Bach Suites dium, even though the "Late Choral Music" at anything like the modest Sine Qua Non title of the album applies to opus numbers price, and only two or three as fetching in any rather than composition dates. Only the pray- Explanation of symbols: price category. erful Opferlied in its fourth (1824)settingand = reel-to-reel stereo tape One of these may well be the new Munglin- the delectable Bundeslied (to text by Goethe) = eight -track stereo cartridge ger version, which strikes me as the mostwould reasonably qualify as late composi- = stereo cassette successful Bach release so far by that scholar - tions, while the other items were composed = quadraphonic disc conductor's Prague ensemble. (The Ars Re- between 1811 and 1815. In any event, this is E = reel-to-reel quadraphonic tape diviva of course uses period instruments; allrarely performed Beethoven. The King 111 = eight -track quadraphonic tape Ristenpart uses modern ones.) Munglinger Stephen music, commissioned for the opening prepared his own performing edition and proof a new theater in Budapest, is a pleasing Monophonic recordings are indicated vides a brief, nontechnical written introduc- amalgam of classic and Magyar elements. The by the symbol M tion, in which he makes mention of "joy from Elegiac Song is Beethoven at his most tender, the very performance of music" and "a true and the Calm Sea portion of Op. 112 is a fine The first listing is the one reviewed; picture of life." These qualities really do come example of his mature slow -movement man- other formats, if available, follow it. through-and abundantly. Munclinger invests ner. The Bundeslied, with its charming wood- the overtures with more weight than Risten- wind -choir accompaniment, is new to me, but 98 STEREO REVIEW I'llbet it's sung by every schoolchild in at composing scores for movies and televi- yet become one of the most popular works in Austria and Germany. sion. Although he had formal training in har- the repertoire. Gelber's exuberance, leavened Michael Tilson Thomas and the splendid mony and counterpoint, it was listening to with subtle discipline and a fine sense of pro- Ambrosian group turn out performances both records that shaped his composing style- portion, is utterly captivating in the rhapsody vital and richly atmospheric, and Lorna Hay- especially the records of Duke Ellington, as well, and the EMI -originated sound is ex- wood does a creditable job in the Opferlied. whom he later met. This Suite for Flute and cellent in either two -channel or quadraphonic The production work on the recording is abso- Jazz Piano reflects the Ellington influence but (SQ) playback. R.F. lutely first-rate throughout. D.H. calls on the resources of the classics to shape its form. BRIAN:Symphony No. 10; Symphony No. 21. BIZET: Carmen. Regine Crespin (soprano), Jean-Pierre Rampal is one of the best flute Leicestershire Schools Symphony Orchestra, Carmen; Jeannette Pilou (soprano), Micaela; players in the world, and his playing does James Loughran and Eric Pinkett cond. UNI- Gilbert Py (tenor), Don Jose; Jose van Dam much to add to the appeal of this series of CORNRHS313 $7.98. (baritone), Escamillo; Maria Rosa Carminati rather bland pieces of music, hard not to like Performance:Passable to remarkable (soprano), Frasquita; Nadine Denize Xmezzo- but equally hard to recall afterwards. The in- Recording:Good soprano), Mercedes; Pierre Thau (bass), Zu- tertwining of blues motifs with the Baroque niga; Remy Corazza (tenor), Remendado; idiom has been tried before, and the charms of Havergal Brian died at the age of ninety-two Jacques Trigeau (baritone), Dancafre; Paul Bolling'simprovisatory approach tendto in 1972, having composed thirty-two sympho- Guigue (baritone), Morales. Orchestre Phil- wear thin over such an extended score, denies, more than half of them after he was eigh- harmoniquedeStrasbourg;Choeursde spite the variety in pace and mood afforded by ty. His extraordinary music will have to await ('Opera du Rhin, Alain Lombard cond. ERA-Fp an lrlandaise which turns out to be based on considered evaluation in America until a wid- STU 70900/902 three discs $20.94. our old friend Greensleeves, a flashy passage er cross-section of it becomes available on for bass flute called Versatile, and a headlong records, but that may not be very far in the Performance:Fairly good finale marked Veloce. While it's all going on, future. Symphonies Nos. 6 and 16 have been Recording:Good, but lacks drama the sound of Rampal's dazzling flute, abetted recorded in England by Lyrita and probably There are many ways of doing Carmen, and I by almost muffled drums and murmuring will be released here by Musical Heritage doubt therefore that we will ever have a re- string bass, certainly makes for attractive lis- Society, and No. 22 has been done by CBS in corded performance to please all tastes. This tening. But Bolling's music tends to go round England, together with Psalm 23 and the French import, alas, comes nowhere near in circles, and, what with the tenuous quality English Suite No. 5. reaching that elusive goal. of the thematic materials, you wind up pretty Unlike the gargantuan Gothic Symphony, In common with such eminent interpreters much where you were when it started. P.K. HavergalBrian's Tenth and Twenty-first as Karajan and Bernstein, Alain Lombard Symphonies are relatively brief and highly favors slow tempos which, in this case, teeter RECORDING OF SPECIAL MERIT condensed in expressive substance. The mu- frequently on the brink of somnolence (the sic is not very "English" except, perhaps, in opening of the Danse Bohemienne, to cite one BRAHMS:Sonata No. 3, in F Minor, Op. 5; the march episode in the finale of No. 21. In instance). His chorus and orchestra perform Rhapsody in G Minor, Op. 79, No. 2. Bruno - some respects, the Brian idiom as represented well enough, but Lombard has neither the vir- Leonardo Gelber (piano). CONNOISSEUR SO- here ranges all the way from the super -density tuoso control of a Karajan nor the rhythmic CIETY CSQ 2084 $6.98. of Schoenberg to the bleakest spareness of contagiousness of a Bernstein. Shostakovich and Sibelius. The one -move- Performance: Exuberant ment No. 10 has something of a Mahleresque The standout vocal performer is Jose van Recording: Excellent Dam, whose dark and manly baritone is ideal ambiance, but the message and the means of for Escamillo. A singer with style and pa- It becomes tiresome. I'm sure, to read about stating it are wholly Brian's own. The brief nache, he belts out a firm, resonant Toreador youthful performers playing youthful works storm episode midway in the piece has as Song and later handles his brief but telling bit youthfully, but what a stunning illustration of much elemental terror as one can know in in Act III with sensitivity and a great under- that notion we have here! Brahms was all of music, even without resorting to synthesizer standing of character. Gilbert Py appears to twenty when he wrote the sonata, Gelber is and electronic sound technology. be a well -seasoned Don Jose, but his tones thirty-four now; fire and spontaneity are the Symphony No. 21 is a more expansive and are unappealing most of the time. Jeannette chief characteristics of his performance, as relaxed piece, with a densely polyphonic Pilou's Micaela is better, but in no way out- they are of the music. The sonata comes to opening movement, a ruminative and occa- standing. life as it rarely does, every section vibrant, sionally acerbic slow movement, a brilliant Regine Crespin is a laudably unmannered glowing, and convincing; every time I listen to scherzo, and a highly effective finale. How- Carmen who communicates a natural sensual- it I become more convinced that this might ever, it needs an orchestra of more virtuosic ity without extravagance. There is charm and intelligence in her interpretation, and there are flashes of tonal allure as well in the mid- range and at moderate dynamic levels. Her voice is not always under full control, how- CLAUDE BOLLING, ever, the tones growing harsher within- JEAN -PIERRE RAMPAL:' creased volume and the intonationoften intertwining blues motifs straying from dead center. with Baroque riffs While the overall sound quality is good, there are few signs of any real "production" in this set. Stage effects are scarcely realized, the chorus is not deployed with any apparent degree of dramatic imagination, and many effective bits of action (such as Carmen's dramatic escape at the end of Act I) therefore fall flat. GJ.

BOLLING:Suite for Flute and Jazz Piano. Jean-Pierre .Rampal (flute); Claude Bolling (piano): Marcel Sabiani (drums); Max Hedi- guer (string bass). COLUMBIA M33233 $6.98. Performance:Sweet and smooth Recording:Excellent Claude Bolling, born in Cannes, acquired a reputation in France as a jazz piano prodigy at the age of fourteen. He went on to perform with such great jazz musicians as Sidney Be- chet and Lionel Hampton and to try his hand FEBRUARY 1976 99 capacitythanthatoftheLeicestershire Schools ensemble to do it justice. The Tenth Symphony comes off better, receiving under James Loughran's capable baton a highly satisfactory realization. The recorded sound, mostly very good, is ample in weight and pres- SAVE ence and warmly reverberant in its acoustic riikinE! surround. D.H. MONEY TIME FREIGHT TOP QUALITY GEAR DURUFLE: 16 QUALITY STEREO EQUIPMENT LOWEST PRICES Requiem, Op. 9; Prelude et Fugue AT LOWEST PRICES. PROMPT DELIVERY sur le Nom d'Alain, Op.7.Robert King (treble); Christopher Keyte (baritone); Ste- N, YOUR REQUEST FOR QUOTA- SAVE ON FREIGHT phen Cleobury (organ); Choir of St. John's TION RETURNED SA ME DAY. SELECTION College, Cambridge, George Guest cond. j!kc FACTORY SEALED CARTONS- ARGO ZRG 787 $6.98. ROYCE CB PANASONIC GUARANTEED AND INSURED. Performance:British SAVE ON NA ME BRANDS LIKE: KENWOOD DYNACO Recording: Good PIONEER A.D.C. KLH SANSUI Thehandful of works from the pen of French A.R. SHURE DUAL BIC organist -composer Maurice Durufle (b. 1902) DYNACO KOSS and more than 50 others over the past fifty years has achieved classic SONY FISHER

status among organists and choirmasters - PIONEER throughout the world, and most of it has been PLEASE REQUEST PRICE QUO- AND MORE THAN 50 OTHERS TATIONS ON YOUR CHOICE recorded at various times. Durufle's 1947 Requiem, a lovely work in the Faure mold BUY THE MODERN WAY OF QUALITY STEREO GEAR (even to the omission of the Dies !roe se- BY MAIL-FROM quence), is woven in large part around Grego- rian motifs. Scored originally for soloists, Component chorus, and orchestra, it also has an organ version, which is the one recorded here. The present Argo disc includes the cello obbligato Discounters for the Pie Jesu, sung by a boy soloist instead of by the mezzo-soprano heard in the compoS- DEPT. 2175R er's own recording of the orchestral version audio 24020 ONEIDA issued here on Epic in 1963 and still available Department217S OAK PARK, MICH. 48237 on Musical Heritage Society. 12 East Delaware 313-559-1270 This is so essentially a British -church -choir treatment of Durufle's music that I just can't Chicago, Illinois60611 recommend it, especially when the excellently 312-664-0020 CIRCLE NO. 11 ON READER SERVICE CARD recorded fully scored version by the composer himself is still available. Organist Stephan CIRCLE NO. 26 ON READER SERVICE CARD Cleobury is capable in the effective Prelude et Fugue, but the Musical Heritage Society disc offers a truly authentic reading by Mme. Du- "My father built this SAVE ON rufle-Chevalier. D.H. Schober Organ DVORAK:Slavonic Dance in E Minor, Op. 72, for me!" Brand Name Audio No. 2 (seeSCRIABIN) GOUNOD: Petite Symphonie for Winds. Paul Dunkel (flute); Rudolph Vrbsky, Allan Vogel (oboes); Frank Cohen, John Fullam (clari- Write Today for Our nets); Alexander Heller, Vincent Ellin (bas- FREE Audio Catalog soons); Robert Routch, E. Scott Brubak- DIXIE is one of the oldest and largest audio compo- er (horns). MOZART: Serenade No. I1, in R- nent mail order houses in the country. Our prices on brand name components are actually LOWER than ile Major (K. 375). Richard Woodhams, You'd be proud to buy her an organ this "Discounters".See our new catalog or call us for a RudolphVrbsky(oboes);Frank Cohen, good...but how would you feel if you'd alsobuilt price quote.Everything shipped factory -sealed with it? It's a special kind of satisfaction. The gift of a full manufacturer's wa ranty. Richard Stoltzman (clarinets); Eric Arbiter: lifetime of magnificent music, crafted with your own hands! Alexander Heller (bassoons); Robert Routch, And you can do it! You need no prior elec- NEWM i .. ..--N HUSS . 1. ,arg. MIKAMBOAll John Serkin (horns). MARLBORO RECORDING tronic or mechanical abilities. Just the capacity to 11=11 11114 1 1, b. SOCIETY MRS -8 $7.00 (from Marlboro Re- follow instructions. Every step is clearly detailed, Master Charge / BankAmerica d 1111 ?7' ICI ,le) every component is supplied. You'll find the as- honored an mail orders cording Society,5114 WissiomineRoad, sembly process as enjoyable as the music which Washington, D.C. 20016). follows! 11 1 11 011111110 SHURE And what music! For this is a truly fine instru- Nzm ?11(' ment you will build. Far superior to most "ready- MAHAR 0= Performance: First-rate PIONEER made" organs...easily comparable to others at ic..2D.; Recording: Good twice the price. Kit costs range from $650 to $2850 ,,,_._m_ i._.. & SONY Y=:"..,a, 6 for all basic components, and you can purchase it --.1. :;.;... "------. . ; T One of the several sources of worthwhile re- in sections to spread costs out...or have two-year DUAL DYNACO1' time payments. cordings not listed in the Schwann catalog is Just send the coupon for the fascinating the Marlboro Recording Society, formed a Schober color catalog (or enclose $1 for a record SR -2 that lets you hear as well as see the quality of DIXIE HI -FIDELITY few years ago to circulate some of the Marl- Schober). 5600 Second St., N. E., Washington, D. C. 20011 boro Festival material not released by Colum- Phone: 1-202-6354900 bia. The series was produced by Mischa The Please rush me your FREE Audio Catalog and gadoOrgan.Corp., Dept. HR -54 complete intormhbon. I understand there is no Schneider, the longtime cellist of the Buda- 43 West 61st Street, New York, N.Y. 10023 obligation. pest Quartet, with engineering by some of I 0 Please send me Schober Organ Catalog. Name Columbia's staff and some well-known inde- I 0 Enclosed please find $1.00 for 12 -inch L.P. record of Schober Organ music. Address pendents (such as Marc Aubort); all the recordings offered are of live performances- U City INAME I State Zip before some of the most cooperative audiences anywhere. Both sides of this disc exude I ADDRESS U Ls CITY (Continued on page 103) STATE ZIP 100 CIRCLE NO. 43 ON READER SERVICE CARD STEREO REVIEW a-

