November 1972 Volume 29 Number 5

Home , A Tramp Shining, Peace Will Come, Rotel, Songs of Separation, The Academy in Peril

lereo Review Four new and completely different AM -FM stereo receivers with increased performance, greater power, unsurpassed precision and total versatility.

SX-525 AM -FM STEREO RECEIVER - 72 WATTS IHF

"HE'S,'" SEEREO DECEIVER MODEL 5,52E

R.A.A,Cr VCLUM1,

SPEAKERSiV G ENONE

SX-626 AM -FM STEREO RECEIVER - 110 WATTS IHF Pioneer has

SX-727 AM -FM STEREO RECEIVER - 195 WATTS IHF

1.11%4 I I, STFPEO

10E 108 91 100 102 104 8891 92 94 96

114EISLE oo 9q.

SX-828 AM -FM STEREO RECEIVER - 270 WATTS IHF PioneerYou'll be receiver reading linelots inabout a wide the varietynew of Critics Agree... thesepublications.fromof(reprints these receivers just publications.available)a few.Acclaim is evident now and Here appearingin enthusiasm reviews are highlights in many for STEREO(Hirsch"Pioneer'shas a degree -Houck REVIEW moderately of Laboratories) operating priced flexibili:y SX-727 and electricalonlyers . in some performance of the most previously expensive foundreceiv- . . in many areas of its measured thanwasperformanceprice much among level of . thethe it is bestcompetition somewhat we have better atmeasured." its . . stereo FM separation AUDIOtechnologyrepresentsreliable "... instrument (Thein state-of-the-art its SX-727)Jesign that one is certainly a perform- receiverrugged, excellent"areaspecsequalledance ...... in selectivityFM justor exceededperfo-mance about wasevery exce'lentGUIDEHI-FI STEREO performer"This (SX-828) BUYERS' features frequenciesfull...reception pcwer selectivity output of. weakwas at excellent." allFM signals . . excellent Long before the current wave of You can't expect great music Exclusive protector circuit consumerism, Pioneer had establishedwithout great specifications. for speakers. its reputation for superior quality Pioneer's reputation for high Another example of craftsmanship. This reputation has performance capability is thoroughly Pioneer's advanced engi- been continuously augmented by our reinforced in these four receivers. neering is the automatic commitment to building high fidelity Listening to them substantiates it; the electronic trigger relay components with a measurable extra specifications tell the reasons why. system designed into the margin of value. Our four new Since Field Effect Transistors SX-828 and SX-727. receivers - SX-828, SX-727, SX-626, increase sensitivity, they're i icorpo- Since the signal is trans- SX-525 - are designed to meet a wide rated into the FM tuner section of mitted directly to the range of requirements and budgets. each unit. For example, the SX-828 speakers because of the Yet each unit incorporates a uses 4 FET's. You get greater direct -coupled amplifier, significant array of features and selectivity and capture ratio with this fail-safe circuit refinements built into the top new Integrated Circuits and Ceramic protects your speakers model-the SX-828. Regardless whichFilters in the IF stage. Here's a mini against damage new Pioneer receiver you finally spec list. and DC leak- select, you are assured it represents SX-828 SX-727 SX-626 SX-525 age, which can the finest at its price. FM Sensitivity (114F) 1.7uV 1.8uV 2.0uV 2.2uV cause distor- Conceptual diagram (the lower the better) tion. It also Selectivity +75dB +70dB +70dB +45dB guards against (the higher the better) Awl 111, short circuits Capture Ratio 1.5dB 2.0dB 2.5dB 3.0dB in the power onsistent Dower throua out the bandwidth. (the lower the better) transistors. Power Bandwidth All exceed by a wide margin the it's absolutely usable sound frequency spectrum foolproof.

Inputs and outputs for every Versatile features increase purpose including 4 -channel sound. your listening enjoyment. More meaningful power. Depending on your listening interests Our engineers have outdone them- When it comes to power, each model and desire to experiment in sound, selves with a host of easy -to -use provides the most watts for your each receiver provides terminals for features. All four units include: money. This is meaningful power. a -wide range of program sources. Power that is consistent throughout loudness contour, FM muting, mode the 20-20,000 Hz bandwidth (not just Inputs: lights, click stop bass/treble tone when measured at 1,000 Hz.) sx-sx-sx- SX- controls with oversize knurled knobs, Especially noticeable at the low end of Tape 828 727626 525 and an ultra wide linear FM dial scale the spectrum with improved bass monitor 2 2 2 2 that lakes the squint out of tuning. response, the overall effect is greater Phono 2 2 2 Phono/Mic. Except for the SX-525, they all employ frequency response and low, low Auxiliary 1 1 1 1 high and low filters. Enlarged signal strength meters make tuning easier distortion. Microphone 2 1 1 Phono/Mic. RMS @ 8 ohms (as above) than ever. Center tuning meters Model IHF Music Power Both channels are included as well 4 ohms driven @ 1KHz in the SX-828 and SX-727. SX-828 270 watts 60+60 watts Further sophistication is SX-727 195 watts 40+40 watts offered on the top two SX-626 110 watts 27+27 watts Models with a 20dB audio SX-525 72 watts 17+17 watts muting switch - the perfect answer to controlling Direct -coupled amplifier background music. As circuitry and twin power the senior member of the supplies improve responses. family, the SX-828 is Of course, having power to spare is SX- SX- sx- SX- endowed with speaker indicator lights important; but directing it for Outputs: 828 727 626 525 (A,B,C,A+B,A+C) and a tuning dial maximum performance is even more Speakers 3 3 3 2 dimmer for creating a more intimate vital. In the SX-828 and SX-727, you lighting atmosphere. will find direct -coupled circuitry in the Headsets 2 1 1 1 power amplifier combined with two Tape Rec. 2 2 2 2 Some day other stereo receivers will separate power supplies to maintain strive for this total combination of consistent high power output with Someday, if you want 4 -channel power, performance, features, positive stability. This means sound, all models have 2 inputs and precision and versatility. Why wait? transient, damping and frequency 2 outputs to accommodate a unit such Pioneer has more of everything now. responses are enhanced, while as Pioneer's QL-600A Decoder distortion is minimized. In fact, it's Amplifier. With it, and two additional See and hear these magnificent less than 0.5% across the speakers, perfect 4 -channel sound is receivers at your local Pioneer dealer. 20-20,000 Hz. bandwidth. simply achieved. SX-828-$429.95; SX-727-$349.95; SX-626-$279.95; SX-525-$239.95 Ultra wide linear FM dial scale takes the squint out of tuning. Prices include walnut cabinets. U.S. Pioneer Electronics Corp., 178 Commerce Road, Carlstadt, New Jersey 07072 CD PIONEER' when you want something better

West: 13300 S. Estrella, Los Angeles 90248 1500 Greenleaf, Elk Grove Village, Ill. 60007 Canada S. H. Parker Co.. Ontario IMPROVE YOUR HEARING FOR $200. Sometimes high fidelity people lose heard when they tested the first offered as an integral part of an sight of what it's all about: Sound. automatic turntable with Zero automatic player." High Fidelity. The ultimate test of any piece of Tracking Error. This is, to our "All of these features combined high fidelity equipment is what you knowledge, the first time a into one automatic turntable make hear. turntable has been given credit for news, even though some are found on That's why, of all the statements making records sound better. other units. Only in the Zero 100 are made by equipment reviewers about they all put together." Audio. our Garrard Zero 100, the most 0 When Audio talks about "all of significant were these: these features" they're referring to "Using identical virgin records, such things as our magnetic and virgin styli in identical good anti -skating, variable speed control, cartridges, the Zero 100 on occasion illuminated strobe, viscous -damped sounded markedly 'crisper' than Articulating cueing, 15° vertical tracking other turntables." Rolling Stone. adjustment, patented Garrard "A listening test proves to bring Synchro-Lab synchronous motor and new life to many records, noticeably P.U. arm our exclusive two -point record reducing distortion on the inner support in automatic play. grooves." Radio Electronics. But all of this gets back to our Pickup head pivots P. U. arm original point. It is the sound that in this direction as arm Articulating pivot- - Stylu tracks across records. pivot-fixed hood Center line of makes the difference. After all, a cartridge tangential to record groove. 4.1 $200 record player should give you a really meaningful difference. And Pickup arm Cartridges and other components, Articulating arch yes. But never a turntable - until thethe high fidelity experts agree that "From about 7 in. diameter to Zero 100. people who own a Zero 100 will hear runout, the Zero 100 delivers By this time you probably know better than people who don't. considerably less distortion and how we achieve Zero Tracking Error. If you'd like to read the reviews in greater definition than with the The principle of the articulating arm, full detail, we'll send them to you same pickup mounted in a standard continually adjusting the angle of along with a complete brochure on arm. The improvement in sound the cartridge so it is always at a 90° the Zero 100 and the Garrard line. quality is notably impressive." tangent to the grooves, is a simple Write to:British Industries Company, Elementary Electronics. one. But the ingenious engineering Dept.K32,Westbury, N.Y. 11590. "The articulated arm of the Zero and the development of the precision 100 produced less distortion, and pivots to make the principle work, GARRARD therefore greater definition, on took several years. high-level, musically complex But enough from us. Let's go back ZERO 100 passages, from the inner grooves." to what the reviewers say about the The only automatic turntable with Hi-Fi Stereo Buyers' Guide. Zero 100. Zero Tracking Error. That's what reviewers actually "It probably is the best arm yet Mfg. by Plessey Ltd. Dist. by British Industries Company FORMERLY HI FI/STEREO REVIEW Stereo Review NOVEMBER 1972 VOLUME 29 NUMBER 5

THE MUSIC THE BASIC REPERTOIRE Schumann's Symphony No. 2, in C Major MARTIN BOOKSPAN 55 THE WORDS AND MUSIC OF NOBLE SISSLE & EUBIE BLAKE Still echoing half a century later WILLIAM BOLCOM, With ROBERT KIMBALL 56 JIMMY WEBB What's left to conquer afterPhoenix, Wichita,andGalveston? ROBERT WINDELER 65 RICHARD BONYNGE A glimpse behind the scenes of a brilliant musical partnership STEPHEN E. RUBIN 74 DEANNA DURBIN SINGS AGAIN A soundtrack windfall whets the appetite for more ROBERT CONNOLLY 86 TWO VIEWS OF STEPHEN FOSTER His importance and his staying power ROBERT OFFERGELD and ERIC SALZMAN 116 THE PILGRIM'S PROGRESS Ralph Vaughan Williams' opera gets an exemplary performance BERNARD JACOBSON 134

THE EQUIPMENT NEW PRODUCTS A roundup of the latest high-fidelity equipment 14 AUDIO QUESTIONS AND ANSWERS Advice on readers' technical questions LARRY KLEIN 20 AUDIO BASICS Separate Audio Components RALPH HODGES 24 TECHNICAL TALK Power -rating Paradox?; Hirsch -Houck Laboratory reports on the Harman-Kardon Citation 14 stereo FM tuner, the Pioneer SX-626 AM/stereo FM receiver, the Marantz 1060 integrated stereo amplifier, and the Wharfedale W6OE speaker system....JULIAN D. HIRSCH 29 RADIO -FREQUENCY BUGS IN YOUR AUDIO SYSTEM If you're bothered, here's how to cope PETER SUTHEIM 68 TAPE HORIZONS Tape Drop -outs CRAIG STARK 142

THE REVIEWS BEST RECORDINGS OF THE MONTH 77 POPULAR DISCS AND TAPES 83 CLASSICAL DISCS AND TAPES 103

THE REGULARS EDITORIALLY SPEAKING WILLIAM ANDERSON 4 LETTERS TO THE EDITOR 8 GOING ON RECORD JAMES GOODFRIEND 48 ADVERTISERS' INDEX 142

COVER: TEMPERA BY GERRY SEVIER, HOTHOUSE STUDIO, TORONTO

Copyright © 1972 by Ziff -Davis Publishing Company. All rights reserved. Stereo Review, November 1972, Volume 29, Number 5. Published monthly at 1 Park Avenue, New York, N.Y. 10016, by Ziff -Davis Publishing Company-also the publishers of Boating, Car and Driver, Cycle, Flying, Modern Bride, Popular Electronics Including Electronics World, Popular Photography, and Skiing. One year subscription rate for U.S., U.S. Possessions and Canada, $7.00; all other countries, $8.00. Second class postage paid at New York, N.Y. and at additional mailing offices. Authorizedas 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 allowat least six weeks for change of address. Include your old address, as well as new-enclosing if possible an address label from a recent issue. Stereo Review PUBLISHER EDGAR W. HOPPER EDITOR WILLIAM ANDERSON MANAGING EDITOR WILLIAM LIVINGSTONE EDITORIAL COORDINATOR ROBERT S. CLARK EDITORIALLY TECHNICAL EDITOR LARRY KLEIN MUSIC EDITOR JAMES GOODFRIEND SPEAKIAE9ON ART DIRECTOR BORYS PATCHOWSKY 3y WLLIIAM ASSOCIATE TECHNICAL EDITOR RALPH HODGES ASSISTANT MUSIC EDITOR VIVIENNE WINTERRY GOODMAN THE SKY IS NOT FALLING PRODUCTION EDITOR I PAULETTE WEISS may, I would like to plead, here in front of friends, acquaintances, family, reg- IFular readers, and Maker, that it was not my intention to add to the sum of the CONTRIBUTING EDITORS MARTIN BOOKSPAN world's misery when, in the September issue recently past, I reversed the order of NOEL COPPAGE STEREO REVIEW'S DAVID HALL Classical and Popular record -review sections. If it turned out that DON HECKMAN way, I am truly sorry. Certainly there were those who didn't notice and others who JULIAN D. HIRSCH BERNARD JACOBSON didn't think it worth commenting on, but, as this month's letters columns attest,a GEORGE JELLINEK IGOR KIPNIS number of readers chose to interpret the change as a. craven surrender, an opening PAUL KRESH of the gates of the beleaguered Classical citadel to the unkempt hordes of Ostrogoths, REX REED PETER REILLY Visigoths, Vandals, Huns, and other barbarian Yahoos of the Popular persuasion. STEPHEN E. RU BIN ERIC SALZMAN For them, and for the record, be it known that this simple format change was made CRAIG STARK because of a feeling that our popular -music reviews, of which we have a high opinion, LESTER TRIMBLE JOEL VANCE were not getting the kind of attention, respect, and credit they deserved, either from ROBERT WIN DETER readers or from advertisers. Since habit can make unthinking automatons of the best LONDON EDITOR HENRY PLEASANTS of us, one effective way of getting attention is to frustrate the customary order of things: the popular section will therefore have a higher visibility-for a while, at least ADVERTISING MANAGER JAMES J. SULLIVAN -not because it is in "first" place, but because it is out of its usual one. Those who ADVERTISING SERVICE MANAGER claim what they believe to be the prouder position for the classical -review sectioncan- MADELEINE LITTMAN not have attended many wine-tastings or banquets, where the best is always reserved GROUP VICE PRESIDENT for last-not that I would agree for one moment that classical music is any "better" ELECTRONICS & PHOTOGRAPHIC than popular music (that last outrageous statement being designed to bring the dis- FURMAN HEBB cussion out of the bickering anteroom of wounded pride and into the larger aesthetic ASSOCIATE PUBLISHER STANLEY NEUFELD arena where it belongs). It is no secret that lovers of classical music, in this country at least, feel themselves Editorial and Executive Offices Ziff -Davis Publishing Company these days to be very much on the defensive, and, further, that the enemy can be iden- One Park Avenue, New York, New York 10016 212 679.7200 Eastern Advertising Manager: Richard J. Halpern tified as popular music. However, if the sky is indeed falling (I doubt it), the fault Midwestern Office: The Pettis Group 4761 West Touhy Ave.. Lincolnwood, Ill. 60646 lies not with popular music or with where reviews of it fall in the pages ofSTEREO 312-679-1100 Arnold S. Hoffman REVIEW,but with the sorry state of our classical music itself, with its creators, its Western Office 9025 Wilshire Boulevard purveyors, and its fond but clumsy lovers. There can be no question that we have just Beverly Hills, California 90211 213 273-8050;272-1161 undergone, in the past decade, a radical shift in the center of cultural gravity where Western Advertising Manager: Bud Dean Japan: Jame. Yogi music is concerned. The vital center now lies, indisputably, somewhere within the Oji Palace Aoyama, 6-25. Minami Aoyama 6-Chome, Minato-ku, Tokyo, Japan sprawling, disreputable body of our popular music. How-and why-has this hap- Telephone: 407-1930/6821 Circulation Office pened? Conductor Colin Davis feels that it is because one of music's most attractive P.O. Box 1099, Flushing, N.Y. 11352 EDITORIAL CONTRIBUTIONS must be accomparced by return post- and indispensable elements-melody-now makes its home almost exclusively within age and will be handled with reasonable care; however, publisher assumes no responsibility for return or safety of art work, photography the popular sphere, and that serious musicians are terrified of it. Perhaps. For myself, or manuscripts. I think we need look no further than this month's letters columns to understand the Member Audit Bureau of Circulations source of our own trouble: the articulated snobbery that continues to divide music into two mutually contemptuous camps.

1E0 We have been hampered in America by our musical history, by the nineteenth- century notion that European art music could be transplanted to these shores to take ABC root and spread its beneficent influences downward into the springs of domestic inspiration. In order to believe that this was possible, we also had to believe that our own music-that poor, crooked product created and consumed at home-was just not good enough stock to base a proper musical culture on. Granted that most popular ZIFF-DAVIS PUBLISHING COMPANY music is simple, a lot of it meretricious, and almost all of it transitory (which, con- William Ziff, President W. Bradford Briggs, Executive Vice President Hershel B. Sarbin, Senior Vice President and Secretary sidering its quality, is a mercy), it is nonetheless the proper raw material of art music, Philip Sine, Financial Vice President and Treasurer Phillip T. Heffernan, Vice President, Marketing the only soil upon which genuine inspiration can feed. It has been spurned, and we Frank Pomerantz, Vice President, Creative Services Arthur W. Butzow, Vice President, Production see the cost: instead of the intertwined, intercommunicating symbiosis we should have Edward D. Muhlfeld, Vice President, Aviation Division Irwin Robinson, Vice President, Travel Division in our music, we have an imported air plant trying to make music out of systems George Morrissey, Vice President Sydney H. Rogers. Vice President Sidney Holtz, Vice President and theories strained through other classical music, and a feisty popular music, as Lawrence Sporn, Circulation Director vigorous (and as contemptible) as weeds, still struggling to flower into its rightful classical fulfillment. No doubt about the winner-but when? 4 STEREO REVIEW Ifyou want to be completely surrounded by music youneeda 4 -channel receiver that completely adjusts to your surroundings.

Since JVC wants to give you nearly in a professional studio. grated 4 -channel amplifier, the 280 watt perfect sound, we also have to give you a And the separate SEA control for Model 990. And if you have a really nearly perfect listening area. the rear speakers lets you adjust for any good stereo amplifier, you can convert The JVC 5445 4 -channel receiver future 4 -channel sound system. your system to 4 -channel instantly with does just that. This receiver also makes your present JVC's add-on amplifier, the 5101 A special sound effects amplifier stereo records, tape and FM stereo The JVC receiver, amplifier and (SEA) takes discrete and matrix broadcasts sound better than ever by add-on amplifier. 4 -channel sources, plus stereo and picking up previously hidden sounds They can take a monaural sources. and breaks them up through the rear speakers. beautifully ar- into five frequency ranges, instead of Naturally, this receiver is completely ranged room and just the usual bass and treble. compatible with your present equip- help you or- So you can bring up any frequency ment. And the equipment you'll chestrate it. that's absorbed or tone down any one probably buy in the future. It even has that's reflected too much. You can bring optional remote control and 4 -channel up any instrument. Or push any down. headphones. JVC C Amen., In,

That's sound control you'd expect only JVC also makes a top-quality inte- Nev. \ I I k

STEREO REVIEW CIRCLE NO. 29 ON READER SERVICE CARD 5 rm Listen to what you've been missing in cassette sound.

You'll hear sound you can deliver them in proper switches or adjustments may never have heard balance, the sound that of any kind. You'll get before. Brilliant highs and comes out simply can't the great sound you've been rich lows. Both beautifully be as great as the sound missing-with "Scotch" balanced in one great you put in. Brand High Energy Cassettes. cassette. "Scotch" sound experts For non -cassette record- You need both highs and know this. So we've ing fans, there's great sound, lows because all music developed a tape cassette too, on "Scotch" 206 and contains both. High fre- significantly superior, 207 Low, Noise/High Output quencies provide "life" andacross both frequencies, reel tapes and "Scotch" presence. Low frequencies to any other cassette Low Noise 8 -track cartridges. add fullness and depth. we've ever made. And any And unless your cassette we've listened to. We call m COMPANY it High Energy. "Scotch" is a registered trademark of 3M Co High Energy will perform superbly on any cassette recorder, no matter how much you paid for it. Or how little. Without special

Behind a great sound, there's a great cassette "Scotch" High Energy. ters of jazz. His opinions are loud, disrespect- ful, and vulgar, and he simply does not know what jazz is or how much of their inner being the greats of that musical expression have poured into their music. Some advice, Mr Vance: perhaps you should find a position on some underground periodical and refrain from contaminating jazz and its interpreters with your radical and very limited opinions. J.M. SINGER Chicago, Ill. Mr. Vance replies: "Kom de reffolooshon, Meester Sinker, you vill sving frum a lampp- ppost! "Coming back to my own voice, I'm no radical, but I am bored, bored, bored by claims that jazz musicians are in some way high priests to be protected from vulgar barbar- ians like me. As for what I have done for jazz, I have bought jazz record albums for LETTERS TO THE EDITOR twenty years, thereby contributing to art - is is' royalties. I have sung vocals at jam ses- sionswith Wild Bill Davison and Tony The Sky Is Falling! good reproduction of classical music will be Parenti(thelattergentlemanwas kind This is too much! The beginning of the right back where they were in 1947 -because enough to tell me I sounded like a young end! Just as the record companies, as your everybody in the record business will have Jack Teagarden, but then he was as drunk as magazine so often laments, ignore the classi- concentrated on the mass market. Come to I was). I once returned a bass -drum floor cal record as it sinks to below five per cent of think of it, perhaps in a few more years I'll be lock that Zutty Singleton lost, went to his last the market, nowSTEREO REVIEWis following able to start a magazine devoted to classical- recording session, and visited his home. And suit. Not only do the "Popular" record re- music reviews. . . . finally, I like jazz-good jazz-a lot. There, views now appear before the "Classical," but ALLEN WATSON III does that qualify me?" also (horror of horrors!) "Popular" has a big- San Francisco, Cal. ger heading -by half a centimeter-than Bolet and the "Golden Age" "Classical." I have just received the September issue Igor Kipnis' review of Jorge Bolet's new In the past I have always admired the bal- Of STEREO REVIEWand am glad to see you album of "Liszt'sGreatestHitsof the ance of your coverage as between records, finally put the classical record reviews where 1850's" (July) can be reduced to nothing more equipment, and music, and between "Popu- they belong -behind all the others. than a couple of comparisons with perfor- lar" and "Classical." My own interests lie MICHAELT.SCHREINER mances by Cortot and Paderewski. These mainly with the latter, but I have been glad to Milwaukee, Wis. comparisons are not apt, because even at the be informed of "the other half." Over the last height of their careers these two pianists did year or so, there have been indications of a The format change that provoked these let- not possess the transcendent techniques of gradual shift in emphasis to the "popular" ters is the subject of this month's Editorially such giants as Hofmann, Rachmaninoff, Ro- side (perhaps so that you can increase your Speaking. senthal, Godowsky, and Lhevinne -or Bolet, readership?). There are already plenty of for that matter. These pieces by Liszt are of magazines catering to pop music. Do not al- Milhaud and Jazz transcendent virtuosity and admit no compro- lowSTEREO REVIEWto be taken over by the I noticed in Richard Freed's article on mise: the performer must be the master of popular market,please! Milhaud ("Darius Milhaud at Eighty") in every note before he can begin to "interpret." ANTHONY C. LUNN your September issue a repetition of the old And to ignore the way Cortot and Paderewski Cambridge, Mass. legend that Milhaud'sLa Creation du monde fight their way through the notes is to suffer represented the first use of the jazz idiom by a from acute aural astigmatism indeed. How to explain the change of order in serious composer. It is a legend that dies hard. Cortot recorded theRigolettoparaphrase your magazine's review sections? I believe it and I have seen it repeated over and over twice ( VIC 74636, acoustic; HMV DB 1105, is an insult to the majority of your subscrib- again. The fact is that the first serious com- electrical). Mr. Kipnis states that, in the for- ers, who respect classical music more than poser to use jazz was an American, John Al- mer, Cortot "separates the important melodic hairy Roger Cook and his like. den Carpenter, inhis balletKrazy Katin passages from the decorative figurations." DYMITRY WERESOW 1921, a date that precedesLa Creationby What he doesn't say is that the music falters, Sayreville, N.J. two years. octavesarebanged,rapidpassagesare WINTHROP SARGEANT blurred, scales are nondescript, the pedalling I see by your having relegated the classical Salisbury, Conn. is idiosyncratic-in Eric Salzman's words (in record reviews to the back pages that you reference to a Cortot performance of a Cho- have finally succumbed to the carping of the Mr. Freed replies: "Mr. Sargeant is of course pinEtudereviewed in the same issue), it is "nobody - listens- to -classical- music -anyway" entirely correct. George A ntheil'sZingareska, "allfits and starts, angles and bumbles." people. I won't try to tell you that nobody lis- which also made use of the jazz idiom. Leaving theessentialtechnical problems tens to pop music-but how many buyers of was performed in 1922 -a year afterKrazy aside, the musical question is, what did Liszt pop records read record reviews? Katand still a year before La Creation have in mind when composing this piece? Furthermore, how important is high-fidelity dumonde-and there were other such efforts. Liszt's idea was to recreate in pianistic terms reproduction to most of the people who buy long forgotten now, before 1923. What we an operatic ensemble, several solo voices pop records? The same people who would ought to be saying aboutLa Creationis not singing simultaneously against an orchestral have been content with an Admiral console that it was the first 'serious' work to use jazz, background. It is Mr. Bolet's feat to have twenty years ago now own component stereo, but that it was the first among those that have accomplished Liszt's musical intention. Now, it is true, but partly because the activity of the established themselves in the repertoire with Mr. Kipnis, please try comparing Bolet's per- minority who wanted better reproduction of any degree of permanency." formance with those of Vladimir de Pach- classical music made hi-fi and stereo socially mann and Leopold Godowsky, and you will hip. "Is JazzComing Back?" be comparing the performances of peers. If this change establishes a precedent, you Re "Is Jazz Coming Back?" (September): Paderewski recorded theSpinning Chorus will be following the trend that has led to what what has Joel Vance contributed to the better- twice (VIC 6538, acoustic; VIC 1549, elec- you have labeled "the Classical Music Cris- ment of jazz? It seems easy indeed for one as trical, the worse of the two). Rhythmic accu- is." Pretty soon people who are interested in ignorant as he to pass judgment on the mas- (Continued on page 10) 8 STEREO REVIEW The right Pickering cartridge foryourequipment is the best cartridgemoney canbuy.

There's a "right" Pickering cartridge for every features of the various turntables and changers. So, record player, and only Pickering has developed a no matter what equipment you own or plan to pur- way for you to be absolutely certain you select the chase, there is a Pickering XV-15 cartridge exactly "right" cartridge for your highfidelitymusic "right" for it. The DCF number enables you to system. select the proper Pickering XV-15 cartridge in rela- It is a simple way for you to precisely match tion to a particular type of playback equipment to one of our XV-15 (100% Music Power) cartridges achieve maximum performance. to whatever kind of record player you have or plan If you're ready to buy your next cartridge, be to buy. It's called Dynamic Coupling Factor-DCF certain you end up with the Pickering XV-15 car- for short. tridge that's best for your system. Have your We have taken virtually every record player Pickering high fidelity dealer show you our DCF and pre -analyzed the vital variables affecting car- Chart, or write Pickering & Co., Inc., Dept. G , tridge design and those related to the engineering 101 Sunnyside Boulevard, Plainview, N.Y. 11803. PICKERING "for those who can hear the difference" The 100% Music Power Cartridges All Pickering cartridges are designed for use with all two and four -channel matrix derived compatible systems.

NOVEMBER 1972 CIRCLE NO. 41 ON READER SERVICE CARD 9 racy is essential to the success of this piece: it character as "renegade preacher" that he really have no choice but to put themselves is built upon repeated left-hand figurations tended to chop and bend the facts a little to fit repeatedly into their cartoons. Whether this is that must be played effortlessly and accurate- this tidy thesis. done as a form of unconscious therapy or to ly. In Paderewski's hands, the purring of the There is, indeed, within the bulk of Kristoff- avoid offending others who might think they spinning wheels becomes the clangor of the erson's music, a preoccupation with the sins are being caricatured, we can't say. Mr. Rod- Fruit of the Loom machinery. There is no of the flesh, but the "devils" quite clearly ex- rigues, however, owns without a blush to his rhythm, thrust, shape, beauty, or style -only ist most pointedly on the dark side of the writ- forty-five summers. noise, and a desperate effort to keep the music er's self. I don't find a sneaky sinner searching going, somehow, some way. It is in Mr. Bol- for excuses; I sense rather a somewhat tor- I thought the Rodrigues cartoons in the et's performance that one can find "sprightli- mented and always relentless self-putdown. August issue were some of his best yet, ness," "humor," and "lovely filigree." How The theme of introspective exploration of the though I have enjoyed his work for years. Mr. Kipnis can perceive the quality of humor good and evil coexisting in one's soul is as old How about publishing a special collection of in Paderewski's grimly determined perfor- as literature and as relevant as today's news- his cartoons? mance eludes me. The other performances on paper. Further, the use of such terms as "mor- JOE MIOT Mr. Bolet's record are dismissed in a sentence alizing stud" and "scaredy-tomcat" isthe Shreveport, La. or two. rather shallow substitution of catchy phrases I hope readers of your magazine will not for solid criticism. Under consideration. allow Mr. Kipnis' rare lapse from his normally Finally, Mr. Vance claims that Kristoffer- professional manner to deter them from lis- son's reputation is based solely onBobby The British Are Coming! tening to this Bolet recording, which repre- McGeeand that he has done nothing but re- Reader Arthur Jacobs' attack on George sents piano playing of "Golden Age" qual- hash that song since. Maybe Joel Vance Jellinek, which appeared in the September ity - with one important difference: it is the should consider that whileBobby McGee isa "Letters to the Editor" column, was a thor- playing of an artist alive, performing, and re- pleasant enough song with a number of things oughly undeserved slur not only on reviewer cording in our time. to recommend it, it is not really representative Jellinek but also on American musicians and A. M. GRIGOR of Kristofferson's full power as a lyricist. In their audiences. Mr. Jacobs' reaction is symp- New York, N.Y. other songs(For the Good Timescomes most tomatic of the burgeoning snootiness with readily to mind) he has demonstrated his abili- which some Britons have greeted all things Mr. Kipnis replies: "I admit to a blunder, one ty to cut straight through to the emotions with American in the last decade or so-not that that I caught but could not rectify before pub- some compelling lines. Since Mr. Vance has they wereeverwilling to give us our due - and lication, in the review in question. The acous- either missed or chosen to ignore these things, which I can only interpret as so much sour tic disc of theRigolettoparaphrase to which I I can only conclude that he is a very inatten- grapes. Despite Mr. Jacobs' conviction that compared Bolet's performance was not Cor- tive listener. only Europeans can lead us poor provincials tot's but was by one of the 'peers' Mr. Grigor ANITA R. LAY out of darkness, I think the more dispassion- mentions, Vladimir de Pachmann. It was in Schenectady, N.Y. ate (not to mention gentlemanly) European that scratchy old performance that the 'im- critics would concede that American musi- portant melodic passages' were so elegantly I am a Kris Kristofferson fan who, regret- cianship and scholarship have so far distin- and effectively separatedfrom the 'decorative fully, must agree with Joel Vance's psycho- guished themselves as to be able to do a little figurations,' just one of the reasons why! was analysis of K. K. in his review of "Border enlightening of their own. disappointed in Bolet's interpretation. I must Lord." But it is unfair of Mr. Vance to imply LEE PASSARELLA ascribe Mr. Grigor's seemingly intense dislike thatBobby McGeeis the only worthwhile Lansdowne, Pa. of Paderewski (I would argue with him about song Kristofferson has ever written. I cannot Cortot as well, but this is a moot point at the defend his character, but how about acknow- Delius moment) to a matter of taste; I continue to ledging the fact that he wroteFor the Good Imust thank STEREO REVIEW for placing find the PaderewskiSpinning Chorusfull of Times, Help Me Make It Through the Night, Delius'Mass of Lifein the "Best of the charm, whereas Bolet's seems to me just too Sunday Morning Coming Down, Loving Her Month" section (August).Icertainly do literal. Was Easier,andThe Pilgrim?Old Kris may agree, and even consider it the "best of the "I cannot argue the question of Bolet's not wear a halo, but to us country -music fans year." But I do not agree with Bernard Jacob- splendid technique, and I have expressed my these are dang pretty tunes. He may not have son's appraisal of Delius' place in music; that admiration for it. I wonder, however, whether much more to say, but in spite of (or maybe is for posterity, not for Mr. Jacobson, to de- the ability to play all the notes accurately at because of) his hang-ups he has already said cide. I think we will find that the case will be all times can really be considered the primary plenty to many of us. similar to that of Mahler. Twenty years ago requisite for the performance of any reper- BLAINE PETERS the same pronouncements of his worth were toire. If it were, I am afraid I would have to Findlay, Ohio being made, and now he is regarded as a mas- throw out most of the records of the pianists ter. Delius was a great original poetic genius, thatIadmire: Rachmaninoff, Hofmann, Rodrigues: Pulling No Paunches the likes of whom music had not seen before, Schnabel, Edwin Fischer, Myra Hess, Mois- Cartoonist Charles Rodrigues, who de- nor has seen since. He was a man so in tune eiwitsch, and, of course, Cortot. Accuracy of lights in poking fun at audiophiles, apparently with nature that he could translate its most execution is always desirable (and today's works independent of your circulation depart- sublime moods into music. Our time more splicing certainly makes it easy), but there are ment. In the August "Letters to the Editor" than any other needs him-this hectic world many other important factors-tone,dy- column, in the Editor's reply to a letter from needs the reflection in music of things that are namics, musical conception, and personali- reader Bob Freeman, it is revealed that the of real value. ty-that come into play. Naturally, Jorge median age Of STEREO REVIEW readers is ROBERT E. LYONS Bolet has his share of the ingredients that go twenty-nine. But Rodrigues' series of car- Pittsburgh, Pa. into the making of a performance, and I read- toons on loudspeakers in the same issue ily concur that in many ways he is a formida- shows no one anywhere near that age: his Loudspeaker Evaluation ble pianist. So far as representing 'Golden male characters tend to be slightly bald and to Julian Hirsch's excellent article on loud- Age' quality is concerned, however, Bolet's show a bit of a paunch. speaker evaluation (August) raises again the playing leaves me with a feeling of incom- Does this mean that those who can afford question of the relative validity of objective pleteness, and for greater satisfaction I turn the powerful equipment that Rodrigues usu- measurements vs.listening tests in assess- to some of the pianists Mr. Grigor names, ally portrays are on the down side of the hill- ment of performance. He uses as an argument technically flawed though many of their read- or doesn't he know his audience? the fact that proponents of measurements ings might he." Whichever it may be, please keep those produce speakers that do not all sound alike, great cartoons coming. Rodrigues deserves as they should if measurements alone suffice Kristofferson's Devils some sort of award for spreading humor in a to characterize their performance. I must take issue with Joel Vance's critique field that can easily take itself too seriously. A considerable mass of data is required to of Kris Kristofferson's album "Border Lord" FRANK PEDROJA completely characterize the behavior of a (September) - not with the fact that he didn't Wichita, Kan. loudspeaker. By its nature this information like it, for it isnotone of Kristofferson's bet- does not lend itself to a simple summary on a ter efforts, but because he was so taken with Psychologists would have us believe that car- specification sheet, nor can it be fully appre- his own concept of Kristofferson's musical toonists, slaves as they are to their passions, (Continued on page 12) 10 STEREO REVIEW ( Send in the Coupon for a List of Dolby Cassette Releases.) A Turntable for Cassettes

The Advent Model 202 cassette playback deck is record -playing equipment. Included with each 202 the first full equivalent in tape equipment of a is a head -cleaning cassette that helps make normal precision turntable for records. maintenance quick and simple. Designed for highest -quality playback of recorded For schools, libraries, and other institutional cassettes, the Advent 202 employs the Dolby users, a special version, the 202 HP, comes System of noise reduction. It also provides proper equipped with a headphone amplifier and jack. playback equalization for both iron -oxide and The 202 HP and a set of headphones provide about chromium -dioxide cassettes - including a soon - the lowest -cost high-performance sound system to -be -issued series of premium -quality cassette imaginable, one that will probably become a starter recordings on Crolyn from Advent. system or dorm system for some people with tight The 202 is an ideal machine for anyone more budgets and high aims. interested in listening to cassettes than in record- Using the coupon below will bring you full infor- ing his own. It is also a perfect source deck for any mation on the 202 and a list of dealers where you cassette dubbing application, including the grow- can hear it. We also. have compiled a complete and ing number of professional uses. up-to-date listing of cassette releases employing With the number of Dolby cassette releases the Dolby System that we will be happy to send increasing rapidly (there are more than 400 now, you. and the majority of new releases employ the proc- We hope you will test our feeling that the time ess), the time is ripe for a cassette player designed has come for a high-performance cassette player. to realize the full potential of pre-recorded cas- Thank you. settes. It is clearly possible now to make cassette Send to: Advent Corporation, 195 Albany Street, releases that equal (and in some ways surpass) Cambridge, Massachusetts 02139 the sound quality of the best records. The 202 will Please send information on the Advent 202 and a yield everything any pre-recorded cassette can complete list of present cassette releases employing the offer. Dolby System. The transport mechanism of the 202, very low in wow and flutter, is designed to stand up to heavy Name everyday use. It has a precise tape counter for easy location of recorded selections. Its controls are Address simple and positive in action. And its overall oper- City State Zip ation day after day is easier than that of most Advent Corporation, 195 Albany Street, Cambridge, Massachusetts 02139. Dolby is a trademark of Dolby Laboratories, Inc. Crolyn is a trademark of DuPont.

NOVEMBER 1972 People are ciated by those not versed in acoustics. Con- phenomenon that might or might not pass sequently, when we write a spec sheet or dis- away as quickly as they became popular. talking about cuss performance, reams of data must be Anyway, there were too many other groups distilled, and the important role of the acoustic that I thought ought to be mentioned, con- environment cannot be included. Since loud- sidering STEREO REVIEW'S readership. As for speakers are not perfect transducers, and de- gum, I haven't chewed it for years. But 1 signers do not all choose the same compro- could never understand why Gene Autry OpMRS11UMus mises, their products will differ even though thought Doublemint was such great stuff. My the distilled specifications may make them favorite was Black Jack." appear to be indistinguishable. As for listening tests, it is possible to A -B Joel Vance's article "Who's Who in Rock identical speakers and hear differences, un- Right This Minute" (August) confuses me. less both speakers occupy precisely the same What exactly does he mean by "rock big- space. Yet, as a practical matter, the purchas- gies"? If he means big sales, why wasn't er has no choice but to pick a unit whose Grand Funk Railroad included at the top? sound he likes-even though it may sound Certainly they've sold their share. And why totally different at home from the way it does the omission of Led Zeppelin? They're top- McKendree Spring, in the dealer's showroom. He will have sellers, too, aren't they? doubts, and that is why the reviewers, the Well known Rock Band on Decca Records. Or does "biggie" mean big in talent? It "Incredible, really incredible! specification sheet, and the listening test all doesn't seem possible that Santana and his help shape his decision. On the other hand, We were amazed-the bass is unbelievable- rip-off Latin funk could be placed at the top. the designer must rely on objective measures It's the finest speaker we've ever heard!" How can one put the Moody Blues and their of performance even if their correlation with unique theory -poetry albums in the same cat- Werner Klemperer, consumer preference is less than perfect. egory as (ugh!) Grand Funk? If you're judging Film and T. V. Actor "No shelf Shall we say: meters for makers, ears for by talent, why mention Grand Funk at all? speaker I have ever heard users? Mr. Vance, please clarify your system of comes even close to the GEORGE W. SIDLES judging, so that I, as well as other readers, can Opus -7 in authenticity and President, Design Acoustics understand rock - this minute. delineation of individual Palos Verdes, Cal. instruments...as to the Opus LEONARD LIPE 24A-altogether unbelievable. Owners of Chaska, Minn. Crown, Marantz, and other fine amplifiers will Technical Editor Larry Klein replies: "And be flabbergasted". both, perhaps, for test labs?" Mr. Vance replies: "My only hard and fast rule for selecting the groups that appeared in Barbara Cook, "Troubadettes, Troubadoras... " thisarticle-outsidethe'Doorthumpers' Broadway Actress and Singing There is no question that Laura Nyro has category-was, were they likely to be familiar Star. "The sound is gorgeous. invented something new, but I don't think it to the readers of STEREO REVIEW? All ques- Voices and instruments are can be called "soft rock," as Noel Coppage tions and/or considerations of artistry and *4 completely natural. Orchestral crescendos are so solid they does (Troubadettes, Troubadoras, Trouba- bread winningabilityare for that reason seem organic. You can feel the air around dines. . .," September). Nor, as a Nyrotic of strictly relative." each instrument." long standing, do I agree with his contention that we listen to her because of our character- Joel Vance's "Who's Who in Rock" was istic American taste for blandness. On the as accurate as could be expected, with one Creators of "Dynamic Damping' contrary, I listen to Miss Nyro because she exception: the Grateful Dead are bigger than PAT. PEND. epitomizes New York City, and if New York his estimate of them. The Dead are not bland. A new concept in is bland, what's spicy? Their concerts offer more excitement and Loudspeaker Technology But as a doctoral student in American liter- entertainment than those of other top groups, ature who had done extensive research on with their use of light shows and other pyro- Miss Nyro's poetry, I was delighted to see technics. The Dead's music is consistently non-Nyrotic Coppage praising her lyrics and high quality, as is that of other groups such as her considerable intelligence in print. From a the Stones, the Airplane, and the Who. They mind like hers, one doesn't expect the occa- are not "tightly laced": they are a close fami- sional stupidities and naive politics she's ly, but they record and perform individually come out with lately, but she still has that with more freedom than many other groups. mind, and therefore may yet live up to her The Dead belong in the "pantheon of rock." early promise. PAUL R. BROWNLEE PATRICIA S. RUDDEN So. San Francisco, Cal. New York, N. Y. Why, why, why do all critics hate Grand "Who's Who in Rock" Funk? They're amateurs? Pish and posh, Mr. Concerning Joel Vance's article "Who's Vance: amateurs don't survive (witness the Who in Rock Right This Minute," I respect Monkees). Grand Funk is distinctive and tal- Mr. Vance's opinions as much as I'm sure he ented. Listen to Mark Farner's acoustic guitar does mine, but I must assume that he is either riff in I'm Your Captain from the "Closer to a "gum popper" from way back or that his Home" album. Don Brewer's drumming is clock is a bit slow. I agreed with most of his good, fast, and accurate, not the hit-or-miss Magnum Opus Loudspeakers are available choices for "Certified Biggies" with the ex- hodgepodge Ringo Starr employed with your in 5 Models, Priced from $129. to $795. ception of Blood, Sweat and Tears. They are dear Beatles. Mel Schacher is the most inven- essentially dead, as anyone can tell from the tive, diverse bassist since Jack Bruce. For additional information and Dealer List title of their most recent album ("Greatest Do your readers a favor, and shake off the write or phone- Hits"). And I wonder why Jethro Tull was demon bias-or write about some holes -in- left out. They are big and consistently first- pockets guy you understand like Paul Anka. rate. Mr Vance should try to say something JOHN D. SYKORA positive about these groups, too. Omaha, Neb. Tom E. RIBE Mnum Los Alamos, N.M. Mr. Vance replies: "Amateurs do so last. Grand Funk Railroad has lasted a little long- Opu Mr. Vance replies: "I am glad to hear from er than the Monkees (I used to get outraged ELECTRONICS LTD. Mr. Ribe that BS&T are certifiably dead; I letters from theirfans, too) and they will prob- 220 West 19 Street, New York, N.Y. 1001 1 always thought they were stodgy and over- ably outdistance the Partridge Family. / don't (212) 255-8156 Dealer Inquiries Invited rated. Jethro TullI judged to be but a hate G FR: I just don't have time for them." CIRCLE NO. 39 ON READER SERVICE CARD I2 STEREO REVIEW Ask any artist cr musician, any reccrding engineer or auciophile, chances are he uses TD4.fcr his professional work. 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CIRCLE NO. 66 ON READER SERVICE CARD THE LATEST IN HIGH-FIDELITY NEW PRODUCTS.1111111. EQUIPMENT

Sankyo 551 Digital SANKYO offers a digital -readout clock tor switch on the clock face. There is Alarm Clock/Timer with an integral timer system that will also a separate built-in timer mechanism turn electrical appliances (tape machine,that will turn the outlet on and off aftera tuner, TV, coffeemaker,etc.)on at pre-period of anywhere up to two hours. The set times. The appliance is plugged intoSankyo 551 displays in back -lighted soft an a.c. outlet on the back of the clock,red numerals the hour, minute, and sec- and the timer dial, which is calibratedond. The a.c. outlet is rated for up to 10 over a full twenty-four hours, is set as on amperes, or a maximum of 1,200 watts. a conventional alarm clock. At the se-A "snooze" pushbutton on top of the lected hour and minute the a.c. outlet clock interrupts the alarm for about ten becomes live and remains so for aboutminutes when depressed. The Sankyo two hours. The outlet activation takes551 is available in ivory with black face place with or without the ringing of the only. Price: $29.95. alarm, according to the setting of a selec- Circle reader service number 118

Teac Stereo Cassette Decks 12,500 Hz,isa moderately pricedsignal-to-noise ratios (without Dolby), ($159.50)basicrecord/playbackunit and fast -winding times of about 11/2 min- adjusted for low -noise ferric -oxide cas- utes for a C-60 cassette. Push -key arrays sette tape. The Model 220 (shown), withthat include latching pause controls gov- separate preamplifiers (and level con-ern the transport operations, with sepa- trols) for recording and playback, has aratecassette -ejectpushbuttonsand recording bias that can be switched forlarge, illuminatedrecording -level me- ferric -oxide tapes or chromium -dioxideters. The microphone inputs, intended cassettes, and a high -density ferrite rec-for microphones with impedances from ord/playback head. Frequency response600 to 10,000 ohms, have 0.25 -millivolt is 30 to 13,000 Hz with ferric -oxidesensitivities. Outputs are rated at 0.3 tape, 30 to 16,000 Hz with chromiumvolt into 10,000 ohms or more. The dioxide.Price:$199.50. The Dolby- three decks have stereo headphone jacks TEAC'S line of stereo cassette decksequipped Model 250 shares the 220'sthat will drive 8 -ohm phones. Approxi- has been increased by three new models, basic specifications and other features at mate dimensions, including walnut bas- the 210, 220, and 250. The Model 210,a price of $249.50. All three decks have es: 161/4 x 93/4 x 41/4 inches. with a frequency response of 30 to0.15 per cent wow and flutter, 50 -dB Circle reader service number 119

Pickering XV-15/1200E XV-15/1200E, which has a 0.2 x 0.7 -mil 1200E's stylus guard is fitted with the Phono Cartridge biradial (elliptical) diamond stylus and a Pickering "Dustamatic" record brush, rated tracking -force range of 1/2 to 11/4which pivots freely in the vertical direc- grams. The XV-15/1200E is specificallytion and tracks (and cleans) the disc recommended for use with the highest- along with the cartridge. The body of the quality automatic and manual turntables. cartridge is in gold, with black stylus Frequency response is stated as flat from assembly. Suggested retail price: $79.95. I 10 to 30,000 Hz. Nominal stereo separa- The user -replaceable stylus is available tion is 35 dB, and the output of the car- separately as the D1200 and is priced PICKERING has a new top -of -the -line tridge is 4.4 millivolts for a recorded ve- at $35. magnetic stereo phono cartridge,the locity of 5.5 centimeters per second. The Circle reader service number 120

JVC 4VR-5445 Four -Channel Receiver and intermodulation distortion is belowpanel jacks that duplicate them), loud- 0.8 per cent. Flanking the tuning dial onness compensation, FM interstation- either side of the receiver's front panel noise muting, and interchanging of front are two sets of the five slider controls and rear channels. Where appropriate, thatcomprisethe JVC SEA multi -two pushbuttons are provided for indi- band tone -control system. The controls vidual control of the front and rear chan- at the left govern the two rear channels; nels. The centrally located knob -operat- the front -channel controls are on theed controls include the input selector right. Each slider has a ±12 -dB range (two four -channel auxiliary sources plus and affects a frequency band approxi- stereo magnetic phono, FM MONO and JVC's new line of four -channel re- mately two octaves wide. The nominal FM AUTO, and AM), dual volume and bal- ceivers is headed by the Model 4V R- center frequencies are 40, 250, 1,000, ance controls concentrically mounted 5445, an AM/stereo FM unit with a con- 5,000, and 15,000 Hz. The receiver's for the front and rear channels, a power- tinuous power output of 21 watts per pushbutton switches are grouped below switch/speaker-selector, and a mode channel with 8 -ohm loads when all four the SEA controls. They engage such selector with positions for mono, two- channels are driven. Harmonic distor- functions as tape monitoring (via thechannelstereo,discretefour -channel tion is under 0.5 per cent at rated output, usual rear -panel connectors or the front- (Continued on page 16) 14 STEREO REVIEW Marantz stereo gives you tomorrow's sound right now! Marantz' new Model 4100 Control Amplifier is optional SC)* matrix decoders and CD -4" demodu- the heart of a component system you can live with lators. This Marantz-exclusive decoder feature for years to come. Because it works three ways. provides built-in snap -in, snap -out adaptability to any At tl-e twist of a knob, the Model 4100 changes future 4 -channel matrix development. Which means from a 120 Watt RMS 2 -channel stereo control that Marantz components will never grow obsolete. amplifier to a 100 Watt RMS 4 -channel control And neither will your library of records and tapes. amplifier or a 120 Watt RMS 4 -channel adaptor/ Also available: the Marantz Model 4060 4 - amplifier-all with less than 0.3% distortion. channel Console Amplifier (60 Watts RMS). It's another And Marantz components synthesize 4 - member of the Marantz family of 2 or 4 -channel channel sound from any stereo source, decode any receivers, amplifiers and adaptors starting at just matrix -encoded disc or FM broadcast, and accept $149.95. See your Marartz dealer now. makimuromrs.-MtAK, We sound better. OPTIONAL MARANTZ MODEL SQA-1 DECODER (shown) is just one of a variety of optional matrix decoders which snap instantly into exclusive SQ* decoder pocket found on all Marantz 4 -channel equipment.

ILLUMINATED MODE PUSHSWITCH THREE HORIZONTAL SLIDE - FOUR ILLUMINATED FUNCTIONS TAPE MONITORING TYPE BALANCE CONTROLS LEVEL METERS

FRONT AND REAR FIVE -POSITION MODE REMOTE CONTROL MAIN/REMOTE HEADPHONE SWITCH Otters following SWITCH Assigns balance, PUSHSWITCHES OUTPUTS operational nodes: MONO volume, and loudness FOR SPEAKERS to all four channels, control to optional Marantz STEREO to front and rear Model RC -4 Remote channels, DISCRETE Control. SEPARATE BASS AND 4 -channel; VARI-MATRIX TREB-E CONTROLS FOR synthesized 4 -channel or FRONT AND REAR CHANNELS enhanced stereo; SQ matrixed 4 -channel. (With CONTINUOUSLY -VARIABLE optional decoder.) DIMENSION CONTROL

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©1972 Marantz Co.. Inc.. a subsidiary of Superscope. Inc., P.O. Box 99B, Sun Valley, Calif. 91352. In Europe- Marantz S.A., Brussels. Belgium. In Canada: Etecohome. Ltd., Kitchener, Ontario. Prices subject to change without notice. Consult the Yellow Pages for your nearest Marantz dealer. Send for free catalog. CIRCLE NO. 43 ON READER SERVICE CARD THE LATEST IN HIGH-FIDELITY NEW PRODUCTS EQUIPMENT

stereo, and JVC's SFC ("Simulated 2 -dB capture ratio, 60 -dB image rejec- illuminated tuning -dialpointerthat Four Channel") system, a matrix circuit tion, and stereo separation of 35 dB atchanges color to indicate FM center -of- intended to provide enhanced reproduc- 1,000 Hz. Among the receiver's rear -channel. A special front -panel jack is tion of two -channel sources through four panel facilities are a switch that bridgesprovided for the JVC 5911, an optional speakers. The SFC circuit has its own the front and rear amplifiers for in- four -channel remote -control unit with a level control. creased power output in two -channel"joystick" lever for single -control bal- The 4VR-5445's amplifier section has operation, a threshold adjustment for the ancing of all four channels and a master signal-to-noise ratios of 65 and 70 dB for FM interstation-noise muting, and a spe-volume control. There are stereo -head- the phono inputs and high-level inputs, cial FM output to accommodate FM phone jacks for front and rear channels. respectively. Its power bandwidth is 20 four -channel decoders when and if theyIn its wood cabinet, the 4VR-5445 is to 30,000 Hz. Specifications for the FM become available. The receiver has a23 x 6 x 14 inches. Price: $499.95. section include 2 -microvolt sensitivity, a signal -strengthtuningmeter and an Circle reader service number 121

Stanton Dynaphase Seventy Five response is 40 to 11,000 Hz ±3 dB (22channel and a stereo/mono switch. The Stereo Headphones to 20,000 Hz ±6 dB); distortion is rat-tone controls are intended to provide ed at less than 1 per cent for a 115 -dB continuously variable attenuation of low sound -pressure level. Sensitivity is 0.11frequencies. The control box has a volt for a sound -pressure level of 100 dB spring clip on its rear surface, so that it at 1,000 Hz; the power -handling capabil- can be fastened to pocket or lapel. ityis 0.5 watt continuous per earcup.The Stanton Seventy Five headphones Earphone impedance is approximatelyweigh 13/4 pounds; they are powder blue 12 ohms. The Stanton phones have a incolor, with black cushions. Price: foam -padded headband with telescoping $74.95. The control box is also available arms for fit adjustment. The earcups,by itself as the Model 5741 Control also foam -padded for an acoustically iso- Unit, to be used with any low -impedance lating seal around the ear, are attached to headphones desired. The proper connec- the headband by means of pivotingtors are provided for insertion of the unit STANTON'Sfinestdynamicstereo yokes. The integral13 -foot coiled ca- between the headphones and phone jack, headset, the recently introduced Dyna- ble, terminating in a standard three -con-and a 17 -foot coiled extension cable is phase Seventy Five, is a two-way de- ductor phone plug, passes through aattached. The wiring of the channels con- sign, with a dynamic woofer and tweeter small passive control box, of convenient formstothat of currently available fed by an inductance -capacitance cross- size for holding in the hand, that has vol- equipment. Price of the 5741: $19.95. over network in each earcup. Frequency ume and tone -control knobs for each Circle reader service number 122

SAE Mark XII Speaker System proximately 11/2 cubic feet internal vol- (12 -dB -per -octave slope) for the electro- ume, and the 5 -inch cone mid -range has static array. its own isolating enclosure. Three elec- The Mark XII's protective circuit is trostaticpanels -two ofabout53/4 a transistorized device that interrupts inches square and one about 3 x 53/4 drive to the system in the presence of inches - reproduce the upper mid -range direct current or excessively strong sig- and high frequencies. Angled for en- nals within the audio range or beyond. hanced dispersion and minimum driver When the circuit trips, a red light ap- interference, they occupy the top portion pears behind the grille cloth and stays of the speaker cabinet. The cavity behind on until drive conditions are corrected, the panels is open at the back, so that the at which time the amber light indicating rear radiation of the electrostatic ele- safeoperationisre -illuminated. The ments emerges for reflection from any circuit also delays initial turn -on of the surface behind the speaker. The output speaker for about 5 seconds to block of the electrostatic array is regulated by current surges from the amplifier. The one of three rotary knobs on the Mark Mark XII's nominal impedance is8 X I l's rear -mounted control panel; the ohms, and amplifier power of 40 to 60 knob covers a range of ±3 dB in three watts per channel continuousisthe steps. The mid -range output can be ad- recommended minimum. There is no justed by means of its own continuously upper limit on amplifier power because variable control. A low -frequency con- oftheprotectivecircuit;mid -range SAE'sfirst speaker system, the Mark trol changes the crossover frequency oflevels of up to 450 watts continuous XII, uses a combination of dynamic and the woofer from 480 to 240 or 120 Hz program material can be tolerated. The electrostaticdriverstogether witha (with 6 -dB -per -octave rolloffs) for a re- SAE Mark XII, which measures 27 x comprehensive electroniccircuitthat duction of mid -bass output. The sys- 17 x 121/4 inches, is available in rose- protects the drivers from overdrive or tem's other (fixed) crossover frequencies wood ($975 per pair) or oiled walnut amplifier malfunction. The woofer is a are 240 and 2,400 Hz for the mid -range ($850 per pair). 12 -inch unit in a sealed cabinet of ap- (6 -dB -per -octave slopes), and 1,440 Hz Circle reader service number 123 I6 STEREO REVIEW More soundtracks have come to life over an Altec system, so... it makes sense they come alive best over an Altec system highs and lows. Full dynamics so you hear more music. in your home. The famed Altec Voice of Theatre speaker More than you've ever heard before. system is used in nine out of ten movie houses. From this The Altec 891A sells for only $125 each speaker. granddaddy of all speakers has emerged the new Altec Your Altec dealer will turn it on for you. 891A, shown below. Or write Altec, 1515 S. Manchester Avenue, Ana- The 891A bookshelf speaker offers clear, ba!anced heim, California 92803. When music becomes more than just something to listen to, Altec is involved.

A LT E A DIVISION OF ALTEC CORPORATION NOVEMBER 1972 CIRCLE NO. 4 ON READER SERVICE CARD WE'VE IVMDE THE BEST EVEN BE ER 11== .a.msamormal02.7.M.Fif9 M111:::17.-.Z 11217===*':+1-r21, -16.10.1 Ile=m17401r4111======LIZ ======1211::====.11=1:=1 AUDIO nmeguee=esesemseensu == gaglill====.11:a0= =IL 2=1==iiMIE=IMINIMIE =1111=1.:2.4211 ===111:=11111=111:C1==71==.1====1=______== 1 QUESTIONS 1 F.===inLIMM:======IMEE....= ' assemsxzeil=EWEErailliea=== c ==...E..c.7:::======A\sv'E's -7.. j By LA RY KLEINThniI Edit NEW MODELS BETTER! Adding a Tape Machine they are in the midst of reviewing their Inconsidering adding a tape classicalmasters recorded using the machine to my system, but can'tDolby -A system, and some open -reel make up my mind whether to go car- Dolby -B tapes may be commercially tridge, cassette, or open reel. Can you available by the time you read this. Am- NEW MODEL 10/70 spell out the relative advantages of each The frequency carves pex also tells me that they are currently are actual tracinigE from system? in the midst of upgrading their entire a new Sharpe Produc- JEAN GARNER tape -duplicationfacility, including the tion Model 10/10 Newark, N.J.possible use of premium -grade tape. If Improved design of these improvements are indeed made, the famous top - AFor a full discussion of open -reelthen for the first time in recent years the rated Model 10A .vs. cassette see the March 1972tape aficionado has a fighting chance of Smooth, brilliant, issue of STEREO REVIEW Or the Springbuying prerecorded tapes made by the fullresponse. 1972 Tape Recorder Guide published world's largest tape duplicator that will Striking newdecor: by Ziff -Davis. Briefly, choose open -reel consistently sound better than discs. NEW IVIRRif III if you are interested in editing the tape Vanguard informs me that they, too, For new bright sounds and monitoring while recording. The are about to release a dozen or so Dolby- to satisfy the highest open -reel format also provides the low- ized open -reel tapes, but only in the four - standards;of discrimi- est distortion, the best frequency re-channel format, since Ampex handles ating professionals sponse, and the lowest wow, flutter, and the rest of the tape line. and audiophiles noise levels. Cassettes, on the other alike. Smart new appearance with hand, have the virtues of compactness, WhatIs a Defective Disc? advanced acousti- convenience, and a performance level (in /would appreciate a technical or caldesigns. the better machines) that will satisfy all . professional definition as to what but the most critical listeners. NEWMODEL 7/7 constitutes a defective record. As a rec- See this new oudget- Theoretically,eight -trackcartridges ord purchaser I have been getting many priced version of one should provide somewhat better perfor-discs that I consider defective. f Sharpe simost popu- mance than cassettes simply because STEVEN AMATO lar models. Price and they operate at 33/4 ips, twice the speed Portland, Oregon quality make it a of the cassette. In general, however, the best -buyLight- prerecorded eight -track cartridges when AMr. Amato, your question has weight stereo played at home - rather than in a car- . innocently invited me into an listening. Riclh new have a hiss level that makes them unac- area where even courageous angels tread ebony decor. Your ceptable for critical listeners. In this re- very lightly, but here goes. As a starting Sharpe dealer will gladly demonstrate gard,Ifind the prerecorded cassettes point, the Recording Industry Associa- the complete marginally better and the Dolbyized cas- tion of America (RIAA) has dimensional Sharpe Stereoline. settes significantly better. However, in standards (detailed in Bulletin No. E4) their commercial prerecorded releases that establish the physical parameters of SHARPE both formats still suffer from a lack ofabout a dozen factors ranging from the AUDIO highs. Open -reel prerecorded tapes have diameter of the disc to the "contour" of DIVISION slowly improved over the years, but to the recorded groove. There is a range of SCINTREX, INC. my ears they don't sound sufficientlytolerances given for all the parameters, Tonauanda,N.Y. superior to the best discs to justify their and one might imagine that if a particular 14150 extra cost. And prerecorded tapes in anydisc exceeds this range it can be con- format certainly don't provide the easy sidered defective. However, the RIAA Expert Agents location of selections that discs do. states that the standards are "to facilitate ELPA MARKETING INDUSTRIES, INC. For several months Ampex has beenequipmentdesignandassureinter- New Hyde Park, promising the release of open -reel Dol- changeability. They are not intended to NI. Y 11040 byized tapes -a step which could finally indicate or imply quality or performance produce tapes that are consistently bet-levels." ter in sound quality and durability than Since it seems we can't get a profes- discs. The latest from Ampex is that (Continued on page 22) CIRCLE NO. 58 ON READER SERVICE CARD 20 STEREO REVIEW "Optimum stereo performance... excellent dispersion. It has a big sound at any volume evel. Completely free from harshness or ss-idency Hinv- ch. Stereo Review "Superior transient response... extreme clarity, will not break up under any normal or even super norma pushing ..." "Whataspeaker!... The sonic presentation was excellent; voices were iatural with no co'oration o-chestral music was balanced and full; transients came through clearly; the o-gan sounded authentic. Indeed, or a system cf its size andprice, designed for home use, the Grenadier strikes us as the best." High Fidelity CONSUMER COMMENTS: 111. A.. Portsmouth, N. 111.., The rich tr.,e sound of stereo W. S.. Canoga Park. 1"alit., Th style for my wife the soLnd for me J. A., Hyattsville, Md., Superior sound over anything near it in price H. 0.. Vallejo, Calif., That's g:od sound T. F., St. Louis. Mo.. Fantastic sound and the fine qua:ity in tha design It. 414. New York. N. V.. / love it; you made H. D.. Honeyhrook, P. A.. Fantastically g000 fide! tv .1. F.. Vancouver. H. t'., This speaker is truly a work of art!

Model 9500M

D del 7500M Model 6000M

Empire Scientific Corp. em if Mfd. HIGH frEUTI Garden City, New York 11:530 World Famous Speaker Systems

CIRCLE NO. 30 ON READER SERVICE CARD sional ruling, let's approach the question pragmatically. Would it be valid to say that any disc that won't perform mechanically on your record playeris defective? (By "perform mechanically" I mean the stylus is able to stay in the groove, the disc trips the changer mechanism at the right time, it drops properly, and so forth.) There's no easy answer here either. Depending upon the nature of the problem, a very cheap brute -force player might play a record successfully, while an expensive light -touch player would not. This sort of thing can occur when arm mass plus cartridge vertical compliance together produce a mechanical resonance whose frequency interacts with the record's warp frequency. Some- times it isn't resonance that causes mis- tracking, but the fact that the arm has too much mass (and hence inertia) to follow the rapid vertical undulations of a warped disc. A cartridge tracking at 2 to 3 grams would probably not be bothered by either of these problems. In other words, discs can be "defective" on some players, but not on others. They This is why attempts to return "defective" discs frequently meet with a less than fully cooperative attitude from the 100K o0er. seller. The record retailer really has n9 way of telling whether the fault - whatever it is-is in truth in the record. The They problem may be in the record player, or it may arise from an unfortunate interac- tion of the two. For the dealer, the fact fedoeffer. that the record will play successfully on his store machine is usually sufficient evidence to categorize the complaining customer as some kind of a nut. They Up to now we've been talking about gross defects - groove jumping, sticking, and the like. How about the occasional souncDefter tick or pop caused by dirt or bubbles in the vinyl? Some listeners are apparently willing to endure a disc's sounding like Stuciostereophonesoy hail on a cold tin roof. Others become enraged if a single tick or pop intrudes at, say, 15 -minute intervals. To the latter Telex. group, I can only suggest that they convert to a tape system, for they will other- Don a pair of Studio stereophones, the best looking stereophones made. They feel better because wise find no happiness in this world. surgical silicone ear cushions comfortably conform Unfortunately, I don't have much else to your head, even if you wear glasses. The real to offer. A record cannot be labeled test is listening. A unique audiometric -type driver defective as far as the record companies faithfully delivers all the sounds from a disc, tape or receiver. Choose either the Studio I with volume are concerned except when judged in the and tone controls, or the Studio 2. context of the rest of the products in the The proof? Try them yourself at a better hi-fi dealer. record bins. If it is substantially noisier, more warped, more difficult to track on an average player, and so forth, than products of sound research others of its ilk, / would say the disc is defective. However,Iwould hate to TELEX. have to argue the case before a jury con- COMMUNICATION DIVISION sisting solely of record manufacturers 9600 Aldrich Avenue South / Minneapolis,Minnesota55420 and dealers. Studio stereophones are made by the world's largest manufacturer of aviation and educational headsets, Because the number of questions we stereophones, and other listening devices. Write.for catalog. receive each month is greater than CANADA: DOUBLE DIAMOND ELECTRONICS, LTD., Scarborough 4, Ontario we can reply to individually, only EUROPE: ROYAL SOUND COMPANY, INC., 409 North Main Street, Freeport, N. Y. 11520 U.S.A. those questions selected for this col- INTERNATIONAL: TELEX EXPORT DEPT., 9600 Aldrich Ave. So., Minneapolis, Minn. 55420 U.S.A. umn can be answered. Sorry!

22 CIRCLE NO. 70 ON READER SERVICE CARD STEREO REVIEW For $279.we give you engineering. Foranextra$20 wethrow in somefurniture.

To call the Rectilinear Ill a original version of the Rectilinear drivers and the crossover network. piece of engineering is a rather III. Its cabinet is 35" by 18"" by Only the cabinet styles and the vigorous understatement. 1 2" deep, handsome but utterly dimensions are different.In the The equipment reviewers of simple. For $279, you get quality dark, you can't tell which Recti- leading hi-fi and other technical and taste but no frills. linear IIIis which. They sound publications have gone on record However, if you're the last of identical. that there's nothing better than this the big-time spenders, you can That's engineering. $279 floor -standing speaker sys- now escape this austerity for an (For more information, includ- tem, regardless of type, size or extra $20. Because, for $299, ing detailed literature, see your price. (Reprints on request.) there's he stunning new lowboy audio dealer or write to Recti- But engineering is all you version of the Rectilinear III, 28" linear Research Corp., 107 should expect when you buy this by 22" by 121/4" deep, with a Bruckner Blvd., Bronx, N.Y. magnificent fretwork grille. 10454. Canada: H. Roy Gray Mind you, the actual internal Co. Ltd., Markham, Ont. Over- volume of the enclosure is the seas: Royal Sound Co., 409 N same in both versions. So are the Main St., Freeport, N. Y. 11520.) Rectilinear III

NOVEMBER 1972 CIRCLE NO. 53 ON READER SERVICE CARD 23 STUDi 4 Enjoy the 4 -channel sound of "STUDIO 4" hosted by Skitch Henderson . . . on these FM/Stereo Stations:

Asbury Park WADB 95.9 Atlanta WLTA 99.7 AUDIO Buffalo WBNY 96.1 Cincinnati WLQA 98.5 Detroit WOMC 104.3 3ASICS Ft. Worth/Dallas KFWD 102.1 By RALPH HODGES Ft. Lauderdale WMJR 100.7

Indianapolis WFMS 95.5 Kansas City KMBR 99.7 SEPARATE AUDIO COMPONENTS Los Angeles KSPA 107.5 FROM THEvery beginnings of home audio, the use of "separates" in a Louisville WSTM 103.1 sound system - separate preamplifier, separate power amplifier, and Milwaukee WBKV 92.5 separate tuner- indicated that it was indisputably a serious one. There were Newark WVNJ 100.3 and are good technical reasons for separates, reasons which changed as the Oklahoma City KFNB 101.9 technology of sound reproduction changed. About fifteen years ago, when Phoenix KXTC 92.3 the amplifier power race began, the power -producing end of the uncompro- Pittsburgh WKJF 93.7 mising audiophile's (mono) amplifier rapidly grew larger, hotter, and heavier. Portland KJIB 99.5 It made sense to detach the power -amplifier section for relocation in some Providence WPJB 105.1 cool, neglected corner, while the less cumbersome control section or Sacramento KCTC 96.1 "preamplifier" stayed behind in the equipment cabinet. If the system had a San Diego KYXY 96.5 tuner, that was also a separate, since the company that made the best pream- San Jose KPSJ 106.5 plifier usually didn't make the best tuner, if it made a tuner at all. Of course, Seattle KIXI 95.7 combination components were available: integrated amplifiers (power ampli- Toledo WCWA 104.7 fier plus preamplifier); receivers (integrated amplifier plus tuner); and ulti- Tulsa KRAV 96.5 mately stereo receivers (in effect, two mono receivers on the same chassis). Washington, D.0 WJ MD 94.7 But these were for the technically timid and uncritical of ear. To be truly Youngstown WOOD 93.3 powerful (30 watts per channel in those days), a vacuum -tube receiver had to be very expensive, very large, and barely liftable by a strong man. As it was, receivers of modest output generated enough heat to drift and mis-align Consult your local FM listing or favorite hi-fi dealer for exact their tuners, and ultimately, perhaps, cook themselves to an early death. program times. Then came the transistor-much cooler, much smaller, and requiring no bulky, expensive, and fidelity -limiting output transformers. In its very first Studio 4 is brought to you by flowering the transistor era made it obvious that the separates could someday be reunited without compromise in audio performance. Now, with the proliferation of receivers boasting an honest 60 watts per channel or more TELEX® over a wide bandwidth, we're within sight of that goal. The separates are COMMUNICATIONS DIVISION 9600 Aldrich Avenue South still with us, however, for three reasons: (1) Though the best of today's re- Minneapolis, Minnesota 55420 ceivers vie with the huskiest of yesterday's tube separates in power output, some of today's power amplifiers afford 100 -plus watts per channel, and The World's Largest Manufacturer of Stereophones, Aviation Head- their high -power, low -distortion capabilities will benefit no -compromise sys- sets and other Listening Devices. tems (see "The Super -Power Amplifiers" in April 1972 STEREO REVIEW). (2) Anyone with definite plans to keep abreast of the state of the art will want separates because he'll be able to replace components selectively as new developments occur. (3) The owner of separates can send his tuner out for service and still have the means left to listen to tapes and discs. Some of these reasons are not as valid as they once were. Occasional set- backs notwithstanding, we are really quite well along on the road to virtually maintenance -free -equipment. As for new developments, the state of the art in equipment is now better-much better-than the program material at our disposal. The separates are still margitfally more flexible than the integrated amplifier and receiver (particularly when it comes to installation), but there are very few control features that are to be found only on component preamplifiers. Therefore, either approach to equipment can be justified. CIRCLE NO. 71 ON READER SERVICE CARD 24 STEREO REVIEW A speaker system has no business True, it isn't easy to believe The Mode Q55 is one of six coloring the sound of the brass section that a three-way system Quacrafle4 speaker ws-tems we'd like to its own liking. Or adding certain priced at a mere $100 could to to I you rno-e about. Just write: peaks or dips to the music according be everything you want. There are Quacrafle4 Industries to the dictates of a crossover network. valid reasons for the low price, having 1301 Bay St, Emer /vine, Calif. 94608 The Quadraflex Q55 is a full size, tc do with the way all Quadraflex three-way ten -inch speaker system speakers are designed and with no ambition to write its own manufactured, but the best way to arrangements. It will let you hear every convince you is to let you hear the instrument just as it was recorded, Q55 for yourself. To find out where from the bass man's crystal clear low E you can hear it, write to tie address at to the highest audible overtones. right. You wouldn't want to overlook tl-e speaker system you probably sl-ould have just because it doesn't cost as much as you thought you'd have to spend. Speake.-s made to sound like music'

CIRCLE NO. 48 ON READER SERVICE CARD SCLIZSZLE

REGULAR MATRIX

2(i STEREO REVIEW QS Professional Encoder/Decoder SANSUI QS the unique four -channel system that's already widely accepted around the world.

Sansui is a world-wide manufacturer of four. -channel home equipment that has also designed its own advanced system of four -channel encoding. The Sansui QS matrix system offers so much separation and four -channel depth that many professional recording engineers and producers are acclaiming it as the world's first discrete matrix. The QS system provides greater separation among all four channels than the human ear can discern. For all practical purposes, the system's total effect is identical to that of discrete recording techniques. Major advantages of the Sansui QS system: "Regular Matrix," based on the OS system, is an industry standard inJapan. The result: most Japanese -made equipment manufactured since April, 1972 contains QS -type decoding circuitry. More and more record companies have committed themselves to QS encoding-aftertrying the other available systems. Let their experience save you the time and money you might waste experimenting. Sansui QS is the advanced system that permits decoding in a way that producesfull -circle as well as dead -center sound localization. The results are entirely indistinguishable from discretefour -channel sound sources. OS does not degrade any aspect of high-fidelity reproduction. System specificationsfor noise, distortion, dynamic range and frequency response are all maintained at optimum levels. QS provides truly outstanding synthesized sound -field reproduction from two -channel sources.This lets you enjoy the four -channel effect with existing two -channel recordings. OS lets you enjoy full sound -field playback records using other matrixing methods.

ENJOY your favorite artists in QS sound right now on these record labels world-wide: A&M, ABC/Command, ABC/Dunhill, Audio Treasury, Barclay, Black Jazz, Impulse, Ode, Ovation, Project 3, Pye, Toshiba, Vanguard (Japan) and others.

For full details, contact your nearest Sansui office now.

REGULAR MATR'X SANSUI ELECTRONICS CORP.

Sansul Electronics Corp. New York 55-11 Queens Blvd., Woodside, N.Y. 11377. Tel.: (212) 779-5300. Cable: SANSUILEC NEWYORK Telex: 422633 SEC UI. Los Angeles 333 West Alondra BlvdGardena, Calif 90247Tel (213) 532-7670 Sansul Electric Co., Ltd. Tokyo 14-1, 2-chome. lzumi Suginami-ku. Tokyo 168, -lanai".Te. (03) 323-1111. Cable: SANSUIELEC. Telex 232-2076 Sansui Audio Europe S.A. Belgium Diacem Building Vestingstraat 53-55. 2000 Antwerp. Tel315663-5. Cable: SANSUIEURO ANTWERP. Telex ANTWERP 33538 Germany, W. 6 Frankfurt am Main. Reuterweg 93Tel 33538

NOVEMBER 1972 CIRCLE NO. 56 ON READER SERVICE CARD 27 From theguyswho broughtyouthe world's best -tape recorders... The world's newest and finest receiver. Take a second look and you'll begin to touch. It's jacked into a preamp circuit electronics that have made Tandberg see some of the things that make this that lets you use the amplifier controls tape recorders the industry standard. receiver extraordinary. Like two tun- to modify the output signal. With Tape ing meters ... three tape facilities... 3, you can tone down, brighten up, To cite just a few points, there's the eight function -indicator lights. All of boost and rebalance worn discs and true complementary output stages, a which do more than meets the eye. imperfect tapes when you re-record. MOSFET front end for both AM and FM, separate power supplies, fully en- That left-hand meter is a field -strength As for the pilot lamps, they're the capsulated electronic tuning, FM sen- indicator when you're tuning FM. Pull visible indicator of eight function con- sitivity typically 1.7 uV, and a capture out the speaker -selector knob and it trols hidden under a flip -down cover. ratio of 1.8 dB. becomes a power effect indicator-a Two scratch/ hiss filters for moderate built-in early warning system that will In sum, the TR1020 is pure Tandberg. or extreme high -frequency attenua- An AM/ FM stereo receiver that de- avert amplifier clipping and speaker tion, rumble filter, loudness contour, overload. livers about $600 worth of perform- Tape -3preamp, monoleft,mono ance for $429.90. right, and stereo. Tapes 1 and 2 control standard rear - panel jacks for two decks-reel-to-What meets the ear in the TR1020 Including the hardwood cabinet. reel, cassette, cartridge-so you can comes from the same no -compromise Don't just look at it. Look into it. With copy and convert as well as play and your nearest Tandberg dealer. record. Tape 3 is a typical Tandberg

TANDBERG TR1020 When you make the finest tape decks in the world, you don't settle for second best in anything. TANDBERG OF AMERICA, INC., 8 THIRD AVENUE, PELHAM, NEW YORK 10803 CIRCLE NO. 68 ON READER SERVICE CARD TECH\IL TAL< By JULIAN D. H

POWER -RATINGPARADOX?:Formany distortion. This amplifier, which we could describe years, when discussing amplifier power output, as delivering a total of 100 watts continuous power, the editors of STEREO REVIEW have come out rather could also be rated at "115 watts music power." strongly against the so-called "music -power" or Now consider a competing amplifier, with the "dynamic -power" rating systems. Their arguments same music -power rating, but with a less stable- were based not on anything inherently fraudulent and less expensive -power supply. Here we find or incorrect in the music -power concept, but rather a change of 20 per cent in the available voltage from on the tendency to use the music -power rating as a no -signal to a full -signal condition. The con- an inflationary device in advertising copy. The use tinuous power output would be 22 volts at 1.68 (or, rather, misuse) of music power frequently re- amperes, or 37 watts per channel as opposed to 50 sulted in a $250 receiver's having the same ad- watts in our first example. On the basis of their vertised wattage as a $250 power amplifier. music -power ratings, the two amplifiers would The audio -power output available from an am- seem to have the same power capability; in reality, plifier depends on, among other things, the oper- the first one is a third more powerful than the ating voltage of the output transistors, and the second and would be so ranked if we were testing amount of current they. draw from the power supply them for our equipment reports. and deliver to the load resistance. Most hi-fi ampli- In most cases, the highest -quality amplifiers fiersuse unregulated power supplies for their have well -regulated power supplies, which reduces power stages-in other words, an increase in the the spread between their music -power and con- current drawn from the power supply is accom- tinuous -power ratings. Frequently their specifica- panied by a decrease in its output voltage. How- tions are given entirely in terms of continuous - ever, the power -supply'sfilter capacitors store power output, an approach we have applauded and energy at the maximum (no tend to consider as a mark of signal) voltage level, and for TESTED THIS MONTH distinction. brief time intervals can supply Recently, we became aware large currents before there is a that the designer of the ex- significant drop in the power H -K Citation 14 Stereo FM Tuner cellentPhase Linear ampli- supply's voltage. It is this ef- Pioneer SX-626 AM/FM Receiver fiers,Robert Carver, has a fect which accounts for the Marantz 1060 Integrated Amplifier somewhat different approach ability of most amplifiers to Wharfedale W60E Speaker System tothemusic-power/continu- deliver more momentary "mu- ous-powerquestion.Phase sic" power than long-term "continuous" power. Linear's design approach, although it can be ap- To illustrate, let us assume that an amplifier is plied to amplifiers of any power rating, is especially capable of delivering, on a continuous basis, 25 significant for extremely powerful amplifiers such volts of sine -wave signal to its load at a current of as their Models 700 and 400. They use a power 2 amperes. The power output is the mathematical supply that is relatively unregulated and also has a product of voltage and current, or 50 watts. If, very high no -signal voltage. Since the energy stored under no -signal conditions, the power -supply volt- in a capacitor is proportional to the square of the age increases by 10 per cent, and if the filter capac- applied voltage, a high -voltage power supply-all itors can store enough energy to maintain this other factors being equal-can provide far greater voltage for perhaps 30 milliseconds, a momentary storage capacity, and hence greater power on peak in the music can produce an output of 27.5 momentary peaks. Why hasn't this approach been volts at 2.1 amperes, or about 57.7 watts, without used before? Mostly because of the unavailability NOVEMBER 1972 29 ofhigh -voltagetransistorshavingtheproper Looking back at our earlier example, it is plain characteristics. that the choice of a reference condition is the key It is important to note that Phase Linear rates to whether a power supply with soft regulation is their amplifiers only in terms of their continuous - a liability or an asset. If you are comparing ampli- power output. Our own measurements showed that fiers with identical music -power ratings but differ- the short-term (or music -power) output of these ent continuous -power outputs, the one with the amplifiers is roughly twice their continuous out- higher continuous power is the "better" of the put, which is already quite considerable. Instead two-or at least the more powerful. On the other of using a music -power rating to inflate the ap- hand, if their continuous -power ratings are the parent output of a modestly endowed amplifier same, the one with the higher music -power rating (the usual practice in the industry), the Phase is less likely to clip on peaks and hence is the Linear approach is to design a very powerful am- more powerful amplifier of the two. plifier able to stand solidly on its continuous -power The moral of the story seems to be that you ratings, and then let the "soft" power supply pro- can't compare apples (continuous power) and vide extra "head room" for short -duration high- lemons (music power), but some lemon juice in level peaks. With this, we have no argument. your apple sauce can help a lot.