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POSTAGE WILL BE PAID BY- Stereo Review P.O. BOX 2908 CLINTON, IOWA 52732 1976 STEREO DIRECTORY & BUYING GUIDE Whether you're shopping for your very first stereo or quadraphonic system or trading up components on a sophisticated rig, you'll get happier results If you shop FIRST CLASS first in the 1976 STEREO DIRECTORY & BUYING GUIDE. PERMIT NO. 217 Itincludes more than 1500 products-listed by manu- CLINTON, IOWA facturer, each with model number, complete specifications, and price: 4 -Channel Components Phono-Cartridges B USINESS REPLY MAIL Amplifiers and Arms Tuners NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES Cassette, Open -Reel and Receivers Cartridge Tape Machines Hi-Fi Compacts Headphones and POSTAGE wit.r BE PAID BY- Changers and Turntables Microphones Speaker Systems Raw Tape and Accessories

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Mail your order along with your name, address and B USINESS REPLY MAIL remittance in the amount of $2.25 ($1.95 plus 30c NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES for postage and handling) for each copy ordered. MAIL TO: STEREO DIRECTORY POSTAGE WILL BE PAID BY- CONSUMER SERVICE DIVISION 595 BROADWAY NEW YORK, N.Y. 10012 Stem Review Residents of Cal., Col., Fla., III., Mich., Mo., N.Y. State, D.C. and Tex. add applicable sales tax (postage and handling P.O. BOX 2908 charges non-taxable). CLINTON, IOWA 52732 the exhilaration that comes from the meeting of happy performers with appreciative listeners, and, both musically and technically, the standards are comparable with those of most studio productions. DISCOUNTS' Gounod's Petite Symphonic has not been available onrecords for years, and it is agem. WASH. D.C. The first movement has an intriguing Russian flavor, and, just when one thinks to question HAS NOFAIR it, the ensemble reinforces that impression by TRADE simulating the sound of an accordion in a STEREO COMPONENTS dancelike passage. The rest is typically Gal- LAWS! ON lic, distinguished as much by its imaginative- Largest selection of top name ness as by its refinement. (Gounod was in his brands.try us and see late fifties when he composed the Symphonic, STEREO with Faust more than fifteen years behind him.) Both the Gouned and the Mozart re- ceivereallyfirst-rateperformanceshere. its worth a call COMPONENTS Unfortunately, the Mozart will represent a duplication for many collectors, since most PLEASEREQUEST recordings of the great C -Minor Serenade, K. (301)488-9600 Pricesfor yourchoiceof 388, are paired with K. 375, but this is music Changers,Receivers,Tape eminently worth duplicating, and the Gounod, Recorders,Speakers,etc. in any event, is too attractive to forgo. A more PROMPTDELIVERY serious complaint might be registered over the .44)",11,1,1,111)fihdi11,7 INFACTORY decision to include the applause at the ends of SEALED both sides: in the hall it is surely welcome, /41/4/0))11/ill I 1 CARTONS. and one wants to join in, but in one's own listening room it only dispels the mood. R.F. # /ifIT DISTRICT HAUBIEL:Metamorphoses (Variations on a Theme by Stephen Foster).LEGINSKA:Three 6330 Frankford Ave. Victorian Portraits. Jeaneane Dowis (piano). Baltimore, Md. 21206 SOUNDINC. ORION ORS 75188 $6.98. 2316 RhodeIsland Ave.N.E. Performance: Incisive All mail answered within 24 hours Washington.D.C.20018 Recording:Very good Phone Daily 9 AM to 9 PM 2 0 2 - 8 3 2- 19 0 0 Charles Haubiel got the idea of writing his Saturday 9 AM to 4 PM series of variations on Stephen Foster's Se - Phone (301) 488-9600 CIRCLE NO. 56 ON READER SERVICE CARD 11once River when he was giving a music appreciation course at New York University CIRCLE NO. 27 ON READER SERVICE CARD back in 1924. He decided to make his intro- Saveby mail ductory lecture "a survey of the complete spectrum of music literature from the Plain Chant of 600 AD to the experimentations of onMusicSystems. the 20th century." To dramatize the subject, Haubiel took the Stephen Foster tune and AUDIO OurBigCatalogShowsHow! subjected it to a series of treatments in the Send todayforyourFREEcopyofour styles of medieval, Romantic, post -Romantic, 68 -pagecatalog.It's value -packedwith Impressionist, twentieth-century experimen- NATIONAL completemusicsystems, top-brandcom- talist, and finally American jazz composers. A ponents,accessories,plus hundredsof first-rate parodist with an accurate ear for the i/VO HEADQUARTERS uniqueitems-andmore. There'sa handy mannerisms of everybody from Palestrina to "Hifi Primer,"featurearticles,alltohelp Stravinsky, Haubiel brought his Metamor- For Famous Brand 71.-:-, you have bettersound. phoses off so effectively that Paramount Pic- tures made an educational short using a sim- Electronics By Mail g1 We have twobigware: 333 N. Michigan Ave. Suite 2025 L=MB houses to serveyoufast plified version of the suite, and he later gave a Chicago, IL 60601 (312) 293-1825 sal UMOrd.. Sono and keep freightlow; series of radio talks over WNYC in New York using the same method of illustration. AllOrders Shipped In r="' and, your USandCana- Factory -Sealed Cartons --1 dian BankChargesare Metamorphoses is an entertaining form of 1.... Write Or Call for welcome. pedagogy and remains musically valid so long as it toys with the musical accents of Bach, The Lowest Prices Mozart, Beethoven, the early Romantics, and Anywhere! even the French Impressionists, Scriabin, and ...... MidwestHill early Schoenberg. By the time he gets to MILLION 35$ INVENTORY Gershwin, however, the composer is relying Wholesale on such obvious references and devices that and MailOrder Division the whole enterprise bogs down in a kind of LOWEST PRICES ON RECEIVERS TURNTABLES TUNERS 1626OGDENAVENUE (US341 heavy-handed long-windedness. Still,there CHANGERS CARTRIDGES (312(852-5885 SPEAKERS DOWNERSGROVE,ILLINOIS60515 are delightful parodistic stretches along the TAPE DECKS AMPLIFIERS HEADPHONES COMPACTS CAR AUDIO 3309 EASTJ. W.CARPENTERFREEWAY(Texas1831 way, and the work aids understanding of how CALCULATORS IRVING,TEXAS75062(2141 438.5272 the language of music altered from one period Top DiscountAudio 333N Michigan SR -1 (312) 293-1825 Call fora quote.Lines open 1-4p.m.C.T. to the next. We honor Master Charge and Date Mail thiscouponfor your FREEcatalog. The record is filled out with three interest- Bank Americard. ing fragments by Ethel Leginska (1886-1970), Please send me a quote on Illinois60511 7Mailto: MidwestHifi,P.O.Box567, Downers Grove, an Englishwoman who changed her name 1 from Liggins to the Polish -sounding Leginska 0 MR. I NAME 0 MS. I because her teachers told her it would help (Fir. ADDRESS I her career. Evidently it did, for she became Number Anclslreml I I i.2.p Coast urritSTATE ZIP ,_-R±2_1 (Continued on page 106) CIRCLE NO 52 ON READER SERVICE CARD FEBRUARY 1976 103 GG NAVEYOUamong the greatest Bach recordingsever made" HEARD? 8

BEVERLY SILLS PlIDPf NOSTELPtif12 Music of itaritiel

NATHAN MILSTEIN PAUL ZUKO?SKY `Unaccompanied `Bach C0I) THEsix works J. S. Bach wrote for solo vi- and Suk. Some of them have even recorded olin in 1720 are a product of his Cothen them twice, as has Nathan Milstein, whore- years, a period when he produced a whole corded the group in the mid -Fifties for Capitol repertoire of chamber and solo instrumental and now has a new set on Deutsche Grammo- pieces including six unaccompanied suites for phon. The earlier effort, an admirable and cello plus a similar partita, or suite, for solo much admired set of performances, isno flute. Though Bach was primarily a keyboard longer available, but in any case it is certainly player, he was thoroughly experienced with superseded by what must surely rank as the the violin, for he had been hired as a perform- seventy -year -old Odessa -born violinist's er on that instrument in his earlier Weimar pe- crowning achievement. His interpretation, riod. One might well wonder, however, what immaculately recorded by DG in a penetrat- his own performances might have sounded ingly clear yet warm ambiance, is so extraor- like in works such as these or what other vio- dinary that this three -disc album not only linists of the time might have made of them, must be rated as one of this year's finest re- so formidable are their technical difficulties. leases but deserves to take its placeamong Other composers, including Heinrich Biber, the greatest Bach recordings ever made. had treated the violin as a polyphonic instrument before Bach did. But consider the idea FIRST,Milstein's playing is impressive on of writing a four -voice fugue for a four- purely technical grounds. So often these stringed instrument that can sound only two works tend to sound as though the performer strings at a time with a normal bow, and you is just barely going to make it through, espe- begin to appreciate the enormous imagination cially in the contrapuntal convolutions of the of Bach's conception (as well as that of some sonatas' three fugues; even at best, the rapid of his predecessors). arpeggiation necessary to sustain three or The six unaccompanied violin pieces are four melodic lines all at once frequentlyre- grouped into two sets, one of sonatas, one of sults in an unpleasant scratchiness, not to partitas, the former being in the old church- mention moments of less than ideal intona- style four -movement (slow, fast, slow, fast) tion, so that the music seems to set a superhu- form, the latter suites of dance movements. man, not really achievable task. Well, it sim- The single best-known movement undoubted- ply does not sound that way in Milstein'sre- ly is the famous Chaconne, which occurs as cording. Moreover, the comparativeease the final movement of the Partita No. 2, in D with which theviolinistnegotiates these Minor, but there are others that have over the scores is not a result of slower than usual tem- years become almost as faMiliar-the virtuos- pos; there is enough brilliance, dash, and ic Preludio from the Third Partita, for in- sprightliness to keep the listener almost on the stance. If, in the realm of Bach's vocal music, edge of his chair. the Mass in B Minor and the St. Matthew Pas- Technique aside, Milstein's renditions have sion are considered among the most exalted, an unusually human quality. I find these to be we must place the works for solo violin at awarmly expressive readings in which themu- similar peak in the composer's instrumental sic is allowed to flow forward sensibly and the output. New Albt rhythms evoke all their dance origins. Slow ms On Over the years, many of the most distin- movements, too, are handled in a wonderfully Angel Records guished violinists have committed the six graceful manner. Finally, there is Milstein's pieces to disc, among them Enesco, Gru-sense of pacing, which is something quite &'-Tapes miaux, Heifetz, Menuhin, Szerying, Szigeti, apart from his judicious choice of tempos.

CIRCLE NO. 6 ON READER SERVICE CARD 104 STEREO REVIEW Rather, it is revealed in a subtle rhetoric that causes a movement such as the Chaconne to The AmplifierTester build and grow from one climax to another. The pulse is always strong, the architecture Only one name in headphones-STAX always apparent, and the rubato-like inflec- tions clarify the sentence structure of Bach's -can transduce musical depth to phrases. Tonally, Milstein's playing is quite actually tell you which amplifiers are beautiful. To be sure, the sound of the violin attack, the Romantically oriented longer -line "thin" sounding (some are very expen- approach,andtheequallyRomantically sive) and which amplifiers are "musical" influenced approach to ornaments are far removed from the violin sound and Baroque in their sound definition. performance practice style used by, say, the Concentus Musicus of Vienna. Perhaps some STAX-a courageous small company day soon we will be hearing a recording of the dedicated to ultimate high- six sonatas and partitas played on an authentic, short -necked instrument with the proper fidelity. STAX Electrostatic bow. It will be fascinating to hear, but will it, I wonder, be able to communicate on the exalt- Headphones: so definitive ed level of Milstein's superb achievement? they are known as the "Ampli- Styx. 0 IHAVE been an admirer of Paul Zukofsky fier Testers". Ask for them since first hearing him in the early Sixties where the best audio when he was still in his teens. He has grown into an extremely accomplished virtuoso, spe- products are tested first- cializing particularly in contemporary music then sold. $235.00 but able to take on the music of any period, whether it be by Paganini or Bach. His set of Exclusively distributed in the USA, the unaccompanied Bach, on Vanguard, is in many ways impressive, not least in its bril- with integrity, by liance and drive. Here, trills are performed 411k,, in the accepted eighteenth -century manner American Audioport Inc. (though one could argue about an appog- 909 University Avenue, giatura or two), and the violinist has obviously thought out his interpretations, including Columbia, Missouri 65201 the matter of bowings and phrasings, with STAX more than just the usual attention. However, American Audioport Inc. there is an almost unremitting aggressiveness 909 University Ave., Columbia, Mo. 65201headphones to most of Zukofsky's fast movements, resulting in a definite lack of repose. Baroque music does contain tension, but there must be moments of release as well. The slow movements of the sonatas are MEET THE FAMILY... Revue A700 perhaps the most satisfying here, and they convey a gracefulness not often heard in Zu- kofsky's treatment of the dances in the partitas or the sonata fugues. Overall, I find that Our companies have beerinthe microphone the choice of tempos in the fast movements is business now for over 40' often too rapid for the context, for harmonic year. clarity, and for the structure of phrases; even dynamic contrasts, as in the opening of the In that time we have built up quite a ThirdPartita,are almost manneristically professional mixers, excessive. That Zukofsky can play these ape=recorders,

works technically is beyond doubt, and I P19011idtP5', . would welcome the opportunity to hear what Revox A77 he will be doing with this repertoire in another All of these products five or ten years when he has rethought the Lamb PML422 problems of Baroque dance movements and are made to the same high acoustic and mechanical Revox 9720 tempos, and, not least, perhaps adopted a quality that has set stan- more detailed and expressive manner of dards throughout the world.For example, .f phrasing than he presently espouses. Van- Beyer guard's sonics are excellent, and Paul Zu- your finances do not quite Beyer M500 kofsky has provided a well -documented set of run to a new Revox tape recorder,trytofind 3 ' Beyer M260 program annotations; the pressings submitted secondhand one - in stove for review were, however, plagued by surface condit on It will outper- pops and ticks. -Igor Kipnis form other makes of new equipmentatthesame price!. J. S. BACH: The Six Sonatas and Partitas for Unaccompanied Violin (BWV 1001-1006). Na- Au ofour familyis descriredin great detailina ,..-:>' ee series of technical data sheets and application charts.If than Milstein (violin). DEUTSCHE GRAMMO- ,..1°° ,," PHON 2709 047 three discs $23.94. you are at all interested in better equipment, mail the attached coupon to: ./'. .00`via 16:::::;:e rre ed''' J. S. BACH: The Six Sonatas and Partitas for ../"%, ea' .../ , cz Unaccompanied Violin (BWV 1001-1006). Paul R EVOX 0..,,se, /¢* VamV Ng. Zukofsky (violin). VANGUARD VSD 71194/5/6 155 MICHAEL DRIVE. se \ ' ..0. ,,s. three discs $20.94. SYOSSET, NEW YORK 11791 I°P "' eN .e. SMF +,1.,6,,' %. 11111111111. .4" -11 FEBRUARY 1976 105 the first woman conductor to tour the U.S.A. Bruno Turner cond.DEUTSCHE GRAMMO- captured not only the poetic nuances of with her own orchestra. Shewasan outstand- PHON ARCHIV2533 290 $7.98. French, Italian, German, and Latin, but also ing pianist and wrote many published compo- the mood of his texts, be they lighthearted and sitions, of which theseThree Victorian. Por- LASSUS: Missa "Bell' Amfitrit' Altera"; Peni- witty or serious and sombre. These two al- traitsfor piano constitute a neat and pretty tential Psalm VII. Choir of Christ Church bums demonstratethecomposer'slatter example. Nothinghereeverbroke new Cathedral,Oxford, SimonPrestoncond. mood: one of penitential grief and subdued ground, but the music is attractive and it is ARGOZRG 735 $6.98. faith. This is by no means to be taken as a crit- incisively played by pianist Jeaneane Dowis, icism but is offered simply as a caveat to those who brings considerable virtuosityto the Performances:Excellent Recordings:Excellent who, recalling Lassus' lighter side, might ex- ambitious Haubiel work as well. P.K. pect a little joy and merriment. The various ways Orlando di Lasso (or Ro- Although both of these performances are HERBERT: The Music of Victor Herbert (see land de Lassus or Orlandus Lassus) spelled excellent, each takes an entirely different ap- Best of the Month, page 73) his name reveal him to be one of the most proach to the music. The Choir of Christ cosmopolitan of Renaissance composers; he Church Cathedral is a large one consisting of LASSUS:Penitential Psalms IV and I. Motets: was also one of the most prolific, writing in boy sopranos, counter -tenors, and standard Ave Regina caelorum; Salve Regina; 0 mors, every vocal genre known at that time: Italian men's voices. Singing without instrumental quam amara est. Pro Cantione Antique, Lon- madrigals, French chansons, German lieder, accompaniment, their sound is resonant and don: Hamburger Blaserkreis fur Alter Musik, Masses, and motets. A superb craftsman, he sumptuous asonlyanEnglish cathedral choir's can be. Preston bases his expression on the meaning of the words and is not afraid of contrasts in volume and tempo. Especially telling is his reading of the Mass, which is For 14 Years written in the Venetian manner employing a dividedchorus. UnlikethePenitential Psalms, the text of the Mass invites contrast We've Filled Mail Orders of mood. The Pro Cantione Antique is a chamber The Way Customers Like group of twelve singers consisting of counter- Ordering records, tapes, cassettes, blank tapes by mail can be a great convenience, tenors, tenors, and basses. The vocal parts are and cansave youloads of money. Of course, you have to deal with a company like doubled by Renaissance instruments.Al- NATIONAL RECORD PLAN that's established, successful, and that believespleasing though their sound is not as lush as that of the the customer is the only way to keep the customer. That's the waywe do business. We are not a club-we are the leading independent record and tape mail order firm Christ Church Cathedral Choir, it has a clari- in the U.S. We send fresh, perfect records or tapes, packedso that damage seldom ty of line that is the result of the contrasting occurs. We double-check to prevent errors. We send CASH refund if (on rare occa- timbres offered by the various instrumental sions) we can't deliver. So order up, all you want, at these really fantastic discounts. SALE ENDS FEBRUARY 28.1976. doublings. Rather than coloring each word, this group maintains a more even flow of tempo and volume and relies on the music alone to underscore the meaning of each word. RECORDS Certainly both means of performance are OFF ALL LABELS, ALL ARTISTS musically valid, but one must point out that TuOp 5070 LIST! ALL SELECTIONS, NO LIMIT. the performance of the Pro Cantione Antique For list prices, see Schwann catalog. is historically the more accurate one. As it LIST, PER LP SALE PRICE SAVE GAS, SAVE TIME, SAVE MONEY. It's turns out, though, it is really six of one and a $3.49-3.98 $2.19 hard to beat these prices in any store, any- half -dozen of the other, depending on the lis- where! NEED CATALOG? Send $1for 4.98 2.49 Schwann (records) or Harrison (tapes). or tener's preference in sonority. Be ye histori- 5.98 2.99 $1.50 for -BOTH. If you order catalog. we cally -minded or no, both albums are breath- 6.98 extend Sale ending date to give you more taking if you have a taste for Lassus at his 3.84 time to order. most sombre. S.L. 7.98 4.39For all other list prices, your discount is 45%. LEGINSKA:Three Victorian Portraits(see 8 -TRACK or CASSETTE HAUBIEL) (Prerecorded) TAPES MENDELSSOHN: Symphony No. 1, in C Mi- AMPEX BLANK 7' $7.95list. $4.99 each nor, Op. 11; Symphony No. 4, in A Major, Op. All other catalog prices, take off 33% 90 ("Italian"). Hamburg State Philharmonic REEL-TO-REEL RIOT! discount. NEED CATALOG? See cata- Orchestra, Gary Bertini cond. BASF K BC- Excellent SHAMROCK 1800 ft. log okay above. 22068 $6.98. Incredible 1 to 24 25+ ALL LABELS, NO LIMIT Performance:Ingratiating All perfect $1.25 $1.11 Request our CURRENT TAPE BARGAINS Recording:Good SHEET. Our bargains may strike you as in- 20/20+ 1800ft. 1 to 9 io+ credible. but everything is guaranteed top Gary Bertini, the Israeli conductor otherwise #37315 $4.19 $3.99 quality, splicefree, fresh. No limit on quantity represented on disc in this country only in -we serve many studios. - 364-C90 CASSETTE RIOT! - works of Webern and Weill, shows a very Buy 3, get 1FREE, plus FREE STACKETTE. 4 sympathetic feeling for Mendelssohn in these Cassettes(reg. 52.39 ea.) plus holder ALL NATIONAL RECORD performances, and he draws first -level playing ,.....FOR 56.99. PLAN (not a club) from the Hamburg orchestra. His way with OUR GUARANTEE 440 the music is clearly affectionate, yet never Cash refund if we can't deliver. Record or Dept. SR, 44 West 18th St., indulgent: rhythms are springy but not "driv- tape replaced at no charge, after one play, New York, N.Y. 10011 en." The C -Minor Symphony has had no if defective. more persuasive advocate in its few record- (01IDER NOW. SALE ENDS FEB. 28,1976. List items wantedon any sheet of paper. Give: ings to date (though I miss Louis Lane's ver- ARTIST, TITLE (LABEL and NUMBER, if known), PRICE sion on Columbia, which included both the 1 State whether LP, 8 -TRACK or CASSETTE original Menuetto that Bertini conductsand Type or print YOUR NAME, ADDRESS, ZIP CODE the Scherzo from the Octet that Mendelssohn (If not sure of price, send enough to cover-we will immediately refund any overpayment.) I orchestrated as a substitute third movement), HANDLING CHARGE-Ours is low 85¢ for FIRST LP or tape. 15$ for EACH additional LP or tape Add applicable local SALES TAX. Please send check or money order for total and this very genial account of theItalian (sorry. no CODI. MASTER CHARGE/Interbank accepted-give name on card, number. ) holds itsown surprisingly wellin a field expiration date. and sign order Minimum credit card order, $10. crowded with recordings by more celebrated 1.1ATIONAL RECORD PLAN, Dept. SR. 44 West 18th St., New York, N.Y. 100104 conductors. In the opening phrase Bertini in- 111 *Or dicates that he is more interested in lyrical CIRCLE NO. 35 ON READER SERVICE CARD 106 STEREO REVIEW tra,FelixSlatkin cond. ANGEL S-36086 $6.98. Performance:Welcome Recording: Aging gracefully Although it doesn't say so, even in the tiny type reserved at the bottoms of record albums for such admissions, this complete recording of Grate Panisienne is a reissue of the old Capitol SP 8405. But that the album was worth reissuing there is no question. The ballet, with its Toulouse-Lautrec decor, its Flow- er Girl, cocodettes, Glove Seller, Duke, Bar- on, can -can girls, and Peruvian carpetbagger who arrives on the scene with his luggage, was an instant success when it opened at the Theatre de Monte Carlo in the spring of 1938, and the score still glitters today. The music has been recorded many times, notably by Antal Dorati with the Minneapolis Symphony in a version that is still available on the Mer-