EQUIPMENT TEST REPORTS By Hirsch -Houck Laboratories

Harman-Kardon Citation 14 Stereo FM Tuner When a station is tuned for a maximum meter reading (the meter scale is calibrated from right to left), both the audio noise and distortion are minimized. The front panel is dominated by the two large illuminated meters and a horizontal drum tuning dial (the visible portion of which is about the same size as the meters), calibrated in 1 -MHz intervals. Tuning is by a horizontal thumbwheel below the dial. A red STEREO light is to the THE latest addition to Harman-Kardon's Citation line right of the dial. A three -position switch provides two of premium -quality components is a new FM tuner, the degrees of high -frequency channel blending for stereo Citation Fourteen. Its most obvious claim to distinction noise reduction, and a function switch provides mono, is the inclusion of Dolby -B circuits to take advantage of automatic stereo/mono switching, and stereo -only re- a growing number of FM stations that broadcast their ception. Two vertical sliders control the output levels audio signal with Dolby -B equalization. The use of Dolby of the tuner. processing serves to extend the low -noise reception area At the left of the panel are four pushbuttons con- of an FM station, and virtually to eliminate the residual trolling a.c. power, interstation muting, and the Dolby hiss usually present during stereo reception from even system. A yellow double -D symbol to the left of the nearby FM stations. dial lights up when the Dolby circuits are in use. The Aside from its Dolby circuits, the Citation Fourteen fourth button injects a Dolby 400 -Hz standard -level has a number of noteworthy operating and circuit fea- reference tone, equivalent in amplitude to a 50 per cent tures. Its front-end, which uses two FET r.f. amplifiers, modulated FM signal. When tape recording a Dolbyized an FET mixer, and a total of four tuned circuits, has ex- FM broadcast, this tone is used to set the recorder's ceptional selectivity. The if. section has a sealed nine- level controls for a "0 -dB" level. The Dolby circuits of pole inductance -capacitance filter and two IC amplifiers. the tuner and recorder are normally not used during re- The multiplex stereo -decoder section also uses a special cording. Subsequent playback of the tape through a phase -locked -loop circuit and a single IC, with two separate Dolby decoder applies the noise reduction to transistor -driven low-pass filters to remove ultrasonic the tapeandthe FM program. If the recorder is not frequencies from the audio outputs. equipped with the Dolby system, the decoding can be Although the Citation Fourteen has a zero -center done in the tuner before recording. (It should be noted tuning meter, a novel QUIETING meter provides a very that one cannot record a Dolby -encoded broadcast and sensitive and meaningful indication of the optimum tun- simultaneously listen to it in decoded form unless one ing point. Some eleven transistors are used in the circuits has a separate Dolby decoder or Dolby circuits in the driving the quieting meter. (Another eleven operate the tape machine that can be used for monitoring while re- interstation-noise muting and mono/stereo switching cir- cording. Nor can the Citation's Dolby decoder be used cuits.) This seemingly profligate use of components for except for decoding Dolby broadcasts at the time of what are generally considered purely auxiliary functions reception.) is by no means frivolous. The quieting meter is a genu- In the rear of the tuner are variable and fixed audio inely effective aid in realizing the full potential of this outputs (there is also a TAPE REC output jack on the front fine tuner. In essence, the quieting meter measures the panel), oscilloscope outputs carrying the two channel noise in the detector output, but only in a frequency signals, an output ahead of the de -emphasis network to band that we estimated to be centered at about 120 kHz. (Continued on page 32) 30 STEREO REVIEW LAFAYETTE has a 4 -ChannelSQ receiver for YOU!!

LAFAYETTE LR-220 85 -WATT AM/FM LAFAYETTE LR-440 200 -WATT LAFAYETTE LR-4000 360 -WATT 4 -CHANNEL SQ RECEIVER AM/FM 4 -CHANNEL SQ RECEIVER AM/FM 4 -CHANNEL SQ RECEIVER A total 4 -channel receiver with built-in Praised by the critics for its features and For those who demand the finest in 4 - SQ decoder circuitry that's priced within versatility, our LR-440 is an SQ 4 -chan- channel sound! Every facet of the LR- the reach of almost every budget. Now nel receiver that's hard to beat!It has 4000's design and performance makes it you can start enjoying the dynamic new built-in SQ decoder circuitry for playing the new leader of SQ 4 -channel receiv- sound of SQ 4 -channel records and FM the exciting SQ 4 -channel records and ers!Its four 57-watts/channel RMS (4 broadcasts,discrete 4 -channeltapes, FM broadcasts, a powerful 200 -watt 4 - ohms) amplifiers provide plenty of ultra - and derived 4 -channel stereo from con- channel amplifier for enjoying discrete lowdistortionwide -rangepowerfor ventional 2 -channel stereo sources! And 4 -channel tapes, and our exclusive "Com- discrete and SQ 4 -channel operation. the LR-220 has features like 85 -watts poser" circuit that derives 4 -channel ste- Highly sophisticated SQ wave -matching total power from 4 amplifiers, a sensitive reo sound from 2 -channel stereo sources! full -logic decoder circuitry is utilized to AM/ FM tuner section, blackout tuning Not to mention a sensitive AM/ FM tuner achieve the ultimate in playback accu- dial, main/remote speaker switching, a section, "Acritune" precision visual FM racy of SQ 4 -channel records and SQ FM full complement of controls, and much tuning, and all the front panel controls broadcasts. And the AM/ FM tuner sec- more-all in an attractive walnut -finish you need to put great 4 -channel stereo tion features a "Phase Locking" FM-MPX wood cabinet! See the LR-220 today! at your command! decoder for optimum FM stereo separation and minimum distortion. See your nearest Lafayette store for a personal demonstration of our remarkable new LR-4000. Good... LR 220 249"

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LR-440 369"

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LR-4000411959.

Lafayette Radio ElectronicsP.O. Box 10, Dept.11112, Syosset, N.Y. 11791

r 11112 71 Send today! Send my FREE LAFAYETTE 1973 Catalog to: FREE Name The World's Largest Consumer Electrpnics Catalog Address Your One Complete Buying Gu'cle For "Everything In Electronics" City State Zip ..S=M111 J NOVEMBER 1972 CIRCLE MO. 35 ON READER SERVICE CARD 31 be used with some future FM quadrasonic decoder, stereo and muting -threshold adjustments, antenna terminals, and a switched a.c. outlet. The Harman-Kardon Citation Fourteen is 16 inches wide, 5 inches high, and 131/2 inches deep. Its price is $525. Thevery similar Citation Fifteen, which lacks the Dolby circuits, is $395. Cabinets for either model are $35. Laboratory Measurements. The Citation Fourteen fully lived up to its promise. The measured IHF sensitivity was 1.8 microvolts, with a remarkablysteep limiting curve producing a 50 -dB signal-to-noise ratioat less than 2 microvolts, and an ultimate quieting of 79.3 dB (the best we have ever measured onan FM tuner) at all inputs over 100 microvolts. The Dolby circuitswere not used during these measurements. The frequency response was almost perfectlyflat from 30 to 15,000 Hz, where it was down only 0.8dB. The Citation 14's interior is open and uncluttered; theoutput Stereo channel separation was excellent-over 21 dB jacks and antenna terminals line the rear apron's bottom edge. from 30 to 15,000 Hz, and between 40 and 45 dB from 550 to 7,000 Hz. This is also the best separationwe have ever measured on a tuner. The tuning -dial calibration 1 1 was so accurate that the dial could be preset to the fre- AUDIOI OUTPUTlilt!, quency of a station, and the broadcast would be there 0 013=5.2VOLTS when the unit was switched on. The capture ratio was 1 dB at 1,000 microvolts and t 2.7 dB at 10 microvolts, attesting to the excellent limiting action. The AM rejection was 54 dB, and alternate- channel selectivity was about 75 dB, although the abrupt HARMAN-KARDONCITATION FOURTEEN limiting action made this measurement difficult. The FM(MONO) I image rejection was well in excess of 100 dB-at the I

maximum 100,000 -microvolt output ofour signal gen- ) 18)J,VIHFSENSITIVITY erator we could find no trace of an image response! 1 The interstation-noise muting threshold was factory It set at 7.5 microvolts, and was adjustable from 2.2 to 30 II microvolts. It operated smoothly and with virtuallycom- plete freedom from transients. The stereo threshold 11 TOTALNOISE,HUM,DISTORTIONRE100%MOD.AT 400H , was set at 11 microvolts, and could be adjusted from 11 5 I 2 5 10 20 50 00 5k 10k 20k 50k100k to 35 microvolts. The audio output reached a maxi- R.F.TEST-SIGNAL INPUT IN MICROVOLTS 9.1V) mum of about 4 volts. The dashed curve labeled "noise' shows how random noise (principally hiss) falls below the audio output with increasing Comment. In the New York City area, WQXR is signal strength. Ultimate quieting level achieved was -79.3dB. now transmitting with the Dolby system, and the Citation superlatives for its easy, unambiguous tuning with the Fourteen was able to produce a totally noise -free out- quieting meter, excellent muting characteristics,excep- put from these broadcasts. We also tried a poor antenna, tionally low background noise, and overall excellent which normally results in an audible background hiss; performance. It is a fine tuner and a fit companion to the with the Dolby system noise was again inaudible. other units in the Citation line. Overall, the Harman -K ardon Citation Fourteenrates For more information, circle 105 on reader service card

Pioneer SX-626 AM/Stereo FM Receiver fective interstation-noise muting circuit is included. The AM tuner, a simple and basic design, includes twoceram- ic filters as well as tuned transformers in its i.f. section. A relative -signal -strength tuning meter is used for both AM and FM reception. The continuous -power output of the audio amplifier is conservatively rated at 20 watts per channel (both channels driven into 8 -ohm loads) from 20 to 20,000 Hz with PIONEER'S new stereo receivers share many design less than 1 per cent distortion. The preamplifier has in- and operating features as well as common styling. Al- puts for two magnetic-phono cartridges, a microphone though the SX-626 is one of the lower priced units, it isa (mono, driving both channels), and a high-level AUX in- fully flexible and high-performance receiver. The FM put, as well as the AM and FM tuner sources. There are tuner of the SX-626 has an FET r.f. amplifier, followed by two sets of tape-recording inputs and outputs, with sepa- an i.f. section employing three IC stages and three perma- rate monitoring pushbutton switches that make it possible nently aligned ceramic filters. An IC performs most of the to copy tapes from one machine to the other. If desired, multiplex -demodulation functions, and an unusually ef- (Continued on page 34) 32 STEREO REVIEW Ampex, Media Sound, and the AR-LST.

Until now, most parameters of neer to tailor the sound of the James Frey of Ampex and Bob the recording art have been AR-LST to any special require- Hinkle listen to a playback of significantly better defined ments he may have - to com- 14421 than has loudspeaker perform- pensate for spectral aberra- ance. A quantitative standard tions in a tape, for example. for the monitoring of record- These various energy output ings has therefore been lack- characteristics are accurately ing. Recently Ampex and other known (they are printed in the recording companies have AR-LST's instruction book) turned to the AR Laboratory and are available at the turn of Standard Transducer, a speak- a switch. The finished product. er system that represents the The AR-LST is now being used Bob's album "011ie Moggus" efforts of Acoustic Research to in a number of recording recently completed at Media come to grips with this studios. In the picture above, Sound Studios in New York. problem.

SR -11 1 Flat energy capability Please send detailed information on the AR-LST to The AR-LST's flat energy output curve - as flat, we think, as the state of the art permits Name - provides the industry with its first accurate standard for Address recording and mix -down monitoring.

Flexible in operation Acoustic Research, Inc. In addition, five other output 24 Thorndike St., Cambridge, Massachusetts 02141 characteristics allow the engi-

CIRCLE NO. 2 ON READER SERVICE CARD

NOVEMBER 1972 33 I I 111111 I I I I 111111 III 11 I 1 f 11111 1111 z 0 PIONEER SX-626 PIONEER SX-626 0.6 REFERENCE POWER (20 W1 16k ic-,1;7ToCc),T0A.Lz (H.A.,14M.ONI HALF POWER (-3dB) 0.6 DISTORTIONDISTORTION 0 LOWPOWER (-10dB) z

0 rc (2) 0.2 0.2 0 .k.. 1 S 3 F of. 0.1 04..° z 0.1 iIt' t - z % .. ,A.711....".... rc O os .. 1...... 06

o. ....4ea10.

.0 . 2 2kHz 511H 50 100 200 500 kHz 10 HZ 20 0.1 02 05 1 2 5 10 50 kH 20 100 FREQUENCY IN Hz (CYCLES PER SECOND) CONTINUOUS AND EQUIVALENT SINE -WAVE WATTS PER CHANNEL one of the sets of connections can be used to drive an external four -channel decoder -synthesizer and rear -speaker 111 I amplifier. This still leaves a set of inputs and outputs AUDIOOUTPUT 0DB=1VOLT available for use with a tape recorder. (TAPE-OUTPUTJACKS) Other pushbutton controls provide for stereo/mono switching, FM muting, loudness compensation, and low - and high -frequency audio filters. Both the bass and treble controls have eleven detented positions; the balance and volume controls are conventional. The speaker selector PIONEER SX-626 (which also controls the a.c. power to the receiver) can FMSECTION (MONO) activate any of three pairs of speakers or two combinations of two pairs at a time. An OFF position is included I A ,-2.1).1VIHFSENSITIVITY for headphone listening via the front -panel jack. The large slide -rule dial is softly lit in blue, and the tip of the dial pointer lights in orange when the AM or FM 4 1 i tuner is used. Illuminated words above the dial scales in- 0 dicate the selected input and the reception of a stereo FM TOTALNOISE.HUM,DISTORTIONRE100% MOD.AT 400H broadcast. In the rear of the receiver, in addition to the 5 1 5 10 20 50 100 - 10) 2011 SO) signal inputs and outputs, there are separate preamplifier R F TEST -SIGNAL INPUT IN MICROVOLTS IMV) outputs and main amplifier inputs (with jumper plugs to The dashed curve labeled "noise" shows how random noise interconnect them), a DIN connector for one of the tape - (principally hiss) falls below the audio output with increasing recorder circuits, line and speaker fuses, and two a.c. out- signal strength. Ultimate quieting level achieved was -76 dB. lets, one of which is switched. The speaker connections are made with Pioneer's foolproof, easy -to -use plugs and fect on frequencies between 100 and 3,000 Hz. The filters jacks. The Pioneer SX-626 is supplied complete with a had 6 -dB -per -octave slopes, with the -3-dB response walnut cabinet; it measures 173/4 x 53/4 x 141/4 inches. points at approximately 80 and 3,000 Hz. The loudness The weight is 21 pounds, 13 ounces. Price: $279.95. compensation boosted both low and high frequencies at reduced volume -controlsettings. The RIAA phono Laboratory Measurements. The power output at signal equalization was within ±2 dB from about 100 to beyond clipping with 8 -ohm loads was 27.8 watts per channel at 15,000 Hz, with a slight rise of about 4 dB in the 50- to 1,000 Hz. Into 4 ohms it was 36 watts, and into 16 ohms 70 -Hz region. Microphone response was quite flat over the output was 16.5 watts. The harmonic distortion for a most of the range, tapering off to -2.5 dB at 15,000 Hz. 1,000 -Hz test signal was between 0.03 and 0.09 per cent The FM tuner's IHF sensitivity was 2.1 microvolts, from 0.1 watt to about 23 watts per channel. Intermodu- and a 50 -dB signal-to-noise ratio was reached at only 2.6 lation (IM) distortion was about 0.1 per cent up to 5 microvolts. The ultimatequieting was exceptionally watts, increasing to 0.5 per cent at 25 watts. Although it good: -76 dB for all signal levels above about 70 micro- rose slightly at very low power levels, the IM distortion volts. Distortion (including the 0.5 per cent residual of remained under 0.5 per cent from 2 milliwatts to more our signal generator) totaled about 0.7 per cent at 100 per than 20 watts output, and at normal listening levels was cent modulation. The capture ratio was 1.7 dB. Image between 0.1 and 0.2 per cent. rejection was notably good at 95.5 dB, as was the alter- At the rated power of 20 watts per channel, the har- nate -channel selectivity of 84.5 dB. The AM rejection monic distortion was about 0.1 per cent from below 100 was 55 dB, typical of most good tuners. to above 10,000 Hz, and reached a maximum of about 0.2 FM frequency response was within ±0.5 dB to 10,000 per cent at 20 and 20,000 Hz. Distortion was lower at all Hz, and was down 3.7 dB at 15,000 Hz. Stereo channel reduced power levels -typically a low 0.05 per cent or separation was better than 20 dB from 30 to 15,000 Hz, less over most of the audio -frequency range. and exceeded 30 dB between 140 and 4,500 Hz. The The magnetic-phono sensitivity (for 10 watts output) muting threshold of 4 microvolts insured fully quieted, was 1.35 millivolts, with an overload point of 68 milli- low -distortion reception of any station that "un-muted" volts and an excellent signal-to-noise ratio of 73 dB. The the receiver. The muting action was positive, with a slight microphone input sensitivity was 1.15 millivolts with a "click." We noted that the un-muting occurred only when noise level of -75.5 dB. The AUX input sensitivity was the receiver was tuned within about 50 kHz of the chan- 0.11 volt, with an 81 -dB signal-to-noise ratio. All of these nel center. When you hear a station, ithasto be tuned measurements indicate very fine performance. correctly! The AM tuner was average in quality, with a The tone controls had excellent characteristics, with a frequency response falling to -6 dB at about 3,500 Hz. sliding turnover frequency for the bass, and high -frequency control action effective principally above 3,000 Comment. The FM tuner of the SX-626 compares fa - Hz. With moderate boost or cut there was negligible ef- (Continued on page 36) 34 STEREO REVIEW Programyourmusic theway youwant to

...uoto 16hours! Now, you can enjoy up to 16 hours of continuous stereo music, with the Telex "Tape Age Changer" ... the world's first automatic 8 -track stereo tape car -,ridge changer! You program music four different ways. Just load 12 cartridges, play them in sequence, or random selection, or by "Program" of each cartridge, or repeat ...automatically! Ask your favorite hi-fi equipment dealer to show you the "Tape Age Changer" in either the amplified Model 48H -with optional speakers-or the pre -amplified Deck Model 48D.

products of sound research

TELEXR COMMUNICATION DIVISION 9600 Aldrich Avenue South / Minneapolis, Minnesota 55420

0 'N.

Tune in your local FM Stereo station for "StLdio 4:'

.41 the full -hour program of 4 -channel music hosted by Skitch Henderson. Check your local FM listing or your hi-fi dealer for exact time and station.

NON1 N1131 R 197' CIRCLE NO. 69 ON READER SERVICE CARD 35 and selectivity for practically any receiving situation, plus exceptionally easy and noncritical tuning. The major difference between the audio amplifiers of the SX-626 and those of most costlier receivers (whether made by Pioneer or others) is in their power output. For- tunately, an output of 20 to 30 watts per channel (depending on the rating method) serves very well for the majority of speaker systems and the volume levels at The two sets of tape -monitor jacks on the 626's rear panel will which they are played. From a user's viewpoint, we were take two tape machines, or one machine and a quadrasonic de- especially impressed by the solidity and precise "feel" of coder. Special plugs are provided for the speaker -output sockets. the SX-626's controls. Clearly, nothing has been skimped in the mechanical design and construction of this receiver. vorably with many separate tuners selling for more than It is a joy to use, a very good value in every respect. the price of the entire receiver. It has enough sensitivity For more information, circle 106 on reader service card

Marantz1060 Integrated Stereo Amplifier lineup are the headphone jack and the pushbutton power switch in the lower right. The rear of the Marantz 1060, besides all the usual inputs and outputs (including a DIN connector in parallel 0')Oo it, 0000 with the tape-recording inputs and outputs), has separate

preamplifier -output and main -amplifier input jacks joined

40- .1 by jumper plugs. The speaker terminals are insulated spring -loaded binding posts that do not require a screw- driver to make connections. There are two a.c. outlets, THEMarantz 1060 stereo amplifier is a moderately one of which is switched. In a metal cabinet with a dark priced, highly flexible integrated stereo amplifier whose wood -grain finish, the Marantz 1060 sells for $199.95. performance does credit to the Marantz reputation. A An optional walnut cabinet is available for $24.95. compact unit measuring approximately 141/4 inches wide, 43/4 inches high, and 11 inches deep and weighing 18 Laboratory Measurements. At the clipping point, the pounds, itis rated at 30 watts per channel into 4- or Marantz 1060 delivered 38 watts per channel continuous 8 -ohm loads, with both channels operating. At the lower into 8 ohms, 44 watts to 4 ohms, and 23 watts to 16 -ohm center of the satin -gold face panel are three large knobs: loads, with both channels driven by a 1,000 -Hz test sig- BALANCE, VOLUME,and inputSELECTOR.There are MIC nal. Harmonic distortion was very low-between 0.017 andPHONOinputs, plus theTAPE, TUNER, AUX1, and and 0.055 per cent from 0.1 to 20 watts, reaching 0.067 AUX2 high-level inputs. The front panel mic jacks are per cent at the rated 30 watts and 0.3 per cent at 40 watts also used for theAUX2 inputs, the appropriate sensitivity per channel. The intermodulation distortion was also being set by the selector switch. In the upper center of quite low-between 0.05 and 0.06 per cent from 0.1 to the panel are three tone controls: the usual bass and 10 watts, increasing to 0.18 per cent at 30 watts. treble, plus a mid -range (MID) tone control. Each of the At the rated 30 -watts output, harmonic distortion was knobs has five detented positions of boost, five of cut, between 0.06 and 0.07 per cent from 20 to 14,000 Hz, and a center "flat" setting. and about 0.09 per cent at 20,000 Hz. It was even lower To the left of the tone controls are four pushbuttons: at all reduced power levels-typically between 0.015 loudness compensation, tape monitor, and a left and right and 0.045 per cent. At any output from 1 milliwatt to mono switch. Pushing either mono button connects the 30 watts, intermodulation distortion was under 0.18 input from that channel to both outputs; pushing both per cent, and it was typically about 0.05 per cent, attest- combines the two input channels. At the right side of the ing to the amplifier's freedom from the crossover distor- front panel are four more pushbuttons for the low- and tion that often becomes appreciable at very low power- high -cut filters and separate control of the two pairs of output levels. speaker outputs. Completing the front -panel control (Continued on page 40)

i II I 1111111 I I I IIII MARANTZ 1060 MARANTZ 1060 1111-1, TOTAL HARMONIC DISTORTION 5 REFERENCE POWER (50W) 60/70001.4214.411M DISTORTION HALF POWERI-5dEll 0.5 .44.----4-4 LOW POWER I-100131 0 02 5 0.2 0

1 0 0.1 I - 1 z .oS ,.os 4.00''''"...41.6.4444_.,...... mAAm. ., i a. 45...... -'0,, oo- 02 -.4.-...._ .02 ___... --... moo-...40.'

.04 0 1 0.2 0 5 1 2 5 10 20 50 100 FREQUENCY IN Hz (CYCLES PER SECOND) kHz CONTINUOUS AND EQUIVALENT SINE -WAVE WATTS PER CHANNEL 36 STEREO REVIEW Does your favorite music blow your mind or just mess it up?

Koss Stereophones put Enjoy a new music library your favorite music where Take your favorite tape or record to it belongs. In your head. your Hi-Fi Dealer and listen to it Not lost forever in the thru a pair of Koss PRO-4AA Stereo - walls of your living room. phones. The extra sound you get in After all, who should hear your favor- the Sound of Koss will amaze ite music? You or the walls of your you. In fact, living room? Not to mention your you'll hear family or neighbors who'd rather hear so much something else. Like hearing them- more from selves think. Or their favorite tele- your music vision show. that buying World all your own a Koss PRO- Put on Koss PRO-4AA Stereophones 4AA Stereophone is like getting a and you're in a world all your own. whole new music library. Immersed in Brahms' First or they're focused only on your Hearing is believing Beethoven's Fifth ... orturned on ears ... not onthe walls of ---, Hear the Sound of Koss to the Moody Blues. Patented fluid - your room. filled ear cushions seal in the sound at your local Hi-Fi and seal out the unwelcome noise. Worth hearing Dealer or Department Why should the Koss PRO-4AA store. Or write for our ..and you So nobody disturbs you . Stereophone be so superior? Be- 16 -page color catalog, don't disturb anybody else. cause it contains the first driver de- c/o Virginia Lamm, Dept. You hear more with Koss signed exclusively for Stereophones. SR -272. Once you've heard the You'll hear more of Brahms' First the A unique diaphragm with 4 square Sound of Koss, you'll never want to first time you put on Koss Stereo - inches of radiating area. And an ex- mess around with anything else. phones than you've ever heard with tra large 1 -inch voice coil that's vir- From $15.95 to $150. speakers. Because Koss mixes the tually "blow out" proof. In other sound in your head instead of words, the Koss PRO-4AA was scrambling it on your walls. The designed from the start to pro- unique Koss acous- vide the finest sound ever tical seal around achieved in a dynamic head- your ears phone. And it does ...with a produces a clean, uncolored response 2 -full rich, deep octaves beyond the range of other bass without dynamic headphones on the mar- boominess or ket. And with a typical frequency distortion. Yet range of 10-20,000 Hz. In fact, High highs are always Fidelity Magazine rated the PRO- brilliantly clear 4AA a "superb" headphone. But and uniform then, everyone who has heard the because Sound of Koss rates it superb.

KOSS STEREOPHONES from the people who invented Stereophones

CIRCLE NO. 31 ON READER SERVICE CARD

KOSS CORPORATION 4129 N. Port Washington Ave., Milwaukee, Wis. 53212 37 Koss 5.r.1., Via dei Valtorta, 21 20127, Milan, Italy For those who wanta full-size The professionalnew Dual1229. nothing turntable. less than If you now own a 1219, we don't believe their respective axes. Horizontal bearing you'll want to rush right out and trade it in friction is specified at less than fifteen for its successor, the 1229. But if you have thousandths of a gram, and Dual's unerring been considering a 1219, we do believe the quality control assures that every 1229 will additional refinements of the 1229 will bring meet those stringent specifications. you closer to a decision. The platter of the 1229 is a full-size For example, the 1229 twelve inches in diameter, and cast in one has a built-in illuminated piece of non-magnetic zinc alloy. Each platter strobe for 33-1/3 and 45 is individually dynamically balanced. Dual's rpm. With a typical Dual powerful continuous-pole/synchronous motor innovative touch: an easily drives this massive seven pound platter adjustable viewing angle to full speed in one quarter turn. that you can set to your Stylus pressure dial calibrated A turntable cf the 1229's caliber is in tenths of a gram from 0 to 1.5 own most comfortable grams; in quarters of a gram used primarily in its single -play mode. Thus, position. from 1.5 to 3.0 grams. the tonearm was specifically enginccred to Another refinement is on the stylus perform precisely as a manual tonearm: pressure dial which is nowcalibrated in tenths parallel to the record instead of tilted down. of a gram from 0 to 1.5 grams. This provides For multiple play, the Mode Selector raises finer control in setting optimum stylus pressure the entire tonearm base to parallel the for today's finest cartridges, designed for tonearm to the center of the stack. tracking in this range. All these precision features and refine- Such refinements, while giving you more ments don't mean that the Dual 1229 must control over your Dual, don't actually affect be handled with undue care. On the contrary, its performance. Dual performance is like all Duals, it is quite function of the total precision inherent in the rugged and virtually design which has long made Dual's premier fool proof. model the best-selling "high -end" turntable So we're not being of them all. rash when we include a The gyroscope is the best known full year guarantee scientific means for supporting a precision covering both parts and Illuminated strobe with adjustable labor. That's up to four instrument that must remain perfectly balanced viewing angle, from directly over- in all planes of motion.That is why we selected head to 20° away times the guarantee a true gyroscopic gimbal forthe suspension of you'll find on other automatic units. the 1229 tonearm. This tonearm is centered and Visit your franchised United Audio dealer balanced within two and ask for a demonstration. concentric rings, We believe you will join the other and pivots around ®"purists" who prefer Dual. Dual

The new Dual 1229, $199.50 less base.

United Audio Products, Inc., 120 So. Columbus Ave., Mt. Vernon, N.Y. 10553 Exclusive U.S. Distribution Agency for Dual. CIRCLE NO. 20 ON READER SERVICE CARD

NOVEMBER 1972 39 At the high-level inputs, 0.1 volt was required fora 10 - watt output, with a signal-to-noise ratio of 81 dB. The phono sensitivity was 1.1 millivolts for the same output (overload occurred at a very high 100 millivolts), with a signal-to-noise ratio of 75.5 dB. The microphone sensitivity was 0.95 millivolt for a 79 -dB signal-to-noise ratio. RIAA equalization was accurate within ±0.25 dB from 30 to 15,000 Hz. The microphone frequency response was flat from 20 up to 15,000 Hz, where it was down 1.5 dB. The filters had 6 -dB -per -octave slopes, with the -3 -dB frequencies being at about 95 and 5,000 Hz. The loudness compensation boosted both low and high frequencies at reduced volume -control settings. The rear panel of the Marantz 1060 has a businesslike appear- The bass and treble tone controls had good, fairly con- ance, with the jacks and connectors intelligently grouped and ventional characteristics. The bass "turnover" frequency spaced. The speaker terminals are spring -loaded binding posts. varied from 100 to 500 Hz at different settings. The MID control affected the frequencies between 100 and 3,000 taste and listening judgment of the user. The mid -range Hz (centered at about 700 Hz), with a range of ±6 dB. control has a strong effect on the warmth, or fullness, of the sound. We found it most useful for correcting the Comment.The measured performance of the Marantz balance of recordings or radio broadcasts, in contrast to 1060 speaks for itself.Its distortion and noise levels the bass and treble controls that generally are more suit- were insignificantly low, and the power output was ade- able for modifying the response of the speakers in the quate for the vast majority of home music installations. listening room. The 1060, in addition to its technical excellence, also The compactness, flexibility, and superb performance acquits itself admirably in the area of flexibility. of the Marantz 1060 add up to a truly fine product. Our The most distinctive feature of this amplifier is un- overall impression was completely positive; one could doubtedly its third MID tone control. The usefulness of hardly expect more from an integrated amplifier at this this facility, of course, depends on the requirements of price. the particular installation, and most particularly on the For more information, circle 107 on reader service card

Wharfedale W60E Speaker System

Laboratory Measurements.The Wharfedale W60E is a relatively inefficient system, requiring slightly more than 4 watts in the 1,000 -Hz region to producea 90 -dB sound -pressure level (SPL) three feet from the grille. Since the system's frequency response is adjustableover a wide range, with no indicated "normal" settings on the two level controls, we experimented with a number of combinations of settings to obtain what seemed to be the best overall frequency balance. This was supplemented by running a series of response measurements, which tended to confirm our subjective judgment. The "flattest" overall response in our slightly bright listening room was obtained with the mid-range control THE WHARFEDALE W60E is a compact, three-way about three-quarters of the way up and the high -frequen- speaker system, equally suitable for floor placementor cy level control from two-thirds to three-quarters of the shelf mounting. Its oiled walnut cabinet measures 24x way up. A composite frequency -response curve was ob- 15 x 12 inches, and the system weighs about 45 pounds. tained using a swept warble tone at middle and high The woofer of the W60E is 121/2 inches in diameter and frequencies, and a substitution measurement againsta has a 91/2 -pound magnet structure. It operates ina sealed calibrated reference speaker at low frequencies. Itwas enclosure. The mid -frequencies are radiated bya 5 -inch within ±5 dB from 45 to 15,000 Hz. There wasa some- cone driver, and the highs are handled by a 1 -inch dome what elevated output in the middle frequencies, flanked tweeter. The crossover frequencies are 750 and 5,000 by two broadly depressed regions centered at about Hz. In the rear of the cabinet there are separatecon- 200 and 4,000 Hz. The response at the highest frequen- tinuously variable level adjustments for the mid-range cies was very uniform. The mid -range output could be and high -frequency drivers. The system's nominal im- adjusted from about 4 dB more than our optimum level pedance is 8 ohms. Suggested price: $149.95. (Continued on page 46)

The W60E had excellent tone -burst response. These oscilloscope photos were taken at (left to right) 80, 2,000, and 8,000 Hz.

40 STEREO REVIEW Our4-channel receivers canchange the size ofyourlivingroom. J ist actov.e one slide ccntrol. Of course, there are other And suddenly the room seems features in these Panasonics. deeper Another slide :on:1.°i. Lile our single lever remote And :t seems wider. The sound balance control. It lets you con- appears to move. Until speaker trol the balance of all four chan- separation is just right E.or you. nels. From your easy chair. And No natter how big ar small as for the SA -6800X specs, we your rcom is. With Panasonic's think you'll find them as inter- Accusc Field Dimens:cn (AFD). timal speaker separations. esting as its special features. Only in onr discrete 4-aar nel re- Another benefit for matrix re- Model SA -6400X gives you 1F.4) ceivers. Models SA-6S3OX and cordings is our pba.geshifter. It watts IHF at 4 chms. With many

A-64 )0.X. has three different MODEL SA -6300X of the same specs settings that corre- Power (IHF) 303 watts ac 4 ohms as Model SA -6800X. Pan sonic feels that the dis- Harmonic distortion 0.E% crete sound system is the hest for spond to the phas- Power bandwidth 71-tz-40kHz, -3dB So go to your fran- FM usable .-.charrnel. Whether you're listening of the various sensi-ivity 1.8AV chised Panasonic ing to E. -track tapes or Ccmpatible matrix systems. So Capture ratio (IHF: 1.5dB Hi-Fi dealer for your Discrete 4 -channel (CD -4) rec- virtually any matrixrecording 4 -channel receiver. It's the only ords. Like RCA Quad:adiscs. can be played. way to make sure you get one 2ourse, these receivers cart All our receivers also make sure that's the right size for your liv- also nIndle matrix. Which makes tha: the stereo collection you've ing room. Whatever its size. AFE even more important. Be- amassed wcn't go to waste. You FOR YOUR NEAREST FRANCHISED cause mcst encoding systems fo: can play it straight. Or enhance it. PANASONIC HI -Fl DEALER, CALL TOLL FREE maais records have their cwn op- With our Quadruplex' circuitry. 800 2436000. IN CONN. 1-800 882-6500

Panasonic® Hi Fi 4 -Channel Receivers

CIRCLE NO. 49 ON READER SERV CE CARD COME ALONG learn something,. see something in tne NAVY ample shore leave for inland sights

This Navy poster originally appeared in 1919. For a free full -color reproducliol, slop by your local Navy recruiter's office. No obligation, of course. manelrai

The new Navy still gives you the chance to visit far-out places. But now you take with you some of the most thorough job training in the world. Those who qualify can choose from more than 300 important, skilled jobs. From computer technology to aviation mechanics to nuclear science. The kind of training that will take you places inside the Navy or out. But travel and training are just two reasons for joining the new Navy. Money's another. You start out at $288 lillen1111111.1111MMEmo a month, plus food, housing, clothing and health care. There's a new three- year enlistment, which guarantees your choice of East or West Coast. And a join -now, report -up -to -six - months -later plan. If you want to go places fast, the new Navy is for you. For more information, send in the attached coupon right now. Or call toll free 800-424-8880. Be someone special inThe New Navy

The cabinets are ma .e o01 ec wa nut woo.; everying supp le.orins an easy hook-up. Stop in, see it and hear it at any one of our over System Price 1600 stores inall 50 states. Reg. Sep. Items Price $279.90 229° FREE '73 Catalog See What's Really New in Stereo, Communications, Hobby, Parts, Kits, Anten-Radio Ihaek nas, Tools, Much More. and ALLIED RADIO STORES At Your Nearby Store or .A TANDY CORPORATION COMPANY Write Dept.: SRIX ...1,111,-1,11,111110114 P. 0. Box 1052, Fort Worth, Texas 76107

NOVFM131. R 1972 CIRCLE NO. 74 ON READER SERVICE CARD 47 to about 10 dB less. The frequency range affected by the control was from about 700 to 4,000 Hz, with maximum effect at about 2,000 Hz. This adjustment was not able to reduce the broad response variations in our overall curve. The tweeter level was adjustable over a total range of 15 to 25 dB, with its effect beginning at about 3,500 Hz. The low -frequency output of the W60E was strong down to about 50 or 45 Hz, with a broad maximum at about 70 Hz. We measured the low -frequency harmonic distortion under three conditions: constant drive with nominal 1 -watt and 10 -watt levels, and a constant -output sound -pressure level of 90 dB at 3 feet from the speaker. The W6OE's three drivers are mounted in a familiar arrangement.