11.:,r cury label, but this complete treatment is a 1 in, mite less hard -driving and the sound is still Most effective isn't remarkably good. Recommended-if it cleaning system ORLANDO DI LASSO (1532-1594) already on your shelf-for raising drooping P.K. Easy ... Thorough ... Safe spirits. Cleans 'em all ... LP's, 45's, 78's flow than in hard brilliance, and this relatively Removes static... Leaves no residue relaxed(butneverdevitalized)approach RECORDING OF SPECIAL MERIT No electricity...You Spin & Clean emphasizes the radiant freshness of the work. Records R.F. RACHMANINOFF:Piano Sonata No. 2, in B - Special concentrated Record Wash flat Minor, Op. 36; Variations on a Theme by solution MILHAUD:Saudades doBrasil;Trois Corelli, Op. 42. Jean -PhilippeCollard (piano). Gentle plush scrubbing pads get Rag -Caprices; Le Printemps (see Best of the CONNOISSEUR SOCIETY CSQ 2082 $6.98. deep into grooves ... remove for easy cleaning Month, page 74) Performance: Superb Only $19.95, suggested list price. Recording: A-1 RECORDING OF SPECIAL MERIT Jean -Philippe Collard proves himself once After years of research with all MOZART:Piano Concerto No. 25, in C Major more a splendid and idiomatic interpreter of types of record cleaning gadgets, (K. 503).Ivan Moravec (piano); Czech Phil- Rachmaninoff. Having given us a wonderfully gizmos and gimmicks, Fidelitone harmonic Orchestra, Josef Vlach cond.Fan- satisfying account of the two sets ofEtudes - came up with a simple, direct tasy in C Minor (K. 475).Ivan Moravec (pi- Tableaux,he now proceeds to do likewise for solution ... the Record Washer! ano). VANGUARD/SUPRAPHON SU-11 $3.98. the incredibly difficult Second Piano Sonata Now you can wash your records (the original, uncut 1913 version) and the Co- quickly and easily with this unique Performance: Outstanding relli Variations. Spin & Clean system. Gets out dirt Recording: Good To get an idea of the astonishing range of deep down in the record groove... It has been far too long since we have had a Collard's piano artistry, one should play side gives you maximum performance new recording from Ivan Moravec. Unless two of the Connoisseur Society disc and hear from your old records. Comes I'm mistaken, this release, is only his second the exquisite tonal quality and touching sim- complete with special cloth and concerto disc to be issued here and also only plicity he brings to the initial statement of the enough Fidelitone Record Wash the second on which he plays Mozart; it is Corelli theme-the famous LaFolliatune Concentrate to wash up to 1,000 quite a demonstration of what we have been (which, of course, Corelli didnotwrite) used records! missing. If a more stylish, fluid, exquisitely as the basis of variations by dozens of com- poised statement of the K. 503 Concerto has posers before and after Corelli. Then go to been available at any time, it was one I over- side one and play the wild final pages of the looked. Everything seems so "right" about Second Sonata, where Collard's pianistic this performance that once it began I simply thunder and lightning would be worthy of FIDELITONE. forgot about Moravec and just listened to Mo- even the great Horowitz. 207 N. Woodwork Lane Palatine, IL 60067 zart. This is not to suggest that the playing Exciting as Horowitz's reading (Columbia THE TOUCH OF MAGIC lacks personality, but Moravec never lets his M-30464) is in its overwhelming nervous ener- in Phonograph Needles, Cartridges, Record Care, and Audio Accessories own push Mozart's from center stage. Placing gy and dramatic contrast, I feel that Collard's the orchestral responsibility in the hands of slightly more relaxed treatment enables us to CIRCLE NO. 19 ON READER SERVICE CARD the chamber -music -oriented Josef Vlach was hear more of the music itself without becom- a splendid idea: the great orchestra plays with ing swamped by the rhetoric. The Second So- nata is one of the most luxuriant of all Rach- a polish, alertness, and subtlety to match Mo- 1976 STEREO ravec's own, and the two elements are ideally maninoff's instrumental works, and, like the DIRECTORY & meshed. The exalted performance of the solo Third Concerto, it yields additional dividends BUYING GUIDE upon close and repeated hearings. The Corelli fantasy that fills out side two is, if anything, All the latest information even more probing and revealing than the one Variations might seem to be merely a prepara- onstereoandquadra- tory essay for the deservedly popular Pagani- phonic systems and com- Moravec recorded for the Connoisseur Socie- ponents for your home. A ty several years ago. All in all, this is an out- ni Rhapsody for Piano and Orchestra, also in complete guide tomore standing release, and the 1973 date on the la- variation form, that came three years later in than 1500 products in all -with complete specifi- bel not only explains the fine quality of the 1934. But there are brilliant and fascinating cations,descriptions and sound but encourages me to expect more things in this music for the pianist, and young prices.PLUS bonus feature articles. A must for R.F. Collard makes the most of every possibility anyone concerned with good sound. from this source. Order your copy from Ziff -Davis Publishing Com- without in any way compromising his innate pany, Consumer Service Division, 595 Broadway, MOZART: Serenade No. 11, in E -flat Major musicality. New York,N.Y.10012.Enclose$2.25($1.95 The recording, as processed from Pathe- plus 30c for postage and handling). Outside U.S.A. (see GOUNOD) $3.00, postpaid. Marconi tapes, is absolutely first-rate-with Residents of Calif., Colo.,Fla.,Ill.,Mich., Mo., OFFENBACH (arr. Rosenthal):Gaite Pari- full-bodied tone and ideal room acoustic, N.Y. State, D.C. and Tex. add applicable sales tax (postage and handling charges are non-taxable). sienne. Hollywood Bowl Symphony Orches- (Continued on page 109)

FEBRUARY1976 107 GG...awealth ofever-flickering, awesomely difficult figurations..."

Lewenthal's "duel" with Thalberg and Liszt, his first record in several years, contains even better music but is somewhat puz- zling. With the sole exception of Thalberg's Moses Fantasy, none of the pieces figured in a confrontation between the two artists. Histo- ry notes only one such fracas-in 1837 at the Princess Belgiojoso's salon-and, in his elaborate, idiosyncratic annotations, Lewenthal makes much of it. (The occasion produced a draw; no one could choose between Thal - berg's playing of his spanking new Moses Fantasy and Liszt's playing of his Divertisse- ment on Pacini's Niobe, then about a year old.) He takes pains to give Thalberg his due for having developed a number of significant keyboard principles that influenced Liszt as well as Henselt, Mendelssohn, Schumann, Franck, Fain -6, Prokofiev, Godowsky, and Barber, among others. Lewenthal seeks to place Thalberg in perspective with Liszt by using two wonderful operatic fantasies after Rossini by the one-Moses and The Barber of Seville-and, oddly, the Ballade No. 2 and, more to the point, a great transcription of the Funeral March from Donizetti's Dom Sibasti- en by the other. One wonders why Lewenthal included the Ballade in this otherwise operatic company. /1Wt.!, Surely the vast scope of Thalberg's Moses corresponds adequately to that of Liszt's French caricature (1843) of Franz Liszt, "le diable de l'harmonie" Dom Sebastien (which Donizetti himself called "frightening"), while the froth of Thalberg's Barber would be balanced better by Liszt's sensational treatment of, say, Les Patineurs die 1tmantic revival Continues from Meyerbeer's Le Proph&e. However, the Ballade, no stranger to records, and the Dom THREE new releases of neglected Romantic Thalberg's concerto emerged quite the prod- Sebastien, a welcome newcomer, receive bold music, one by Michael Ponti and two by uct of his environment-elegant and charm- performances. In the grander moments of Raymond Lewenthal, present us with an aural ing, with sweet little tunes bedecked in a glit- each Lewenthal calls into play that massive feast of fascinating musical entrees by Sigis- tering array of sparkling passagework. Hum- tone which so characterized his Liszt and Al- mond Thalberg, two main dishes by Franz mel, in particular, must have felt flattered to kan albums for RCA a decade ago. He treats Liszt,andanassortmentofcharminghear so large a quotient of himself in his pro- the incredibly intricate Thalberg pieces with Nachspeise from the kitchens of Carl Rei- tege's biggest work. more delicate fingers. How fascinating it is to necke, Franklin Taylor, Henri Kling, Daniel As played by Ponti, the youthful concerto hear Rossini's beguiling themes projected Steibelt,CorneliusGurlitt,and Etienne - makes a pleasant impression. The performer against each other within an unending wealth Nicolas Maul. The last six gentlemen are the capitalizes on the work's inherent lightness of of ever -flickering, awesomely difficult figura- subjects of "Toy Symphonies and Other texture without sacrificing dynamic gestures. tions! This music is clearly meant to astonish Fun," conducted from the piano by Raymond Rippling scales and arpeggios sweep from one us-and it does-even though Lewenthal's Lewenthal and one of two records the pianist end of the keyboard to the other more stylish- made recently for Angel. The other, titledly than in Ponti's other recordings, and he "The Duel Between Liszt and Thalberg," treats Thalberg's rather nave melodies with a RAYMOND LEWENTHAL features pairs of pieces by each of those leg- degree of simplicity that is wholly appropri- endary virtuosos, while Ponti's all-Thalberg ate. The Westphalian Symphony under Rich- disc for Candide contains four solo pieces and ard Kapp provides discreet accompaniment. the composer's only concerto. (Enjoy it without worrying about the half - Thalberg wrote the Concerto, Op. 5, as adozen or so places in the first and final move- personal "parade piece" for his first impor- ments that Ponti has simplified technically. tant concert tour (of Germany) during theCertain things that were possible on Thal - 1829-1830 season. He was eighteen years old, berg's pianos simply cannot be done with ele- fresh from studies with Mittag, Sechter, gance on the heavier pianos of today.) Hummel, and Moscheles, and well aware of Ponti also fares well with a string of waltzes how to make an effect with the public. Of un-called Les Capricieuses and with the sizzling certain parentage but handsome good looks, Huguenots Fantasy (written at the more ma- Thalberg had enjoyed an aristocratic upbring-ture age of twenty-four). He is less imagina- ing, possessed outstanding social graces, and tive with two of Thalberg's less imaginative could play the piano without fault. Chopin works, settings of Home, Sweet Home and heard him in 1830 and stated, "Thalberg plays The Last Rose of Summer. The liner notes by famously . . . [and] takes tenths as easily as Daniel L. Hitchcock are a mine of informa- I do octaves." His large stretch influenced his tion about this extraordinary composer, his style as a composer as, of course, did his life, his associations, and the musical works teachers and colleagues. Not surprisingly, in question.

108 STEREO REVIEW clear and beautifully balanced throughout the entire range of the keyboard, and nicely en- flamboyant technique almost seems stretched hanced in SQ quadraphonic playback by well - to its outer limits. As does Ponti, Lewenthal gauged additional ambiance. D.H. immy© resorts to occasional simplifications or revi- sions of material without deleterious effect. RINISKY-KORSAKOV: Capriccio Espagnol, @mn,Po G=2© The interested listener will wish to compare Op. 34 (see Scriabin) WORLD WIDE the handling of Thalberg's pieces by Messrs. WHOLESALERS Ponti and Lewenthal with Earl Wild's note - SCHUBERT: Piano Music (see Choosing Sides, perfect rendition of the same composer's Don page 96) DIRECT Pasquale Fantasy (Vanguard VRS-1119). The TO YOU latter sets quite a standard. All three records SCHUBERT: W ehmut; Mignons Gesang; Sehn- are valuable for the repertoire they document sucht; Dass sie hier gewesen; Lied der Mignon and for their performances. (I and II); Stiindchen; Der Zwerg; Bertha's WHO GIVES A Fl? Lied in der Nacht; Lila an die Morgenrote; We doand we want to spread thehighest fifor thelowestbuck! Weknowthat top LEWENTHAL'S"Toy Symphonies and Other Kbiirchens Lied; Das Madchen; An den Mond; brands andlow priceis the name of the Fun" is an altogether happy affair. There is Lied der Anna Lyle. Christa Ludwig (mezzo- mail order game. We're Tokyo Shapiro, no breast -beating virtuosity within earshot soprano): Irwin Gage (piano).DEUTSCHE the audio specialists with over a million here-only the amusing sounds of a piano and 2530 528$7.98. dollars of every brand worth having in GRAMMOPHON We buybig and keep overhead low a few strings augmented by toy instruments of stock. Good (We don'teven print a catalog 'cause all sorts: tea trays, bottles, whistles, drums, Performance: they're so expensive and get obsolete so bells, saucepans, milk jugs, kazoos, and so Recorcing:Good fast!) to keep the prices right for you! on, all specified by the composers. It's loads Let us know what you want and we'll It is always a rewarding experience to discov- get youaprice quote in the mail the of fun, potentially a great party record, and er unknown or rarely heard Schubert songs, same day!We've putitalltogether, the performers do a sensitive, beautiful job even if they do not always turn out to be mas- price and brand selection.We'vegot all with each precious little piece. Genuine musi- the catalogs and if we can't beat 'em all, terpieces. A recital made up almost entirely we'll tell you! So check us out. You'll cal humor results from such a restrained, so- of such songs, however, such as Christa like our "No Delay Ship Today" phil- phisticated approach. And Lewenthal's liner Ludwig'ssecondSchubert collectionfor osophy, factory sealed new merchandise notes are delightful too. Let us applaud the Deutsche Grammophon, seems to be some- with full warranties, carefully packed and achievement and, above all, buy the record. It thing of a miscalculation. Surely a few of ready to go. is unique. -Frank Cooper those irresistibly outdoorsy rippling -water, TOP BRANDS BELOW DISTRIBUTOR PRICING spring -busting -out -all-over songs would have Write or Call Today: TOY SYMPHONIES AND OTHER FUN. Rei- been most welcome here for contrast and va- necke: Toy Symphony in C Major. Taylor: riety. As it is, there is a certain sameness of UOPZ,V0 POD° Adagio and Finale from Toy Symphony. mood not even Christa Ludwig's seasoned 34300 Lakeland Blvd. Kling: Kitchen Symphony, Op. 445. Steibelt: artistry can fully- overcome. And perhaps that Eastlake Ohio 44094 Three Bacchanales, Op. 53. Gurlitt: Toy Sym- is why she is not always at her best vocally: Phone: (J16) 95 1-043 3 ATTENTION: phony in C Major, Op. 169. Mehul: Overture her sumptuous tones have a tendency to Midwest Residents: Buy from us, Burlesque. Raymond Lewenthal (piano); vari- spread around the pitch on occasion. None- save excessive freight charges. songs ous instrumentalists. Raymond Lewenthal theless, the best (An den Mond, Das CIRCLE NO. 51 ON READER SERVICE CARD cond.ANGELS-36080 $6.98. Madchen, and Dass sie hier gewesen) are de- lightfully done, and Miss Ludwig presents LISZT: Ballade No. 2, in B Minor (G. 171); Schubert's attractive setting of Der Zwerg Funeral March from Donizetti's "Dom Sebasti- (really rather a repulsive poem) with keen en" (G. 402). THALBERG: Fantasy on Ros- dramatic imagination. Irwin Gage's accom- sini's "Barber of Seville," Op. 63; Fantasy on paniments are notalways as assertive as they Rossini's "Moses," Op. 33. Raymond Lewen- could be in these songs, but they are never thal (piano).ANGELS-36079 $6.98. Let us know8 weeks in advance so that you won't less than competent. G.J. miss a single issue ofSTEREO REVIEW. THALBERG: Concerto for Solo Piano; Con- Attach old label where indicated and print new cert Fantasy on "Les Huguenots," Op. 20; Les SCRIABIN: The Poem of Ecstasy (Symphony address in space provided. Also include your mail- No. 4), op. 54. DVORAK: Slavonic Dance in E ing label whenever you write concerning your sub- Capricieuses Valses, Op. 64; Variations on scription. It helps us serve you promptly. English and Irish Airs, Opp. 72 and 73. Mi- Minor, Op. 72, No: 2. Czech Philharmonic Write to: P.O. Box 2771, Boulder, CO 80302, giv- chael Ponti (piano); Westphalian Symphony Orchestra, Leopold Stokowski cond. RIM- ingthe following information:

Orchestra. Richard Kapp cond.CANDIDECE SKY-KORSAKOV: Capriccio Espagnol, Op. Changeaddress only. 31084 $4.98. 34. New Philharmonia Orchestra, Leopold ID Extend subscription. Enter new subscription. Stokowski cond.LONDONPHASE -4 SPC D 1 year $7.98 D Payment enclosed(1 extra BONUS issue). 21117$6.98. Bill me later. MICHAEL PONTI Performance: SuperbScriabin ,v -AFFIX LABEL --4, Recording:Top-drawer r 0 If it weren't for a rather wayward Capriccio Espagnol, this latest,it of wizardry from Leopold Stokowski would rate a "Special Merit" heading, for in this, his third recording -73 of Scriabin's Poem of Ecstasy, we finally have a realization of the music that effectively sets 0 forth the conductor's particular vision of it. One marvels here not only at the virtuosity of 0. :, '2; the Czech Philharmonic wind players in their '0 -a negotiation of Scriabin's leaping,irregular co figurations and phrasings, but also at the re- II.o sponsiveness of the entire orchestra to the co ebb and flow Stokowski calls for throughout a c0 performance of extraordinary urgency and cu inexorable momentum. No less rerdarkable is co .= 9 the London Phase -4 recording, whose charac- = 0 43 teristic emphasis on inner detail is particularly >, -° 0 ...- o 0 ii 0 E appropriate in this music. All told, this per- oft.J v - 1 0 M111..."- %,.. 2 7 -:: formance combines the best elements of the Add'I postage per year: Add $1 for Canada; $2 for all two other outstanding recorded versions, the other countries outside the U.S. FEBRUARY 1976 109 passion of Abbado's and the sensuousness of yet never muzzy on the one hand or exag- ten anticipates Berlioz in its richness and lu- Mehta's. Both of these achieve a somewhat gerated in detail on the other. The cinerama- cidity of texture, to say nothing of Weber's cleaner and more imposing sound in the final style ambiance of Columbia's SQ quadra- familiar mastery of instrumental detail (violas climaxes, but neither matches the urgency phonic recording contributes handsomely to and French horn, in particular). and cohesion of Stokowski's total result. the magical atmosphere and rich detail of the For the characters, take the King as is, sub- Stokowski's treatment of Dvoi-ak is super - whole. Word has it that Columbia's budget stitute Lohengrin for Adolar, Elsa for Eury- sensual, and his Capriccio Espagnol puts up overrun for the Firebird was substantial. If anthe, Ortrud for Eglantine, and Telramund with a good bit of pulling and hauling as well that was what it took to come up with a .re- for Lysiart, and you get the outline of the dra- as some abbreviation in the last pages. Yet, corded performance of this quality, then I say matic picture. There are specific similarities matters of musical taste notwithstanding,I it was money well spent. D.H. too, and some of these (Eglantine and Lysiart can only marvel, again, at the responsiveness plotting in the dark to destroy the trusting and of both the Czech Philharmonic and the TCHAIKOVSKY: Symphony No. 5, in E Mi- innocently wronged Euryanthe) are startling. New Philharmonia. D.H. nor, Op. 64 (see The Basic Repertoire, page 50) There is no Swan, however. In the end, the evildoers are punished, and Euryanthe and RECORDING OF SPECIAL MERITRECORDING OF SPECIAL MERIT Adolar are joined in a dramatically uncon- vincing but-as usual-musically delectable STRAVINSKY: The Firebird. New York Phil- WEBER: Euryanthe. Siegfried Vogel (bass), ensemble. harmonic, Pierre Boulez cond. COLUMBIA King Louis Vl; Nicolai Gedda (tenor), Ado- Jessye Norman is a radiant Euryanthe. The MQ 33508 $7.98, M 33508 $6.98. lar, Count of Nevers; Jessye Norman (so- role is not very dramatic, but it is quite de- Performance: Beautiful prano), Euryanthe; Tom Krause (baritone), manding, and Miss Norman leaves no room Recording: Superb Lysiart; Rita Hunter (soprano), Eglantine von for criticism in her sensitive handling of her Puiset; Renate Krahmer (soprano), Bertha; scenes. Her voice is uniquely beautiful, sen- There is no question in my mind that among Harald Neukirch (tenor), Rudolf. Leipzig Ra- suous in tone, full without being unwieldy for the recordings Pierre Boulez has made during dio Chorus; Dresden State Orchestra, Marek the florid passages. It is effectively contrasted his tenure with the New York Philharmonic Janowski cond. ANGEL SDL-3764 four discs with Rita Hunter's more incisive tones. She, this one of the complete 1910 version of The $27.92. too, is a remarkable vocalist and, perhaps Firebird in its original luxuriant instrumenta- without fully exploiting the venom in Eglan- tion (three harps, celesta, piano, plus aug- Performance: Excellent Recording: Very Good tine's character, makes a lasting impression in mented brass) will stand as a document of that dramatically meatier part. raremerit-ofStravinsky'smusic,of Operas are often weighted down by their lib- Nicolai Gedda sounds hard -edged and a bit Boulez's own exceptional conductorial prow- rettos; the specific problem here is not the far- effortful in his high -lying and difficult opening ess, of the New York Philharmonic players in fetched story and the stilted language but that aria, but he rises to impressive peaks later on. top form, and of the best work of Columbia's a transparently simple incident is passed off Hissinging,furthermore,isdramatically recording staff. as a crucial and tragic climax. Unlike Richard awareandexpressivethroughout. Tom Perhaps the biggest problem of the com-Wagner, who literally copied Euryanthe's plot Krause delivers Lysiart's long and brilliantly plete Firebird is what to do with all the music for Lohengrin, Weber did not take advantage written scene in the beginning of Act II with between the big moments that everybody of mystic and superhuman elements to justify intensity and great dramatic presence. At knows from the suites. Stravinsky himself, in otherwise unexplainable doings; his charac- times I would prefer a smoother and more his recording for Columbia in 1962 of theters, invariably human, are left mercilessly centered tonal production, but there is no stripped -down instrumentation, had comeexposed to the hazards of librettist Helmina denying the vigor and impact of his interpreta- closest thus far to making the whole business von Chezy's naive plot manipulations. tion. Siegfried Vogel's royal pronouncements cohere into a convincing final result. But now All this bodes ill for Euryanthe's future on are a shade light, but they are agreeable. Boulez gives us the best of everything: the stage, but this premiere recording discloses Marek Janowski's clear and sensitive direc- gorgeous post-Rimsky orchestral palette; a musical values that are so plentiful, so varied, tion honors Weber's beautiful orchestral writ- reading with all the drama and color one could and on such a consistently high level of in- ing. At times, the orchestra appears too far in ask (all the big moments come off superbly); spiration that they simply command serious the background for dramatic purposes (Eury- and all the elements of the score in propor- attention. The elaborate arias for the princi- anthe's dramatic scene, "Zu ihm! Zu ihm!" in tion, as to both relative dynamics and flow. pals compare with the best in Der Freischiitz Act III is a case in point). A special word of Result: a satisfying listening experience. for melodic inspiration and dramatic effec- praise is due the Leipzig Radio Chorus-out- Columbia's recorded sound is big and spa- tiveness. There are fine ensembles and excep- standing in tone, precision, and articulation. cious throughout the whole of the two sides, tional choruses, and the orchestral writing of - Frau von Chezy notwithstanding, Euryanthe is a revelation. G.J.

COLLECTIONS JESSYE NORMAN: a radiant Euryanthe with a uniquely RECORDING OF SPECIAL MERIT beautiful voice JASCHA HEIFETZ: InConcert.Franck: Violin Sonata in A Major. R. Strauss: Violin Sonata in E -flat Major, Op. IS. Bach: Pre- lude, Loure, and Gigue, from Partita in E Major, BWV 1006. Bloch: Nis.nin, from Baal Sherri. Debussy: La Plus que Lente. Rach- maninoff (arr. Heifetz): Etude -Tableau, Op. 39, No. 4. Falla: Nana, from Seven Popular Spanish Songs. Kreisler: La Chasse. Ravel: Tzigane.Castelnuovo-Tedesco:SeaMur- murs. Jascha Heifetz (violin): Brooks Smith (piano). COLUMBIA M2 33444 two discs $13.98. Performance: Masterly Recording: Very good After an RCA Red Seal association of more than fifty years, the name of Jascha Heifetz now appears on a label of a different color! He was nearing his seventy-second birthday on October 23,1972, when this concert was taped atthe Dorothy Chandler Pavillion, (Continued on page 112) 110 STEREO REVIEW KENWOOD tuners and amplifiers are re cognized the world over f:r their outstanding performance and exceptiDnal dependability. Little wonder. KENWOOD separates perform better because they're engineered better: The most advanced aucio concepts establish their performance parane:ers. The finest workmanship and material go into their construction. The most stringent quality controls azure thateach unit is operating at its optimum peak. So when you listen to KENWOOD's luxurious KT -8007 Stereo Tuner and KA-8006 Stereo Amplifier-or to the deluxe KT -6007/ KA-6006 Series-you can be sure you are hearing the finest stereo reprodLction that advanced engineering and superb craftsma-ship can produce.

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15777 S. Broadway, Gardena, CA 90248 72-02 Fifty-first Ave., Woodside, N.Y. 11377 In Canada: Magnasonic Canada, Ltd. CIRCLE NO. 29 ON READER SERVICE CARD Los Angeles. The biographicalreference theRoyal Conservatory, Stockholm, Eric Republic." Born in 1899 and known almost is established in the interest of documenta- Ericson cond. BB LP -1 $7.98. exclusively in Hungary, she built her career tion, but let me immediately add that the per- from the 1920's until about 1970, but really former here is the same sovereign fiddler of Performance: Conservative but ardent Recording: Excellent emerged as an outstanding artist around 1960. twenty, thirty, or forty years ago. He still at- This disc is a recording of works played dur- tacks the most fearsome passages with an Leo Rosenbliith, now in his seventies, started ing a series of radio broadcasts made in the almost disdainful boldness and with the con- his synagogue career as a cantor in Sweden at Sixties. The two Haydn sonatas reveal two trolled passion that is as much his trademark thirteen and has been chief cantor and choir - aspects of that composer's inventive piano as that intense, suave tone he cajoles from his leader of the Stockholm Synagogue since style: lyric expansiveness and brilliant wit. instrument. This being an actual concert per- 1931. Not content to rest on the glories of his The Mozart works are late compositions formance, we may encounter a trifling number still -powerful voice. Rosenbliith also has bus- which display his penchant for expressive of less than perfectly judged chords, or of at- ied himself over the years keeping up with the chromaticism coupled with exquisite pathos. tacks short of that superhuman refinement we efforts of Jewish composers to interpret the Not only are the pieces on this record spe- recall from Heifetz's studio productions. Let liturgy in new musical modes, and he has cial, but so is Madame Sandor's beautiful us accept them as reassuring proofs of human written a considerable amount of liturgical playing. Having at her disposal a warm tone, a imperfection. music himself. Most of what he sings on this superb legato, and a keen sense of articula- In the Franck sonata we find the same record consists of his own arrangements and tion, she brings out the music's lyrical quali- basic approach that characterized the first original settings of prayers for the Sabbath ties. In the first movement of the Haydn A - Heifetz recording with Artur Rubinstein far and for the Jewish New Year and Day of flat Sonata, for example, rather than playing back in 1937 (recently reissued on Seraphim Atonement. The music never departs far from the intricate passage work for brilliance, she 60230): intense, sinuous, briskly yet convinc- traditional embellishments on ancient forms molds it into true melody, thus imbuing it with ingly paced, in perfect rapport with Brooks of cantillation and tends to have a nineteenth- an expansiveness and lyricism thatisfre- quently overlooked in Haydn's music. She is also meticulous in her observation of the composer's markings of dynamics, accentua- tion, and articulation. In a day when Mozart and especially Haydn were rarely played by pianists, her presentation of these works must have come as a revelation. Some may object to her reading of certain ornaments-short appoggiaturas taken before the beat, mordents taken from the principal note before the beat, and trills beginning from the principal note-but these stylistic refinements have been clarified for us only as the result of recent research in interpretation. The scholar might quibble, but the musician can only revel in Madame Sandor's warmth, sensitivity, and sense of the grand line. S.L.