GET MORE and BETTER FM Stereo Multiplex BROADCASTS WITH FIIVCCP.GONG Award Winning FM Components FM ANTENNA O\ RECORD Model FM -4G 3y JAMES GOODERIEN3 Music Editor $28.60 list k

FM BAND A MODEST PROPOSAL PASS FILTER FM INDOOR AMPLIFIER Model 3007 WHENJonathanSwift,in $8.05 list Model 65-7 1729, company, when issuing a classical rec- $26.20 list wrotehis Modest Proposalcon- ord, to manufacture copies in excess of cerning the children of the poor in Ire-the number expected to be sold immedi- land, his stated purpose was to benefit an ately. This is done so that the record entire nation by turning what was ob- may still be purchased by those who do viously a social and economic liability not find out about it until years later, and into a commercial and gustatory asset so that it remains at least theoretically (he proposed that the children be eaten). available to those who have not yet de- My own proposal also has the purpose of Write Dept SR 1 1 - for Catalog 20-213 cided whether or not they want it, or, in- turning a liability into an asset, and while deed, can afford it. At some time the THE FINNEY COMPANY it is concerned only with a cultural prod- 34 W. Interstate St., Bedford, Ohio 44146 record is allowed to go out of print, at uct of a medium -size industry and not which point there is often a great hue and CIRCLE NO 23 ON READER SERVICE CARD the ubiquitous poor, it too may have de- cry for copies of it, and then, after the sirable social repercussions. Dean Swift, interest has died down, the companyre- in my opinion, was unjustly criticized for issuesthe record, often at a lower price, the "inhumanity" of his idea, and events and the cycle starts again. During this subsequent to his time have produced time, of course, other records are being killings far in excess of his projections, issued and reissued, so that at any given for less sensible reasons, and without any moment there is available to the buyer SAVE! apparent benefit to anybody at all. Cog- an absolute sea of recorded classical MONEY TIME FREIGHT nizant of his example, I expect my pro- music from which to choose, and the QUALITY STEREO EQUIPMENT posal too to be harshly criticized. And excellent chance that should the record AT LOWEST PRICES. yet I ask the reader to consider if thehe wishes to own not be among those ideas I will offer do not deal with a bad Nk, YOUR REQUEST FOR QUOTA- offered, it will become available again if TION RETURNED SAME DAY. situation with plain common sense. he will only be patient and wait for its The cultural product I refer to is the FACTORY SEALED CARTONS- reissue. GUARANTEED AND INSURED. classical music recording, and the prob- To the record companies, distributors, lem is that such records do not enjoyand retailers this situation is intolerable, SAVE ON NAME BRANDS LIKE: sufficient sales to properly repay thefor they cannot possibly carryallthese A.D.C. KLH manufacturing companies for the effort records in stock, and they have no idea A.R SHURE and expense of making them. They what the demand may be for any one of DYNACO KOSS could, of course, stop making them, but them-except the ones that have just AND MORE THAN 50 OTHERS there are reasons not to. There is a mar- gone out of print, for which the demand ket for these records, a small one to be will, of course, be high but the records BUY THE MODERN WAY sure, but clamorous and eager. Besides, unobtainable. They therefore become such records are the almost sole support BY MAIL-FROM very upset and do not stock classical of many universally beloved musicians, records, and this in turn makes the situa- who receive royalties from whatevertion intolerable for the collectors, for sales there are, and as well contribute to there can be nothing more frustrating the support of numerous performingthan to know that the record one wants organizations, who are also well -loved, to buy is available, but that there is no but face so desperate a financial situation one from whom one can buy it. even with the pittance they receive from My proposal for meeting this situation illinoit audio record sales that the termination of such is a simple one. Records should be is- Department 2115 payments must constitute the final blow. sued in exceedingly limited quantities 1019 North Dearborn Street And, over and above all this as well, (only enough to afford the manufacturer there seems to be a consensus that such a tiny profit when they are all sold) and Chicago, Illinois 60610 recordings have a civilizing effect on the thenneverissued again. The "masters" 312-664-0020 community as a whole. must be destroyed. This will tend to Now, itis customary for a record (Continued on page 50) CIRCLE NO 26 ON READER SERVICE CARD 48 STEREO REVIEW New in the USA! Columbus Speakers,from Canada RSC Columbus Speakers-the Nina, the Pinta and the Santa Now, Columbus speakers offer a new, unique feature - Maria-famous in Canada for superb sound and fine crafts- sculptured Audiofoam grille facings which you can change manship have crossed the border into the U.S.A. yourself within seconds to match the color of your mood How did it happen ? Americans visiting Canadian or decor. Imagine the possibilities! audio dealersand audio shows listenedtoColumbusSpeakers, At no additional cost, with a Santa Maria Speaker looked at the price tag, bought them and asked, "Why you receive 3 Audiofoam grille facings, El Toro Brown, aren't they available at home ?". After hearing this from Spanish Gold and Matador Red. With a Pinta Speaker you Americans again and again, RSC decided the time had receive El Toro Brown and Spanish Gold grille facings. come for Columbus Speakers to disccver America. Nina Speakers coma with El Toro Brown grille facings. Why are Columbus Speakers so good? The truth is Prove the excellence of Columbus speakers for your- that they represent the end result-the "highlight" of 25 self-with your own eyes and ears. Visit your RSC dealer years of research and manufacturing by RSC, Canada's fore- for a demonstration. Match the quality of sound against most speaker manufacturer. In Columbus Speakers, RSC has competing speakers that cost much more. For a brochure incorporated with precise engineering knowledge the most describing the full line of Columbus Speakers please use modern materials and the most advanced components-An the reader reply card in this magazine or write to us. advanced cross -over net -work, complete acoustic suspension, large magnets, Novaprene cone suspension, and many RADIO SPEAKERS other exceptional features described in our brochure, which OF CANADA LTD. is available on request. 221 Norseman St., Toronto 18, Ontario, Canada Phone 416 231-7243 CIRCLE NO. 52 ON READER SERVICE CARD RSC US make a record into a "thing" rather than a passing and repeatable phenomenon, and, as we all know, collectible things have real value. Of course, laws should be enacted to prevent unauthorized copy- ing of the recording, but even apart from this, the original "limited edition" record would be to its pirated dubbing what an original painting is to a mere copy, however well done. Under these circumstances, it will be recognized that when the last pressing of a record has been sold, that record will be permanently out of print; therefore, no one who wants it will delay even an instant in buying it. As the supply dwin- dles, the value of each copy of the record will rise, for it is obvious that what is not available is worth a great deal more than what is available (even if it is not really available), and purchasers of the record will rejoice in ther investment. Wear and tear, loss, thievery, and acts of God will further decrease the supply, and at some point the demand for every classical record will exceed the supply, thus producing the strongest reason for valuing the product more highly in general. You've been meaning THIS should make everyone happy. to smoke a pipe. There will be fewer records at any one No other smoke gives time for sellers to handle, so they can you the same peace stock them all. Buyers will actually be of mind. able to buy, and those who have bought No other smoke is as records can be sure they have made a rich,as flavorful or as safe investment. Those who have not comforting as a pipe. will have a new incentive for buying Why not start today. others in the future. Since records in After all, what are general will be more valuable, compa- you waiting for? nies will be able to charge more for new ones and make more profit, and buyers will not complain because they know that no matter what they pay for a record it will be worth more in the future as its availability decreases. Artists and performing organizations will continue to receive their royalties, and even those persons who do not like classical music will be attracted to recordings of it as an investment, thereby increasing the potential purchasing audience. Now, there will doubtless be complaints about the destruction of masters by Schnabel, Gieseking, Walter, and such deceased artists, and my suggestion will be put down as an act of barbarism KAYWOODIE YELtODOLE® MEDICO® comparable to the destruction of the li- Custom Crafted Pipes Honey -lined Pipes Filter Pipes brary of Alexandria. But, I contend, if World's finest hand- No breaking -in. Unique, 21/4 inch replaceable, records by these men become so rare selected briar. Aged and real -honey -lined bowls absorbent Medico filters cured as only Kaywoodie give you mild, flavorful trap juices, tars, nicotine, that we must apply to libraries to hear knows how. Hand -shaped, smoke from the first keep your mouth clean them, and men will steal them as they hand -worked to look as pipeful!. If you're not and cool. Many with steal jewels, that can only increase the good as they smoke. completely satisfied, guaranteed bite -proof Drinkless fitment return pipe with sales Nylon bits. Pipes: $2.50 esteem of these artists and make them condenses moisture, slip and we'll refund to $35. Medico filters the publicly revered names they are not traps tar for smooth, dry your purchase price. (regular, menthol, char- now. smoking. $6.95 to $100. $2.50 to $6.95. coal) 10 for 150. I ask the reader, then, to consider if my proposal is not a sensible one, and es' not to accuse me of philistinism before he sees the situation as it really is and determines for himself whether the sup- KAYWOODIE YELLO-BOLE MEDICO posedlyrichmusical cultureof this For free folders ano pipe smoking tips write S. M. Frank & Co., Inc., New York, N.Y. 10022 Dept.SR country today is not a fraud and a hoax. 50 CIRCLE NO. 32 ON READER SERVICE CARD STEREO REVIEW Don Giovanni, Eleanor Rigby & Bill Bailey make a poor medley There are 57 FM stations in New York, 73 in Los An-est stations wits an unusual immunity to intrusion from geles and 37 in Chicago-all crammed between 88 andstrong ones. And a choice of power and features from 108MHz. With so many stations, and so little space,$699.50 to $199.50!* Our new SQR-6650, 4 -channel there's bound to be a bit of pushing and shoving. Nowreceiver pours out 50 watts in stereo (25+25W RMS and again, an unfortunate overlap. A receiver withat 8 ohms) and costs hardly more than a stereo receiver ordinary sensitivity and selectivity just won't cut it. of comparable features and specs. $329.50* Visit your But, Sony doesn't make ordinary receivers. We givedealer for a demonstration. Sony Corporation of Ameri- you a choice of six models that bring in even the weak-ca, 47-47 Van Dam Street, Long Island City, N.Y. 11101. *Suggested retail price SONY keeps them separate and beautiful

;I NOVEMBER 1972

CIRC_E NO. 61 ON READER SERVICE CARD ME WORLD ISN'T READY FOR THIS RECEIVER. BUT YOU ARE.

harman/kardon 75+

SOUNO FIELO 4M 54 60 65 70 33 90 100 v25 140 50) K BALANCE

FM 88 9092 94 96 98 100 102 104106 108 MHZ 0 CJ 0

TWIN POWER MULTICI-LANNEL RECEVER In a world of receivers claiming to be conventional matrix circuit, the 75+ uses just slightly ahead of their time, a unique wide -band 90°phaseshift network. Harman/Kardon is introducing one This provides enhanced 4 -channel sound considerably farther ahead than that. that adds a new dimension to stereo music. It's called the 75+, and if you buy it now The 75+ is also equipped with a 360° you'll find it practically impossible to use "Joy Stick" sound field balance control. to full potential. It lets you adjust the four speakers to the Then why should you buy it? levels where they best complement You buy it because each other. it's great for stereo. Having gone this far, you won't want to When buying a receiver, you should go back to stereo. You'll probably want to choose one that's best prepared to handle move even further forward. what you're prepared to hear. You keep it because Given your investment in stereo records it's great for quad. and tapes, that obviously means stereo. SQ records are here now, and they'll And in stereo, the 75+ will deliver an be here in greater numbers in the future. honest 45 watts RMS per channel. Which The moment you begin buying them, your most quad receivers can't. (The 75+ has a 75+ can begin playing them. bridging circuit that combines the power Of course, so will other quad receivers; from four channels into two-instead of but again, not as well. just disconnecting two channels the way The 75+ is the only one with two SQ most others do.) modes: conventional SQ and SQ Blend. As a stereo receiver, the 75+ is Conventional SQ best reproduces the practically identical to our own model 930, ambiance of music recorded live in concert which many reviewers have judged the halls. SQ Blend is best for playing back best available. So it isn't stretching a point hard rock and contemporary music or to say you'll be able to hear the best stereo where a soloist is predominant. any receiver can provide. But why stopthere? What about discrete four channel You enhance records? If and when they arrive, you'll be yourinvestment. waiting for them. A hideaway decoder will If you have two extra speakers, connect be available for simple plug-in connection. them to your 75+. And create two entirely Obviously, the 75+ is more receiver separate stereo systems. than some people need right now, and for You'll be able to hear Beethoven in the that reason there are some people who living room and Bread in the den. Both at won't buy it. the same time. And each with separate But for those with foresight and not tone controls. a lot of money ($400), it represents a rare But to really appreciate your 75+, investment opportunity: consolidate your speakers in one room. A receiver you can't outgrow in a couple And play stereo-tapes, records or FM - of years for the price of one you almost through four channels. certainly will. What you get is "enhanced stereo',' and We have four new multichannel the 75+ enhances it better than any other receivers, ranging in price from $250 to $600 quad receiver. and in watts from 50 to 140. For more Instead of just synthesizing the two back information, write Harman/Kardon Inc., channels by running them through a 55 Ames Court, Plainview N.Y. 118031: harman/kardon The receivers you won't outgrow.

*Distributed in Canada by Harman/Kardon of Canada, Ltd., 9249 Cote de Liesse Rd., Montreal 760, Quebec.

NOVEMBER 1972 CIRCLE NO. 24 ON READER SERVICE CARD 53 Presenting the perfectediron -oxide tape, Capitol 2. Other companies aren't getting the The light color is the result of takingmakes cassettes jamproof. kind of performance out of iron -oxide the carbon out of the oxide side of the The texture of the backcoating that we are. No wonder they've switched tape. Carbon doesn't help the recordingassures that the tape will always wind to different materials. properties of tape in any way. But other smoothly with no steps, protruding We at Capitol, on the other hand, have manufacturers are forced to use it in layers, and other pack irregularities that found a way to perfect iron -oxide tape. order to achieve good static properties. cause, among other things, jamming. And when we say perfected, we Capitol 2 solves that problem differently: So Capitol 2 HOLN cassettes just mean perfect. A tape that outperforms don't jam. chromium dioxide and cobalt -energized The backcoating. tapes in many ways, yet retains all the Just as the side of the tape that The perfect cassette package: inherent advantages of iron -oxide touches the heads should be smooth, thethe Stak-Palem formulations. texture of the back of the tape should have If you've ever tried to locate a a controlled roughness that improves cassette in a hurry, or pick one from the What has Capitol done handling characteristics. differently? bottom of a pile, or put one away in an So Capitol puts the carbon into its orderly fashion, you'll appreciate the Capitol makes more efficient use of new Cushion-AireTM backcoating. The Stak-Pak. iron -oxide particles than anyone else. new black backcoating not only It's modeled after something you We get more energy from each iron- prevents electrostatic charges from find around the house: the chest oxide particle by keeping the particles building up, but improves the handling of drawers. from touching one another (which would cause them to lose some of their The Stak-Pak is, energy). The process we use is secret, very simply, a double but the results aren't secret. Magnetic Coating drawer. It holds two (shiny brown) cassettes. But the Capitol 2 is the world's highest- Polyester Base Film unique part of it is that output iron -oxide tape. Cushion Aire" Backcoating Stak-Paks slide together The new high -output, low -noise (dull black) and interlock to form a chest of drawers. tape, both cassette and reel, works The more you have, the higher your harder than other iron -oxide tapes. You chest of drawers. Each cassette is can record them at a higher record - characteristics of our reels, helps make neatly filed away in its own drawer. level without distortion. our cassettes jamproof, and extends the tape life considerably. The world's most acclaimed cartridge. dynamic range, bar none. Presenting the world's best open- Efficient use of oxide particles and reel tape: Capitol 2 Ultra -High -Output, The Capitol 2 Audiopak® is the smooth tape surfaces all but eliminate Low -Noise (UHL). world's most popular cartridge, long a the three most annoying forms of noise: Capitol 2 UHL is the perfected reel favorite not just with consumers, but bias, modulation, and DC. So Capitol 2 tape. At 15,000 Hz (at 33/4 ips) the new with broadcast studios and has the world's highest dynamic range. tape is, on the average, 4.5 dB more duplicators. The cartridge tape is a You can record both louder and softer sensitive than the top tape made by thespecial formulation of iron oxide, signals than ever before. best known brand. different from the new Capitol 2 cassettes and reels. It is specially Presenting the perfected iron- lubricated (that's why it's often called Capitol 2 HOLN cassette and UHL open reel oxide cassette: Capitol 2 'Iube tape'). High -Output, Low -Noise (HOLN). Capitol 2 Audiopak cartridges are Capitol 2 cassettes aren't just the bestthe standard against which all other iron -oxide cassettes you can buy (at cartridges are measured. I least 6 dB more sensitive than conven- other premium iron -oxide tape tional premium tapes at high fre- The price, perfected. quencies, where it really counts). For Your dealer will sell you four

20 Hz. many reasons, they're the best cassettesCapitol 2 cassettes, 60's or 90's, your 20.000 Hz. you can buy. choice, packaged in two Stak-Paks, Frequency Response at 334 IPS (open reel) or 1,/a PS (cassette) Capitol 2 HOLN cassettes are for the price of three cassettes alone. Capitol 2 is the world's first low- compatible. How to find Capitol 2. print, high -output, low -noise tape. Say you bought a good cassette Capitol 2 is new. Not all stores Print -through is a problem in high- recorder two years ago. You can't use stock it yet. If you can't find it, write us. output tape (both cassettes and reels) chromium -dioxide cassettes. But you can The that Capitol 2 is really the first to solve. use Capitol 2. With the kind of results The uniform particle size, combined chromium -dioxide users have been Capito12 with a secret processing technique, bragging about ever since it came out. Capital 2 ISthe family name that includes Ultra -High - Output. Low -Noise reel tapes, High -Output. Low -Noise cas- reduces print -through to inaudibility. The new iron -oxide cassettes will improve settes. Aud,opak' professional Capitol 2 high -output, low -noise the sound of any cassette recorder in the 8 -track cartridges. and High - is a tape of a different color. house, from the old one you gave to your Performance. All -Purpose reel tapes The side of the new tape that faces kid, to the new Dolby-ized one you bought the heads is a shiny brown, and not as yesterday. dark as most tapes. The shiny mirror- Capitol 2 HOLN cassettes are smooth tape finish improves high- jamproof. frequency response by improving The Cushion-AireTM backcoating not head -to -tape contact. only improves cassette winding, it c1972 AUDIO DEVICES. INC A CAPITOL INDUSTRIES CO.GLENBROOK, CONN. 06906

54 CIRCLE NO. 13 ON READER SERVICE CARD STEREO REVIEW THE BASIC REPERTOIRE: Item One Hundred and Fifty-one By Martin Bookspan

Schumans SYMPHONY NO.2, IN C MAJOR

present he is pure music, so that there is nothing to for Robert Schumann. His doctor reported be done with him -but I like him like that!" that "so soon as he busied himself with intel- Completing and orchestrating the symphony lectual matters he was seized with fits of trembling, proved to be a difficult task, however; into the score fatigue, coldness of the feet, and a state of mental Schumann poured some of his most impassioned distress culminating in a strange terror of death, and eloquent music, particularly in the slow move- which manifested itself in the fear inspired in him by ment, and his labors exhausted him. Finally, after heights, by rooms in an upper story, by all metal in- nearly another full year, the symphony was ready to struments, even keys, and by medicines and the fear be performed, and Mendelssohn conducted the of being poisoned." Recently, some have theorized premiere in November, 1846, with the Leipzig that Schumann was suffering from an undiagnosed Gewandhaus Orchestra. case of syphilis that ultimately led to his madness and death. In any case, his condition in the mid - THREE among the currently available recorded 1840's forced him to give up his activities in Leipzig performances of the symphony stand out, in my one by one. Toward the end of 1844 the Schumanns judgment, all of them in three -disc albums devoted moved from Leipzig to Dresden, and for nearly a to all the Schumann symphonies: Leonard Bern - year the composer battled his internal demons with stein's (included in Columbia D3S 725), Georg Sol - varying success. ti's (included in London CSA 2310), and George In October, 1844, he wrote to a doctor: "I have Szell's (included in Odyssey Y3 30844). Each per- not been able to bear the hearing of music for some formance is a capsule summary of the strengths of time past; it cuts into my nerves like knives." And the respective conductors. Bernstein's is the most later in the winter the same doctor received this in- impassioned and most inflected reading of the three, formation from Schumann: "I still suffer a great Solti's the most febrile and intense, Szell's the most deal, and my courage often fails me entirely. I am straightforward and long -breathed. Both Bernstein not allowed to work, only to rest and take walks, and Solti observe the repeat of the first -movement and often I have not strength enough for it. Sweet exposition; Szell does not. All three conductors are spring, perhaps thou wilt restore me!" given splendid orchestral playing and vivid sonic Schumann spent the winter months studying the reproduction. contrapuntal writingsof Bach, and composed Szell's set wins my top recommendation, primari- fugues to keep his creative powers functioning. By ly because his readings of the other three Schumann the following July, some of his confidence re- symphonies are just as convincing (Bernstein some- gained, he was able to write to Mendelssohn: "I am times overdoes "interpretation" in the "Rhenish" very much behind, and have little to show you. But and D Minor symphonies, and Solti's approach I have an inward confidence that I have not been borders on the overwrought in the other three). quite standing still in music, and sometimes a rosy Too, Szell's is on the budget Odyssey label. glow seems to foretell the return of my old strength, On the other hand, the layout of the Szell record- and a fresh hold upon my art." A letter of a few ings is somewhat ridiculous: the C Major Sympho- days later says: "Drums and trumpets have been ny's first movement is the second band on the set's sounding in my head for several days (trumpets in second disc, movements two and three are on the C). I do not know what will come of it." first side of the third disc, and the last movement is The C Major Symphony is what came of it- the first band on that disc's other side! Also, the slowly at first, as Schumann painstakingly planned four symphonies constitute the entire contents of the formal structure. Then the symphony consumed the Szell/Odyssey set, whereas both Bernstein's Schumann's days and nights, so that by the end of and Solti's albums find room for additional Schu- December, 1845, his wife Clara was able to write to mann orchestral works. Felix Mendelssohn: "My husband has been very Unaccountably, there appears to be no available busy lately, and at Christmas he delighted and sur- recording of Schumann's C Major Symphony in prised me with the sketch of a new symphony; at either the reel-to-reel or cassette tape format. NOVEMBER 1972 55 THE WORDS AND MUSIC OF N1/111.11aNISSILE 311111113 BLAKE As its creators are still here to remindus, their phenomenally successful synthesis of the Afro-American and Euro-American styles continues to echo in our popular music half a century later By WILLIAM BOLCOM, with ROBERT KIMBALL

56 STEREO REVIEW ONE OF THE most unlooked-for musical ren- and the parents cooperated in nurturing their only ascences of the past few nostalgia -hungry surviving child's gifts-up to a point. Emma Blake years has been that of Eubie Blake, an all - was a devout Baptist, and when the six -year -old but -forgotten composer of the springtime of the Hubie began playing the denominational hymns on American musical theater in the teens of this centu- the family's reed organ with a marked degree of ry. It was unlooked for, most probably, because secular syncopation, she ran at him with a handy there are not too many people still about for whom piece of crockery upraised, yelling, "Take that rag- Blake's music could be called a "living memory." time out of my house! Take it out!" The most astonishing part of it all, however, is that It was the first time Hubie had heard the word Eubie Blake himself is still alive to relive, retell, and "ragtime," but ragtime was everywhere around replay the times, the incidents, and the music of a him, not only in much of the popular music of the rich and eventful era. At the age of eighty-nine, he day but in church singing as well. The sheet -music can out -perform and out -talk not only those few of scores of the day betray no hint of ragtime, but inhis contemporaries who have lasted the years with strumentalists were nonetheless"ragging"the him, but many a younger fan and commentator as tunes as a matter of course. Piano rolls, some very well. To call him a legend in his own time is hardly early recordings, and, of course, survivors like Eu- the half of it, for his appearances on national TV as bie Blake together supply the stylistic dimension well as in public concerts in the New York area that is lacking in the written record-which leaves have made him more a much -loved and much -ad- the art of ragtime in somewhat better case than that mired folk hero than anything else. of Baroque ornamentation. Exuberance is the key word for Eubie Blake's music, as it is for the man himself. His rags and THERE isa sixteen -year span between Eubie theater songs explode like firecrackers in any hall in Blake's Charleston Rag (composed in 1899 and which they are performed. His happy music is exu- written down later) and his first song, a collabora- berantly happy, and his few sad works manage to be tion with Sissle and Eddie Nelson titled It's All exuberantly sad. The late upsurge of new interest Your Fault, in 1915, but they were sixteen years in in the music is based almost entirely on Blake's per- which he was learning his trade. Already in 1898, at formances of his own piano rags, which he plays, the age of fifteen, he was playing piano in saloons, despite his years, with a strong, heavy beat and an cabarets, and sporting houses. His first job, at uncanny technical fluency. It is somewhat ironic, Agnes Shelton's elegant "establishment" in Balti- however, that this relatively small part of his musi- more, understandably found his mother less than cal output should be the basis of a comeback, for enthusiastic, but the pay was good and the Blakes just before and during the Twenties Eubie Blake needed it: Hubie's father had developed carbuncles and his lyricist -partner Noble Sissle were fantasti- under his arms and was rarely able to work. Actual- cally successful both as performers and writers of a ly, the higher class of such houses seems to have theater music which strongly influenced the future been a rather pleasant place in which to cut one's history of American musical comedy. Despite this, musical teeth, at the very least. At Aggie Shelton's little of their work has been performed since the there were several parlors -on the first floor up - years of its creation, with the notable exceptions of where well -dressed men conversed politely with the I'm Just Wild about Harry, which fortuitously hap- resident ladies. "If you walked by and looked in the pened to melodize President Truman's first name, windows," Eubie remembers, "you would have and Memories of You, which Blake wrote with thought the place was just another well-to-do family Andy Razaf and which has survived largely be- home." Young Hubie was constantly asked to play cause of Benny Goodman's championship. This is a the hit tunes of the day as well as light classics; loss to our musical life which ought to be repaired ---. there was very little music of a bawdy nature such for the music is of undeniable quality. as one might perhaps expect in such surroundings. James Hubert Blake was born in Baltimore, So, with occasional trips out of town, variously as a Maryland, on February 7, 1883, the son of two ex - buck -dancer or a melodeon- or piano -player, Blake slaves, John Sumner Blake, a stevedore, and Emily continued his career in Baltimore's pleasure palaces Johnston Blake, a laundress. The early years of well into the early years of this century. His career "Mouse," as he was called by his playmates, were a might well have ended there, as it did for so many patchwork of street experiences, by turns hilarious others lured to any early death by dissipation, easy and horrifying: the Blakes were poor, and little money, and easier women. But in 1900 Blake at- Mouse was hardly a sheltered child. Signs of musi- tended a performance of Leslie Stuart's Florodora, cal talent manifested themselves early, however, a light opera quite famous at the time, and all was

NOVEMBER 1972 57 changed. Florodora's composer, an Englishman Their first joint effort, It's All Your Fault, per- whose music differs from that of Lehar and Herbert haps owes more to Leslie Stuart's influence than (also early models for Blake) in its more adventur- any later song-but only in the first four measures. ous and angular melodic lines, has been completely By the fifth measure the ragginess so strong in forgotten today. But it was Florodora that crystal- Blake had already asserted itself. Sophie Tucker, lized the young Blake's determination to write mu- the now almost legendary torch singer, was playing sic for the theater. the Maryland Theater the summer of 1915, and Sis- He did not, of course, simply pick up and head for sle and Blake were encouraged to take the song to Broadway. He continued to work, continued to her. She liked it, sang it, and the song became what compose, and by 1914 he was being published (two Blake calls "a local hit." There were to be serious rags, Fizz Water and Chevy Chase, among his earli- interruptions, but the careers of Sissle and Blake est, have a theatrical flavor). In 1915 Eubie (as he had gotten off to a good start. then became known) met - fatefully, as it was to turn out-Noble Sissle. Sissle was born July 10, ONE of those interruptions was the entry into 1889, in Indianapolis of extremely religious par- their lives of one James Reese Europe. When a real- ents, his father a traveling elder of the Methodist ly adequate history of American popular music is Church, his mother a respected teacher and social written, his name, now inexplicably forgotten, will worker. Young Noble was at first expected to follow loom large. It was he, not Paul Whiteman, who was in his father's footsteps, but his performing talents the first to bring jazz and black music to Carnegie were soon recognized to be unsuppressible. His first Hall (1912), and it was he who was responsible for important job (with Edward Thomas' Male Quar- the popularity of the fox trot (he was for years the tette in 1908) was singing evangelical songs, but his friend and collaborator of Vernon and Irene Castle), career in secular show business was already a fore- the dance rhythm in which so many of our greatest gone conclusion. Before arriving in Baltimore, Sis- popular songs were written. Jim Europe, almost sle had distinguished himself as a band singer and singlehandedly, took the black musician out of the bandleader in Indiana and other parts of the Mid- saloons and other pass -the -hat situations and ele- west. He had been hired for the summer (he was on vated him to professional status. In the teens of this vacation from Butler College, where he was a jun- century, his Clef Club in New York had as many as ior) to play the bandolin (a banjo/mandolin hybrid) 150 musicians in its orchestra, and he found em- and sing for Joe Porter's Serenaders, a pickup group ployment for hundreds more. A proud and well- contracted to play in Baltimore's River View Park. educated man, he was a member of the respected Blake and Sissle met on the marble steps of the Por- community of black Americans who figured promi- ter home. Blake said, "Didn't I see your name on a nently in the theater around the early years of this song sheet?" "Yes." Blake continued, "You're a century. By 1911, largely for economic reasons, the lyricist. I need a lyricist." They shook hands. Negroes had once again been denied access to the

Lieutenant James Reese Europe's army band is shown performing in front of Paris' Hotel Tunis. The band was one of the big morale boosters of World War I, and it brought the ragtime tradition of performance into the U.S. Army.

58 STEREO REVIEW Broadway stage, andit was Europe's greatest dream to witness their triumphant return. Noble Sissle had met Europe in 1913 and was greatly impressed with the man's energy and the idealistic goals that accorded with his own. In 1916, by means of his not inconsiderable exhortative talent, Sissle persuaded Eubie and Avis (his wife of six WHAT IS years) to come to New York to join with him and RAGTIME? Europe in laying plans for the return of the Negro to the Broadway stage, but the war interrupted these TiiE reader may well ask, for there have been tnany different definitions offered by as many efforts. Blake was exempted from service because different authorities, some of them too general and he was the only child of aging parents, but both Sis- others too specific to serve the needs of every spe- sle and Europe became members of the 369th regi- cial case. To Eubie Blake, "ragtime" is a general in term for the particular type of syncopation that was ment of the United States Army stationed a strong and early influence on his music. Practi- France. cally all musical cultures employ some form of syn- While Eubie remained in New York, intermit- copation, but the salient characteristic of the Amer- tently minding the store for Europe's many enter- ican (Eubie Blake's) style is, by and large, a matter prises, First Lieutenant Europe continued his band - of methodically accenting certain notes of the melody against a strong two-, three-, or four -beat pat- leading career. It had been with his band that the tern. It may be considered the regularization, up to Castles introduced so many of their famous dances a point, of certain complex African rhythms in a at the Manhattan Casino in the elegant section of matrix of simple, basic rhythm cells borrowed from Harlem; now another band, in military uniform, European dance and martial music. enabled Europe to serve his country with raggy If ragtime is a general term, then the word rag is an extremely specific one, for the piano rag that marches and other compositions that not only lifted evolved in the latter years of the nineteenth century the morale of American doughboys, black and was a very strict form, almost a musical sonnet. white, but became the sensation of the Continent. Most rags have three to four "strains," or fully stat- Sissle, also a lieutenant, sang with the band in many ed musical ideas, in periods of sixteen bars each, very much like a Sousa march. As in that type of march, the third strain, or "trio," is often in a key As the flyer suggests, Sissle and Blake were big show business other than the original tonic (though related to it), names when they wrote their showThe Chocolate Dandies. often the subdominant, the key based on the fourth note of the scale of the home key. The strictness of B.C.W11-11TN IEV the rag form derives in part from the nature of the dances it accompanied -as in the earlier colonial fresen.ts quadrilles, square-dances, and reels, there were often set patterns of dance steps that had to be completed within a certain number of bars. What was new in the rag was a combination of two things: first, the basic dance steps themselves, such as the cakewalk and the slow drag, in which the entire body was involved rhythmically with the strong beat of the music; and, second, the musical habit of syncopating the melodic figuration against this strong beat. Most rags are in 2/4 or 2/2 time, but there are also ragtime waltzes (3/4) which follow the additive waltz form of the Strausses. On the printed page, rag rhythms look simple, and it could easily be argued that antecedents can be found in European music throughout its history. What is different about them is a matter of emphasis. A good rag player knows how to accent the A syncopations so as to propel the music forward in a ri twoCAL o LOY CLAIJIC way that is simply not to be found in the earlier 2. ACT! 17/TEHIEZ European examples; Eubie Blake's performances BOOK Mr LEVI PAVTOIN of his rags and later theater music are notable for a C4013LIE 1111LE. heavy emphasis on accent.Ifthis music is per- loratc.r /1/7..E formed without the complicated, subtle overlay of JTAGED 16N-' accentuation that is so essential to its nature, its JULIAN! MITCHELL unique musical life is lost. For easy example: those who became heartily sick of I'm Just Wild about Harry early or late in the Truman campaign have doubtless not heard it performed correctly; when Eubie Blake plays it, the old chestnut takes on a fresh new existence. 59 The Chocolate Dandies,very much a stage extravaganza, employed a cast of 125 people andthree horses, thus producing a weekly budget of expenses too high for the receipts to match. Above is the Jockey Scene, just before the entry of the horses. original numbers that were composed with Europe. original version of this description of trench life When the band returned to the States in triumph written by Sissle and Europe, Europe's band would in 1919, plans were set by Sissle, Europe, and Blake mimic the sound of mortar shells and bombs falling to extend the band's continental tour over America. about. As transformed into a duet for voice and But tragedy intervened: on May 9 of that year one piano, it had Blake providing the exploding ord- of Europe's drummers attacked the bandleader in a nance while Sissle slid and ducked the "Boche bar- hysterical rage, stabbing him in the throat. The rage" all over the stage. It never failed to bring headlines, THE JAZZ KING IS DEAD, were car- down the house. ried in red all over the country. In the space of Early vaudeville managers preferred not to have about ten weeks all his enterprises crumbled for more than one black act per show, so Sissle and lack of leadership. All we have of Jim Europe today Blake rarely had opportunities to meet other black are a few tinny acoustic recordings, of necessity performers on the road. But at an NAACP benefit made with only small parts of his huge ensembles in Philadelphia in 1920, they met Flournoy Miller (as were the John Philip Sousa recordings), and a and Aubrey Lyles; whose blackface act (Sissle and few printed scores very Sousa -like on the page, Blake were one of the few black acts of that period except for a very individual sense of harmony and notto appear in burnt cork) consisted of rural hu- syncopations that are, for a band, rather complex. mor, dance sequences, and a famous fight scene What arose out of the wreckage was the vaude- which was imitated by many other vaudevillians for ville team of Sissle and Blake, which, after a short years afterward. Miller and Lyles had developed tour through the Northeast and a stint at the Har- the rudiments of a script for a Broadway show, ten- lem Opera House, opened to great applause at New tatively titledThe Mayor of Dixie,which concerned York's famous Palace Theatre on July 4, 1919. the machinations of a mayoralty contest in a small, Though this assured them of at least three years of all -black Southern town, but they needed a lyricist work on the road, their salaries were considerably and a composer. And thus the musical comedy lower than those accorded white performers, their Shuffle Alongwas born. The four -man team found a dressing rooms were alway farthest from the stage, backer and began touring in preparation for a New and they were often given the least advantageous York opening. There were many instances when spots on the vaudeville programs. Nonetheless, they were not sure of arriving in the next town, but through hard work and sheer brilliance the team the show finally opened in New York in a converted won success in city and town, small house and large lecture hall (the 63rd Street Theater) on May 23, theater. Their act became one of the hardest in the 1921, with an $18,000 deficit. Happily, the reviews business to follow, which resulted repeatedly in were good, andShuffle Along,in borrowed cos- their being moved from the number two spot to the tumes on a narrow stage in a small house, slowly coveted next -to -closing spot on the bill. came to be the hit of the season. Their act consisted of original songs by the two, The plot, as frequently happened in musicals of except for the finish, which was done in memory of that period, was so sketchy as to be almost nonexis- Jim Europe:On Patrol in No Man's Land.In the tent. Miller and Lyles had in fact never written it

60 STEREO REVIEW The chorus line of The Chocolate Dandies, sixteen strong, did not take second place to any such assemblagebefore or since. Many a future star is first noticed in such surroundings, and here the young lady sixth from theright is Josephine Baker. out; it was taken down later by stenographers dur- But it is the music of Shuffle Along that is the ing performance for copyright protection. Several most influential element to be traced in the later his- songs in the production were lifted right out of the tory of the American musical. By 1921, ragtime was Sissle/Blake vaudeville act. Actually, Shuffle Along no stranger to the American stage, but it existed on might be described as the fusion of two vaudeville Broadway in a much -diluted form. The printed acts, and the sheer energy that resulted has since score of Irving Berlin's Alexander's Ragtime Band influenced several generations of musicals down to -rhythmically interesting as the song is-contains today. Shuffle Along was also the musical that intro- hardly a single measure of the rhythmic figuration duced jazz dancing to Broadway, through the cho- associated with real Negro ragtime, and most rag or reography of Lawrence Deas and Charlie Davis. jazz evocations on the white Broadway stage before The famed Shuffle Along Orchestra numbered 1921 were just that - evocations, and not the real among its thin ranks violist Hall Johnson, the late, thing. Shuffle Along was the real thing, but its musi- great leader of the Hall Johnson Choir, and oboist cal palette was not limited to offshoots of ragtime. William Grant Still, a classical composer of consid- Love Will Find a Way, then the hit of the show, is erable gifts. The ethnic humor of Miller and Lyles' Rodgers and Hart prefigured. It is also very likely dialog was also a precursor, from all evidence, of the first time anyone had dared to sing, on a Broad- the famed Amos 'n' Andy radio series, a lineage way stage, a song showing a real love interest be- easy to trace when we know that Miller was a prin- tween blacks, and Sissle and Blake were justifiably cipal writer of the early shows in 1930. worried that this innocent serenade might be booed

Blake's Shuffle Along band of 1921 (Eubie is at the piano) included such future musical luminaries as composer William Grant Still (with oboe, second from Eubie's left) and Hall Johnson (with violin at Eubie's immediate left), who was later to found the choir that bears his name.

61 and catcalled off the stage. It wasn't. If it had not it in! Keep it in!" And Harry wasa hit. The song been for Shuffle Along's lifting of this curious and Baltimore Buzz closed the show, and it evidently antediluvian taboo against the representation of was so infectious that audiences, black and white, romantic love between Negroes on stage, Porgy regularly found themselves dancing in the aisles. and Bess might never have made it. The whole show, against all odds,was clearly a Another of the show's songs then popular was theater landmark, and it fully achieved James Reese Bandana Days, which was written to accommodate Europe's dream: the Negro was finally and trium- a legacy of left -over costumes. It is a Cohanesque, phantly restored to the American stage. almost kidding evocation of earlier black shows, Shuffle Along ran 504 performances in New York which had concentrated almost exclusively on the before embarking on a three-year national tour. plantation era. Audiences were not initially wild Critical and audience response in Boston and Chi- about I'm Just Wild about Harry, which was origi- cago (New York was not then the center of theatri- nally in waltz time (Eubie had always liked waltzes). cal gravity it has since become) were evenmore Lottie Gee, the star of the show, was sure a waltz positive. Ticket receipts and salary lists of the show wouldn't work in the show, and she and Sissle to- do not give the impression that anyone was getting gether persuaded Blake to recast it as a one-step. It rich from it, but the pockets of Sissle and Blake became a hit accidentally when one of the show's swelled gratifyingly with the income from music dancers reported ill. His replacement, Bob Lee, ar- publication and recordings by Paul Whiteman and rived in town in the afternoon and went on that others. Miller and Lyles, who were makingmoney night without knowing the steps. He fumbled only from the show, were miffed by this develop- through by watching the other dancers and imitating ment, and the quartet broke up in 1923. them half a beat later -except when they backed off While the show was on tour in Chicago, Sissle the stage, leaving him unexpectedly alone. Lee then and Blake wrote several musical numbers for Elsie, broke into an insane improvisation that sent the a white show, and they also wrote one called You audience into gales of laugher. Blake rushed into the Were Meant for Me (not to be confused with the conductor's pit, yelling to his collaborators, "Keep tune of the same name by Nacio Herb Brown and

DISCOGRAPHY the development of both ragtime and the obtained from Eubie Blake Music, 284A Harlem stride piano style of the jazz age. StuyvesantAvenue,Brooklyn, New FUBIE BLAKE began his recording ca- The theater section is highlighted by Sis- York 11221 at $5.95 each plus 7 per cent 4rreer about 1919 with a number of sle and Blake's spirited medley of seven sales tax. solo piano rolls and discs; these are now songs from Shuffle Along and Blake's collectors' items. Before 1925, acousti- playing of the Blake-Razaf perennial cal discs were also made by Sissle and Memories of You. THE MUSICAL COMEDIES Blake together and by James Reese Eu- The album was conceived as a kind of OF EUBIE BLAKE rope's orchestra. All deserve to be reis- retrospective of Blake's long career, but(New York opening date and lyricist fol- sued, not only for their historical value, instead of being a valedictory, it helped low the titles.) but for their musical worth as well. launch him on an entirely new career as a After a long period of neglect by rec- television performer, lecturer, and spark- Shuffle Along (May 23, 1921, Noble ord companies, Blake did participate in plug of the ragtime revival. Among his Sissle) the making of a few LP's for RCA, many activities has been the creation of Elsie (April 2, 1923, Noble Sissle) Twentieth Century Fox, and Stereoddi-his own record company, Eubie Blake The Chocolate Dandies (September ties; these, too, are out of print, though Music. One record has already been is- 1, 1924, Noble Sissle) copies are to be found in a few public sued, and two others will be released ear- Blackbirds of 1930 (October22, collections. This situation was somewhat ly this winter. 1930, Andy Razaf) remedied by John Hammond and Co- Shuffle Along of 1933 (December 26, lumbia Records with three historic re- Eubie Blake, Volume I (featuring 1932, Noble Sissle) cording sessions in late 1968 and earlyIvan Harold Browning), EBM 1. Here, Swing It (July 22, 1937, Milton Red - 1969. Blake's accompaniments to the marvel- die and Cecil Mack) ous singing of Ivan Harold Browning, Shuffle Along of 1952 (May 8, 1952, The Eighty -Six Years of Eubie Blake, the leading man of Shuffle Along and The Noble Sissle) Columbia C2S 847. This impressive two - Chocolate Dandies, are models of their record set features piano and vocals bykind. Blake's playing is as wonderfully Several Eubie Blake songs were inter- Blake and vocals by Sissle in a chrono- energetic as ever, and this is a fine first in polated in American and English mu- logical representation of highlights ofwhat should be an enjoyable series ofsicals, and many Blake theater scores, their great accomplishments as ragtime records. To come are Volume 2, "Eubie including some of his best work with pioneers and contributors to the musical Blake from Rags to Classics," and Vol- NobleSissle,AndyRazaf,Milton stage. The ragtimesectionincludes ume 3, "Eubie Blake and His Friends: Reddie, and others, were completed for Blake's own Charleston Rag, composed Edith Wilson and Ivan Harold Brown- shows that were never produced. These in 1899. Sousa marches, and the piano ing." EBM records, produced, recorded, scores remain in manuscript in Blake's works of Blake and others important toand designed by Carl Seltzer, can be Brooklyn home.

62 STEREO REVIEW le' simply wanted to give a lot of deserving people jobs. Blake still feels thatThe Chocolate Dandiesis his best theater score, and it is tempting to agree with his assessment. WhereasShuffle Alongis pure, raw energy of a sort that can never be repeated, Dandiescontains music of far greater depth.Dixie Moondeserves to be known by anyone interested in the American musical theater; it is probably the best song Sissle and Blake ever wrote. In it the fusion of all the elements in their styles can be found: Sissle's strong tendency toward assonance and internal sound -rhymes is perfectly realized, and so is Blake's mastery of harmony and melodic surprise. The verse ofDixie Moonis every bit as solid as the refrain: in Blake's favorite minor key, it employs an almost Oriental scale pattern in an absolutely natural way. When the refrain shifts to the major, four strong, assertive whole notes declaim the text in a Eubie Blake and Vera Lawrence, editor of the Scott Joplin col- way that, once heard, can never be forgotten. lected works, at the New York Public Library's Joplin festival. Why, then, didDandiesfail? Simply because too Arthur Freed), which turned out to be the first song large a cast meant too large a weekly budget to Gertrude Lawrence and Noel Coward ever sang meet, and the show closed to the tune of a $60,000 together on the professional stage. The pattern be- deficit. Nonetheless,Dandiesmight, for a Broad- came clear: no longer would Sissle and Blake be way feverishly looking back to its roots for a shot of limited in their writing to stereotypes of the Ameri- adrenalin, be successfully revived if some of the can stage Negro. Miller and Lyles, seemingly, had overlavish original production elements (three real reveled in them, but to Sissle and Blake they ran- horses racing on stage!) were eliminated. kled. All well and good to call upon one's heritage, lively and rich as it was, but to be required to stay EUBIE BLAKE'S theater career afterDandieswas within it was to be denied the full creative freedom not a tragic one by any means, but it was not every American artist has a constitutional right to crowned with the success of his earlier undertak- expect. After years of hard work, privation, and ra- ings. The reasons are ascribable not to failing inspi- cial pigeonholing, Sissle and Blake were on top. So ration, but rather to the stock -market crash of 1929 they set out to write the show they had always and the ensuing Depression.Shuffle Alonghad wanted to write. inspired black musicals by James P. Johnson, Fats In the new show,In Bamville,later to be called Waller, Creamer and Layton, and others, but as the The Chocolate Dandies,Sissle's literary tendencies Twenties wore on, racial lines again tightened in the and Blake's wide range of musical styles were given theater, and after the crash practically the only full rein. Sissle's prosody, never easy, now began to place Negroes could find money to back theatrical take on strange convolutions only a performer with enterprises was the underworld. A few legitimate his faultless diction could handle; Blake, on the producers continued to hire black performers in other hand, showed in his songs a profound famil- numbers-often because their asking price was iarity with and love for the entire spectrum of Eng- lower than that of whites-but the fad for black lish and American theater music. An examination musicals was passing, and this made it even easier of the score makes it clear that Sissle and Blake did for the unions, to their discredit, to find ways of not abandon their particular style, but that they bending their laws to keep blacks out of a dwindling fused it with elements of all the prevailing styles of job market. their era. Such ingenious eclecticism might today be In the late Twenties, however, a colorfully eccen- hailed as a new amalgam benefiting the whole medi- tric producer named Lew Leslie had started a series um, but in 1924 the critics were only able to hear of revues entitledBlackbirds.In them such stars as the surface influences and not the solid substratum Bill Robinson, Ethel Waters, and others got their of the Sissle/Blake style which held everything else New York starts. Sissle and Blake had separated up. Yet the show did tour for fifteen months, despite temporarily as a team: Sissle was in Europe pursu- low box-office receipts and the weight of a gargan- ing a bandleading career, and Blake was touring the tuan cast of 125-evidently, like Jim Europe, they country with "tab shows" - short vaudeville acts or

NOVEMBER 1972 63 encapsulated musicals presented on the same bill as couple's existence was precarious. ButMarion re- a feature-length movie. On one of Blake's stops in sourcefully checked into hernew husband's AS - New York, Leslie asked him and lyricistAndy CAP status and found that hewas making far less in Razaf, who had worked before with Fats Waller, to royalties than he should have been.ASCAP write the score for Blackbirds of 1930. Flournoy stepped up his rating, and it has been throughthat Miller returned to write the book (Lyles, sick, was organization (encouraged by Marion) thatthe to die of tuberculosis in 1932), and the show, star- Blakes have been able to live fairlycomfortably ring Ethel Waters and a large cast, opened inSep- ever since, mainly on royalties from I'm Just Wild tember 1930 to excellent reviews. about Harry and Memories of You. Unfortunately, Leslie had a penchant for reshuf- Harry's renewed popularity during the1948 elec- fling acts and for hiring and firing performers after tion campaign led to an interest inreviving Shuffle an opening. Such tinkering may have weakened the Along. Sissle and Blake convened with theproduc- show; at any rate, it ran for only sixty-twoperfor- ers, and Shuffle Along of 1952 was mounted, mances. Two hits came out of Blackbirds of 1930, opened-and closed. The reasonsare perhaps not however: You're Lucky to Me,sung by Miss Wa- far to seek. The earlier Broadwaywas a far more ters, and the popular Memories of You, introduced independent and artist -run system than it had be- by Minto Cato, who had a phenomenal voicerange come by 1933, when only twenty of the eightyor so for a popular singer. Memories' unusually wide theaters were still open. Following the Depression, vocal span has prohibited its performance bymany financiers and a host of self-proclaimed"experts" pop singers since, but Benny Goodman made itan took control of the theaters. Theywere perhaps instrumental hit in the late Thirties, and through good businessmen, but they lacked thecritical the- him it became a standard. atrical talent to make a show As it did for many in those cruel come alive and sus- years, Blake's tain itself-the very thing, ofcourse, that charac- story darkened somewhat in the Thirties. After terized the "impractical" people from whomthey Lyles' death, Miller, Sissle, and Blake came togeth- had wrested the theaters. Shuffle Alongof 1952 was er again to write Shuffle Along of 1933, a good show made as a vehicle for Pearl Bailey. She left theshow that failed for the usual economicreasons. Blake before the opening- perhaps demonstrating her wrote several shows with Milton Reddie, of which good sense-after Sissle and Blake had been literal- only one, Swing It, was produced - by the WPA in ly run out of it and the "experts" had takenover. 1937. With Razaf, he also wrote several showsin the Thirties and early Forties,some of which were BUT the last chapter in the story of Noble Sissle "commercial" shows (productions designed to sell a and Eubie Blake has not really been writtenyet, for product -and incidentally to give writers andactors what they accomplished musically and work), but their best effort of those theatrically years, Tan still goes on echoing in America's musicaltheater. Manhattan, although it did wellas a club floor These two black performers andcreators were not show, never found Broadway backing. Blake'smu- the first to combine the best of the black sic had changed in style and the over the years; where white theatrical worlds, but theywere the most suc- Shuffle Along had breathed the raucous spirit of the cessful and therefore the most influential.To listen Twenties, Manhattan reflected the flavor of itsera, to a record of an American musical writtenbefore hardly "roaring," but a more modest expression of a 1921 is to miss the syncopation that markspracti- time when nobody one knewwas rich. One song cally all American popular music written from the show, I'd Give since. Sis- a Dollar for a Dime, is as sle and Blake succeeded in synthesizingand inte- fine a song as Eubie ever wrote. grating the Afro-American andEuro-American During the Forties, Blake toured the United elements in their work to an unprecedenteddegree, States with a USO show; the only time in his life he leaving the way open for the flowering of the unique had been out of the countrywas on a vaudeville style of American popular music today. It is gratify- tour of England with Sissle in 1925. The death of ing not only that the passage of theyears has sharp- his wife Avis in 1939 had started himon a lonely, ened our awareness sufficiently thatwe can under- aimless existence-only fifteenyears before he had stand this fact, but that those years have not been been a national favorite, andnow nobody seemed to too many to prevent our thanking Noble Sissle and know him. But in 1945 he met and married hispres- Eubie Blake for their gifts personally. ent wife, Marion Gant Tyler, and the two moved into her father's elegant old brownstone in theBed- ford-Stuyvesant section of Brooklyn. Eubiegave up William BolcomandRobert Kimballare the authors of a forthcoming book,Reminiscing with Sissle and Blake,to be published the USO tours, and for a time the newly married by Viking February 7, 1973, Eubie Blake's ninetieth birthday.

64 STEREO REVIEW JINNI \ W11E111313 "There are places to grind axes, and it's not on a record player" By ROBERT WINDELER

ALTHOUGH he he just turned twenty-six in August, in both sic -it was records, making records. Ironically I didn't public and private terms Jimmy Webb has had at know that much about recording, really." least three separate musical careers. "The initial period Grammy Awards right and left didn't ease his discon- was the scuffling one," he recalls, "where my primary tent, and neither did dozens of free -loading friends and concern was to be able to make music and get paid for demanding musical artists who didn't just want to sing his it -not to make a fortune, but to get paid for it and sup- songs but wanted his constant guidance as well. In 1969, port myself and not have to do anything else to earn a liv- Webb dropped out, and there were no new songs for more ing. I worked in a recording studio for $100 a week, tran- than a year. All of a sudden a brand-new singer -songwrit- scribing other people's songs, and lived in a little apart- er emerged. Phase three in the musical life ofJimmy ment. It was fairly easy to do, and I didn't mind that it Webb began. wasn't my music." "It's a myth that I was a recluse during that period of This was in the period that began in 1964 (when Jimmy my life," he insists. "I had no conscious desire to become was eighteen) and ended in 1967, when a promotional a recluse. But there was a very real desire to learn more passenger -carrying balloon for a San Bernardino hot-dog about the recording studio and to perfect my music." He stand inspired the song that launched the most sensation- was unavailable to journalists and never seen in public, al pop composing career in recent memory. In 1964 Jim- and he admits, "I hardly did anything for those two years my, a native of Elk City, Oklahoma, had moved to the except practice." Early in 1971 he released his first solo Los Angeles area with his father (a Baptist minister), his record for Reprise, "Jimmy L. Webb: Words and Music." mother, three brothers, and three sisters. His mother died The critical response to his music was more ecstatic than and the rest of the family returned to Okla- ever. The response to his singing voice was something homa, leaving Jimmy in San Bernardino Valley College. else again. Two other albums have since come out, "And He was bored by school, and so, in a shaky Volkswagen, So On" and "Letters" (reviewed in this issue). he drove to Hollywood. He already had five years of Not only is Jimmy himself tired of hearing Up, Up song -writing behind him-from the age of thirteenand and Away (it was also sold to TWA as a commercial), but had played the church organ and piano for much longer "I assume there are many thousands of people who are than that. tired of hearing it, too. I don't know whether it's unfortu- The success, Up, Up and A way, as recorded by the nate or not, but I have no desire to amass any more mo- Fifth Dimension and produced by Johnny Rivers for his ney. Johnny Rivers used to say, 'You can only sleep in Soul City label, changed Jimmy Webb forever, and with one bed at a time.' The financial aspect pales compared to his subsequent quick successes almost ruined him. Webb what I consider my growth as a composer. My favorite had written By the Time I Get to Phoenix while he was compositions are the ones I've done in the last six still at the studio, and Rivers had wisely recorded it him- months. Maybe it was inevitable that I travel through the self and even more wisely bought up Jimmy's publishing earlier experience to get where I am and where I'm going, contract and put him in charge of material for the Fifth but I'm glad I'm done with it." Dimension's first album. While riding in the hot-dog Part of his "drop -out" time was spent in London, his stand's rented green and white balloon, Jimmy got the favorite place outside this country. "The English lan- idea for his first hit, and wrote Up, Up and Away in thir- guage exists in such a pure form there -there are certain ty-five minutes. phrases and nuances that stick with you, providing se- In rapid order, Glen Campbell recorded Phoenix, mantic stimulation. Whereas in America you may let Wichita Lineman,and Galveston, all unmistakable Webb ideas get past you, you pay a great deal of attention in songs with a poignant feel for his part of the country, the London.. I like to be inspired by the language. I'm a suck- broad Southwest. Then came Richard Harris, MacArthur er for the King James version of the Bible-that was my Park, and two best-selling albums, "A Tramp Shining" first contact with the language in any form, when my fa- and "The Yard Went On Forever." Jimmy had turned ther used to read the Bible to us. I still like gothic, grandi- full-fledged composer and producer, not necessarily in ose prose." that order. During his commercially successful period, Jimmy "That second period was a kind of insanity caused by a lived in the twenty -odd -room former Philippine consulate sudden abundance of wealth and what I suppose the smack in the middle of Hollywood. He was never alone, world would call success," says Jim. "Already by the age having all kinds of musicians and managers, girls and of twenty-two I was spending more time on production guys living there with him. It was a famous crash pad for and less on composition. I became preoccupied with pro- out -of -work artists of all kinds, young pretenders, rock duction and orchestration. Somewhere along the way stars (Jimi Hendrix and the Buffalo Springfield spent a something was happening to my work that wasn't mu- few nights there), and "groovy chicks" looking for a place

NOVEMBER 1972 65 to stay. "Most of the time they didn't even know who Among his own favorites of his songs (not necessarily owned the house." with commercial potential), Jim cites If I Ever Getto From that ménage Jim moved to a tiny apartment-by Talk to You Again, Finger Paint Me, Air Is Everywhere, himself-with a stainless steel kitchen ("I over -reacteda Saturday Suit, and The Lady Fits Her Bluejeans. He is little bit"). Now he lives in a 1930's Hollywood -style very prolific ("I have this Puritan ethic -I have to work") house in suburban Encino, on two -and -a -half acres witha and wrote two songs he considers to be as goodas his running brook, and equipped with a recording studioso- best on a recent week-long promotion trip to New York. phisticated enough that he can do his own overdubs. Jimmy's songs, more than those of most contemporary "Phil Harris built the house, so there's a bar in every composers, have always been seen as autobiographical, room." particularly the ones that are specific vignettes (Where's Jim thinks he got trapped into living among the earlier the Playground, Susie?, Highpockets, etc.). "They've Hollywood zoo (with a few dishonest advisers and man- always been partly autobiographical, and partly just made agers into the bargain) because "I was very idealistic up out of clouds, like everybody else's songs," he says. about sharing the wealth. I don't want to sound sickening- "An artist has no obligation not to do a documentary but ly humanitarian, but it was the first time I had experi- to create an emotional response in people who are listen- enced wealth-or ever seen it, even. So I was giving it ing - even if you make them hate you. I don't feelany away ... by the buckets. The reasons for stopping that compunction about using something completely fictional, were more emotional than economic: if you subsidize ar- to do like Randy Newman and step off and speak toyou tists they don't do anything, they just sit around and as another person, like an actor commenting on his char- talk." acter. I think that role is okay for a song writer too." He had a disastrous professional detour before his Despite the dazzling and myriad achievements of the emergence as a full-fledged performer. At the urging of last seven years, there are still many things Jim Webb Ali McGraw, he agreed to do a soundtrack score for the wants to do. He'd like to write a symphony some day, movie Love Story. He based his score on pieces by J. S. "without labeling it `rock,'pop,' or any other kind of Bach and worked on it much of the time "in thecompany symphony." And he would like to be able to perform his of Mr. and Mrs. Evans." Robert Evans, then married to own music without what he considers "undue criticism." Miss McGraw, star of Love Story, is in charge of produc- "I've had my share of 'this kid can't sing; why doesn't tion at Paramount Pictures. he go back and write for Glen Campbell?' I feelvery "I recorded a score, and they took it and screened it rewarded singing my own music, with or without com- with the film one morning when I was still in bed. They mercial success, but I am so well known because of that told me they hated it. They didn't pay for my studio time early Glen Campbell and Fifth Dimension success that I or my salary or my string bills -I can't afford to pay for have difficulty being myself when I walk on stage. I am the string bills for a whole movie. I had only a verbal con- to be the virtuoso vocalist of all time, but I tract, but that's the usual way. There again was the ghost have improved and I will go on singing. of Richard Harris and MacArthur Park. I think what they "For the rest of my life I will be a composer -performer, expected for the film was that kind of thing. But what I because that's really what I always was, even when I was did were things like taking one Bach piece -I can'tre- sitting in that little cubicle working on other people's member which one now, one of the concertos-andcon- tunes. I can envision a gradual transition I can't describe verting the harpsichord part for Freddy Tackett to play yet, where all of the ideas we have absorbed and explored on the guitar. It was to be played through an amplifier in the last decade and a half would come into a school of with lots of fuzz tone and high harmonic distortion, but music that could be taken a little more seriously than played impeccably well. It was striking to hear, but that `pop' music, which is still 'product' and greenbacks. That kind of idea didn't go over too well. Yet some of my ideas is the real tragedy, that some of the greatest music ever for the Love Story score were good enough to be used by written has been done in the last few years and all of it is the composer who took over from me. That's all I'llsay reduced to dollars and cents." about it." [The composer was Francis Lai, whowon an Oscar for the score.] JIM's notion of the artist in society is decidedly unactiv- Jimmy, who has just done two songs for the film Naked ist. "The artist has no obligation to do anything but ob- Ape, obviously wasn't put off by his Love Story experi- serve. I don't mean that in the passive sense, sitting by a ence. He does criticize what he sees as the rigidity and window and looking out, but inciting riots in rock-and-roll fear of the movie -making establishment. "It's fun if the songs is uncivilized. A composer should look for what- people you're working with respond to what you're trying ever is emotionally moving between himself and his lis- to do, but awful if they don't. Andre Previn wrote an ad- tener. There are places to grind axes, and it's not on a venturous score for Mia Farrow's movie See No Evil-it record player. Music has always been an escape from the was thrown out. There is no way that he could have writ- harsher realities in the street outside your house." ten a bad score for his wife. Have your movie scored by a He has undergone some physical as well as emotional computer if you don't want human unpredictability com- and musical changes in the last seven years, growing ing into it. Just make canned music and use it. In the film beards, shaving them off. He's clean-shaven now: "When industry there seems to be a fear of the original." I shaved my beard my personality changed; I lost some of Because he has forsworn being a money -making the feeling of Biblical wisdom!" One thing that hasn't music machine doesn't mean Jimmy would reject a com- changed is his feeling for his big family, but in otherways mercial success with his current material. "I'd rather Jim Webb is older and wiser. "When all this started Iwas work with a record riding the charts, but if there isn'tone, nineteen years old. Obviously I'm more able to cope now. the time is best spent working on my music, practicing I feel very comfortable finally, and I regret that at the the piano. I really have to get to my piano once a day. I'm outset I wasn't more secure and confident; it kept me very lonely if I'm without it even for a week." away from a great deal of knowledge."

66 STEREO REVIEW

Peter Sutheim tellsyou how to[Tr cope with

RADIO -FREQUENCYBUGS CONSIDERING the crowded state of the air- the designer in order to reduce this sensitivity. waves these days, it is a wonder that any- Two related conditions have to exist before ra- one, anywhere, can find anything to listen dio -frequency interference (RFI) is heard. One is to or watch that is free of interference of one kind or that the system has to be sensitive to a particular r.f. another. It is bad enough when our TV or radio re- signal that the manufacturer did not anticipate being ception is disturbed, but to have the sound of our troublesome. The other is that the interfering signal tape and disc systems sullied by external noise has to be particularly strong in the location in which sources as well is harder to bear. And when these the unit is used. The RFI source can be operating external noises are caused by ham radio and citi- anywhere from about 20,000 Hz up to the frequen- zen's -band broadcasters, or the sound portion of cy ranges which include television, teletype, broad- TV, the situation for many listeners can only be cast radio, communications radio, navigational aids, described as outrageous. radar, and more. Another category of RFI sources It is particularly baffling and galling to many audi- embraces "non -communication" radiation from ophiles to find that their turntable or tape deck is various types of industrial electrical machinery, picking up radio broadcasts, especially when such power -control devices, neon or fluorescent lights, interference never troubled their recently retired diathermy machines, and automotive ignition sys- tube components. But the unhappy fact of the mat- tems. Thus, your system does not have to be "tuned ter is that today's high -gain, solid-state circuits are in" to the radiated interference; it simply has to particularly sensitive to interfering signals unless get in its way. appropriate and adequate steps have been taken by The distinction between communications inter-

68 STEREO REVIEW IN YOUR AUDIO SYSTEM ference and industrial electrical -noise interference by the FCC, is deemed to be operating in the public is frequently important not only in finding solutions, interest, and it has met the technical requirements but in determining just who is to be held responsi- for a license. If you hear their broadcast Mantovani ble. An example will help make this clear. The Fed- entwined with your recorded Monteverdi (or vice eral Communications Commission (FCC) has a versa), you are going to have to do the untwining rule, applying to standard AM broadcast stations, yourself. Conceivably, a number of citizens afflicted to the effect that not more than 1 per cent of the with excessive signal strength from a radio station, population in a radio station's service area may be acting together, could receive legal relief, but con- "blanketed" -that is, exposed to a signal strength sidering the enormous expense the radio station of 1 volt per meter or greater. But 1 per cent of the would incur in moving its transmitter elsewhere, 100,000 people who may easily be within the cover- reducing its power, or altering the directional pat- age area of a medium -size station is 1,000 people. If tern of its antenna, such an action does not have you are (or become) one of them, if you live within a a high probability of success. few hundred yards of the tower(s) of a 1,000 -watt In this case, the official attitude is that it is your AM station, you are likely to find yourself part of audio equipment that must be modified or re- their AM listening audience every time you switch placed-at your expense-if you want relief. The on your turntable or tape deck. same applies to any other interference you may be Whose responsibility is it, then, if you are suffer- experiencing from licensed, legally operating ama- ing with RFI? According to present understanding, teur radio or citizen's -band transmitters. That, in it is yours. The radio station, examined and licensed substance, is what the FCC will tell you, in a form

NOVEMBER1972 69 letter that probably gets a lot of use, should you write to them for help. You can, of course, write to the offender himself. In the case of a commercial radio station you will be dealing with an organization, usually a responsible business venture that has at least a nominal commitment to "public service" and probably a substantially greater one to its public image. In the case of an individual ham or CB operator, you are confront- ing someone with considerably less power, but also someone who may not give a damn either about his image or your Monteverdi. The FCC has occasionally restricted a ham operator to operation only during certain hours in the case of interference con- flicts, but it would certainly not so move in the case of interference coming from a commercial broadcast station.

LET us look, however, at another example. Sup- pose your music listening is violated many times or would be all right, managed to make it quite clear even steadily during the evening by a loud voice that ". . . the cost of any necessary modification to holding up one end of an apparently inane conversa- equipment must be borne by the owners." tion, now and then using words you've been trying Here, the issue was complicated by the source of to keep your kids from learning. You never hear the interference (if you can't fight City Hall, what any call letters or other identification. In such a can you do against the U.S. Air Force?), and the case, the transmissions are clearly illegal on at least defense found it easy to embroider its case with ref- two counts (obscenity and lack of identification), erences to patriotism and national security. It is and chances are good that they are being broadcast therefore all the more to the credit of certain Pitts- at a power level above the legal maximum as well. burgh area citizens that they had the persistence Without divine help, it is unlikely that you can dis- and the temerity to go to the heart of the matter, to cover the culprit's identity by yourself and persuade question whether the installation was indeed critical him to get off the air, but you do, at least, have the to the national defense (its value, as it turned out, law on your side, slow -moving though it may at was dubious at best). And if anyone should wonder times be. Find out all you can, write it down, and whether the outcry over this invasion of leisure pri- then call the district office of the FCC. Their radio vileges was motivated only by pique and a nit-pick- direction finders can sometimes work wonders. ing sense of justice, one reader reported that reputa- Not all situations, certainly, are as clear-cut. In ble repairmen found it necessary to charge $20 for 1963 the audio equipment of a large number of each unit they modified to squelch the interference, Pittsburgh residents was profoundly disturbed by a so that a houshold could easily lay out $60 to $100 new Air Force radar installation in nearby Oakdale. to restore their various intercoms, radios, TVs, and This device produced an almost unquenchable beep record players to usefulness -and with no guaran- every 12 seconds in amplifiers, TV sets, radios, an tee of success at that. One incensed resident of the electronic church organ, and apparently almost any area was taken into custody after firing two bullets device that had a loudspeaker in it. The very princi- into the radar installation from afar. I don't know ple of a radar set-up is an extremely intense, con- what happened to him, but the question has now centrated beam of pulsed radio -frequency energy become academic for the rest of the populace: the emitted from an antenna making a certain number radar was taken out of operation in 1969- though of revolutions per minute. In a manner analogous to Air Force spokesmen say the reason was obsoles- a searchlight, this one bathed everything in its path cence and not the complaints. Tough luck, Pitts- with an extremely powerful signal asit swept burgh? Well, there were once twenty-three other around -far more powerful than the signal from any similar installations around the country, and some broadcast station-at 5 rpm. The Air Force issued are still operating in California and in Alabama. bulletins to set owners and service technicians, and But suppose some enterprise of lesser standing even provided a consulting engineer, who, along than the U.S. Air Force is literally zapping your with his unctuous reassurances that everything audio? Industrial welders, induction heaters, X-ray

70 STEREO REVIEW and diathermy machines, and others can all broad- supply some corrective electronic parts. Usually, cast miscellaneous hums, thrums, and wheeps into however, the remedies have to be interpreted and your system. Interestingly enough, all these "inad- applied or installed by a technician. vertent" sources of r.f. energy also fall under the Manufacturers of quality sound equipment do purview of the FCC, and their r.f. frequency and take design steps to reduce r.f. pickup-and things the permissible amounts of stray radiation are regu- would, indeed, be a great deal worse if they did not. lated. If you suspect you are experiencing RFI from The question of whether or not they must assume any of these sources, check with your friendly local complete responsibility for any interference prob- FCC office. It may be that some simple malfunction lems that might arise is a little like the question of or shielding error in the machinery can be quickly whether a government owes everybody a decent corrected-or that shutdown can be enforced until living. One can find a lot to say on both sides, but, the installation complies with FCC regulations. for now, given the individual variability of RFI situ- To turn the question around once again, what of ations,it seems unlikely that any manufacturer the audio equipment itself? In general, most audio could bear the expense of engineering a custom- manufacturers take the position that they have at built solution for every special case. A further com- the outset engineered their equipment to be reason- plication is that the only way anyone can know if a ably immune to r.f. interference. If a purchaser has specific attempt at a cure works is to try it on the the misfortune to be using the equipment in some equipment in the location where the trouble occurs. high -interference situation, most of them will offer A little further light is shed on this subject by a suggestions on things to do-and sometimes even Field Engineering Bureau bulletin called "Interfer- ence to Audio Devices" and available from the FCC on request: WHERE DOES IT Since the equipment manufacturers do not design audio COME FROM? units ... to operate in the presence of high signal intensi- ties encountered in some locations, additional treatment THE first step in eliminating r.f.interference .. .is needed to reject unwanted signals. The Commis- from your system is identifying its source, and sion cannot practically give any protection from interfer- its nature is usually the best clue to that. ing signals to these home audio units. The only practical Music interspersed with voice: this almost cer- procedure ... is to modify the equipment. . . . Regard- tainly originates from a commercial broadcasting less of the quality of the unit, special treatment of it for or TV station. elimination of strong unwanted signals is essential in Voice only: terse messages especially, only one some localities. The complainant should, therefore, con- side of a conversation, or a series of numbers and sult the dealer, servicemen, or manufacturer. incomprehensible jargon usually indicate that the transmissions come from some communications End of bulletin. Such buck -passing can go on forev- source. It could be ham or CB radio, aircraft or the er, of course, and be forever legitimized. But for airport tower, police or business radio, call ser- myself, I feel that the public should continue to in- vices, or any one of a number of other authorized form the FCC of any man-made interference that users of the airwaves. Short buzz or beep: these regularly recurring can be identified. This may not make the Commis- noises, once every 5 or 10 seconds, usually origi- sion especially happy, but it relates to their role as nate from a radar installation. public watchdog of goings-on in the public's electro- Continuous buzz or hum: this noise, in one or magnetic spectrum. If there are enough complaints both channels, perhaps changing in loudness or about a problem in a particular area, they will reach tone quality either spontaneously or as you move about the room, is probably "sync buzz," a type of a kind of critical mass over a period of time and lead interference caused by powerful and nearby TV to an official action Still, be forewarned that there transmitters. Your audio system is acting as a de- are many cases in which there is a legitimate and tector -amplifier for the TV signal's picture informa- unavoidable conflict of rights, interests, and privi- tion, which comes through as a hummy buzz, and it leges between two Good Guys that would take a may also be accompanied by the TV audio signal. Rhythmic pops or sputters: a tattoo of these Solomon to resolve. coming through your speakers when listening to FM is most likely caused by radiation from auto- Now, to move on to specific solutions not in- mobile ignition systems passing close by-listen for volving the possible assistance of the FCC, there the sound of a vehicle passing outside when you are, first of all, several "home remedies" anyone hear such r.f. interference in your system. Miscellaneous noise bursts or tones: check for can apply. Start by discovering where and how the heavy-duty industrial machinery nearby, or re- interference gets into your system (see "Where motely controlled r.f. devices such as traffic signals. Does It Come From? at the left). Next, get the answers to such questions as: Are all channels af-

NOVEMBER 1972 71 fected, or only one? Does the interference appear Sometimes - rarely- runningauxiliaryground only when I use my tape recorder? Recordingas "jumpers" between units will reduce RFI, as will well as playback? Does it get recorded on the tape? grounding the suspected troublemaker to a cold- Does it happen only when I use the record player? water pipe or a metal pipe driven into moist ground. Only when I use my tuner? AM or FM or both? Is If you try grounding tricks, use a wire as short and the amplifier picking it up -does it appear whenever heavy as practical. A piece of plastic -insulated pull- the amplifier is onregardless of which program apart lamp cord, the kind used on lamps and small source it is set to?Does the setting of the volume appliances and often for speaker wiring, is fine. Use control affect the loudness of the interference? (If both conductors-twist the two together at each not, the interference is being introduced at some end. And always check to be sure you are notintro- point in the circuit after the volume control.) Does ducinghum by such grounding. the sound of the interference change when I touch If the interference is heard even when the ampli- various metal panels or cabinets? When I move fier's volume control is at minimum, try moving the around the room? speaker wiring and rerouting it to the other side of Once you have narrowed down the nature of the room. Or move the receiver or amplifier and the your problem, try wiggling connections on what speakers closer together and connect them with seems to be the offending unit. Tighten all terminal shorter wires. If changing or even handling the screws and all the sheet -metal screws that hold speaker wiring seems to affect the interference but component chassis and their thin metal cages to- doesn't kill it completely, you may have better luck gether. Switch off your system, then pull the audio with shielded speaker cable. Use two -conductor cable plugs out of the offending unit and reinsert shielded cable (two wires plus shield); you'll find it them vigorously several times. You might also try listed in electronics catalogs under PA and inter- polishing plug and jack contacts with emery cloth. com wire. Use the two conductors for the normal Occasionally, leaving a plug (the RCA or "phono" connections between speaker and amplifier and type) part way out of the jack so that the metal connect the shield directly to the amplifier chassis. shell of the plug doesnotcontact the metal shell Leave the other end of the shield unconnected. If of the jack helps. (But that can also cause a' hor- your speaker lines need to run more than 10 or 15 rendous hum, so turn the volume control all the feet or you have 4 -ohm speakers, use heavy -gauge way down before you try it and then bring it up two -conductor shielded cable - No. 18 or even No. slowly. If you get a hum or buzz, that'snotthe 16 (you can get about 100 feet of No. 16 for $10or solution.) so under the Alpha or Belden brand names). Some- times RFI enters a system via the a.c. power -line MORE often than not, you will find that the inter- wiring. In such cases, a.c. line filters made by Cor- ference is entering the system via the shielded inter- nell-Dubilier and others may help. Large aud- connecting cables (especially those coming from the io/electronics dealers carry both filters and the record player), which can act as antennas for RFI. shielded cable. Sometimes merely twisting the cables togetheror In FM reception, interference enters through the changing the lengths or their location will improve matters considerably. As a last resort, once you have determined which cables are the offenders, you can run them, twisted together, through a fully enclosing shield-either a large sleeve of braided wire or a "pipe" fashioned of sheet -copperscreen- ing. Solder to one end of the shield a short, heavy- gauge piece of wire, and connect this firmly to the chassis of the component the cables are runningto (that is, the later component in the signal path) to ground the shield. More than one ground connection can form a "ground loop," so 'be sure that the shield does not touch the uninsulated part of the cable plugs or the chassis at more than one point, otherwise you will get hum. Aluminum foil might work also - it's a good deal easier to come by, but harder to solder to. Try clamping it under a chassis screw.

72 STEREO REVIEW power line or the antenna. In the former case, either inside the tuner or in a separate, shielded and power -line filters of the type just mentioned can grounded metal box attached to the tuner between help. More often, the interference enters by way of the antenna and the tuner's antenna terminals. This, the antenna terminals. If the problem is automobile of course, assumes that the signal isn't getting in ignition interference or some other form of pulsed after the antenna terminals. noise, try raising the antenna, reorienting it, and/or Needless to say, all of these remedies should be relocating it away from the noise sources. An in- applied -or at least worked out-by someone com- crease in height usually lets the antenna pick up petent to do so. Of course, there's no reason why more of the desired signal and gets it away from in- you can't do the work yourself, provided you can terference sources near the ground. Be careful to read a schematic and use a soldering iron. Often it is avoid proximity to a.c. power lines-they are noto- worth consulting a serviceman anyway; he may al- rious for picking up and re -radiating RFI. Often in- ready have had experience with the special condi- terference is picked up by the lead-in rather than by tions in your region, and may have designed his own the antenna itself. Twisting the lead-in a half -turn foxy counter-moves. Perhaps your neighbors can every six inches or so (if it is of the flat -ribbon type) recommend someone who helped them with the will help here. It may be necessary to use shielded same problem you're experiencing. However, the 300 -ohm twin -lead, with the shield grounded to technician who doesn't know the special r.f. condi- earth, or 75 -ohm coaxial cable with an appropriate tions in your locality, or who is unwilling to pay a matching transformer at the antenna and (if the house call to confront them on the spot, will be re- tuner has no 75 -ohm antenna input) at the tuner end duced to time-consuming trial -and -error methods as well. Finco makes an interference filter (under that may exhaust your patience and your budget $5) that may help. before they yield any beneficial results. There will, of course, be times when the tuner (or Some people have had success with enclosing an the tuner section of a receiver) itself is at fault, ei- offending component or a whole system inside a ther because it is in need of overhaul or because its metal cabinet. One man installed his system in a specifications were originally inadequate. You could metal home desk unit, grounding the works with a write in such a case to the manufacturer for his short, heavy wire to a cold -water pipe (if that's im- opinions, but it would be a good idea first to borrow practical, it could be grounded to the little screw a known good unit to see if its performance is any that holds the trim plate on a wall outlet -if your better in respect to noise in your setup. house is wired with BX cable). A poor ground on a shielding cabinet can make the interference worse. OTHER remedies require the on -the -spot help of Lining a non -conducting cabinet with foil may also someone with technical know-how, for internal help. If your equipment runs warm, copper screen- modification of equipment will often be involved. ing (grounded, of course) can provide shielding As an aid in discussing your problem with techni- without interfering with air flow. The screening can cians, you might remember that there are three ap- be electrically bonded by soldering sections to- proaches to treating r.f. interference: modifying a gether. Connection can be made to aluminum foil by grounding connection or system; installing a filter or using a washer, a solder lug, and a wood screw. And trap; and shielding. The first requires a thorough finally, it is often necessary to use several methods understanding of grounding principles and ground - in combination to get rid of interference; there sim- loop problems. It requires a lot of patience as well, ply is no way to predict which method or which but it can sometimes solve an r. f. problem with few combination will work best. added components or none at all. Connecting Mylar 0.001 microfarad, 50 or 100 volt capacitors from DSCOVERING that you must bear the burden of the shell terminals (not the center terminals) of the interference -proofing your own equipment is often offending input jacks to the chassis can sometimes a bitter experience, especially when the cause of the helpif the jack shells are not already directly interference is a "casual" user of the radio waves - grounded to the chassis. for example, a radio amateur or CB operator. But, Where the interference has a single, known fre- as long as he operates within the rules, he is as quency (an AM or FM broadcast station, for in- much entitled legally to the unmolested use of his stance), a resonant r.f. trap tuned to the interfering equipment as you are to the use of yours. Often frequency helps. This is most useful with a tuner in there simply is no technical or official remedy, and which the interference takes the form of a blanket- the conflict has to be worked out between the two ing of a large segment of the AM or FM band by a contenders, with consideration and goodwill, it is to single local station. Such a trap must be installed be hoped, on both sides.