BEVERLYSILLS: The Music of Victor Her- bert(see Best of the Month, page 73)

Smith, a longtime sonata partner. As for the century ring about it, but the singing itself is RECORDING OF SPECIAL MERIT Strauss sonata, inthis, his third recording simply glorious. GERARD SOUZAY:Lieder and Chansons. of the piece, Heifetz gives renewed evidence The two other composers whose contribu- Schubert: Schwanengesang: Aufenthalt; Ihr that no one else plays it with comparable tions are featured are the American Gershon Bild; Das Fischermudchen; In der Ferne. sweep and authority. Ephros, now in his eighties and long a distin- Schumann:Widmung, Op. 25, No. I; Mein I am less happy with the remainder of the guished composer of -synagogue music, and schoner Stern, Op.101, No. 4; Lust der program. The three sections of the Bach par- Moses Pergament, born in 1893, whose Kol Sturmnacht, Stille Liebe, Stille Trdnen, Op. tita are dazzlingly but rather coldly played, Nidre, the opening prayer for the Day of 35, Nos. 1, 8, and 10.Gounod: voulez-vous and why are the other three missing? The Atonement, consists of an elaborate arrange- aller?; Aimons-nous.Faure:Les Berceaux; Debussy and Falla items, old Heifetz favor- ment of the melody familiar to all who attend La Chanson duP'echeur;Mai.Duparc: ites, are haunting, and so is his first recording the synagogue on the eve of Judaism's holiest Phidyle; L'invitation au Voyage.Debussy: of the Nigun, even at this fast a tempo. But day. The Sabbath music heard on side one is Beau Soir; Ariettes Oubliees-Green.Gerard the Kreisler and Rachmaninoff pieces are the mostly subdued and reflective in tone. The Souzay (baritone); Dalton Baldwin (piano). kind of virtuoso stunts that offer little reward music on side two, featuring big accompani- SERAPHIM S-60251 $3.98. beyond the proof of their playability. And the ments for flute, organ, and chamber choir, is Tzigane, in which Jascha Heifetz breaks his more ardent and almost operatic in ambition Performance: First-rate own former world record for speed, sounds and intensity. Not an inch of new musical Recording: Very good emptier than ever when done in such a whirl- ground is broken in this program, but itis The liner does not indicate recording dates for wind manner. movinglyinterpretedandthesoundis this recital. If it is relatively recent, it shows Just the same, this is a remarkable exten- splendid. P.K. Souzay's voice as remarkably fresh, comfort- sion of an already staggering documentation ably encompassing the required extensions of a lifetime of extraordinary music -making. It (except for a strained top note or two), and OF SPECIAL MERIT was recorded under the supervision of RCA's RECORDING generally projecting the music with consum- John Pfeiffer in well-balanced, realistic sound, RENEE SANDOR: Piano Recital.Haydn: mate art. Only in Schubert'sIn der Ferneand with audience applause that does not intrude Sonata in A -flat Major (Hob XVI/46); Sona- Schumann'sStille Tranendoes one feel that on the enjoyment. G J. ta in C Major (HobXV1148).Mozart: Gigue more tonal weight would make the utterance in G Major (K. 574); Adagio in B Minor (K. more effective; everywhere else we get sensi- 540); Menuet in D Major (K. 355); Andante tive and authoritative interpretations. RECORDING OF SPECIAL MERIT in F Major (K. 616); Rondo in A Minor (K. The French portion of the recital is even LEO ROSENBLUTH:Jewish Liturgical Mu- 511). Renee Sandor (piano). HUNGAROTON more impressive. The songs are all Souzay sic.Rosenbliith: Y'hi Raison; R'tsch; Psalm LXP 11638 $6.98. specialties, rarely encountered on records and 116; MVO L'Fanecha; M'loch; V'Hagen. Performance: Exquisite even more rarely, if ever, with Souzay's fault- EPhros: The Priestly Benediction. Pergament: Recording: good less diction and interpretive mastery. As al- Kol Nidre. Leo Rosenbliith (cantor); Gunilla ways, Baldwin is an outstanding partner. The Von Bahr (flute); Maria Thyrsesson (organ); Madame Sandor well deserves the award recording is fine; synopses are supplied in- Andris Vitolins (organ); Chamber Choir of"Merited Artist of the Hungarian People's stead of texts. G.J. 112 STEREO REVIEW 0 MATTER HOW FARYOU GO, Y U'LL NEVER BEFAR FROM WHIS EY SOUR.

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AA41}1004y IWIT I-1 HArati*MPG RA' STEREO REVIEWMARKET PLACE NON -DISPLAY CLASSIFIED: COMMERCIAL RATES: For firms or individuals offering commercial products or services, $1.90per word (including name and address). Minimum order $28.50. Payment must accompanycopy except when ads are placed by accredited advertising agencies. months; 10% for 12 months paid in advance. Frequency discount: 5% for 6 READER RATE: For individuals with a personal item to buyor sell. $1.20 per word (including name and address). No minimum! Payment DISPLAY CLASSIFIED: One inch by one column, $240.00. Two must accompany copy. write or phone for frequency rates. inches by one column, $480.00. Column width 2-1/4". Advertiserto supply film positives. Please GENERAL INFORMATION: First word in all ads set incaps at no extra charge. All copy subject to publisher's approval. All advertisers in their addresses MUST supply publisher with permanent address using Post Office Boxes and telephone number before ad can be run. Adsare not acknowledged. They will appear in the first issue to go to press after closing date. Closing Date:5th of the 2nd month preceding cover date (for example, March order and remittance to: Classified Advertising, STEREO REVIEW, issue closes January 5th). Send One Park Avenue, New York, New York 10016, Attn. HalCymes. EQUIPMENT RMAD has rock -bottom warehouse discount prices on all SOLID WALNUT component cabinets. (Not plywood.) De- brand name audio gear! Write for same -day quote, free tails, prices, $1.00. Wood Works, 1821 Wilson, Chicago, catalog. Rocky Mountain Audio Discount, 2055 South Illinois 60640. Valentia, Denver, Colorado 80231. WRITE for quotation on any HI-Fi components: Sound Re- CONTROL 1 - Signal activated automatic power shut-off production Inc., 460 Central Avenue, East Orange, N.J. DON'T PAY the high mail order prices. Thieves Warehouse for Component Systems, $49.95. Details: Electromedia 07018. 201-673-0600. of Atlanta, 1030-3 Cherokee Road, Smyrna, Georgia 30080. Design, Inc., Box 26, Livingston, N.J. 07039. FOR THE MAN WHO HAS EVERYTHING! Dubie CD -5, a NO fair trade laws in D.C. Write for discount priceson your choice of components. District Sound, Inc., 2316 R.I. Ave, fantastic new control for multiple taping with fading, dubb- TAPE AND RECORDERS N.E., Wash., D.C. 20018. (202) 832-1900. ing, mixing. Sound on or with sound.All operations monitored by "up front" simple controls. Gives you professional capabilities for only $59.95. Satisfaction guaranteed. SCOTCH RECORDING TAPE, lowest prices. TAPE CEN- Listen to To appreciate, see it at your nearest Olsen or Team store TER, Box 4305. Washington, D.C. 20012. TELEVISION or for more information, write: Dubie, Route 4, Box 98, RENT 4 -track open reel tapes -all major labels -3,000 dif- IN STEREO Stigler, Okla. 74462. ferent -free brochure. Stereo-Parti, 55 St. James Drive, DON'T PAY the high mail order prices. Thieves Warehouse Santa Rosa, California 95401. TheTE 700 TELEDAPTER E ASILY CONNECTS TO ANYTV d STEREO SYSTEM Thus, ttt couoleitie need moires C11.1, oed... ink, of Atlanta, 4166 Buford Highway, N.E., Atlanta, Georgia n love THRIFTIEST "Live" -Operatic, Symphonic -Tapes & pen,,, output I,,in.theteleviseon need delivers MO HIGH 30345. IMPEDANCE CHANNELS OF SIMULATED STEREO. To drive nny Cassettes. P.O. Box 1101. Woodhaven, New York 11421. roded. Frequency response mornheineel so you can hone Me tinkle of DON'T PAY the high mail order prices. Thieves Warehouse bells of boons.. has sounds et ImeMens TV With service warenner OPERA TAPES -Open. Reel and Cassettes -Historical and hookup 1114.C11011, SIC HS pyd Thearnnleed to make your TV 100' of Atlanta, 4162 Jonesboro Road, Zayre Center, Forest performances of past 40 years. Unbelievable treasures and more emoyeehle. Park, Georgia 30050. OUR NEW TE.305 VHF UHF HI Ft TVP.1112 IS NOW AVAILABLE. A rarities. Also LP records. Ed Rosen, 66-33 Saunders St., complete pied sell motioned 110 vole tuner. VHF UHF antenna connec DON'T PAY the high mail order prices. Thieves Warehouse Rego Park, N.Y. 11374. lions Recording and moo output picks.Five year seemed warrenlv 5149.95 PPd From out laciory of North Tampa, 1441East Fletcher Avenue, Tampa, SEND, EVERYTHING ON OPEN REEL! Pre-recorded CHECK MASTER CHARGE NO for SE 2110 TE SOT Florida 33612. or S5.00 Inr C 0 D TO RHOADES NATIONAL CO DEPT SR classical/popular tapes. latest releases. Dolby. Quad. PO BO% 017 HENDERSONVILLE. TENNESSEE 37075 DON'T PAY the high mail order prices. Thieves Warehouse 96 -page catalogue $1.Barclay -Crocker, Room 857 S. of Atlanta, 2769 Lakewood Avenue, S.W., Atlanta, Georgia 11 Broadway, NYC 10004. NAME 30315. SCOTCH new low noise tape 10-1/2" metal 3600', 5 for ADDRESS DON'T PAY the high mail order prices. Thieves Warehouse $35.00. Reels, POB 88338, Dunwoody, GA 30338. of Montgomery, 3386 Norman Bridge Road, Montgomery, GOLDEN AGE RADIO -your best source for radio tapes. CITY STATE ZIP Alabama 36105. Box 25215-T, Portland, Oregon 97225. DON'T BE A TURKEY! Get your best price and we'll meet OLD RADIO PROGRAMS on tape. Thousands available. DIAMOND NEEDLES and STEREO CARTRIDGES at or beat it. Same day quotes! Sansui, Pioneer, Dual, Shure, Six hours, $8.00. Catalogue, 50 cents. Nostalgic Radio, DISCOUNT PRICES for SHURE, PICKERING, STANTON, Audio-Technica, BIC, ElectroVoice, Sony, Marantz. Many, Box 29-8, Peoria, IL 61601. EMPIRE, GRADO and ADC. Send for free catalog. LYLE many more brands. Write or phone. Fred Locke Stereo 1930-1962 RADIO PROGRAMS. Reels,$1.00hour! CARTRIDGES, Dept.S, Box 69,Kensington Station, Warehouse, 195 Tunxis Hill Road, Fairfield, Conn. 06430. Brooklyn, New York 11218. Cassettes, $2.00 hour! Mammoth Catalog, $1.25. AM (203) 576-1411. Treasures, Box 192J, Babylon, New York 11702. ABSOLUTELY THE LOWEST PRICES on name brand DON'T PAY THE HIGH MAIL ORDER PRICES. Thieves RARE OPERA, symphonic music on tape. American, Euro- stereo components. Send for our free catalog to BOSTON Warehouse of St. Petersburg, 9151 Park Boulevard, North AUDIO EXCHANGE, 1589 Commonwealth Avenue, pean broadcasts. Live Tapes. Historic performances. Free Largo, Florida. catalogue. Underhill, Bellport, N.Y. 11713. Brighton, Massachusetts 02135. SAVE ON SACRED COWS -Bose, SAE, JBL, Thorens, DON'T PAY the high mail order prices. Thieves Warehouse Philips. Over 50 top brands. Write for quotes. SOUTH- of Tampa, 1531 South Dale Mabry, Tampa, Florida 33609. BOUND SOUND, P.O. Box 52508, Atlanta, Georgia 30305. CASSETTES CANADIAN Discount Catalog. Name brand stereo and 4 - DON'T PAY the high mail order prices. Thieves Warehouse Plain white cassette labels, Norelco cassette cleaners, channel gear. Etco-3, 521 5th Ave, NYC 10017. famous brand cassettes. Send for open reel and cassette of Panama City, 5220 West Highway 98, Suite D, Panama discount catalog. 1-9 10-99 DON'T PAY the high mail order prices. Thieves Warehouse City, Florida 32401. 100100010M Cassette Labels .02 .015 .01.006 of Sarasota, 6564 Gateway Avenue, Sarasota, Florida IGNITIONS. High Energy, Multiple Norelco Cassette Cleaner .65 .60 .55 .50 .45 33581. RestrikeSystems. 'Scotch Cassette SC9OHE 2.72 Breaker/Breakerless Triggering. Brochure. Labtronics, 2.552.44 3635S Hillside, Ypsilanti, Ml 48197. Buy2 SC90HE, get 1 free IWED Y1011 OWN SPEAKERS AND Plus Postage by Weight and Zone Minimum Order $5.00 DYNAKITS, DYNASPEAKERS-Lowest Prices. IAD, IMF- OPEN REEL STEREO TAPE BUYERS! SAVE OP TO 50% Displayed. Underground HiFi, 324a Broadwater Road, At Last! An open reel catalog, including titles, songs, You can assemble your own nigh quality. Arnold, MD 21012. (301) 647-0919. etc. of 95 long play, 2-3 hour albums by American Air- multi-eiement stereo speakers in a few hours and save up to half the cost of EXTRA LONG PLAY "Sanyo" Cassette Recorder. Records lines or Ampex 4 -track stereo tapes. Send $1.00- and comparable speakers. Send for our free over 8 hours on standard cassette. Excellent voice fidelity- we will also mail you a 140 -page Harrison Stereo Tape 32 -page catalog of speaker kits. raw Guide - so you'll get both for $1.00 - and this $1.00 is speakers and accessories. electret mike, digital counter - only $99.95. Money back SPEAKERLAB refundable on your first $10.00 purchase of open reel Dept. SR 3, 5500 -35th N.E. guarantee, catalog, 25 cents. Phone Control Systems, 92 stereo tapes at our 30% discount. Seattle, WA 96105 Marcus Avenue, New Hyde Park. N.Y. 11040. We've Got the "Spirit" The Prices And The Address To Prove It 1-800426-7736 Saxitone's Bicentennial Tape Shoppe DON'T PAY the high mail order prices. Thieves Warehouse 1776 Columbia Road, NM., Washington, D.C. 20009 of Ft. Walton Beach, 652-D Beal Parkway, N.W.. Ft. Walton Beach, Florida 32548. t 4 YESTERYEAR'S RADIO PROGRAMS. Giant Catalog listing CROSSOVERS -Custom designed;fullytested; Professional Laboratory thousands, $1.00 (refundable). Ayers, Box 96V, Newton guaranteed quality. Free Brochure. Write: Crossovers, Box Silicone Damped Tone Arm Junction, N.H. 03859. 458, Placentia, CA 92670. TDK, BASF, Memorex, Maxell, cassettes, reels, 8 -tricks. LOWEST PRICES on many brands of stereo components Lowest prices, new guaranteed. S&S Audio, P. 0. Box - 4 day delivery, write for same day quotes. University 56039, Harwood Heights, III. 60656. Stereo Cooperative, 57 E. Ridgewood Avenue, Ridgewood, CLASSICAL CASSETTES! FREE CATALOG. Better quality. N.J. 07450. 50% less cost than records! CCC, Box 506ST, Saddle DON'T PAY the high mail order prices. Thieves Warehouse River, N.J. 07458. of Mobile, 1770 Beltline Highway, Mobile, Alabama 36609. Jewelled Unipivot friction below .005 gm. Effective mass 4.50 gm Yif 0.3 gm. Bias Control Stylus/pivot 224 mm Optimum performance with ultra high or low RENT OPEN REEL or Cassette Prerecorded Tape. All STEREO NEEDLES and CARTRIDGES -ADC, Audio compliance cartridges weighing 3.10 gm.Viscous Damping means better Labels. Catalog $1.00. Tape & Time, P.O. Box 740, Hop- Technica, B&O, Empire, Grado, Micro Acoustics, tracking, rich full bass, dramatically improved Stereo image with a tapklike kins, Mn. 55343. Pickering, Ortoton, Shure, Sonus, Stanton, Supex, BSR, consistency, realistic open spacious sound. Reduced record wear essential for perfect CO.4 and matrix quadraphony without listening fatigue. $89 inclusive OPERA CLASSICAL MUSIC Open Reels. Rare, mostly live. G.E., RCA, Sony, Panasonic and others. For FREE Air Mail.Leaflet $1 refund on purchase. Free Catalogue. K. Lohan Tapes, P.O. 298, Mastic Beach, CATALOG, write: NEEDLE IN A HAYSTACK, INC., P.O. N.Y. 11951. Box 17436, Washington, D. C. 20041. Formula 4 15 Heather Walk Edgware Middx. HAS 9TS ENGLAND U.K. DON'T PAY the high mall order prices. Thieves Warehouse YESTERDAY'S RADIO PROGRAMS on Tape. Catalog $1.00 refundable first order. Reel -Cassette. ADVENTURES, of Pensacola, 3731 Navy Boulevard, Pensacola, Florida NO GIMMICK! JBL, Marantz, Pioneer Box 4822-S, Inglewood, California 90302. 32507. .. 50% off list UPI Learn how to buy these and other major brands including QUAD, STEREO PIPE ORGAN TAPES, from long running DON'T PAY the high mail order prices. Thieves Warehouse "fair-trade". NEW (sealed carton) equipment. Fully legal. Cincinnati classical FM program. Premium instruments, of Atlanta, 3164 Peachtree Road, N.E., Atlanta, Georgia FREE details. Stereo Cost Cutters, Box 8014, Canton, Ohio sound. Roger Heather, organist. Catalog 25 cents. ORGA- 30303. 44711. TAPES. 5597 Sunnvwoods, Cincinnati, Ohio 45239. 114 STEREO REVIEW FOR SALE AUDIO SOCIETIES BUSINESS OPPORTUNITIES