NOVEMBER 1972 73 "I'd rather be exciting and theatrical than correct and dull" By STEPHEN E. RUBIN

"ILOVEperforming now, butIdidn't ten years ago when Ifirst began to conduct," Richard Bonynge says, seated rather stiffly on a couch in the Metropolitan Jpera's Green Room. What has made the difference? Bonynge has spent the intervening time coming to grips not only with his own identity as a performer, but with cept music, really. I've always been doing one musical the music critics who have regularly gunned him down. thing or another, and I get on with it." "I suppose as you get older you stop putting your ego As a young man, Bonynge played the piano, hoping first. When you're young, you wonder, 'What will they eventually to have a career as a soloist. More and more, write about me?' Well, after they've written frightful as he began to coach singers regularly, he was drawn things about you for ten years, it's no longer of paramount away from the instrument. He worked with Miss Suther- importance what they say. You hope the public likes what land in Australia in 1945, but it wasn't until six years you do. But most important is that you get in there and later, when they met again in London, that the partner- know that you're doing something of which you're not ship developed beyond the professional. Eventually it ashamed." led to their marriage in 1954. Today, of course, theirs is one of the greatest meetings of musical talents in current BONYNGE'S credo may sound a trifle underfed, perhaps history. because he appears to have little or no ego to nourish. Let no one doubt it: Bonynge is the primary force be- Mild-mannered and modest, Bonynge takes his work- hind the soprano-the power who not only keeps her not himself - seriously. He speaks in a low voice, almost running, but running smoothly as well. He wears many a whisper, which he punctuates with a warm, throaty hats, being Miss Sutherland's musical policeman, musi- chuckle. His accent is decidedly down home - Australia cological sleuth, voice coach, accompanist, adviser, vocal -but his years of living in England and the United States psychiatrist, and morale booster. In many ways he cre- are also reflected in his speech. ated and developed the Sutherland we know today. But The conductor is dressed in an understated contempor- Bonynge takes little credit for discovering his wife's ary ensemble that only a well -designed male could carry phenomenal upper register and vocal agility. "Right from off. His clothes are obviously chosen with flair and care, the start," he recalls, "I used to say, 'Why are you singing for too much pizzaz might impart an air of foppery to a this, why don't you try that?' It was probably a selfish man who is taller, darker, and handsomer than even his thing; I wanted her to sing music I liked. Also, in my ridiculous Pretty -Boy publicity pictures suggest. mind, I could hear different things coming from her. But Although he is initially awkward, the more Bonynge I don't think her development was something I set out talks the more he relaxes. But a nervous tic persists: he to do." slides his wedding band up and down his finger. It seems especially noticeable as we discuss the frequent accusa- FOR reasons unknown even to him, Bonynge is a natu- tion that he rides shamelessly on the coattails of his wife, ral when it comes to working with singers. "I've probably, the soprano Joan Sutherland, and that he is nothing but at one time or another, worked with half the singers in an appendage to her-"Mr. Sutherland," as gossips like Britain today," he says. Since he began wielding a baton, to put it. he has come into contact with an even wider variety of "I'm sure I wouldn't have gotten started in my conduct- vocalists, some of whom sing his wife's repertoire and ing career if it hadn't been for Joan. That's indisputable," are, in a sense, competitors. Does this pose problems? Bonynge says. "I'm equally sure that if I wasn't able to "I think certain sopranos may have felt that there might do my job now, ten years later, I wouldn't still be con- have been problems, but that was before we came to- ducting. I don't think Mr. Bing-Sir Rudolf, I beg your gether. I conduct a performance for a soprano, whether pardon-asked me to conduct Opfeo,Traviata, and Lucia I like her personally or not, absolutely as well as I can with other singers because he thought that would please in order to make her success as great as possible. I do Miss Sutherland. She sings at the Metropolitan all the feel that success in opera should come from the stage. time anyway. Opera is the human voice. I love singers; I've always "Everybody gets gossiped about. Look at what they loved them. I understand their foibles and their nerves, say about film stars. They even write terrible things about and I like them as people. I've worked now with many of Queen Elizabeth and Princess Margaret. If you're in the the top prima donnas in the world. There may have been public eye, you have to expect people to say things about singers who did not like working with me, but I doubt it." you. You have to take it, too. As long as you don't lose Sometimes, it has been Bonynge himself who was wary any sleep over it, it's all right.I sure don't; I'm a good of conducting for certain artists. Anna Moffo, for exam- sleeper!" ple, surprised him when, before a Traviata rehearsal at When the critics become overzealous, Bonynge heeds the Met, she marched up to him and said, "Please don't the advice of his English agent. "He always tells me, expect E -flats from me like you get at home." Bonynge `Never worry about your bad reviews, just get on with was taken aback. "I thought she was going to be difficult your performances. Furtwangler was crucified by the and temperamental, because one is always reading those English criticstill he was sixty.'I mean, that's good things about her. I expected a rather hard lady. Well, enough for me. I'll never be Furtwangler, but that's talk- Anna turned out to be very sweet and charming and very ing on a pretty high level." musical. Maybe she doesn't have an E -flat like Joan has. Bonynge is, if anything, well aware of his limitations. Who does? They're not common. That's not the point, Although thoroughly trained as a musician, he is, by his anyway. Anna has her thing." own admission, lazy. There is something of the dilettante Bonynge has never conducted for Sutherland's arch in his makeup. "I'm a very unintellectual person," he rival, Beverly Sills; he was once scheduled to, but had says candidly. "I play the music I like and I do it the way to cancel because of illness. "I don't know whether she I want to do it. One does try to interpret what the com- would want to work with me or not," Bonynge says, smil- poser wants, but I always feel that sounds sort of hum- ing, "but It think her an extremely musical singer. I would bug. Of course you're trying to do what the composer find it fascinating to work with her, because she has a has written. But you have to bring a certain amount of marvelous sense of communication. If she were singing yourself into it also. I've never known any other life ex- with me, I would, however, object to some of the variants

NOVEMBER 1972 75 she sings. But that's another thing. I've heard her do ex- wife mad. She says, 'We'll have to buy six houses to store traordinary things. She's a very smart lady, and a very all your damn stuff in.' " musical one." Bonynge's interest in unusual music has had an odd Bonynge's musicality and training make him an able effect on his general musical knowledge. "Because I judge of the musicians with whom he works. He modestly spend so much time looking up music people don't care claims not to have been a child prodigy, but before he about," he says, "I find that there's an enormous amount was four years old he was picking out chords and tunes of very famous and big repertoire that I don't know at all. on the piano. At five, he began formal study. He was an This doesn't bother me. I think that if I live to be sixty only child, and his parents would have preferred that he or seventy, one of these days I'll discover Bruckner or be a linguist, but little Ricky won out and eventually Mahler, about whom I know absolutely nothing. That's entered the Sydney Conservatory of Music to become a something to look forward to.... concert pianist. "In my teens," he recalls, "I didn't have "I also know nothing about Brahms. I never perform a nerve in my body. I just loved to perform. I think my anything of Beethoven's, even-although I know the technique was natural. But it wasn't a terribly accurate piano concertos, because I played them. But the sym- technique. I wanted effects and would go all out to get phoniesIdon't remember. I haven't heard them for them. I was undisciplined." twenty years, which I suppose is a terrible admission. At nineteen, Bonynge won a scholarship to the Royal But it doesn't bother me. Actually, not so long ago I heard Academy of Music in London. The institution proved to the Fifth Symphony and I was knocked over- it came to be unbearable to him. He cut classes and generally did me as an absolutely fresh work." everything he shouldn't do, in revolt against having to study such things as harmony and counterpoint, "which THE Bonynge discoveries have not been only of vocal to me were deadly dull and boring." Eventually he walked works. A devoted balletomane, he has also unearthed out, gave up the scholarship, and found himself a piano much rarely played dance music, a great deal of which he teacher who was more interested in the piano and less has recorded. These discs have, for the most part, earned interested in theory. him the best reviews of a career somewhat overburdened "He gave me a new lease on life. But even so, when it with negative notices. Unfortunately, Bonynge has con- came to sitting down and practicing three hours a day, ducted very little "live" ballet because of his operatic my concentration started to go. And to be in the top class schedule, which requires his being booked two, three, and you have to practice six hours a day! I was very pas- four years in advance. In the dance world, it seems, they sionate about music, but not about the piano as such." cannot plan so far into the future. It was at this point that his future wife re-entered the Another reason for his not doing more ballet is his picture. Then came his decision to drop the piano com- wife's preference for him as her conductor. Bonynge pletely and devote himself to the running of her career. claims this stems simply from her desire to know who "I don't have the slightest regret about that," Bonynge is "down there" and to feel that whoever it is is sympa- says. "In a sense, I now have a much richer career. To thetic. There are no hard and fast rules, however, about play the piano is wonderful if you play like Horowitz and arrangement. "I don't mind her singing with other peo- Rubinstein. But, on the other hand, even if I could play ple," Bonynge says. "Actually, I'm delighted, because like them, it's still limited because you're only playing I can do something else. On the other hand, I also love to one instrument. I don't have to play the same repertoire conduct for her because, let's face it, there are not many all the time, also. And pianists seem to work so hard! I voices of this caliber around. Some nights she even sur- don't see how you can keep the interest going if you do prises me. After listening to her for twenty years, I still it so much. I'm always learning new operas. This is what can't believe it. But I'm perhaps her toughest critic. She keeps my love of music alive." does a lot of things I don't care for too much-poor diction, for example -but we have a good rapport and I ITalso keeps public interest thriving. Bonynge has can tell her. She doesn't get neurotic and go into orbit. become something of a Sherlock Holmes when it comes She wants to improve." to digging up unusual nineteenth-century Romantic reper- In this they have much in common. For better or toire. As usual, he is not particularly impressed by his worse, Bonynge realizes that he has learned on the job, discoveries. "Everybody goes on so much about all these and that his conducting, while always improving, is still finds," Bonynge chuckles. "To me, they don't seem so far from being thoroughly accomplished. "For me, this incredible. They're sort of sitting there for anybody to was the best way to learn," he explains. "I rely very much look at. I do look a lot, of course, and often at music on my musical instincts. If I feel I want something to go which I waste my time with. If you want to study an one way, that's the way I'll do it, even though I may not opera and see if it's worth while, you can't always tell in have an intellectual reason for doing it. In other words, ten minutes. But what credit can I take for discovering I'm not preoccupied with how I hold my baton, whether Semiramide, for example? It was a very famous piece I'm doing something correctly or not, technically speak- in the nineteenth century. One reads about it all the time ing. I'm possibly doing things very incorrectly, but then in history books, so one looks at it." so are a lot of other conductors, so I don't worry too Bonynge unpretentiously cites pure selfishness as the much about that. reason for his musicological explorations. "I like to do "I hate purists. I'd rather be exciting and theatrical it," he claims. "It's really a relaxation. I go to bed and than correct and dull. I'd also rather hear someone sing pick up two or three scores and read them until I fall Mozart in the style of Puccini but with great, great con- asleep. I'd just as soon do that as read a book. I don't viction and great heart, communication, and warmth, even know how I got into it, really. It's something I've than hear someone just sing it correctly." Even his sever- been doing for so long now. I think it all comes from the est critics would probably have to agree with him about fact that I'm a collector par excellence. I drive my poor that.

76 STEREO REVIEW STEREO REVIEW'S SELECTION OF RECORDINGS OF SPECIAL MERIT BEST OF THE MONTH

CLASSICAL

STRAVINSKY'S SACRE: A PERCEPTIVE, VOLATILE READING Michael Tilson Thomas leads the Boston orchestra in a performance of straightforward subtlety

s I listened to Deutsche Grammophon's ex- out apparent progeny, shining in isolated splendor. Atraordinary new recording of Stravinsky's Le In this latest recording of the work, Michael Til- Sacre du printemps by conductor Michael son Thomas gives us one of the most perceptive and Tilson Thomas and the Boston Symphony, I could volatile readings I have ever heard. Without in any not help reminding myself that this work, which still way stretching the score - it is not "interpreted," sounds as fresh as yesterday morning, has already but simply made manifest-he permits Sacre to dis- lived in the concert repertoire for sixty years! And play special attributes and vitalities that are not that it has not merely been indifferently marking always fully evident even in very fine performances. time there is attested to by the number - twenty - It is difficult to know exactly how he achieves this odd -of entries it has in the current recordings cata- effect, for there are no telltale signs of special log: it is evidently not only a masterpiece, but a straining on his part. His approach seems to be es- popular one as well. sentially straightforward, though it is, to be sure, It used to be almost conventional wisdom to say very subtle. He lets the melodies have their say, that Sacre was a "seminal" work, or a "protean" respecting them somewhat more than many con- one. And yet, oddly, if you put aside those later ductors do. Interestingly, this increases what one pieces by less talented hands § might call the work's "primal that are simply derivative on temperature." He has calculat- the most superficial level, it is ed dynamic contrasts extreme- evident that very few compos- ly well, which helps delineate ers' music seems truly to have thepiece'smanyshapes. been seeded by the immense Equally important - indeed,it forces Stravinsky captured and isperhapsthecrucialele- contained in his great original. ment - he has seen to it that I can think only of Varese and every strand of Sacre's scintil- ElliottCarter, and perhaps, lating counterpoint is heard at tangentially, of Earle Brown or every moment. I do not recall Karlheinz Stockhausen. Are ever before hearing a perfor- there more? If so, they cannot mance in which I have been so be many. This amazes me. For, aware auditorily of the work's despite the fact that twentieth- immensely complicated inter- century music has been flung nal detail. outward in many directions And yet, this is not a clinical since Sacre, as if propelled by or analytical reading. It shows some mighty centrifugal force, the piece initstrue colors, the one work I would expect to almost as a fact of nature - not find at the eye of the storm is depicting life, but being life in a really situated somewhere out- MICHAEL TILSON THOMAS particular, though special, uni- side it, a unique specimen, with - Calculated dynamic contrasts verse. In this performance the

NOVEMBER 1972 77 work also reveals itself on another level as a sturdy Franco-Russian symphony-which is what Stravin- sky had in mind for Sacre before Diaghilev turned his thoughts toward ballet. Le Roi des Etoiles is a short cantata for male chorus dating from 1911, the year of Petrouchka. Tho- mas, with the men's voices of the New England Conservatory Chorus and the Boston orchestra, gives it a performance as exemplary in its clarity and sumptuousness as is Sacre. It is an eerily evocative and beautiful piece of music, and hearing it just after Sucre is an enlightening experience. It isa "French" piece, essentially, with the sensuous, titil- lating, massed polyharmonies characteristic of that era in France made distinctly individual by Stravin- sky's Russian sense of melody. But Glory be! What a distance between this work of 1911 and the Sacre of 1913! Lester Trimble

STRAVINSKY: Le Roi des Etoiles; Le Sacre du printemps. Men's voices of the New England Conservatory Chorus (in Roi); Boston Symphony Orchestra, Michael Tilson Thomas cond. DEUTSCHE GRAMMOPHON 2530 252 $6.98. RAFAEL KUBELIK:dazzling leadership in Smetana

Prague and set up as a highly successful teacher in Goteborg, Sweden. But inspiration is one thing, execution another, and the Czech composer's the- SMETANA'S FASCINATING matic invention and harmonic originality are often "SWEDISH SYMPHONIC POEMS" superior, I find, to his models'. Between Richard III (1857) and Hakon Jar! (1861-1862) wecan Rafael Kubelik brings thunder, lightning, sense the great advances made by Smetana in the and pizzaz to his countryman's music ability to handle his musical materials. For all the brilliance of orchestration and command of tonal THE FIRST Rafael Kubelik recordings I ever rhetoric, however, there is no evidence of the com- heard were pre -World War II performances of poser's own Czechish idiom in these two pieces. The Moldau and From Bohemia's Meadows and Wallenstein's Camp is quite another matter. Epi- Forests, done with the Czech Philharmonic in the sodic though it is -a kind of diorama -fresco- the course of an English tour and issued in the United instrumentation is blindingly brilliant and the dance States by RCA Victor. The next, after the war, episodes convey a highly effective folk flavor. The were a set of Czech Ultraphon discs containing the concluding regimental march isa real smasher three "Swedish Symphonic Poems" of Bedrich of its type, the whole adding up to a showpieceas Smetana: Richard III (based on Shakespeare), good as or better than any of Tchaikovsky's in the Wallenstein's Camp (inspired by an episode in same extroverted vein. Schiller's trilogy), and Hakon Jar! (derived from The Prague Carnival-Introduction and Polo- Oehlenschlager's drama of the Norwegian prince naise is the first number of a cycle projected by who tried to restore paganism). I remember being Smetana during his last years, when deafness had quite unprepared then for the terrific "pizzaz" Ku- already overtaken him and dementia was imminent. belik brought to these performances, and am de- Indeed, it was his last completed work for orches- lighted to discover that he has now re-recorded tra. Certainly it lacks the orderly progression in har- them for Deutsche Grammophon, thunder, light- monic terms of, say, Tchaikovsky's works in this ning, pizzaz and all. style, and one is hard put to decide, even on the The symphonic poems of Franz Liszt were clear- evidence of Kubelik's fine recorded performance, ly Smetana's inspiration in these works, all of them whether Smetana was pushing toward new shores composed during the period 1856-1861, when the in this work or whether he was just not in full com- composer exiled himself from an unresponsive mand of his materials.

78 STEREO REVIEW In any event, the disc as a whole is fascinating as Dream in their proper places in the American music, wonderful in quality of performance, and a Nightmare. dazzling recording. Don't fail to hear it! David Hall Once in the Morning is the funniest -and sad- dest - look yet at our strung -out culture: "I was SMETANA: Richard III, Op. 11; W allenstein's Camp, Op. lying in state on my analyst's couch/And I said 14; Hakon Jarl, Op. 16; Prague Carnival-Introduction `Doc, I get the feeling I'm becoming a grouch./You and Polonaise (1883). Bavarian Radio Symphony Orches- tra, Rafael Kubelik cond. DEUTSCHE GRAMMOPHON know my arches are falling and I'm developing a 2530 248 $6.98. slouch.'/And he reached inside his hot pants/For his alligator pouch and he said/Once in the morning and once at night./I'm not sure that it will help POPU LA R you/But you'll think it's alright./Once in the afternoon and once at twilight/Once for the money and JIMMY WEBB'S again 'bout midnight." For a brave, new pill -pop- ping culture that has convinced itself it would rather SATIRICAL "LETTERS" try a little Quaalude than tenderness, it's an impor- The composer of Phoenix, Wichita, and tant song. Galveston steps out to sell some more songs There are a couple of repeats here - Galveston and Song Seller. It's strange how the former, partic- IMMY WEBB'S recording career continues to soar ularly, sounds as if I'd heard it all my life and not for e) in an upward arc that has yet to peak. I know, I the first time in the mid -Sixties. But that is just one know I keep telling you that each new album is bet- among many things that keep me convinced that ter than the last-but it's true. His latest, "Letters," Jimmy Webb is the most important pop -music fig- has two songs in it that Bertolt Brecht, were he ure to emerge since Bob Dylan. Peter Reilly alive and well and living in Los Angeles in 1972, might be proud to claim as his own. Campo de Enci- JIMMY WEBB: Letters. Jimmy Webb (vocals and guitar); no is social satire at its best, Webb's mordant look orchestra. Galveston; Love Hurts; Piano; Song Seller; Catharsis; Campo de Encino; Simile; Hurt Me Well; at the life-style of rich and "involved" California Once in the Morning; When Can Brown Begin. REPRISE suburbanites: "I wanna drive a sporty car/And be a MS 2055 $5.98. pinball star/And have a waterfall bar/That revolves around my swimming pool./I wanna take Touch therapy/I wanna wipe out VD/And set the animals free./And most of all I want to soar away." It is, like Brecht's Alabamalied, a song that puts mindless A HEALTHY SERVING hedonism and other silly aspects of the American OF DR. JOHN'S "GUMBO" MAC REBENNACK: a little vacation from gris-gris Intensely rhythmic, exciting, eerie, spicy, and sexy music from New Orleans

FROM THE late Forties until the early Sixties, New Orleans was a major musical center. Fats Domino is perhaps the best-known exponent of the New Orleans Sound, and Little Richard's original classics were cut there with Lee Allen's band backing. But most of what is known as "gumbo" music stayed within a three- or four -state area; the record labels were little locals and the performers were home-grown stars. The music, however, was neither little nor nar- rowly local. A big, wide-ranging hodgepodge, it reflected the nationalities, the cultures, and the per- sonalities that created the city - Spanish, Italian, French, Cajun, American and Canadian Indian, Caribbean, African, and, I suppose, pirate. You can hear it all on "Gumbo," an astounding new release by Dr. John on the Atco label. (Overleaf)

79 Dr. John is Mac Rebennack, best known for the Christ Superstar" and its dreary imitators in his wild stage shows and the"gris-gris"voodoo musicnew Reprise album, "Peace Will Come."Jesus he has been purveying for the last four years. But asChrist S. R.0. ("Singin' them rock 'n' roll songs, by a teenager he was an all-around sideman (piano andgolly/Betcha you learned 'em from Buddy Holly") guitar) playing on dozens of recording sessions and is just one of several songs that indicate Tom has learning from the local masters, including the leg- returned to what he does best (and better than any- endary pianist Professor Longhair. Rebennack has one else): biting topical satire. To that end, the led, by almost any standard, a wild and dangerous piano sound that was emphasized in the last few life (he had to teach himself to play the guitar all albums has been toned down here; the acoustic gui- over again after a chording finger was shot up in a tar is the proper tool for a singing journalist. barroom brawl). Even funnier than S. R. 0. is ILost My Heart on To make this album, he gathered New Orleans a 747:boy meets girl in the cavernous interior of a musicians from the palmier days around him, and jumbo jet; they fall in love ("There in the middle of they sat down and played the tunes that were local a spicy movie/Starring Natalie Wood/We made our favorites during the fifteen -year heyday of the New vows together/Cutting our steaks as best we Orleans Sound. It is intensely rhythmic, exciting, could"); boy loses girl when she goes to the pow- eerie, spicy, and sexy. Though he claims his piano der room, and they can never find each other again style is based on Longhair's, I don't think anything in said cavernous interior- a thoroughly modern remotely resembling Rebennack's work onTipitina American tragedy. Then there is You ShouldHave has been recorded for almost thirty years.Junko Seen Me Throw That Ball,which slyly tells the Partner, Somebody Changed the Lock, Iko Iko, story of a middle-aged man who relives past football Stack -a -Lee(in which the killer follows his victim triumphs while the bills pile up and the checks Billy Lyons to hell and makes enough noise to rouse bounce. AndThe Hostage:a bitter, to -the -point the Devil himself), andBlow Wind Bloware all comment about the Attica Prison massacre ("Yeah, stunning performances. This is an album to grab let them take the governor/Hold him for a couple fast and treasure long. Joel Vance of days/See who goes in shooting to set him free. .."). DR. JOHN: Gumbo. Dr. John (piano and vocals), MelvinI could go on, but anyone even casually familiar Lastie (cornet); Sidney George, Lee Allen, David Lastie, with Tom Paxton's career can quickly appreciate and Moe Bechamin .(saxophones);HaroldBattiste (clarinet);"Streamline"(trombone);Sidney George that this recording session caught him in full stride. (harmonica); Ken Klimak and Alvin Robinson (guitars); The songs that aren't topical includeRetrospective, Ronnie Barron (electric piano, organ, piano); Jimmy Cal- beautiful and brilliantly constructed, reminding us houn (bass); Freddie Staehle (drums); Richard "Didi- that Paxton is almost as good with melodies as he is mus" Washington (percussion). Iko Iko; Blow Wind with words. And don't missYou Came Throwing Blow; Big Chief; Somebody Changed the Lock; Mess Colors. Around; Let the Good Times Roll; Junko Partner; Stack- Paxton probably considered the song itself a -Lee; Tipitina; Those Lonely, Lonely Nights; Huey a throwaway, but it has one of the best arrange- Smith Medley (High Blood Pressure, Don't You Just ments possible, thanks to Tom's taste and the ex- Know It, and Well, I'll Be John Brown); Little Liza Jane. acting use that was made of David Katz's Pop Arts ATCO SD 7006 $5.98, M 87006 $6.95, M 57006 Chamber Orchestra. $6.95. The album is almost too good to believe- as, indeed, is Paxton himself. That the man who writes such lyrics can also write fine melodies is itself a large enough notion to accommodate - but, on top of that, he sings pretty well and plays guitarvery TOM PAXTON: TOO GOOD TO well. So do try to believe it. The music industry BELIEVE, BUT BELIEVE IT sorely needs a lot of people who believe in this kind of excellence just now. Noel Coppage His latest from Reprise gives us a little more of what the music world needs now TOM PAXTON: Peace Will Come. Tom Paxton (vocals, guitar); Danny Thompson (bass); Terry Cox (drums); THIS HAS BEEN said before about someone else, various other musicians. Peace Will Come; You Came but being original isn't as important as getting Throwing Colors; Out Behind the Gypsy's; The Hos- tage; You Should Have Seen Me Throw That Ball; Ret- it said: Tom Paxton is a natural resource. Those rospective; Jesus Christ S. R. O.; California; I Lost My who liked what he did to Forest Lawn Cemetery a Heart on a 747; Dance in the Shadows; What a Friend few years back will love what he does to "Jesus You Are. REPRISE 2096 $5.98, C 2096 $7.95.

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ROCK JAZZOPULAR FILMS THEATER FOLK SPOKEN WORD 11111111.1.11111=11.111111= Reviewed by NOEL COPPAGE DON HECKMAN PAUL KRESH REX REED PETER REILLY JOEL VANCE

JOAN BAEZ: Blessed Are. . . . Joan Baez been tasteful (but not conservative) about I get the impression that John Cale and maybe (vocals, guitar); variousmusicians. Blessed adding the sparkle of quad sound to it. N.C. a few of his close friends know what this is all

Are. . . ; The Night They Drove Old Dixie about and don't care much if anyone else Down; The Salt of the Earth; Three Horses; DAVIDBOWIE: The Rise and Fall of Ziggy does. In fact I think I can hear the hee-haws The Brand New Tennessee Waltz; Last, Stardust and the Spiders fromMars. David of Cale and His Attendant Circle right now, Lonely and Wretched; Lincoln Freed Me Bowie (guitar, sax, vocals); Mick Ronson laughing over the confusion of reviewers (a Today; San Francisco Mabel Joy; When (guitar, piano, vocals); Trevor Bolder (bass); collective plural which subtly disguises the Time is Stolen; Heaven Help Us All; Ange- Mick Woodmansey (drums).Five Years; Soul first person singular). The handout that ac- line;and nine others. VANGUARD VSQ Love; Moonage Daydream; Starman; it Ain't companies this album says it is supposed to be 40001/2 two discs $6.98. Easy; Lady Stardust; Star; Hang on to Your- a musical history of England. And I read in Performance: Baez showcase self, Ziggy Stardust; Suffragette City; Rock the advertisements that Reprise considers this Recording: Works to be "classical music." I also read that Cale was a member of the Velvet Underground, a This is one of several fairly new pop albums "rock" group that backed Nico, a large -eyed Vanguard has souped up with its quadrasonic but no -talent singer, the whole thing being encoding process.Ihave the home-grown Andy Warhol's response to the discotheque four -channel hookup Ralph Hodges described craze of the Sixties. Warhol also "designed" in the April 1971 issue of STEREO REVIEW, this album cover. and these discs work quite well with it. I'm Okay. Taking it point by point, not neces- sure they would be more spectacular played sarily from the top: (1) Every era has a pet throughtheproperdecoder.Personally, fraud; Warhol is ours. I prefer him to, say, an where pop albums are concerned, I tend to side with the grumpy skeptic in the industry pink eye or, say again, a brawny pantomime who was quoted as wondering, "Who sits in instructor with a studio on the East Side of the middle of the band?" But let us not be re- New York who counts among his students the actionary; thisis,allin all, an interesting wealthiest and chic-est mothers and daugh- bunch of sounds. It was a good album for the ters. (2) Some of the music on this album is process, since its arrangements are fullish very well done, and, so long as the Royal Phil- (pure up-to-date Nashville) if not overcooked. harmonic is involved, faultlessly executed. It Joan Baez fans have had plenty of time to could be the soundtrack for a movie that become familiar with the music here, which hasn't been made yet. (3) I like a joke, but if has something for everyone. This is the album this album is a joke it is only that to a few containing that terrible version ofThe Night people. (4) If it is a British or British -flavored They Drove Old Dixie Down,the second joke I prefer the Goon Show or Monty Py- worst andmostpopular track Joan ever re- JIMMY AND VELLA CAMERON thon's Flying Circus.(5)I'm getting out of corded-and it also contains the first worst, here. J.V. Put Your Hand in the Hand.But then there is Earthy, amusing, stirring a reprise of the sweet sound Baez used to 'n' Roll Suicide.RCA LSP 4702 $5.98, ® make (most pleasingly here in her own Three P8S 1932 $6.98, © PK 1932 $6.98. RECORDING OF SPECIAL MERIT and an outrageously good version of Horses) JIMMIE AND VELLA CAMERON: Jimmie & Jesse Winchester'sBrand New Tennessee Performance: Thin Vella.Jimmie and Vella Cameron (vocals and Waltz,in which some of Joan's subtle but not Record i ng Thin instrumentals); orchestra.Chica Boom; Rain; terribly gentle humor is finally captured on The last Bowie album I heard showed a sense records. It's such a big, varied, showcase al- Old Men; Then I Woke Up;and five others. of humor - delicious British humor at that ATLANTIC SD 8301 $5.98. bum that it must bat somewhere near clean-up -but "Ziggy"israther stale. Supposedly Performance: Fun in the modern Baez lineup, and Vanguard has there is a plot about a Martian (Bowie's got a Recording: Good thing for Martians) who joins a rock group, or forms one, or something. It's all rather hazy. Jimmie and Vella Cameron have provided an Explanation of symbols: The group(Bowie's,not the Martian's) amusing, and at times stirring, forty minutes = reel-to-reel stereo tape sounds watery and thin; Bowie's vocals are or so of real entertainment here. They both ® = eight -track stereo cartridge whiny and - well, maybe next time. J.V. sing very well, Jimmie in a flashy, earthy way, = stereo cassette and Vella sometimes venturesinto what = quadrasonic disc JOHN CALE:The Academy in Peril. Un- almost seems to be Yma Sumac country. = reel-to-reel quadrasonic tape named instrumentalistsand speaking voices; Their best isChica Boom,which they wrote = eight -track quadrasonic tape Royal Philharmonic Orchestra; John Cale together, and they perform with a hard -driven = quadrasonic cassette composer and arr.The Philosopher; Brahms; but genial edge.Rainis another all-out vir- Legs Larry at Television Centre; The Acade- tuoso piece, and it works well for almost all of Monophonic recordings are indicated my in Peril; Days of Steam; Three Orchestral its seven -and -a -half minutes. The Camerons by the symbol Pieces; King Harry; John Milton.REPRISE also play excellent guitar. This is good materi- The first listing is the one reviewed; MS 2079 $5.98. al performed by good musicians. P.R. other formats, if available, follow it. Performance: Wha? Recording: Excellent (Continued on next page) NOVEMBER1972 83 CARPENTERS: A Song for You. Karen and blah," but then Congress Alley came on to measured by listening to Crosby's recordings RichardCarpenter (vocals and instrumentals); reveal that Robert LaPalm really doesn't play of the early Thirties, especially his famous orchestra. A Song for You; Top of the much electric guitar, and other pieces fol- version of Temptation.) It was this style that World; Piano Picker; Flat Baroque; Road lowed to indicate that Paul Lambert's steel turned him into a show -business legend and at Ode; and eight others. A & M SP 3511 $5.98, guitar (he isn't a member of the group but sort times almost an American institution. Johnny ® 3511 $7.98, ® 3511 $6.98, © 3511 $6.98. of a "guest artist")isthreatening to sink Mercer, in his graceful and admiring liner

Performance Very good Clean Living in a rut the New Riders of the notes, comments that Crosby was " . . Recording: First-rate Purple Sage cutacross the country -rock America's foremost singing entertainer, be- desert. And the songs appeared to run out of tween Al Jolson and Frank Sinatra." No Pop success of the kind achieved by the Car- gas, once the boys had used up the four (the small tribute. penters tends to make reviewers (including three that so impressed me, plus Backwoods This new album, although it contains such myself) a bit churlish. Aside from Henry Girl) that lead singer Norman Schell wrote all contemporary things as Gentle on My Mind Pleasants' civilized and generous appraisal of by himself. and Snowbird, is a bedrock Crosby produc- them in this magazine (February), it would be Still, side two has its moments. Some of the tion in every respect. Which means that Bas- difficult to cite a wholly approving review of best come inthe tongue-in-cheek,multi - ie's orchestra might just as well be that of one of their recordings. Part of thisis, of dubbed, a cappella rendition of Jesus Is My John Scott Trotter, the label Decca, and the course, a certain arrogant streak in reviewers Subway Line ("He don't shut down at elev- speed 78 -and this isn't meant to be derogato- which causes them to resent popular perform- en"). Generally the vocal harmonies aren't ry. Crosby's early and continuing mastery of ers who don't particularly care about their awfully well worked out, but they could be, in the microphone has preserved the voice in reviews as long as the audiences keep coming the future, and the group has three vocalists what seems to be mint condition, and the lazy, in large numbers. The other part is a genuine who do a fine job on lead, a good rhythm sec- plosive delivery that influenced several gener- bafflement that the public would prefer a tion, and some good acoustic guitars. Usually ations of pop singers is still his special posses- product so transparently (to reviewers) manu- sion. He was and is a unique musical figure. factured on a commercial assembly line to By today's standards, much of what he does something of deeper, or at least more original, seems banal and uninvolving. But he made a quality. Most reviews of the Carpenters run great contribution to American pop singing. pretty much along these lines - including my Look at it this way: after the advent of Crosby, own put-down last time out. pop singers stopped singing at you, like Jol- This new album doesn't change my opinion son, and began singing to you, like Bing.P.R. (I don't wear cufflinks embossed with ars gra- tia artis for nothing, you know), but it does DR. JOHN:Gumbo(see Best of the Month, bring into sharp relief why the Carpenters are page 79) the most successful brother -sister team in show business since Fred and Adele Astaire. MERLE HAGGARD: Let Me Tell You about a Professionalism and communication are the Song. MerleHaggard (vocals, guitar, fiddle); keys. They are absolutely professional with- the Strangers (instrumental accompaniment). out being cold. They communicate with each Daddy Frank (the Guitar Man); They're other and to the listener. They are excellent Tearin' the Labor Camps Down; The Man instrumentalists - Richard on keyboards and Who Picked the Wildwood Flower; The Karen on drums. They sing honestly and Proudest Fiddle in the World; Bill Woods without phony histrionics. And, of course, from Bakersfield; Old Doc Brown; Grandma they seem to be the kind of kids that the older Harp; and four others. CAPITOL ST 882 folks would be proud to claim. $5.98, Oa 8XT 882 $6.98, 4XT 882 $6.98. "A Song for You" is a bright, extremely well-done album which already boasts two Performance: Good with beans hits, It's Going to Take Some Time and Hurt- Recording:Very good ing Each Other. My own favorite was Inter- I don't believe Merle Haggard believes every- President Nixon greeting Karen and Richard mission, a choral quickie by Richard Carpen- thing he wrote in Okie from Muskogee. If he Carpenter at the White House, August 1972 ter which promises "We'll be right back/After did, he couldn't have written Irma Jackson, we go to the bathroom." Flat Baroque is an- thesong about aninterracialcourtship other short goody with excellent and funny it's depressing to contemplate what time may do to a rock group, but in this case it's a plea- (recorded here for the first time), and called it work by Richard. sure instead. N.C. his favorite song. But I do think he believes If you are a fan, you no doubt already have white lightnin' is still the biggest thrill of all- this album. If you are like me, you are proba- for white lightnin' RECORDING OF SPECIAL MERIT is made from corn, and bly looking at your cufflinks and wondering. Merle sure does sidle up to corn. P.R. BING CROSBY & COUNT BASIE:Bing 'n You know right away that this one isn't Basie. BingCrosby (vocals); Count Basie's going to spare the starch. It starts out with Orchestra, Count Basie cond. Gentle on My RECORDING OF SPECIAL MERIT Daddy Frank (the Guitar Man), about this Mind; Hangin' Loose; Snowbird; Have a here travelin' band led by a Momma that was CLEAN LIVING.Clean Living (vocals and Nice Day; Sunrise, Sunset; and six others. deaf and a Daddy that was blind (wish Evelyn instrumentals). Charles Street (in. the Morn- DAYBREAK DR 2014 $5.98, 08 P8DR 2014 Waugh could've heard it). Tugged at by that, ing); Jubal's Blues Again; Sweet Little Six- $6.95, PKDR 2014 $6.95. your heart strings then are supposed to be tied teen; Price I Pay; Congress Alley; Jesus Is in a knot by Grandma Harp (granny knot?), My Thing; Backwoods Girl; Listen to the Performance: Authentic Recording: Good one of them talkin' songs, or done up suture Music; It Takes a Lot to Laugh, It Takes a style by another one, Old Doc Brown, which Train to Cry; In Heaven There Is No Beer; Say what you will about the current Crosby, is more or less typical of the corn Red Foley Jesus Is My Subway Line; WatelfallIKillers. he has class. Who else only consents to do used to squeeze out. VANGUARD VRS 79318 $5.98. commercials for products when he owns the Hag is without doubt one of the more tal- Performance: Very promising company? As rich -as Croesus and by now so ented country musicians: he sounds the way Recording: Very good relaxed that his performances resemble sleep- Lefty Frizzell should have sounded and walking, Crosby occasionally gets into a re- writes melodies with an ease and naturalness A great new band is going to evolve, I hope. It cording studio to make an album. This one that makes most songwriters envious-and would have been more exciting if Clean Liv- sounds as if he did it because he felt like it, sometimes finds something original to say in ing arrived with all its promise fulfilled and all and enjoyed himself in the process. It must be the lyrics. But he seems awfully determined to its problems solved, but maybe its achieve- a source of some pride to him that he can still prove that he belongs in country music: i. e., ment will be sounder this way. Three of the bring it off in such an authentic vintage way. that he has just as much sentimentality in his first four items had me reaching for the type- He still sounds exactly the same as he did in heart and just as much cow manure on his writer to peck out something like "One of a the late Thirties when his style lost the last boots as anybody. reviewer's greatest thrills blah blah blah, dis- traces of the influence of Russ Columbo. Maybe if he would let his heart (or soul, or covery of greatness in unexpected blah blah (How strong an influence that was can be (Continued on page 88) 84 STEREO REVIEW At lasta serious rival to the KLH Model Fifty -One. Thenew KLH Model Fifty -Two.