I MADE $40,000.00 Year by mailorder! Helped others make FOR A NEW AUDIO EXPERIENCE, learn to control your money! Free Proof. Torrey, Box 318 -NN, Ypsilanti, brainwaves. Aquarius Electronics, Box 96ZS, Albion, CA A PROFESSIONAL Michigan 48197. 95410. AUDIO SOCIETY IS JBL-PARAGON; flawless condition, 3 yrs. old, $2,100 - MAILORDER MILLIONAIRE helps beginners make $500 NOW ACCEPTING weekly. Free report reveals secret plan! Executive (1K2), must sell, returning to school, can deliver. Phone: (419) 333 North Michigan, Chicago 60601. 476-4387, Toledo. ASSOC. MEMBERS. HI -Fl ENTHUSIASTS WANTED!! Earn more than just spare FOR SALE: Shrink tunnel, L -sealer, tape winder, 8 track Join a professional organization of audio money in your spare time. We need campus representa- display cases. Like new. Sacrifice, (203) 688-3213. dealers and salesmen and receive monthly tives to sell name brand stereo components at discount newsletter - career information - free lesson pricesin your area. High commission, no investment RECORDS rental - free job -ad placement - technical required. Serious inquiries only, please. Contact: Alan data, plus other benefits. Weisberg. K&L Sound Services Co., 75 No. Beacon St., SAC Certification Board instructors include Watertown, Mass. 02172. (617) 787-4073. SHOW ALBUMS, Rare, Out -of -Print LP's. 52 pg. list. 50 Len Feldman, Larry Klein, Julian Hirsch, FREE BOOK "2042 unique proven enterprises." Work cents. Broadway/Hollywood Recordings, Georgetown, and other foremost authorities. Send $10. Home! Hayling-B, Carlsbad, CA 92008. Conn. 06829. for annual Consumer Assoc. membership or GET RICH with Secret Law that smashes debts and brings PROTECT your LP'S-Poly sleeves for jackets 8.cents; $1. for Audio Primer and full info on SAC you $500 to $5 Million cash. Free report! Credit 4K2, 333 Round Bottom Poly Inner sleeves 6 cents; Poly lined paper official home study courses. North Michigan, Chicago 60601. 15 cents; white jackets 35 cents. Postage $1.25. Record AUDIO $100 WEEKLY POSSIBLE! Clipping newspaper items. House, Hillburn, N.Y. 10931. Stuff / address envelopes. Information - send stamped en- tapes. CONSULTANTS THOUSANDS like new LP's and prerecorded \CSOCIETY393 5th Av.,NYC,NY 10016 SR velope. Income Opportunities, Box 721 - ZD, Lynbrook, Catalogue $1.50. Records, Hil!bum, New York 10931. a N.Y. 11563. COLLECTORS' Soundtracks. Mint, List 25 cents. Jemm's, STEREO REPRESENTATIVES NEEDED!! Lowest Price List P.O. Box 157, Glenview, III. 60025. Buying!! Over 80 Brands!! Krasco Stereo, 623 Campbell SOUNDTRACK RECORD ALBUMS -Mail Auction -Free TUBES Ave., West Haven, Conn. 06516. List. Whelan, 2321D Hill, Redondo Beach, Calif. 90278. OLDIES. 45rpm. Free Catalog. Corny's Record Shop, Box TV and Radio Tubes 36 cents. Free 48 page color catalog. EMPLOYMENT INFORMATION 166HM, Mason, Ohio 45040. Cornell, 4215-H University. San Diego, California 92105. SOUNDTRACKS/OC, personalities -FreeNewsletter. AUSTRALIA -NEW ZEALAND WANT YOU!!! 50,000 Jobs! RTSR, 3700 Plaza. Drive, Bldg. F/211. Santa Ana, California Paid Transportation! Latest Information and Forms. $1.00. 92704. INSTRUCTION Austco, Box 3623 -SR, Long Beach, California 90803. SOUNDTRACK collection -Lowest Prices. List: 50 cents. OVERSEAS JOBS -Now Hiring, 103 Countries. All Occu- Box 715, Florissant, Mo. 63033. LEARN Electronics Organ Servicing at home. All makes, pations, High Pay, Free Transportation. Tax Benefits. QUADRAPHONIC RECORDS AND TAPES -World's including transistors. Experimental kit -trouble -shooting. Latest Computerized Reports -$2.00. TRANSWORLD, In- largest selection - alllabels, over 1000titles - at AOcredited NHSC, Free Booklet. Niles Bryant School, 3631 ternational Airport, Box 90802 -SR. Los Angeles, California discount prices! For your free illustrated quad catalog, Stockton, Dept. A, Sacramento, Calif. 95820. 90009. write: SOUND CONCEPTS. 8510 N. Mt. Hawley, Dept. A-2, DEGREE IN ELECTRONICS through correspondence. Free SOLDIERS OF FORTUNE ... Middle East. $1100-$2000 Peoria, Illinois 61614. catalog. Grantham, 2000 Stoner Avenue, Los Angeles, Monthly!, Information/Forms $3.00. CaptainMiller, Box 91395 -KS, International Airport, Los Angeles, California FREE RECORD COLLECTION -Reviewers wanted. Each California 90025. 90009. month we ship you new record releases to rate. Anyone "HOW TO BE A RECORDING STUDIO ENGINEER." At can qualify. All you pay is postage. You pay nothing for the last, $6.95 postpaid. Attainment Books, Box 45333SR, BOOMING MIDDLE EAST Jobs!!! $800-$5000 Monthly! All records. Applicants accepted on first come basis. Write: Dallas, Texas 75235. Occupations! Free Transportation! Directory/Forms $2.00. Stereo Research. 6162 Washington Circle. Milwaukee; Worldwide, Box 948 -KS, Long Beach, California 90801. Wisconsin 53213. EXCITING OVERSEAS JOBS! Over 100 Countries...Now FREE! AMERICA'S LARGEST CLASSICAL CATALOG. MUSICAL INSTRUMENTS Hiring!AllOccupations. $800-$5000 Monthly. Latest Over 2,000 New Stereo Recordings. Renaissance, Printouts $2.00. Jobworld, 6311 -KS Yucca, Los Angeles, Medieval, Baroque, Classical, Romantic, Modern Music. UP TO 60% DISCOUNT. Name brand instruments Catalog. California 90023. Highest quality! Budget Label prices! Available only by Freeport Music, 4550, Route 110, Melville, N.Y. 11746. mail. MUSICAL HERITAGE SOCIETY, Box 932ST, New MOVIE FILMS York, N.Y. 10023. WANTED DISCONTINUED RECORDS, Classical, Opera, Popular, 16mm SOUND Features, Shorts, New, Used for Sale. Free Jazz, all speeds, lists. Steinmetz, One Seaview Avenue, Catalog. National Cinema, 333 W. 57th St., N.Y., N.Y. Massapequa, New York 11758. QUICKSILVER, Platinum, Silver. Gold. Ores Analyzed. 10019. HARD TO GET Soundtrack, Show, Personality, Folk LP's. Free Circular. Mercury Terminal, Norwood. Mass. 02062. Free List. Davidson, 6114 Gist Ave., Baltimore, MD 21215. EDUCATIONAL OPPORTUNITIES HYPNOTISM RECORDS FOR SALE LEARN WHILE ASLEEP. Hypnotize! Strange catalog free. Autosuggestion, Box 24-ZD, Olympia, Washington 98501. FREE Hypnotism, Self -Hypnosis, Sleep Learning Catalog' Giant catalog of 3,000 different older LPs. All Drawer H400, Ruidoso, New Mexico 88345. UNIVERSITY DEGREES BY MAIL! Best Accredited Col- leges. Free Information. Collegiate, 256 -KS South Robert- Types. Send $1.00. effective. SLEEP LEARNING. Hypnotic Method. 92% son, Beverly Hills, California 90211. Detailsfree. ASR Foundation, Box 23429 EG, Fort Golden Memories Records Lauderdale, Florida 33307. P.O. Box 217-R AMAZING self-hypnosis record releases fantastic mental PUBLICATIONS Mooresville, Indiana 46158 power. Instant results! Free trial. Write: Forum (AA2), 333 North Michigan, Chicago 60601. SOUND ADVICE MAGAZINE -Our reviews of stereo FREE LP Sales List. Platter World, Box 234, Garfield, N. J. equipment are conducted "blind" so that evaluators do not know which product is being tested. Prejudices, pre -con- 07026. RUBBER STAMPS RECORDS RESURRECTED. Write for free auction lists, ceived notions and favoritisms are eliminated with astonishing results. Don't make expensive mistakes, check our classical and popular, LPs and 78s. Wants lists welcomed. RUBBER address stamps. Free catalog. 45 type styles. reviews before you buy. With today's high prices, you need P. 0. Box 143, Radnor, PA 19087. Jackson's, Dept. K, Brownsville Rd., Mt. Vernon, III. 62864. Sound Advice - Four issues $9.00 ($11.00 First Class, GOLD RECORD of your favorite recordings, actual size, $12.50 Overseas Sent Air Mail). 225 Kearny, No. 200Z, San framed, personally engraved. Unique Conversation / Gift Francisco, California 94108. Idea. Details, $1.00. TGold, Box 116, Bayside, New York TRADES THE AUDIO AMATEUR -A quarterly publication for the 11360. serious audio constructor. Free prospectus. The Audio FREE CATALOGS -20,000 COMPLETE Sound -Tracks 12" SWAP PHOTO EQUIPMENT FOR STEREO Amateur, Box 176Z, Peterborough, N.H. 03458. LP. ARG. 341 Cooper Station, NYC 10003. COMPONENTS! Established dealer trades your photo DISCOUNTS ON LP's, Tapes, Cutouts, Imports. Huge equipment for top brands stereo components. What is your PERSONALS Catalogs. One Dollar. Record Finder Services NERT, Box need? What have you to trade? We also buy for cash. 268, Lawrence. Mass. 01842. Dexter's, 484 E. Main St., Ventura, CA 93001. MAKE FRIENDS WORLDWIDE through international correspondence. Illustrated brochure free. Hermes, Berlin 11, SERVICES Box 110660/ZD, Germany. PLANS AND KITS

PREWRITTEN RESEARCH, $1.00 per page. Computerized MISCELLANEOUS EXCLUSIVE U.S. Made, CBS Licensed SQ Decoder Kit. Catalog, $1.00. Academic/Business Writing. Professional Full logic, wave matching and/or variable blend. SQ-1 Confidential. Information Clearinghouse, Box 4391, Wash- WINEMAKERS. Free illustrated catalog of yeasts, equipment. Semplex, Box 12276Q, Minneapolis, Minn. 55412. (fixed blend), $40.00. SQ-3 (variable blend), $55.00. Knobs, ington, D. C. 20012 (202) 723-1715. cases not supplied. Regulated power supply available only HARD TO FIND component stereo accessories. Free DISCOUNTERS of Stained Glass Supplies. Send $1.00 for with the decoder. $5.00. Postpaid USA, Canada. Informa- catalog. Nervo Distributors, 650 University Ave., Berkeley, tion available. Photolume Corporation, Dept. S-26, 118 Catalog: ECE, P.O. Box 2074, Virginia Beach, Virginia CA 94710. East 28 Street, New York, N.Y. 10016. 23452.

FEBRUARY1976 115 Tenyears after the revolution.

In 1966, Sony brought you the world's first commercially available turntable with a DC servo motor. This effectively 1975 slowed motor speeds from 1800 to 300 RPM, producing the lowest rumble figures measured till then.consists of a sensitive magnetic about the resonance caused by The servo system also drastically head (with eight gaps instead of warp in the record itself. Those reduced wow and flutter, thus the normal one) which monitors round doohickies on the platter giving you a chance to hear what platter speed by picking up a are rubber suction cups that 33-1/3 records sound like at. magnetic coating on the outersideactually provide greater contact 33-1/3. Quite a revolution. of the platter. This speed data goessurface, reducing the longitudinal But we haven't been sitting through a small computer con- vibration caused by warp. The end on our laurels since then. nected to the motor, instantly result is a cleaner sound. Introducing the PS -4750. compensating for variations. So, all in all, our engineers Overlooking the fact that the The PS -4750 is also ultra think the PS -4750 is pretty nifty. PS -4750 is so pretty we could sell insensitive to outside vibrations But don't take our word for it. Just it through interior decorators, (which causes intermodulation stop into your Sony dealer and here are its technical innovations.distortion and acoustic feedback).show your independence by It has a direct drive servo Sensitivity to outside vibration listening for yourself. motor that gives you incredibly shows as "Cr And the PS -4750 has low rumble, wow and tint ter levels.a platter and case made of SBMC, Plus total immunity from line Soily developed compound SONY voltage and frequency variations. which has one third the "Q" of ;aluminum orzinc. That's because the PS -4750 has a Lt1,,f Aro, v.:1 ry,9 W .N Y.1,1 Y UN)I'f unique system that, in essence, We've (Nei] (low; v)rinethinp, Lr1NyIt trw1,30.1, 0,11, CIRCLE NO. ED ON READER SERVICE CARD ury, he makes his living from it. He con- STEREO REVIEW Introducing the Staff... siders writing to be the hardest work in the ADVERTISERS' INDEX world and editing the writing of others to Since readers from time to time under-be the most dispiriting. He spends most of FEBRUARY 1976 standably display a natural humanhis working time writing and editing. He curiosity about the backgrounds of READER PAGE also dislikes cocktail parties and press re- SERVICE NO. ADVERTISER NUMBER the writers and editors who bend theirceptions and goes to many of them. Many ears each month, we are offering ayears ago he used to produce records, Accuphase, Division of TEAC 92 series of capsule biographies and au-write arrangements, and compose songs. 3 Acoustic Research 11 tobiographies designed to satisfy thatHe still receives checks from ASCAP in such odd amounts as $8.74, $13.65, and, Akai America, Ltd. 60 expressed need and at the same time 4 Allison Acoustics 50 once, a real bonanza when ASCAP won 2 to circumvent some of the hazards ofsome sort of law suit, something around 5 Ampex Corporation mere speculation. -Ed. 6 Angel Records 104 two hundred dollars. These checks repre- 8 Audio Dynamics Corporation 41 sent his share of performance and broad- 7 Audio Expo 91 casting -fees for songs he probably would Audio Technica, US,Inc. 85 not recognize as his own if he heard them, 9 Avid Corporation 47 and would be embarrassed if he did. So Bose Corporation 77 pass the glories of youth. Besides being a member of ASCAP, he 10 Capitol Magnetic Devices 90 11 Component Discounters 100 also belongs to the Music Critics' Associa- Crown International 48 tion, the National Academy of Recording 12 Arts and Sciences, the Democratic Party, 13 Design Acoustics 49 and Phi Beta Kappa, and carries in his 14 Discount Music Club 24 15 Discount Sound 86 wallet a card, which expired in September Discwasher 14, 105 of 1974, admitting him to the Prints Divi- 56 DistrictSound 103 sion of the New York Public Library, as DixieHiFidelity 100 well as a certificate that says that he 50 Dual 22, 23 served honorably on active duty in the 17 Electro-Voice,Inc. 89 Army of the United States from 1957 to Elpa Marketing, Thorens Division 87 1959. 21 Empire Scientific Corporation 21 Mr. Goodfriend fervently loves an extraordinary variety of music from Mon- 19 Fidelitone 107 teverdi and Schubert to Bill Monroe and 20 Garrard 25 Fats Waller and certain carefully selected 22 Gordon Miller Music 84 songs of Melanie Safka and Elton John. 23 GTE Sylvania, Entertainment Division 15 His enthusiasms and prejudices emerge 25 Heath Company 45 gradually from his column each month and Heublein 113 from his occasional reviews. He has heard Howard Sams 13 Music Editor a lot of music, some of it with profound 26 Illinois Audio 100 dismay, but he still believes that the art 27 International Hi Fi Distributors 103 has a present and a future as well as a past. 28 Jensen Sound Laboratory 8 He finds a real purpose in being a music James critic (when he has time to be a music crit- 29 Kenwood Electronics 111 Cover 4 ic), and one of his greatest pleasures is in- 2 Koss Electronics troducing people to interesting and beauti- 30 Lafayette Radio Electronics 33 Goodfriendful things in music they had not heard be- 31 3M Company 35 fore. Partially for this reason, he has spent Marantz 118 & Cover 3 JAMES GOODERIEND isa lifelong citizen his last three years of weekends writing a 32 Maxell Corporation 10 of New York City, a place contiguous book, tentatively called A Guide to Classi- 33 McIntosh Laboratory 97 to, but obviously not a part of, the United cal Music, which will, barring further ca- 34 Meriton Electronics 81 States of America. As such, he shares tastrophes, be completed shortly and pub- Midwest Hi-Fi Wholesalers 103 many of the interests, opinions, and predi- lished by Stein and Day. 35 National Record Plan 106 lections of what has often been called "the 36 Onkyo 80 Eastern wise -guy establishment." Like INaddition to music, Mr. Goodfriend is 37 Phase Linear 95 many members of thatestablishment, also very fond of visual art, and since he Polymusic, 51 though, he works for a living. His job is to cannot afford that as a luxury either, it has 38, 39 Radio Shack 49, 85 be Music Editor ofSTEREO REVIEW. also become a business with him. He and RCA Records 97 James Goodfriend is forty-three years his wife together form C. & J. Goodfriend, Revox Corporation 105 old, going on sixty-five. He has brown Drawings and Prints, which they operate R.J.Reynolds, Winston 7 out of their apartment on weekday even- 41 S.A.E. 40 eyes, sort of brown hair, and, for the last 64, 65 few years, a beard and a moustache, nei- ings, with no great profit, but with consid- 42 Sansui Electronics Corporation erable pleasure in the art. They both also 43 Schober Organ 100 ther of which are shown in the drawing of 45 Sherwood 72 him that appears over his column each enjoy good French and German wines and 46 Shure Brothers 9 month. In fact, he has become convinced good French and Chinese food. Since 60 Sony Corporation 116 that the picture is not of him at all, but of there is no legal or practical way for them 44 Stanton Magnetics 57 one of his friends, and the whole thing is a to turn a profit from that, however, they 47 Stereo Corporation of America 91 matter of mistaken identity. Underneath confine themselves to eating and drinking 48 Superex 47 his smooth, quiet, and sophisticated ex- the stuff. TDK Electronics 83 In short, if James Goodfriend is not the TEAC Corporation 26, 27 terior, he has a fairly rotten disposition 49 Technics by Panasonic 5 and lives in a perpetual state of dissatis- very model of a modern music editor, he is Time Life Records 19 faction. He is married to a frequently probably fairly typical of the breed. Al- 51 Tokyo Shapiro 109 charming wife and has two daughters, though he has cursed himself on occasion 52 Top Discount Audio 103 ages four and seven -eighths and one and for not choosing a different profession, Uher of America 46 three-quarters (at time of writing). His fa- there is no evidence that had he done so 50 United Audio 22,23 vorite word is "grumph." his life would be any less cluttered, con- 1, 54US Pioneer Cover 2, 1 & 30, 31 Not being able to afford music as a lux- fusing, or rich. -James Goodfriend 55 Yamaha International Corporation 39

FEBRUARY1976 117 Marantz StereoCassette Decks..

3 -1/2 -inch professional VU meters with peak LED overloadand lighted function indicators. Exceptionally large, readable VU panel features special Light Emitting Diodes that illuminatewhen recorder is overdriven by a high level signal. Illuminated function indicators tell you at a glance which function is in operation.

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poLwr tOOLOY VM1 I NORMAL Icro, tiERI PANFO2j

memory counter clialtsv rar system - MEMORY' ON RESET ON EXTERNAL

u n 1 DOLBY SYSTEM)

Marantz 5420 Top Loading Deck with Dolby (The enclosures for these units are constructed of plywood, finished in real walnut veneer). the decks that live up totheirname.

Built-in Dolby* System that works with built-in mixing console; Marantz cassette decks have also permits external Dolby processing on other tape recorders. arrived. Performance and Instantly switches for external Dolby encoding on reel-to-reel decks. sophistication that surpasses Has 25 microsecond de -emphasis switch for FM Dolby. Works in conjunction with built-in mixer for Dolbyizing multiple input sources. every other deck on the market. Quality and technical excellence equalled only by Marantz ,l'efrpro`ir,ridee* 2.eri One button each for receivers, components and Normal, Cr02 and speaker systems. FeCr tapes automatically selects Top loading. Front loading. With both bias and EQ. Eliminates Dolby. Without Dolby.** The confusing combination adjust- Marantz cassette deck line lets ments of separate bias and EQ you select a model that exactly switches. Singe control calibrates suits your needs. Five decks in all, both bias and EQ automatically for best frequency response on with design features as exciting any cassette 'ape. as their performance. The Marantz 5420 top loading deck with Dolby for example, r biemeeci selector limiter keeps wow and flutter down to F-Cr Full 4 -input NORMAL CrOa mixing console 0.07%. Plus, it offers a wide with pan pot frequency response (30 Hz to and master 17 kHz) and an exceptionally high (so gain control. signal-to-noise ratio (up to 60 dB). Four inputs-any combination of Other outstanding features mic and line-are operated by four individual slide potenti- include long -life ferrite heads, itttrresrCO ometers plus one master gain sophisticated DC servo drive tralt ic yr control for fade-in/fade-out. systems with total shut-off and Two pan pot controls permit memory tape counters. inputs 3 and 4 to be assigned to either left, center or right See the complete Marantz line stage. Can operate as a at your local Marantz dealer. separate mixing panel for Send for a free catalog. master -quality recordings with external tape recorders. NreatiwitmeNmiariallt2K® We sound better.

Marantz 5120 Top Loading Deck with Dolby

Built-in adjustable stand that changes the angle of the control CF' panel from flat to 20 degrees. Angles top loafing decks for most RIE11-tT LEFT RIGHT suitcble viewing and operation. ripest system power Not shown: Marantz 5400 Top Loading Deck without Dolby, and Marantz 5200 Front Loading Deck without Dolby. Mi. lit 4C * ... C 0,11

Marantz 5220 Front Loading Deck with Dolby (Cabinet optional)

'Dolby System under license from Dolby Laboratories. Inc. © 1976 Marantz Co., Inc.. a subsidiary of !;uperscope. Inc.. 20525 Nordhoff St.. Chatsworth. CA 91311.1n Europe.Superscope Europe. S.A. Brussels. Belgium. In Canada. Supersccpe Canada. Ltd Ontario. In the Far East: Marantz For East. Tokyo. Japan. Prices and models subject to change without notice. Consult theYellow Poges for your nearest Marantz dealer. The look ofdenim. The Sound ofKoss.

"Mini -plug" adapter for equipment with Ys" jacks.

ThenewKoss Easy Listener: If you're looking for a lightweight, hear-thru stereophone up your spine at the brilliant highs of the brass section. with a style and sound all itsown, the new Koss Easy And just to make the Easy Listenereasy to use with all ListenerTM is just what you're looking for.Because not your audio equipmentlike portable radios, only is it as comfortable to wear as your favor- TV's or tape players-Koss has includeda ite denim outfit, but it also delivers the "mini -plug" adapter. breathtaking Sound of Koss. The Easy Why not stop at your favorite Audio Listener's wide 20 to 20,000 Hz fre- Dealer for a little easy listening quency response gives you a sound today. You'll like the sound and the that'll curl your toes at the deepest style of the new Koss Easy Listener. notes of a bass guitar, send tingles And even the price iseasy to take.

KOSS CORPORATION, 4129 N. Port Washington Ave., Milwaukee, Wisconsin 53212. Koss International/London, Milan, Dublin,Paris, Frankfurt Koss Limited/Ontario. CIRCLE NO. 2 ON READER SERVICE CARD