When it comes to power, perform- channel RMS). The Fifty -Two also has walnut -grain enclosure). Also see ance and overall product integrity, a new KLH look, dual tuning meters, the rest of the KLH receiver line, KLH's classic Model Fifty -One is and a host of new convenience especially KLH's newest and lowest a tough stereo receiver to beat. At features. Now we know the Fifty -Two priced AM/FM stereo receiver, the $259.95t, it literally wipes out its will never replace the Fifty -One; we Model Fifty -Five. Powerful. Depend- competition. We just could not make a never intended it to. But if you have a able. And very special for just better AM/FM stereo receiver for special need for somewhat more $199.95t. For more information, write the money. power thcn the Fifty -One offers, but to KLH Research and Development, So we've made a more expensive you want the same dependability, 30 Cross Street, Cambridge, one. precision engineering and super Mass. 02139. It's called the Model Fifty -Two. And quality, we have a new receiver for it costs $289.95t. The additional thirty you. The Fifty -Two ... the Fifty -One's

dollars buys you additional power serious, but friendly rival. KLH RESEARCH AND DEVELOPMENT (30 watts per channel RMS compared See the Fifty -Two at your KLH A Division of The Singer Company tSeggested retail price. Slightly higher in the west. with the Fifty -One's 20 watts per dealer now. Just $289.95t (including A trademark of The Singer Comp.,

NOVEMBER 197 CIRCLE NO. 31 ON READER SERVICE CARD 85 but then the music in her films always was. They cover the period from 1940 to 1947 and show the progress of her voice from a light lyric to what seemed to be developing into a rich dramatic soprano of operatic quality. The sound is simulated stereo, and has been excessively and unnecessarily souped up. We grew up with Deanna in mono, and it would still be good enough for us. The light classical ballads - WhenYou'reAway, Danny Boy, and The Old Refrain- are best, sung with great beauty of tone and demonstrating that this was indeed one of the love- liestof Americanvoices.Like Joseph Schmidt, Mario Lanza, and Frank Sinatra, A soundtrack windfall who spent most of their time singing for ra- from the girl who dio, records, and films, she had obviously learned the art of singing for the micro- invented teenagery phone. The result is a warm, caressing, in- Reviewed by ROBERT CONNOLLY sinuating sound-even inclassical numbers-which evades other, perhaps greater, Durbin sings, Stokowski conducts artists who generally perform without bene- in One Hundred Men and a Girl fit of amplification. Moonlight Bay and I'll Take You Home Again, Kathleen can hardly ever have been If YOU were a kid during the Thirties and well. Fortune magazine, which devoted an sung with more opulent sound. Lover fea- Forties, you got exposed, whether you article to her as an economic phenomenon, tures Deanna singing with herself in several liked it or not, to a lot of "good" music, par- wrote that she was "wholesome and virginal different ranges, which is gimmicky but not ticularly classical singing. If you listened to with a minimum of inanity. Pianos are prac- unpleasant. Night and Day is sung straight, Charlie McCarthy on the radio, you also got ticed, warm coats worn, and manners bet- with a big lyric sound, while fighting a sup- Nelson Eddy singing Handel and Gilbert tered whenever mothers use her name." posedly "hot" big -band backing. Most of the and Sullivan. If you went to see the movie And if a girl couldn't learn to tap-dance like orchestral backings, by the way, are rela- San Francisco for the earthquake, you also Shirley Temple or skate like Sonja Henie, tively simple, tasteful, and restrained for got Jeannette MacDonald, dazzling in se- she could always take a crack at 11 bacio. Hollywood in the Forties, with none of quins and soft focus, singing "Sempre lib - Child sopranos proliferated. Voice teachers the oceans of over -arranged strings which era." And afterwards, when he-man Clark prospered. All of a sudden we had Gloria MGM, for example, was so fond of. The Gable grinned and said, "Say, this opera Jean, Susanna Foster, Kathryn Grayson, most intriguing item on the record is listed stuff is okay!", you were likely convinced and others, and they all sang II bacio. Bub- as The Prince, by Giacomo Puccini and that it was, too. Those films, in which an at- bles Silverman, Maria Kalogeropoulos, Joan Sam Lerner. This turns out to be "Nessun tractive singer sang a well-known aria in a Sutherland, and other fledgling divas went dorma" from Turandot (sung quite beauti- sumptuous production number, were the home and practiced harder. fully, in a literal English translation). Any first contact that most of us kids had with Deanna made twenty-one picturesin Durbin fan worth his salt will remember that music of this kind, and they made it seem eleven years, most of them enormously she sang this in His Butler's Sister in 1943. awfully appealing. From then on, a lot of us profitable. Toward the end, her popularity We should be grateful to Decca for this were hooked for good. And then came began to wane. The pictures seemed to get totally unexpected windfall, but they should Deanna Durbin, who eclipsed all the others. worse, although her voice was lovelier than be taken to task for their packaging. The We could really identify with her. She was a ever, she was still beautiful (despite a ten- album liner contains only four sentences of kidherself,despitethe mature soprano dency to put on weight), and her acting had notes. And the cover is a vaguely contempo- voice, and her triumphs were our triumphs. improved. Perhaps the public loved her as a rary painting of Deanna, against an ugly art - Deanna (nee Edna Mae) Durbin was born fresh young girl and never wanted her to deco background, making the record look in Winnipeg on December 4, 1922. The fol- grow up. Perhaps she lost interest. In any like some $1.98 rack job rather than the lowing year her family moved to Los Ange- case, in 1950 she sailed for Europe, and product of a major company. Decca should les, where Deanna led a normal childhood, several months later was married to a have gone all out, and issued a fold -out al- except that her parents, recognizing that she French film director, Charles Henri -David. bum, with a glamour -portrait cover and lots had an exceptional voice, had her study at She now lives in retirement in Neauphle-le- of stills and pertinent biographical facts. the Ralph Thomas Voice Studio. In 1935, Château, just outside Paris, with her hus- It's too bad there wasn't room on the al- auditioning with II bacio, she was signed by band and two children, apparently enjoying bum for Deanna's very moving Goin' Home Universal Pictures, which firm was then her anonymity. She does not grant inter- (from It Started with Eve), Begin the Be- alarmingly close to bankruptcy. Her first views, and the occasional admirer from guine and the Seguidilla from Carmen (sung film, Three Smart Girls, cost $400,000 - America who seeks her out is not received. in Hers to Hold), the Sari waltz (from I'll Be and grossed $1,600,000. Singlehandedly, Yours), "Pace, pace, mio dio" (interpolated she lifted Universal out of the red. She be- DURBIN recorded regularly for Decca for into Up in Central Park), and the Miserere came a corporation, Deanna Durbin Enter- ten years, always selections from her films. from Trovatore (sung through jail -cell bars prises, and what with Durbin dresses, paja- Her pictures have not been much revived in to Jan Peerce in Something in the Wind). mas, hats, hair ribbons, books, dolls, and theaters, but they pop up frequently on tele- There, that's almost enough for another al- records, her income in 1940 totaled $200,- vision, where they have apparently won her bum, and I hope Decca will issue it soon 000. She made adolescence fashionable, and a host of new fans. In answer to their re- with beautiful art work, proper notes, and ushered in, God help us, the era of the glori- quests, Decca has released a new album of documentation. ficationof the American Teenager, fol- Durbin numbers, this time culled from the lowed shortly after by Mickey Rooney, soundtracks of her films -a most pleasant DEANNA DURBIN. Deanna Durbin Judy Garland, and so forth. surprise for all of us diehard Durbin fans (vocals), various orchestras. Lover; Danny Beautiful and appealing, Deanna was a who had not expected that any more records Boy; In the Spirit of the Moment; When surprisinglygiftednaturalactress.She would be forthcoming. There are eleven You're Away; Russian Medley: Night and seemed to be the embodiment of the ideal selections, only one of which she had re- Day; Spring in My Heart; The Prince; The American girl - cheerfulandresourceful corded commercially (Spring in My Heart, Old Refrain; Moonlight Bay; I'll Take You without being cloying about it. And she was an arrangement of an aria from The Gypsy Home Again, Kathleen. DECCA DL 75289 adored by young people and their parents as Baron), and they are a strange hodge-podge, $4.98.

86 STEREO REVIEW BARK IS BIGGER THAN Any two way system worth its keep EISBrrE has an 8" woofer. So when yours has a 10" N. woofer and sells for only $75, there's really something to bark about. Meet Jensen's brand new Model 3 Speaker System. The two way with the big woof and the 31/2" direct radiating tweeter. Model 3 makes the most of its size, by incorporating Jensen's new Total Energy Response design concept in each speaker. Total Energy Response brings out a fuller, richer sound. And produces a unique musical balance throughout a listening area. It creates specifications like these: Power Rating -40 watts. Frequency Range -36-20,000 Hz. Crossover- 800 Hz. Dispersion -150° Model 3 also features a four layer woofer coil. And a Tuned Isolation Chamber on the tweeter. Every good system should look as good as it sounds. Model 3 comes in a hand rubbed walnut cabinet, finished on four sides. Ask your hi-fi dealer for a demonstration. It's a lot of bark, for only a little scratch. Model 3 Speaker System.

JEIlkEslouNDLABORATORIES A DIVISION 6IF PEMCOR, INC, SCHILLER PARK, ILLINOIS 60176

NOVEMBER 1972 CIRCLE NO 30 ON READER SERVICE CARD 87 mind, or whatever it is) alone and allow his P.O. Box 2783, Hollywood, Cal. 90028) superficial knacks and talents to take over, he $6.98. WRITE FOR would make better music. N.C. Performance: There'll always be a Vera Recording. Excellent and evocative JOHN LENNON & YOKO ONO/PLASTIC ONO BAND: Sometime in New York City. The sweetheart of the English blitz is back, QUOTATION John Lennon and Yoko Ono (vocals and in- gazingout from the cover of her new album FACTORY SEALED CARTONS strumentals); Elephant's Memory and Invisi- with matronly calm hands contentedly folded ble Strings.Born in a Prison; Attica State; in front of her sweater suit, and sporting a FRANCHISED DISTRIBUTOR Angela; Luck of the Irish;and five others. three -strand pearl necklace. She looks pros- QUICK SHIPMENT APPLESVBB 3392 two discs $6.98, ® 8XAB perous, cozy, and happy in a uniquely En- 3392 $8.98, © 4XAB3392 $8.98. glish -middle-class way. She sounds exactly andfoolish like that when she sings. The album is an ex- Performance: Fervid tended series of medleys featuring perfor- Recording:Variable mances of her hits, suchas White Cliffs of John and Yoko have put their burning social Dover, Lili Marlene, When the Lights Go On WE GIVE consciousness to work here on a series of Again,and so forth.She ends with such a complaints about the injustice in the world.rousing version ofThere'll Always Be an The aroma of radical chic is stifling. Attica, Englandthat one begins to fear the blighters DISCOUNTS Northern Ireland, and AngelaDavis are are scheming to reclaim "Inja." Everything mulled over. The status of women is repel- about the album is vintage Lynn: the effort- ON HI-FI lently illustrated by an anonymous sketch on less cello -like silkiness of the voice, the crys- the cover which accompanies the lyricsof talline enunciation, the slick orchestral back- Woman Is the Nigger of the World,not a bad grounds (once a revelation to American pop - COMPONENTS song but a very forced analogy. In fact every record makers for their depth and gloss), and current problem, right up to-but not includ- the slight suggestion of a mechanical singing ing-the nitrate level in frankfurters, seems to doll that's always hung over even her best be grazed lightly. Ono will never make even a work. I've tried to think of an American remotely professional performer, and her only equivalent to her, but I can't - which explains charming moments are when her voice is mul- her long success as an international recording SOUND ti -tracked so that she sounds rather like the star during the Forties and Fifties. The world Korean Children's Choir. Lennon has a fine may have changed; Miss Lynn has not, and REPRODUCTION, song and a fine performance inNew York City, that's not necessarily a bad thing. Especially but that's about it. The album also includes for her fans, of which I am one. P.R. INC. an extra disc of concerts, one with Frank 460 CENTRAL AVENUE Zappa and one with the Plastic Ono BandLIZA MINNELLI: Live at the Olympia in Par- East Orange, New Jersey 07018 alone. Also enclosed is a postpaid petitionis. Liza Minnelli (vocals); unidentified accom- (201) 673-0600 urging the authorities to let the Lennons stay paniment.Everybody's Talkin'; God Bless CIRCLE NO. 62 ON READER SERVICE CARD in the U.S. the Child; Married; You Better Sit Down, Despite theSturm and Drangabout peace Kids; There Is a Time; My Mammy; Cabaret; and justice, the album opens up to show a pic- and five others. A & MSP 4345 $5.98. ture of Yoko wearing one of those cartridge Performance: Lusty belts that all the chic uptown ladies find "mad- "ETCD ly amusing." You figure it out -I certainly Recording: Excellent can't. P.R. As an unabashed Liza Minnelli fan, I must ONCDn_TDDI regrettably report that her concert at the WORLD WIDE famous Olympia in Paris does not make for a RECORDING OF SPECIALMERIT very thrilling record album. Not that it wasn't STEREO WHOLESALERS GLORIA LYNN: A Very Gentle Sound. Gloria a good concert; quite the contrary. It was an- THE BEST OF BOTH Lynn (vocals); orchestra.I Got Your Love; A other in a long list of triumphant personal Very Gentle Sound; Just Let Me Be Me; appearances that have helped push Judy's lit- WORLDS . . . DIRECTLY More Love;and fiveothers. MERCURYSRM tle girl over the top of the heap to stardom. TO YOU 1 633 $5.98, ® MC8 1 633 $6.98, MCR4 1 But, as a recording, it lacks the polish and pro- 633 $6.98. fessional sheen that have enhanced her pre- Performance: Excellent vious work in the studio. The material is worn WHO ARE Recording: Expert and so, unhappily, is Liza's voice (the scream THESE GUYS? at the end of God Bless the Child is embar- Gloria Lynn has one of those sumptuous, to- rassingand out of control). For songs, there We're a group of young people that are well informed about the Hi-Fi world. We're tally musical voices with a ravishing tone thatareCabaret, Married, andYou Better Sit no ripoff. We give you the best value for seem to be the special province of American Down, Kids (all three performed better on your money, plus honest practical advice. black female singers. It serves her gorgeously previous albums); the overdone Everybody's Every major brand is in our line, we have stock for immediate delivery and you get on this album. The voice has some worn Talkin',about which everybody stopped talk- factory sealed cartons with full warranty. edges here and there but they are turned toing a long time ago; and a poignant rendition Write your needs to us today and if it's an interpretive account in her funkier material, of Mammy,which I assume everyone has entire system, we'll save you even more. Send for free catalog, current mfg. spe- such asKickin' Life (Like an Old Tin Can). seen her do often on TV. I have seen Liza's cials and price list. And at times she has a tendency to act as ifact many times and one of the jollier moments she's trying to outbelt Della Reese. But the arrives when she hop -scotches her vocal WE'RE OFFERING YOU ALL overall impression is that of a voice as gratify- cords through a delightful original ditty writ- THE FAMOUS NAMES IN ingly sensual as your first water -bed is likely ten for her by Fred Ebbcalled Liza (with a STEREO COMPONENTS to be. Nothing new here in the performance or "Z"), in which she charmingly but aggressive- in the lush arrangements; only the secure ly instructs the audience on the proper pro- BELOW pleasure of listening to a real pro do her thing nunciation of her name. I have often won- NORMAL DISTRIBUTORS' PRICES to pluperfection. Recommended-and then dered why she didn't record this joyful crowd- some. P.R. pleaser, and I am happy she has finally done TOKYO SHAPIRO so here. But, alas, it's in French. The one song 26050 Richmond Road Bedford Heights, Ohio 44146 VERA LYNN: When the Lights Go On Again. in her show that might be a vibrant new sur- Phone (216) 292-5832 VeraLynn (vocals); orchestra. Don't Fence prise to record buyers, and it's done in anoth- ATTENTION: Me In; Lili Marlene; Bless Them All; This Is Midwest Residents: Buy from us, er language! save excessive freight charges. Army; and eight others. STANYAN 10032 In summation, Liza's appearance at the (available by mail from Stanyan Records, (Continued on page 90)

CIRCLE NO. 72 ON READER SERVICE CARD 88 STEREO REVIEW AKAYOU BET!

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AKAI's remarkable GX-1900D S:ereo Tape Recorder combines acioI reel-to-reel and cassette in the same 00,0** unit. With full record and playback - capability. What's more, an exclusive AKAI feature permits Both -Way Transfer - be:ween reel and cassette. So you'll have all the advantages of two cam- ple:e recorders. The GX-1900D is superbly engineered with ' heads-Hysteresis Syn- chronous Motor-Tape Speed Equalizer - Automatic Stop and Shut-off -Pause Lever with Start Button. And the cassette unit is built with AKAI's GX (glass and crystal ferrite) Head. To provide you with sound quality paralleling that of the finest open reel recorders. So you can stop trying to decide between reel and cassette. Get them both in the AKAI GX-1900D. At your AKAI dealer. THE SWITCH AKAI.. IS ON o AKAI America, Ltd. / P. a Box 55055, Los Angeles California 90055 TO AKAI For your nearest AKAI dealer call 800-243-6000 Toll Free. k Connecticut, 1-800-882-6500. In Canada: Pro -Sound Distributors, Ltd., Vancouver, B. C. In Mexico: Mexico International Imports, S.P., Apartado Postal 66-672, Mexico 12, D. F.

NOVEMBER 1972 CIRCLE NO. 3 ON READER SERVICE CARD 81) Olympia holds few surprises for those already what unfairly left behind. It is only a bit of RECEIVERS TAPE familiar with her work, and will teach nothing justice that he now brings out his own solid TUNERS RECORDERS new to those yet uninitiated into the cult. ragtime album-a disc devoted to his solo AMPLIFIERS There is energy here (some of it channeled in playing and another to his rag quartet: piano, DECKS the wrong directions) and some of that warm,banjo (the excellent Jim Tyler), guitar, and personal glow that lights up any stage on bass. One would like to express unqualified which she chooses to appear. But it's still aappreciation but, alas, that is not possible. filler, and I don't endorse fillers with records For Max kept the faith alive all those years LOW costing what they do today. I hope this album mainly through a good bit of showmanship, will only bridge a gap between past achieve- and the aroma of rinky-tink - the beer -parlor, ments and better things to come. Otherwise, bawdy -house,RedOnionnostalgia-still Liza might as well follow in the steps of Mar- clings. He clearly intends to play it straight, PRICES lene Dietrich, who inspired one of Judy Gar- and, in fact, the solo disc shows off a pianist ON FAMOUS BRAND land's favorite stories: "She insisted I hear of many strengths. He is an excellent key- NATIONALLY ADVERTISED her new album," said Judy, winking. "It was board player in any league, and where the STEREO two perfectly recorded stereo sides-of noth- music cantakeit,hislively,up -tempo ing but applause!" R.R. approach is a joy. But, for heaven's sakes, the COMPONENTS legato markings are all over the place in the MAX MORATH: Max Morath Plays the Best FAST DELIVERY Patricia Rag-I'm looking at Max's own re- of Scott Joplin and other Rag Classics. Joplin: print of the original edition. "Slow March FACTORY SEALED CARTONS Original Rags; Scott Joplin's New Rag; Eu- Tempo" it says on Ragtime Nightingale and WRITE TODAY FOR OUR QUOTE phonic Sounds; Country Club; Elite Syncopa- on half the rags ever written. If Max hadn't tion; Gladiolus Rag; The Entertainer; A

A. D. R Real Slow Drag, from "Treemonisha"; The RagtimeDance;TheCascades.Joplin AUDIO (attr.): Silver Swan. Marshall -Joplin: Swipsey 6200 CHILLUM PLACE N.W. Cake Walk. Scott: Hilarity; Quality; Grace WASH., D.C. 20011 and Beauty. Lamb: American Beauty; Cot- (202) 723-6060 tontail Rag; Patricia Rag; Ragtime Nightin- gale. Turpin: St. Louis Rag. Northrup: The SEND FOR Cannonball. Woods: Slippery Elm. Claypoole: OUR FREE Alabama Jigger. Cobb: Russian Rag. Mor- ath:Polyragmic.Boone-Morath:Carrie's CATALOG Gone to Kansas City. Max Morath (piano); SPEAKERS Original Rag Quartet.VANGUARDVSD 39/40 ALL two discs $5.98. CARTRIDGES STEREO Performance:Fun but disputable COMPACTS SYSTEMS Recording: Good

CIRCLE NO.1 ON READER SERVICE CARD I like to think that the Great Rag Revival began with the famous Free Music Store "Rag Nights," with William Bolcom and Joshua Rifkin wowing the kids with the classical beauties of Scott Joplin. And, in a sense, it did. But the person who kept rag alive almost single-handedly during all the dark years was really Max Morath. Everybody knows Max_ Everybody's seen and heard him, derby hat, sleeve garters, cigar, and all, pounding out that MAX MORATH DISCOUNTS ol' syncopation. We really all got our knowl- The man who kept rag alive edge of ragtime from Max, not only from hisput out all those reprints we might never have HI -Fl SYSTEMS playing and knowledge of the subject, but known, but he did, and now we must catch COMPONENTS from his collection "100 Ragtime Classics"him up on his transgressions. reprinted from the original editions. Urtext in It can be argued that ragtime was essential- KITS COMPACTS hand, we all became ragtime authorities. ly a free, performers' art and that none of the TUNERS AMPLIFIERS "Notice! Dont play this piece fast, It is original practitioners were ever bound by the never right to play 'Ragtime' fast. (Signed) printed version of pieces they may have RECEIVERS TURNTABLES Author." That's what it says on the 1906 edi- played in many different ways. Perhaps. On SPEAKERS TAPE RECORDERS tion of Scott Joplin's Eugenia ("Slow March these grounds, we might overlook some rath- Franchised Distributors for over 70 mfrs. Tempo"; "legato"). We could see for our- er considerable rearrangements (not just the Largest selection in the country selves that ragtime was a beautiful and classic quartet arrangements but the reordering of Full manufacturers warranty protection art, derived from marching and dancing, with strains, rewriting of introductions and transi- Only brand new, factory sealed components Fast, fully insured shipments lotsa rhythm but also with a highly developed tions, changes in voicing, and so forth). But Doubleboxed cartons where possible musical and poetical sensibility. I think it was even beyond this, I really think the essential Same day reply to your inquiry Extra savings on complete systems the harmonic treatment that particularly got character of some of these rags is missing. Lowest possible prices to us; the old rinky-tink approach glossed It is a great pity, because Max is certainly a over the almost Schubertian or Chopinesquegood keyboard player and a remarkable per- WRITE FOR OUR QUOTE AND SPECIALS BULLETIN harmony of Joplin or Lamb. Whatever it was, sonality; but I guess he did the rinky-tink old- VISIT OUR NEW MODERN WAREHOUSE it seemed to us a great and classic art and wor- timey act just once too often. This album is FREE AMPLE PARKING AT PREMISES thy of equal treatment with the classics. And I charming, entertaining, and a lotof fun; think the original advocacy of Bolcom, the maybe we should let it go at that. But the po- Free Music Store's concerts and broadcasts, etry of ragtime is lacking-the part that trans- affARSTOIVSt.d:pt and the excellent recordings of Rifkin andcended entertainment and became art-and Bolcom that grew out of this activity estab- frankly, I miss it. Eric Salzman 146 OLD BROOKFIELD RD. (NORTH) lished this very well. Joplin's cause has now DANBURY, CT. 06810 been taken up by the scholars, and a complete THE MOTHERS: Just Another Band from DANBURY, CT. 1203/ 744-6421 edition of his work -a Gesamtausgabe, just L.A. Frank Zappa (guitar and vocals); Mark N. Y. CITY 1212/ 369-6212 like Bach or Beethoven-is underway. Volman (lead vocals); Howard Kaylan (lead Meanwhile, Max Morath, the man who vocals); Ian Underwood (winds, keyboards, really started the Rag Revival, has been some- (Continued on page 92) CIRCLE NO. 12 ON READER SERVICE CARD 90 STEREO REVIEW New Musk from Jack Nitzsche (and the London Symphony Orchestra)

JACK NITZSCHE ST. GILES CRIPPLEGATE Includes:=6/ 2/=3/=5

It's called St. Giles Cripplegate, named for an 882 -year -old Lon- don church blessed with superior acoustic properties, for that is where Jack Nitzsche chose to record this majestic album. The result is a record of six sweeping instrumental parts, composed and orchestrated by Mr. Nitzsche and executed by himself and his long-haired friends, the London Symphony Orchestra. A performer, composer and arranger whose rock and pop credits are practically inescapablle (stretching back to early Phil Spector and up to Neil Young and the intriguing Performance sound track), Jack Nitzsche moves in yet another direction with St. Giles Cripplegate. It's foreground musk,new and big,on Reprise albums and tapes.

NOVEMBER1972 9 and vocals); Aynsley Dunbar (drums); Don Tom's albums are always slightly disappoint- be played by human beings. You can believe Preston (keyboard and mini -Moog); Jim Pons ing. This one has some fine moments, but con- that if you want to. Weldon Myrick's steel (bass,vocals). Billy the Mountain; Call Any tains some throw-aways and seems to lack guitar wavers between imitating the amateur- Vegetable; Eddie, Are You Kidding?; Mag- focus. The highspots-Mother Earthand ishly played dobro on Rodgers' records and dalena; Dog Breath. BIZARRE/REPRISEMS Merrimack County II-assertthemselves bogging down completely in Nashville steel - 2075 $4.98, 0 M 82075 $6.98, © M 52075 immediately, andWind on the Waterand guitar clichés.Pistol Parkin' Papa,one of the $6.98. Seems the Songspromise to sound good for a poorest songs Rodgers ever wrote, is one of Performance. Special long time (whileMother Earthwears thin). the more successful cuts here; Snow is com- Recording: Good ButKids These DaysandMink Julip serveno fortable with its tempo, for a change, and its purpose except to reaffirm unnecessarily the melody (unlike that ofWhy Did You Give Me If you've got the time to listen to Zappa-and tough -funky quality of Rush's vocals, and Your Love)doesn't elude him. Fullam's narra- it takes time-you'll find he's intelligent and Gypsy BoyandJamaica Say You Willare tion alonemaybe worth the album's price: it shrewd, sometimes astute, perhaps talented. simply mediocre. is good to hear him tell in his own words the I've come tothe conclusion that Zappa Rush is backed by a fine band, and the ar- story of his association with his old friend. couldn't care less what anybody thinks be- rangements, like most of his vocals, are first- Just don't take this as a lesson in how Jimmie cause he doesn'tbelieveanybody thinks; they class. I think management is what he needs to Rodgers' songs ought to be sung. Find out are all programmed and believe what they see get his albums away from the loose -assem- how he sang them himself. N.C. in TV ads. blage quality that always bothers me. As we Zappa is a satirist with a serious fault. He is say perhaps too often in these pages, this is a within his rights to hold his audience in con- good album but it should have been better. RECORDING OF SPECIAL MERIT tempt, I suppose, but he also holds the form in N.C. ERIC VON SCHMIDT: 2nd Right, 3rd Row. which he projects his satire in contempt. He Eric Von Schmidt (vocals, guitar, kazoo, elec- uses "rock-and-roll" as a vehicle for his anti- tricpiano); Campo Malaqua (accordion); personnel salvos, but in using it he deliberate- Geoff Muldaur (guitars); various other musi- ly twists it all out of shape. This means the lis- cians.Turtle Beach; If I Ever Catch Old Per- tener has to spend as much time deciphering ry; My Love Came Rolling Down; Believer; the twisting as he does getting the message. The Letter; If I Had a Good Dog (The Male Whether it's worth spending that much time Chauvinist Possum Song); Fair and Tender getting the message is up to you. This album Ladies; Loop the Loop; Wet Birds Fly at isn't significantly different from any he has Night; Salute to China; Fat, Fat, the Water ever made. There are some funny moments, Rat; My Country 'tis of Thee. POPPYPYS but not enough for me. J.V. 5705 $4.98, 11105 $6.95, © 12505 $6.95. Performance:Remarkable TOM PAXTON: Peace Will Come (see Best of Recording:Good the Month, page 80) Eric Von Schmidt was either the first hippie DELLA REESE: The Best of Della Reese. Del- or the last beatnik I ever saw. He arrived in la Reese (vocals); various orchestras. Don't Sarasota years ago as I was preparing to You Know; Not One Minute More; Every- leave, and brought with him a life style that day; Someday (You'll Want Me to Want You); was intriguing and, it seemed at the time, im- Blue Skies; Please Don't Talk about Me possibly casual. It turned out, of course, to be When I'm Gone; Thou Swell;and five others. the only way to fly. Before that, Von Schmidt RCA PK 1881 $6.95,*P8S 1881 $6.95. had paused at Harvard Square to teach Bob Dylan a few guitar licks. And so this album, Performance: Dated among other things, makes me homesick for Recording: Very good the places I've met and the people I've been. Holy Hollyridge! I haven't heard so many ERIC VON SCHMIDT Only someone who has been around could shimmering strings since I was twelve years Sophisticated but accessible music have made such an album; it shows that Rick old and trying to decide whether to commit has steeped himself in his music, and knows my heart to Joni James or two girls in the HANK SNOW: The Jimmie Rodgers Story. exactly what he wants to do and how to do it. eighth grade. This "greatest hits" grab-bag Hank Snow (vocals); Albert Fullam (nar- It is a remarkable album, an odd mixture of turns your stereo gear into a musical time rator);variousmusicians.Gambling Pol- variations on the blues and Rick's own special machine. They just don't back singers with ka Dot Blues; Hobo Bill's Last Ride; Nobody kind of surreal humor. For reasons known sounds like these anymore-not even Jack Knows but Me; My Blue -Eyed Jane; Waiting only to Von Schmidt, Campo Malaqua's ac- Jones gets buried in this much mush -and it's for a Train; T. B. Blues; In the Jailhouse cordion (!) is the sidekick instrument to Rick's easy to forget, when your listening habits drift Now; The One Rose:and three others. RCA gruff vocals and bluesy acoustic guitar. The toward the Kinks or Cat Stevens or even LSP 4708 $5.98. sound is expansive, with a shimmering abun- Merle Haggard, that they ever did. This is Performance: Clinical dance of dobro, bottleneck, and slide guitars documented proof that they did, and the result Recording: Very good and some harmonica played by none other is not now and never was a favor to Della than Paul Butterfield. Von Schmidt has cre- Reese, whose bold, sassy vocals deserve a You haven't known hero worship unless you ated a dandy New Orleans dirge forFat, Fat, smaller, tighter, more sympathetic backing know how country musicians of my father's the Water Rat,with tuba, clarinet, and Greg group. But this album is strictly for nostalgia generation felt about Jimmie Rodgers. You Thomas' excellent snare -drum tapping help- buffs anyway, sinceit consists entirely of haven't heard praise unless you've heard fid- ing to make that a major achievement. For chestnuts. Reese fans have all this stuff, and it dling farmers-who feel, deep down, that only Salute to China,he sings in a pinched voice, will take much more interesting material than sissiesuse adjectives -talk about Jimmie almost enunciating "saroot," and has Jules this to induce any newcomers to join the club. Rodgers' music. Hank Snow and the narrator, Feiffer and Gerald Weales playing ping-pong N.C. Albert Fullam, a train engineer who knew (not too efficiently) in the background. Jimmie for years, seem sincere here, but the The album is musically sophisticated, but TOM RUSH: Merrimack County. Tom Rush album is embarrassing. Snow, all style and no has the kind of nonchalant charm that makes technique, simply doesn't have the vocal qual- it readily accessible to anyone. Probably there (vocals,guitar);variousmusicians.Kids ifications to go around inviting comparisons These Days; Mother Earth; Mink Julip; Ja- does breathe a man with shirt so stuffed that maica Say You Will; Merrimack County II; between his and Rodgers' own versions ofhe can resist this album, but with any luck at Gypsy Boy; Wind on the Water; Roll Away these songs -and the comparisons are un- all you and I will never have to meet up with avoidable: the first thing I did when I took this the critter. N.C. the Grey; Seems the Songs; Gone Down Riv- one off the turntable was to put on one of er. COLUMBIA ©CT 31306 $6.95, 0 CA those Jimmie Rodgers reissues. 31306 $6.95. JIMMY WEBB: Letters (see Best of the Month, An even greater problem is the clean, busi- page 79) Performance: Very good nesslike efficiency of the arrangements. The Recording: Very good rhythm instruments are said in the credits to (Continued on page 94) 92 STEREO REVIEW It was 72years before Frederick Myers' dream would become a reality. Back in 1900, Frederick Myers dreamed that he could fill a room with dramatic music. But, he faced the same problem that plagued inventors for 70 years thereafter: the standing wave phenomena. When placed in your home, every conventional speaker produces a fixed emission pattern of sound waves. These waves reflect from your walls to "add and subtract" from the true original signals. In this way, standing waves alter the true dynamics and reduce the "live qualities" of the music. In 1971, the Leslie Speaker LESLIE PLUS 2 MODEL 430 group of CBS applied for patents on special designs which-for the first time-effectively dealt with the standing waves. These patents are used exclusively in the Leslie Plus 2 Speaker system. Here is what this breakthrough means to you. Now, you can hear music with a realism that is unmatched. You literally feel that you're in third row center of your favorite concert hall-no matter what part of the room you are sitting in. Also, you can achieve this effect with either stereophonic or quadra- LESLIE PLUS 2 MODEL 450 phonic recordings! For further information on this r unique system, just send in the Electro Music coupon below, or visit your author- CBS Musical Instruments, A Division of Columbia Broadcasting System, Inc. ized Leslie dealer. Sixty seconds of 56 West Del Mar Boulevard, Pasadena, California 91105 hearing the Leslie Plus 2 Speaker system will prove everything we say I Please send me additional information about the Leslie Plus 2 systems. about it is true. Hear it for yourself ...soon! NAME

ADDRESS

lie CITY STATE SPEAKERS Leslie is a registered trademark of CBS, Inc. J NOVEMBER 1972 93 Sony's quintessential deck.JAZZ The top of the Sony stereo line. Without question, the finest component 3 -motor stereo tape deck you can buy. No true stereo buff should be without the Sony TC-850, ($895.00). See the entire line of Sony reel-to-reel tape decks starting at $159.95 at your Sony/Superscope dealer.

Giant 101/2 inch Reels. For maximum record and playback time.

RECORDING OF SPECIALMERIT CLARENCE BEERS: KingPleasure.Clar- ence Beeks (vocals); Gerald Wiggins (piano); Matthew Gee (trombone); Teddy Edwards and Harold Land (tenor sax); Wilfred Middle - brooks (bass); Earl Palmer (drums). I'm in the Three -Heads. For Mood for Love (Moody's Mood); The New Tape/Source moni- Automatic Pro- Symphony Sid; Don't Worry 'bout Me: Little toring and widerfre- gram Scanner. Boy, Don't Gel Scared;Parker's Mood; quency response. e Locates and plays Golden Days: Tomorrow Is Another Day; individual seg- No, Not Much; All of Me.EVEREST ARCHIVE ments to music. OFFOLK AND JAZZMUSICFS 262 $5.98. Performance: Super Recording: Okay There isn't a civilized bar in any major city that hasn't at one time or another carried King Pleasure'sI'mintheMood for Love (Moody's Mood) on the juke. His was scat - singing at its best -the ultimate in scoobie- Three Motor Transport. With Servo -Control SUPERSCOPE, Capstan motor. Assures powerful torque, doo. Only Armstrong was equal in effect, accurate and stable tape tension. You never heard it so good, though not in style. Cut in the Fifties, it is still fresh today and probably always will be. 01972 SuPerscope, Inc., 8146 Vineland Ave., Sun Valley. Calif. 91352. Prices and models subtect to change wehout notice. Consult the Yellow If it's possible that you haven't heard it, the Pages for your nearest Sony/Superscope dealer. Send for tree catalog. basics are these: James Moody, sax -flute CIRCLE NO. 63 ON READER SERVICE CARD player, cut a version of . . Love as an instrumental solo; King Pleasure (Clarence Beeks) transcribed the solo for voice, adding words to fit Moody's phrasing. The result is this fascinating, joyful classic, with its attendant album, which is giddy and grand. The album has been through several labels McIntoshCATALOG over the last fifteen years, but it has never been long out of print. Beeks did what he did for a kick; he didn't attempt to make a show- and FM DIRECTORY biz career out of it. He just eased in one day Get all the newest and latest information on the new McIntosh Sol- and cut a classic. Run, grab this album now, id State equipment in the McIntosh catalog. In addition you will receive an FM station directory that covers all of North America. and get happy! J.V. THE DAVE BRUBECK QUARTET/GERRY MULLIGAN:The Last Set at Newport.Dave Brubeck (piano); Gerry Mulligan (baritone sax); Alan Dawson (drums); Jack Six (bass). Blues for Newport; Take Five; Open the Gates. ATLANTIC SD 1607 $5.98. Performance: Cool jazz revisited Recording: Very good The Newport Festival of 1971 was not one of the happier events in that long series of histor- MX 113 ic musical gatherings. It may have been, in fact, the last time that the Festival will take FM/FM STEREO - AM TUNER AND PREAMPLIFIER place in its namesake setting, since the un- pleasantness that brought it to an abrupt close McIntosh Laboratory, Inc. then forcedit to choose a new location- East Side Station P.O. Box 96 New York City -for 1972. Binghamton, N.Y. 13904 Dave Brubeck and Gerry Mulligan were SEND among the lucky performers for 1971, however. They managed to get through their set NAME safely, and with a modicum of musical suc- ADDRESS cess. The three tunes included here are really TODAY! long jams, and virtual lexicons of the Brubeck CITY STATE ZIP style. The pianist is a habitual builder of bell - shaped emotional curves in his improvisa- If you are in a hurry for your catalog please send the coupon to McIntosh. tions-starting softly, increasing in volume For non rush service send the Reader Service Card to the magazine. (Continued on page 96) 94 CIRCLE NO. 44 ON READER SERVICE CARD STEREO REVIEW best AM/FM stereo re- gh power to meet the sic lover. Plenty of fea- y Hi-Fi enthusiasts. The changer the best value ith base, dust cover and Shure M91 Estereo cartridge.

Flow to readahi-fi ad

Puzzle picture: find the clue that tells you how good the advertised system probably is. Our advice is to check the one component that is the source of the sound-the phono cartridge. We say this because we know that the dealer who's assembled a superior package at a fair price is going to complete it with a superior cartridge within the available price range. This dealer ad above, for example, includes a Shure M91E Hi -Track. Even if you weren't aware of the effortless way it meets your most rigorous trackability demands, you should know that it, as well as virtually every Shure cartridge, has been acclaimed by hi-fi critics and authorities as ,Jest in its class, or best for the cost. That's why you see so many of them teamed with "best -in -their -class" components, and why they invariably mean a more -for -the -money total system that's going to make you very happy. Shure Brothers Inc., 222 Hartrey Ave., Evanston, III. 60204 F=t NOVEMBER 1972 CIRCLE NO. 60 ON READER SERVICE CAFD 95 and density, building toan emotional peak, and then fading away. The predictability is a drag, of course, but more than that,Icontinue to be bothered by the mechanical nature of Brubeck's rhythmic articulation.After all these years, he seems to have learned almost nothing about the easy flow of jazz swing, and his lines have an annoying nervous tension. Contrasting with Brubeck's tightnessis Mulligan's easy-going, jaunty swing. He does understand the loose freedom of jazz rhythms - he always has-and it is his work, as well as the super drumming of Alan Dawson, that keeps the music alive. A peculiar combination of stimuli, then, and a curious group. And I have, by the way, heard all these musicians - Brubeck, especially-sound far better than they do here. Don H.

RECORDING OF SPECIAL MERIT CARMEN McRAE:The Great American Songbook. Carmen McRae (vocals); Jimmy Rowles (piano); Joe Pass (guitar); Chuck Domanico (bass); Chuck Flores (drums).Sat- in Doll; If the Moon Turns Green; Day by Day; Easy Living; Sunday; A Song for You; The Ballad of Thelonious Monk; Three Little Words; It's Impossible; Mr. Ugly; It's Like Reaching for the Moon; I Thought About You;and eight others.ATLANTICSD 2 904 two discs $11.96. Performance:Superb Recording:Fine CARMEN McRAE: "In Person." Carmen McRae(vocals);unidentifiedaccompani- ment. Thou Swell; Sunday;A Foggy Day; This Is All I Ask; Make Someone Happy; Let There Be Love; and four others. MAIN- STREAM MRL352 $5.98. Performance. Good Recording: Good Allah and Atlantic Records be praised. They both love Carmen McRae as much as I do. In this devastating world of commercial trash we live in, the supreme protectors of the dying art of the popular song are seldom granted their inalienable rights as artists to sing the material they do best in a comfortable atmosphere in which they shine, because so many hacks at the record companies are busy trying to make INTRODUCING NEW AUDIO SOPHISTICATION FOR THE SPACE AGEa fast buck. Good singers are too often told what they must sing to make the so-called Combining the most advanced audio engineering with space age electronics, Dokorder "charts," and jobs being as scarce as they are, creates two highly sophisticated tape decks that offer the audiophile tomorrow's capa- the performers do as they are told. So it has bilities today: been with Carmen's last few disappointing DOKORDER 7500... 6 -Head, Bi-Directional Tape Deck that automatically records andalbums, but such is not the case on this mag- plays back in both directions ... incorporates high -density, precision micro -gap MBD nificent new two -record set. The result is her heads for greater frequency response, better separation, reduced crosstalk ... boasts best album in years, a tribute to the best work being done vocally in the jazz world today, three motors, including 2 -speed hysteresis synchronous capstan, with electronic speed and a perfect example of that rare phenome- change for smoothest, distortion -free operation ... provides Tape Bias Selector for non - the record album on which nothing standard or low noise tapes ... features electronic pushbutton controls, automatic shut- wrong ever happens. off, SOS/SWS/Echo, and a host of other top -of -the -line innovations that set new stand- "The Great American Songbook" show- ards in its price range. cases the melted chocolate in that glorious DOKORDER 7200... a 4 -Head, versatile component that features Automatic Continuous voice of hers, relaxed and at home in an un- Playback ... incorporates high -density MBD heads that eliminate tape friction and give flappable setting ("live" at Los Angeles' musi- improved frequency response ... operates smoothly and accurately with three solenoid - cal landmark, Donte's), polishing off songs by operated motors ... includes Tape Bias Selector for optimum quality from regular orno fewer than thirty-nine of the greatest com- low noise tapes ... combines a multitude of top features such as Automatic Shut -Off, posers and lyricists in popular music-artists with far-ranging attitudes and musical styles, Tape/Source Monitoring, separate channel controls, SOS/SWS/Echo, etc., to provide from Leon Russell to Cole Porter, Johnny optimum convenience with top performance. Mercer to Burt Bacharach and Duke Elling- For complete specifications, visit your nearest Authorized Dokorder Dealer, or write: ton. It is a spectacular tribute. The setting is perfect. The approach is warm and intimate. I have never heard Carmen in better voice r=111 Cs Lc Cs rc>ter I re ic®. 11264 Playa Court, Culver City, Calif. 90230 than on Leon Russell's poignant ASong for Setting New Sound Standards in Tape Recorders (Continued on page 98) 9() CIRCLE NO. 18 ON READER SERVICE CARD STEREO REVIEW We enjoy telling you how each aspect of the 12 make an A -B listening test with your records. year basic research program on sound reproduction 2. Place the BOSE 501's beside (with at least 2 feet contributed to the unconventional features found in clearance) any other speaker using woofers, tweeters the Bose 901 and 501 DIRECT/REFLECTING® loud- and crossovers and perform the A -B listeningtest. speakers.* We also take pride in quoting from the un- (Don't ask the price of the 501 before the test) precedented series of rave reviews because to us they Then, just enjoy your records. When you finish you are like awards won for the best design. t will know why we get mach more satisfaction from our However, itis important to realize that the re- work than could ever be derived from profits alone. search and the reviews are of only academic interest P.S. If you already own speakers, many unless the speakers really are audibly superior.Itis dealers will lend you a pair of BOSE 901's for an A -B in equally important to realize that YOU are in every your living room, where the acoustics are generallyfar sense the ultimate judge, for you are the one who lives superior to those of the speaker -lined showroom. with the sound you choose. * Copies of the Audio Engineering Society paper, So-forget the rave reviews and the research and 'ON THE DESIGN, MEASUREMENT AND EVALUA- sit in judgement of two fascinating experiments. Take TION OF LOUDSPEAKERS', by Dr. A. G. Bose, are your most exacting records to any franchised BOSE available from the Bose Corp. for fifty cents. dealer and: t For copies of the reviews, circle our number on your reader service card. 1.Place the BOSE 901's directly on top of any other speakers, regardless of their size or price, and You can hear the difference now.Fiya Unless they're audibly superior it's all academic.

The BOSE 901 and BOSE 501 are zovered by patent rights, issued and pending.

FOR 901 FOR 501 CIRCLE NO. 10 ON READER SERVICE CARD CIRCLE NO. 11 ON READER SERVICE CARD

NOVEMBER 1972 97 You. And I have never heard Carmen funnier bottoms wagged about in grotesque dances, than in her hip introduction to The Ballad of bottoms getting hit, thumped, set afire, bitten, Thelonious Monk, a sophisticated homage to frozen, shot, sliced, diced, caught in elevators, the jazz wizard done in (of all things) a coun- and God knows what else. There isno men- try-and-western tempo. The cool, with -it per- tion of bottoms here, but the "humor" is forming style of Carmen McRae in person a compendium of the same kind of cheap shots. (with an army of worshipers eating out of her The idea of bears making music is supposedto hand) that is sadly missing on most of her stu- set us to slapping our knees-especially if dio sessions shines through on all four won- we're young-and the fact that it's derful sides of this album, reminding me what country music is supposedly just too much-but with a really first-rate actress -singer she really is. as few risks taken as possible (the lyrics of That she has been allowed to include her per- The Ballad of Davy Crockett have been sonal introductions to the songs, with refer- ences to her pals Tony Bennett, Anthony changed from "killed him a b'ar when hewas Newley, and pianist Jimmy Rowles (among only three" to "tamed him a b'ar. . ."). COUNTRY BEAR JAMBOREE (Recorded Even one person offended is several dollars others), play some of her own fine piano ac- during shows at Walt Disney World, Florida). companiment on two of the cuts, and gener- unspent at certain amusement parks, as even Unidentified musicians (unless they reallyare Goofy knows, and as long as people snicker ally convey the living room atmosphere of one bears), George Bruns cond. Pianjo; The Bear of her club dates without interference is when a bottom is whacked or a "bear"says a Band Serenade; Fractured Folk Song; My "You -all" and strums a banjo, the risk of bloomingmiracle.Furthermore,evenif Woman Ain't Pretty (But She Don't Swear Carmen didn't sing a note, the lush guitar offending a few free -spending slugs withsome None); Mama, Don't Whip Little Buford; and honest satire need never be broached. work of the brilliant Joe Pass and the sublime seventeen others. DISNEYLAND ST 3994 That's the adult view of this bomb atmy fingers of Jimmy Rowles would be reason $3.98. enough to buy this record. house. The child's view is a bit kinder: "Take Performance. Unbearable that yucky thing off and put on the Sesame There's nothing wrong with the Main- Street record." stream collection except that it isn't as good Recording: Good N.C. as the Atlantic album. The voice is in fine The idea here is to delight "children of all SUGAR (Jule Styne-Bob Merrill). shape, although hardly inspired on such flat Original - ages" with a "mirthful musical jamboree" in cast recording. Robert Morse, Tony Roberts, tires as / Left My Heart in San Francisco and which country musiciskidded -good-na- What Kind of Fool Am!. Carmen "in person" Cyril Ritchard, Elaine Joyce, others (vocals); turedly, to be sure-by what we listeners to Elliot Lawrence cond. UNITED ARTISTS UAS (the record doesn't say where) is always a the album, like the audiences for the "rear' 9905 $6.98, U 3066 $6.98, K 9066 treat, but this album is not as well produced as thing at Walt Disney World in Florida,are $6.98. the Atlantic set. There is none of the easy pat- supposed to believe are bears. Only we're not ter between performer and audience that really supposed to believe it, are we, anymore Performance: Lively gives clues to Carmen's moods before she than we're supposed to believe there really is Recording: Good moves into each number, the audience is less a Scrooge McDuck who wears spats? The As everybody knows, old movies never die. responsive, and some of the materialis album's approach to humor reminds us that second-rate. They just go to Broadway. The latest film- R.R. the basis for most Disney humor is bottoms- into -musical is Billy Wilder's fabulous Sotne

Itsthestation.

98 STEREO REVIEW Like It Hot. I think just about everybody also robustly, but she hasn't the ability to give "Film Spectacular." Unless you are crazy knows that wonderful plot-about the two Sugar anything more than surface mannerisms about charioteers galumphing around the musicians disguised as dames in an all -girl in the dumb -blonde tradition. That leaves track in Technicolor, wide-screen re -crea- band to escape the gangsters hot on their most of the weight to be carried on the girlish tions of lengthy Russian novels, and musical trail, and the luscious Sugar Kane they both shoulders of Mr. Morse, who, as the flirta- assaults on the Alamo, better take shelter un- love. The nuttiness and subsequent complica- tious Daphne, fairly tears the stage (and the til this task force has passed. The heroics be- tions of that situation made for a wonderful recordingsession)apartwithcoquettish gin Western -style as we're dragged screaming movie (maybe the last truly hilarious comedy camp, drop -dead asides, and giddy charm. at the tail -end of Max Steiner's music for John out of Hollywood), and by all odds it should The all -girl band, called "Sweet Sue and Her Ford's Stagecoach, complete with the shouts have been a funny Broadway show, too. Society Syncopaters," adds zest in a song of cowboys and the yells of Indians, the thun- Trouble is, once the shock of recognition called When You Meet a Man in Chicago, dering of wheels on rutted roads and the (when Robert Morse and Tony Roberts en- and there is at least one tune in the collec- sound of John Wayne rocketing over Monu- ter in their satin and heels) wears off, there's tion (the lazily infectious title song, Sugar) ment Valley to Stardom. There's hardly a not much more to it. They've neglected to you might hum again. But for the most part, second's pause before the orchestra launches fill in the gaps between campy numbers with this is only a minor notation in the vast log into Victor Young's hard -breathing musical dialogue that tickles or songs that brighten of Broadway theater music. R.R. mural of the Spanish Civil War, For Whom the dead weight of the "drag" routines. It's the Bell Tolls, after which we wallow in the a one -joke show, with the raffish Punchinello COLLECTIONS sighs of Lara's Theme from Dr. Zhivago and Robert Morse stealing most of the applause. don't even have time to wash up before join- The joke wears thin too soon, and there isn't STANLEYBLACK: Film Spectacular: Vol. 4, ing Miklos Rosza for the exhausting chariot much else to stay awake for. "TheEpic." London FestivalOrchestra, race from Ben Hur. Side two takes us off into As is often the case with dull shows, the Stanley Black cond. Music from: Stagecoach space with ferocious treatments obviously original -cast recording is more winning than (Max Steiner); For Whom the Bell Tolls intended to outdo the originals of the music what takes place onstage. The songs are (Victor Young); Doctor Zhivago (Maurice for 2001, including the opening of Richard among Bob Merrill and Jule Styne's weakest Jarre); Ben Hur (Miklos Rozsa); 2001 (Rich- Strauss' Thus Spake Zarathustra and Jo- achievements, sounding as though they were ard Strauss and Johann Strauss, Jr.); Sea hann's The Blue Danube. Then out to sea written between naps on a rainy afternoon. Hawk (Erich Wolfgang Korngold); TheAlamo with Erich Wolfgang Korngold and The Sea Tony Roberts, as one critic pointed out, has (Dimitri Tiomkin); and Patton (Gerry Gold- Hawk, and off to storm the Alamo as Dimitri the prettiest legs on Broadway. Alas, legs smith). LONDON SP 44173 $5.98. Tiomkin's scorefells Davy Crockett and deafens anyone within earshot. For a wind- don't sing. Cyril Ritchard is a total bore. His Performance Musical Krakaloa up, we march with Patton, to the music of a role, a dotty old septuagenarian who falls in Recording: Very good love with Robert Morse, is a bore to begin different and alarmingly loud drum. It takes a with, and the composers have not distilled The invincible army of the London Festival certain amount of military courage just to get any additional humor from it for Mr. Ritchard Orchestra and Chorus under Stanley Black, through all this, but I dare say America's two- to work with. Elaine Joyce, a novice making recorded in a Phase Four sound that puts you fisted red-blooded music lovers are equal to her debut here, suffers from the inevitable right in the middle of a gargantuan movie - the challenge. P.K. comparisonwithMarilyn Monroe's daz- house by its very nature, attacks relentlessly zling performance in the movie; she sings in the fourth volume of a series devoted to the (Continued on next page)

illuminatedtuning introducesFM/AM """ Magnavox electronics. digital advanced eyes. -nor= themost beforeyour :vise precision-with change switch, made numbers lever, FM/AM tuner compensatingselect stereo it. Bigelectronic aloud Only you tuned power, FMStereo gives easily it tobelievewatts muting, tunerthat precise, got totune 150 FM theonly perfection, It's themost You've 'There's decoder, And it's demands more. pr_eset. Multiplex stations. manwho givesyou frequency, FM/AM distant FM. Forthe the sinks, topull in and M3gnavx Indicating bothAM poweroutput/heathighsensitivity in Magnavox and digitaltuning illuminated

NOVEMBER 1972 CIRCLE NO. 38 ON READER SERVICE CARD 99 Sylvia- a whimsical little number about a shark and a cockroach -and some touching ones when they sing of a slave who didn't want to be freed in Lincoln Freed Me. There's DISCOUNTS also a miniature lesson in evolution in Crea- tors of Rain. The rest of the program is WASH. D.C. swamped by overelaborate arrangements and by overtones of morality, as in Needles of HAS NO FAIR Death, a self-conscious anti -drug ballad, in TRADE Summer Wages, whichisnever given a chance to be plain and affecting and to stand LAWS! ON on its own lovely tune, and in Last Lonely Eagle - more propaganda, this one about con- FIESTAS OF PERU-Musicof the High Andes. servingendangeredspecies.Thesetwo STEREO Various groups, recorded in Peru by David should make up their minds whether they Lewison. Marcha Akuchimay; Tankar kich- want to sing songs or preach little musical kachay; Peru purucha; Lament()andino: sermons on pat themes. Whenever they work COMPONENTS Yaravi; Lorochallay silbaykapullaway; Car - the latter territory, they simply sound patron- naval ayacuchano; Carnaval de Colca: Vil- izing, guitars and all. P.K. PLEASE REQUEST cas Plazapi; Pirwalla pirwa; Chuschi: Fiesta Prices for your choice of of Corpus Christi; Carnaval ayacuchano; MUSIC FROM YUGLOSLAVIA. Various Changers, Receivers, Tape Street music: Awake; Paucartambo: Contra- groups(vocals and instrumentals). Recorded Recorders, Speakers, etc. danza, Fiesta al Virgen del Carmen. NONE- on location by Deben Bhattacharya. Spasila PROMPT DELIVERY SUCH H 72045 $2.98. sem Janka; Vse tieice lep pojo; Bog daj, bog IN FACTORY Performance:Haunting dqj dobro veeer; Dance music; Shepherd's SEALED Recording: Excellent music; Wedding music; Done Donke; Ballad; CARTONS. Epic song; Treha; Zorla and Tupan; Kolo; The Nonesuch Explorer Series, a worldwide Love song; Prelude; Gonde Meho; Cuek; and musical geography lesson if there ever was Two Kavals. ARGOZFB 53$5.95. one, scores high with its DISTRICT latest excursion, Performance: Lively documentary which takes us to Peru, land of the Incas, the Recording: Very good Andes, and the pre -Hispanic notched flute. SOUND INC. The country was conquered by the Spanish in Yugoslavia is one of those countries that offer 2316 Rhode Island Ave. N.E. 1532, and three centuries of Iberian rule cer-what the musicologists are fond of calling a Washington. D.C. 20018 tainly left their mark on Peruvian music. In- "rich storehouse" of folk music. The supply is 2 0 2 - 8 3 2 -1 9 0 0 struments of the colonial period-such as the so rich, in fact, that too much of it might well harp,guitar,violin,andaccordion-are bring on a permanent resolve to steer clear of CIRCLE NO. 16 ON READER SERVICE CARD played to this day, along with the aforemen- quaint Dubrovnik, song -filled Sarajevo, and tioned native flute and the panpipe and drum. the zealous string -pluckers of Zagreb for the Nonesuch, however, may have arrived in the rest of your days. Mr. Deben Bhattacharya, nick of time, for the brass band, heard oom- the scion of what the liner notes for this album pahing away in one sequence on this record. is identify as an "old Bengali Brahmin family" check with the threatening to take over. and our guide on this trip, is a tireless but nev- On this visit to nosebleed country we are er tiresome expert who does his best not to let East -Coast Stereo treated first to a marching song played on a that happen. He hustles the listener through mandolin and two guitars, and next to a way - the Serbian music of the east, the Croatian Discounters... no, which turns out to be not a Peruvian dere- music of the west, and on to the south for a lict, but a type of song that deals with the pain rendezvous in Macedonia so quickly and with ...then BUY from caused by the sufferings of love. There are so many contrasts that there's no opportunity other waynos, and harp solos, but the most to be bored. enthralling passages of "Music of the High The Yugoslavians like to sing their music; Andes" are those recorded during carnivals in when it's played on instruments it's probably southern Peru in the regions of Chuschi, Pau- because the local singers are all off attending a MIDWEST cartambo, and Ayacucho. In Carnaval ayacu- regional folk festival somewhere. In Serbia chano we follow the celebrants as they dance and Slovenia the parts are divided up between through the streets in circles, calling on the low-pitched male voices and high-pitched families in one house after another to join the female ones, which works out well in stereo. HIFI festival. The Fiesta of Corpus Christi in The instruments range from bagpipes, shep- WHOLESALERS Chuschi offers still another wayno, a "scissors herd'sflutes, and drums to a variety of Box 567 dance," and the blaring of a local brass band stringed affairsthat are generally plucked Ellsworth Industrial Park as the procession goes around town. rather than bowed. The program opens with a owners Grove, III. 60515 Throughout this exceptional album, record- Slovenian folk song, sung and accompanied ed on location with unusual fidelity by David by the inhabitants of a village called Dragatus. (312) 852-5885 Lewiston, Nonesuch affords us a rare oppor- Various village songs from Serbia and Croatia tunity to hear this music from the harsh high- follow, climaxed by a wedding song which, Write for our new lands of the Andes before the sound of it is Mr. Battacharya confides, is also popular for WHOLESALE price list blown away forever by the winds of change. tuning up. On side two, we hear a song that Excellent notes are provided. P.K. the people of Bosnia sang during their in- & catalog. You'll surrection against the Germans in1941, a be glad you did! IAN & SYLVIA. Ian and Sylvia(vocals with gypsy song recorded during a wedding in instrumental accompaniment). More Often Skopje, and a number of fascinating pieces OVER 50 NAME BRANDS than Not; Creators of Rain; Summer Wages; recorded in Macedonia, where there are such Last Lonely Eagle; Barney; and six others. strong Eastern influences that it's hard to FACTORY - SEALED CARTONS COLUMBIA ©CT30736 $6.98, ® CA 30736 keep remembering Yugoslavia is a part of .WHOLESALE PRICES $6.98. Europe. In one Serbian song recorded in Sa- Performance: Preachy rajevo, the Moslem influence in that region is SAVE ON TIME Recording:Good Dolbyized sound clearly reflected in the lyrics, all about a son whose mother asks him what he will buy with & FREIGHT CHARGES There are lively moments in this latest con- the money she has given him. "A fez," the cert from the folk -singing team of Ian and young man replies. P.K. CIRCLE NO. 42 ON READER SERVICE CARD 100 STEREO REVIEW RECORDING OF SPECIAL MERIT LILY TOMLIN:And Thats the Truth.Lily Tomlin (comedienne). POLYDOR PD 5023- $4.98, (D8F 5023 $6.98, CF 5023 $6.98. Performance: Enfant terrible to end them all Little black books to Recording: Excellent "I do my characters with love," Lily Tomlin your has said. "Not thatI admire them, or any- keep track of thing, but they are different types of humanity, and I love them for their humanity." This love is returned by her audiences. My own favorite recording artists. adoration of Miss Tomlin ispractically a scandal in the neighborhood. When she is playing Ernestine, the Forties -bred operator for Ma Bell, on "Laugh -In" I am there watching my TV set and chuckling over every line. I have practically worn out her "Ernestine" record, issued a year ago, by playing it for friends. When she is Lupe, the World's Oldest Beauty Expert, or Susie Sorority, or the Cheerleader, ortheTasteful Lady from Grosse Pointe, I get euphoric to the edge of madness. I have not, however, particularly admired her appearances as Edith Ann, an appalling child of five -and -a -half. "And Thats the Truth" (no apostrophe) is Miss Tomlin's second record for Polydor, and deals entirely with Edith Ann. I expected to hate it, but it didn't work out that way. Edith Ann, in her phonographic debut, is a far more interesting child than she has been in her cameo TV appearances. The script here is in the form of a dialogue between Miss Tom- lin as herself and the outspoken child, which lends continuity to the occasion and an opportunity for the adult in the duet to hint at her own embarrassment over Edith Ann's more hair-raising excesses, as the little one comments on life. lipstick, and her dog Buster. Side one is in the form of a long walk, with footsteps and other sound effects. Edith Ann confides all sorts of things to her reluctant listener as they stroll along: how she doesn't get colds because she has leprosy; how she puts mouthwash in her dog's water so it won't be unpleasant when she kisses him on the lips. On side two, Edith Ann visits Miss Tomlin in an apartment to which the latter has just When you have music on your mind included. Maxell Ultra Dynamic tape moved, arriving with her ill -trained dog Bust- you don't want to search for the sound on 7 inch reels is available in black er and her rag -doll Doris to regale her hostess that pleases you. Just reach out and books, too. with a report of how she bit her dentist's fin- slip a tape into your tape machine, Maxell Ultra Dynamic tape repro- ger ("Are you listening, lady?"), her prefer- then enjoy the mood. That's the rea- duces music the way you love it. No ence for Buster's dog food over TV dinners, son for our little black books. Organize distortions, no strange interfering and a declaration that she never sleeps. I was your own collection or give them as noises. Maxell tapes are limited only actually rather sorry when her inventor sent gifts. Anyone interested in a conve- by the capability of the equipment her packing. nient, high quality home music library they're playing on. The copyI was sent for review comes will appreciate a little black book or Next time you want to listen to some- equipped with its own device for sounding a two. thing special, look it up in a little black Bronx cheer at appropriate intervals. I never The Maxell cassette black book book from Maxell. once used mine, being lost in admiration at the contains three UDC -90's and three inventiveness of the script and Miss Tomlin's UDC -60's in a handsome vinyl library unfailing skill at sustaining an exacting rou- binding. Complete indexing material is maxell. tine, bringing it off without one false note to The answer to all your tape needs mar the illusion. And thats the truth. P.K. Maxell Corporation of America, 501 Fifth Avenue, New York, N.Y 10017 NOVEMBER 1972 CIRCLE NO. 40 ON READER SERVICE CARD ID I Why Ormandy and the Philadelphia sound differenton Columbia LP's than anywhere else.

Start with the fabulous luscious -yet -disciplinedsound of Eugene Ormandy and the PhiladelphiaOrchestra. But that's only a beginning. To that you add the not inconsiderableresources of Columbia Records. Plus two of Columbia'smost gifted producers. Even then, you needa certain amount of luck. The perfect hall for recording must be located (theirregular concert hall is usually not considered good enough). The engineers mustpossessan extraordinary amount of skill. Microphone placement is crucial. ,/,4,-,,,1?, The producers must know thescore as well as the 4' (-4 Q,, conductor-to be able to select the perfect "take." As Tom Frost, producer, put it:'At times ittakes 4' D3IVI 31636 specially priced a great deal of artifice to give the KC SE1 2ik11

final illusion ofno artifice." EUGENE ORNAtel THE PHILADil PHIA CRE,HESTRA o,k7c....1(Ve48 So if it seems toyou that The °`"e-: es Fabulous Philadelphia Sound Series \---s 41 Qe on Columbia sounds just as good or1k,".. ,4,, 4,_ 4,>-, 0 Saws maybe even a little better than .:,,,,,44%.,6,?, Symphony No. 4,sito%k*1 r,. FA,,..,....-sou- .6-5 ,,zyc:>;?t SvmphonNi No . they sound in VTIION EN Eugene °mond,/ ,*.6, 1\w Vcaock\N-Aiva C:)tc\Nes\to FIFTHSYMPHONY//,,k),.. concert, younowBIEIGHTHSYMPHONY know why. TIILZilityaktstra

M 31633* M 31635

M 31634* On Columbia Records,

*Also available on tape AS ASSNEN rED IN N SA RECORD REVIEWS.

Reviewed by DAVID HALL BERNARD JACOBSON GEORGE JELLINEK IGOR KIPNIS PAUL KRESH ERIC SALZMAN LESTER TRIMBLE

tended for performance at graveside but are OF SPECIALMERIT RECORDING OF SPECIALMERIT RECORDING totally unfunereal in their expression of confi- J. C. BACH:The Six Symphonies for Wind. BACH:Cantata No. 147, "Herz und Mund dence and spiritual strength. London Wind Soloists, Jack Brymer dir. und Tat und Leben."Elly Ameling (soprano); The performances of both the cantata and LONDON STS 15079 $2.98. Janet Baker (mezzo-soprano); Ian Partridge the motets are quite remarkable and should be (tenor); John Shirley -Quirk (bass);King's considered among the best available. The can- Performance: Entertaining College Choir, Cambridge; Academy of St. tata's soloists are first-rate, and the singing of Recording: Excellent Martin -in -the -Fields, David Willcocks cond. the men and boys of the King's College Choir It has been so customary to knock Johann Motets: "Der Geist hilfi unsrer Schwachheit in both the cantata and, perhaps even more Christian Bach in favor of his slightly younger auf" (BWV 226);"FiirchteBichnicht" impressively, the motets is simply marvel- contemporary, Mozart, that one often forgets (BWV 228); "Lobet denHerrn,alle Heiden" ous; especially pleasing is the way in which that he was one of the strongest early influ- (BWV 230).King's College Choir, Cam- the choir adopts a supported, "continental" ences on Mozart. The type of writing one bridge; Joy Hall (cello, in BWV 230); Rodney sound in its vocal production rather than the hears in Bach's wind symphonies has its echo usual English hooty quality. The motets, inci- in much of Mozart's youthful output, espe- is dentally, are not performed here with instru- cially the instrumental pieces. These six sym- mental doubling, as has been the case in many phonies are slightly unusual in that, unlike the of the more recent recordings. Historically, majority of his symphonies, which contain probably, both methods of performance were only three movements, they have four. The used for these works, and it would be point- additional one is either a march or a minuet less to quibble about this detail when the ren- and comes before the customary final move- ditions themselves here are so exceptional. ment. These six works also seem to be the The reverberation of King's College Chapel only pieces of their type written by Bach for has always been something of a problem, and winds alone, and Erik Smith postulates in his it is to the credit of the recording engineers excellent annotations that they were most and Willcocks' direction that the complicated likely conceived for performance at night in polyphonic strands of these scores come either the Vauxhall or Ranelagh gardens in through so clearly, including the individual London. Smith also includes a quotation from timbres of the cello, double bass, and organ one of Leopold Mozart's letters describing continuo in the final motet. 1.K. these gardens and the kind of entertaining music -making that went on there during the BACH:Two -Violin Concerto, in D Minor, mid -1760's. The symphonies, writtenfor (BWV 1043); Violin Concerto No. 2, in E Ma- pairs of clarinets, horns, and bassoons, are jor (BWV 1042); Violin Concerto No. 1, in very lightweight fare, and, because they are A Minor (BWV 1041).Zino Francescatti all in either E -flat or B -flat major, are best and Regis Pasquier (violins); Lucerne Fes- heard one or two at a time. Great music? tivalStrings,Rudolf Baumgartner cond. No, certainly not, but they do have their DEUTSCHE GRAMMOPHON 2530 242 $6.98. charms, and some wonderful melodies. The Performance Beautiful, but .. . playing of the London Wind. Soloists, who DAVID WILLCOCKS Recording: Excellent have previously recorded wind music by Remarkable clarity for Bach choral works Mozart, Beethoven, and Haydn, is exem- This is another of those abundant middle-of- plary - beautifully molded, highly virtuosic, Stafford (double bass, in BWV 230); Ian Hare the-road efforts, not the Big Bad Bach of the and exceptionally precise. The quality of the (organ, in BWV 230); David Willcocks cond. unregenerate nineteenth-century men, but recording, like that of the performances, is ANGELS 36804 $5.98. also - compared with Alice Harnoncourt on I.K. exceptional. Performance: Exceptional Telefunken, say - very far from the real thing. Recording: Excellent It is all very handsomely fiddled and beautifully recorded, and it has the superficies of Explanation of symbols: The festive Cantata 147, "Heart and voice style, such as a small orchestral body and a and thought and action," originally stems from harpsichord. But the fragrant vibrato and the = reel-to-reel stereo tape Bach's Weimar days, but he revised it in 1723 delicate romantic half -lights are not Bach.BJ. ® = eight -track stereo cartridge for use on the Feast of the Visitation of the = stereo cassette Blessed Virgin Mary. The cantata's principal BEETHOVEN:Piano Concerto No. 3, in C = quadrasonic disc claim to fame is its well-known (even now, as Minor, Op.37. Jan Panenka (piano); Prague E= reel-to-reel quadrasonic tape a pop hit) chorale, Jesu, Joy of Man's Desir- SymphonyOrchestra,ViclavSmetieek = eight -track quadrasonic tape ing; this is heard twice here, once at the end of cond. SUPRAPHON 1100897 $5.98. 111 = quadrasonic cassette the first part, before the sermon, and then Performance: Low -temperature Monophonic recordings are indicated again with the familiar text at the cantata's Recording: Clear but dry by the symbol (fit conclusion. The second side opens, rather conveniently for anyone wishing to sample Jan Panenka is a pianist I have admired great- The first listing is the one reviewed; the well-known tune, with this chorale and ly on a number of occasions in the past. But other formats, if available, follow it. then continues with three of Bach's shorter this performance is not at all representative of motets. These are believed to have been inhis powers. Perhaps the prosaic accompani- NOVEMBER 1972 103 ment delivered by the Prague Symphony un- tainly some of the most original music ever music -genre pieces raised to the level of der Smetgek is an inhibiting factor-certain- written. More importantly, these are remarka- great art-and in the composer's copious in- ly the foursquare pulse imposed on the alla ble pieces. The word "excerpts" seems to structions for playing it. His handling of the breve first movement at the outset leaves little describe something incomplete, but these style is masterly, with just the blend of fluidity scope for imaginative flights. The soloist is etudes or preludes are quite self-sufficient - and languor that typifies the French high -Ba- curiously inattentive to dynamic nuances in not to mention difficult and beautiful. roque manner. There are innumerable touch- the score, and though the deadpan recording Andre Boucourechliev is not so well known es of beauty and character in the perfor- is balanced with unusual clarity, this very here, although he is of the same age and per- mances. I doubt, for instance, whether the first quality succeeds only in underlining the persuasion as Boulez and an important creative Air de Viele in the Second Acte of Les Pastes formance's propensity to chug rather than talent in his own right. His "Archipelagos" de la grande et ancienne M*n*str*nd*s* soar. are a series of pieces laid out like maps and (itself a part of the 11th Ordre) can often have With a total playing time of thirty-one min- guided by performer choice. Even the sound been so tellingly realized, and the more ambi- utes, this is in no way a competitive version. of the musicians' voices calling out the Greek tious musical structures, such as the monu- Richter, on DGG, remains unsurpassed.B.J. letters or the colors that designate the musical mental B Minor Passacaille in the 8th Ordre, routes being chosen are an effective part of are projected with like certainty and an admi- BEETHOVEN: Sonata No. 21, in C Major, Op the sound image. Archipel 11 is a big piece, full rable lack of mannerism. (By the way, if Les 53 ("Waldstein"); Sonata No. 28, in A Major, of dynamic intensity and sonic invention; it Lis naissans at the start of the 13th Ordre op. mi.Emil Gilels(piano). DEUTSCHE certainly stands as one of the major recent teases you with a sense of deja entendu, it GRAMMOPHON 2530 253 $6.98. contributions to the string -quartet literature. could well be that the piece it reminds you of Performance: Exceptional "Waldstein" The Parrenin Quartet is the most important is Die Kriihe in Schubert's Die Winterreise- Recording: Splendid European quartet devoted to new music, and a far-fetched comparison, perhaps, but the their realizations here are excellent. I thought line from Froberger to Schubert and Schu- On this recording, Emil Gilels gives one of the mann passes plumb through the middle of most thoroughly admirable performances oft Couperin's aesthetic world.) Beethoven's "Waldstein" Sonata that I have Thus far, joy in Puyana's achievement may ever heard from him (or anybody else, for that be unconfined. But there are one or two con- matter). His playing throughout is impecca- siderations that stand between these perfor- ble: crystal clear, the counterpoints in the mances and the ideal. In the two pieces that Adagio movement, forexample,coming can be directly compared with the Dart-Kipnis through with an exquisite disentanglement performances, the musetes -de Choisi and de from each other that I would have thought Taverni -for two harpsichords, Puyana, part- technically impossible to achieve. But clean nered here by Christopher Hogwood, plays and intelligent as the playing is, it has none of sensitivelyenough,buttheenchantment the metallic, hard -driven quality I have so of- evoked by Dart and Kipnis is missing. Just ten lamented in Gilels' performances. The once, in L'A me en peine at the end of the 13th sound is warm, strong, burnished and hu- Ordre, there is a trace of the "old," unregen- mane. In the Allegretto moderato move- erate Puyana in the shape of inappropriate ment, he plays the lovely C Major theme with changes of registration that break up the natu- such sunniness of dispositon and so much ral flow of the sections. More generally, Pu- personal poetry that he transforms the indi- yana's omission of a few second -half repeats cated Allegretto moderato into an Allegretto obscures the form of some movements-they comodo-an inspired tranformation not in begin to sound ternary instead of binary when tempo but in mood-and makes the music say the first half is repeated with changed registra- things one is rarely or never privileged to tion and the second half is played only once. hear. And, finally, Puyana seems to be involved in a His reading of the Opus 101 Sonata has all curious love -affair with the suspension: this is the attributes one expects from a major virtuo- not the familiar harmonic procedure but, in so in good, professional condition, but not in a RAFAEL PUYANA the case in question, a rhythmic device that state of inspiration. His sound, much as it was Couperin with style, languor, fluidity can be very effective when it is aptly used, in the "Waldstein," is excellent, but there is since it delays the attack on a given note in a not the same degree of sentient, personal in- the recorded sound quality was a bit harsh, way that greatly enhances expressive tension. volvement. The interpretation sounds rather and in one or two places there seemed to be But whereas Couperin specifically states that stiff and routine, with too many hard edges some strange comings and goings on one it is "scarcely used except in slow and tender where they are not needed, and a holding back channel-not altogether the "live" doings, I pieces," Puyana extends its application to a from expressiveness when that is the very thought. And a fair amount of tape noise.E.S. number of fast movements, and the result is element which would make the performance an occasional proliferation of rather unsettling important. If Gilels could always reach the syncopations. RECORDING OF SPECIAL MERIT heights of his "Waldstein" interpretation, he That apart, Puyana's treatment of ornamen- would challenge even Richter. But the Opus COUPERIN: Pieces declavecin: Ordres Nos. tation and other stylistic devices is on the 101, displaying as it does his more usual habit, 8, 11, 13, and 15. L'Art de toucher le clavecin: same high level as most aspects of these su- illustrates why he will probably not. L.T. SixiemePrelude. Rafael Puyana (harpsichord). perb performances. The recording is extraor- PHILIPS 6700 035 two discs $13.96. dinarily lifelike, and for all my minor reserva- RECORDING OF SPECIALMERIT Performance: Beautiful tions, I am sure I will be returning to this set Recording: Superb again and again. BJ. BOULEZ: Livrepour quatuor(excerpts). BOUCOURECHLIEV:Archipel II.Parrenin If this notable release had not arrived for re- String Quartet. MUSICAL HERITAGE SOCIETY view hard on the heels of the sublime two - RECORDING OF SPECIALMERIT MHS 1228 $2.98 (plus 65c handling charge harpsichord record by Thurston Dart and CRUMB:Black Angels (Thirteen Images from from Musical Heritage Society, Inc., 1991 Igor Kipnis (see "Best of the Month" for the Dark Land), for Electric String Quartet. Broadway, New York, N.Y. 10023). September), Iwould probably have gone New York String Quartet (Paul Zukofsky, Performance Excellent overboard in my praises of it. The "old" Pu- violin; Timothy Eddy, violin; Jean Dupouy, Recording: Some problems yana was a fine artist. But this is a "new" and viola; Romualdo G. Teco, cello). JONES: even better Puyana, combining the young String Quartet No. 6.New York String Quar- Livre pour quatuor is a remarkable collection Colombian -born artist's well-known gift of tet. Sonatina. Paul Zukofsky (violin); Gilbert for string quartet composed 'way back in vivid rhetoric and crisp articulation with a Kalish (piano). COMPOSERS RECORDINGS INC. 1949, although, in typical Boulez fashion, bits fresh and welcome discretion and playing a CRI SD 283$5.95. and pieces of it kept appearing for years after- lovely Ruckers-Taskin instrument instead of ward - and for all I know, may still be. Here is a big nineteenth-century Pleyel. Performance Superb the great serial avant-garde movement literal- Puyana has plainly immersed himself with Recording Superb ly at its moment of inception, and this is cer- the utmost concentration in this marvelous (Continued on page 106) 104 STEREO REVIEW Introducinga newconcept in automatic turntables. Precision for under 100.

The new PE 3012 atS79.95 Precision performance in automatic turn- that rotates with the platter instead of sitting tables has always required good design, fine loosely in the shaft where it could bind and cause engineering, costly materials and careful manu- eccentric wear. facturing. In short, everything you've come to No other turntable at or near $79.95 has expect from the craftsmen of West Germany's any of these features. And no other turntable, Black Forest. even those priced at well over $100, has PE's It still does, but with the introduction of the exclusive fail-safe feature which protects the new PE 3012, the price of such precision is now stylus by preventing the tonearm from descending within the reach of every music lover. At $79.95, to the platter unless there's a record on it. the 3012 is very close in price to ordinary changers. The significance of all this to you is this: But its quality features bring it even closer to Even if your budget is tight, you no longer need turntables that are known for their high stand- to settle for an ordinary changer. ards of precision performance. (And that are If you do insist on spending freely, there are also priced accordingly.) two other PE's to choose from. At $119.95 and For example, the 3012 has a variable speed $149.95. Both are superb precision instruments, control that lets you match record pitch to live offering progressively greater sophistication. instruments and compensate for off -pitch But we think you should consider the matter records. A cue -control viscous -damped in both carefully before spending more than $79.95. Our directions, so the tonearm rises and descends new brochure, which you can get by dropping us with gentle smoothness. And a single -play spindle a card, should help you decide.

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NOVEMBER1972 CIRCLE NO. 27 ON READER SERVICE CARD 105 Composers Recordings Inc. has here pro- The recording was made possible by grants of duced an exceedingly distinguished recording, the Ford Foundation and the Alice M. Ditson pairing works by the American composers Fund of Columbia University. L.T. George Crumb and Charles Jones. The two composers' styles have absolutely nothing inDEBUSSY: Preludes, Books 1 and 2. Jean- BIG common. And yet Crumb'sBlack Angelsand Rodolphe Kars (piano).LONDONCSA 2230 Jones' String Quartet No. 6 enhance each two discs $9.96. other by being complementary rather than contrasting. Performance:Good S BUNTS Crumb's atmospheric, theatrical work is Recording: Excellent STEREO COMPONENTS elaborately structured on the basis of suppos- Jean-RodolpheKars is a young pianistborn in edly "magical" relationshipsof numbers. Calcutta of Austrian parents; his studies and Largest selection of top name Three "threnodies"(Night of the Electriccareer have been based largely in Paris. He is brands try us and see. Insects, Black Angels,andNight of the Elec- an immensely gifted musician, and yet the tric Insectsagain) form the supports for theperformances on these two discs, despite structure, and the "arches" between themany obvious excellences, are strangely un- threnodies are created by symmetrical numer-satisfying. A slight streak of pedantry, or of ological substructures. All sorts of strangeovercarefulness, runs through Kars' interpre- colors are produced by the amplified stringtations, robbing the music of its innate piquan- quartet, some percussion instruments, andcy. One senses at too many points that Kars is voices, and there are several effective quota-"playing the piano" rather than "playing tions from works such as Saint-Saens'Danse Debussy." And yet, since everything (save an Macabre and Schubert's "Death and theuneven passage here and there) is done with r Arrr"\\"A""\\91' Maiden" Quartet. It is impossible to convey a such expertise, cultivation, and sincerity, it true sense of this work's style and impact in seems unpleasant to carp. But I will: Debussy imi words. But there is no mistaking that Crumb can be pretty dull when he's played in a four- 1)))) Mill) ) has again produced a thoroughly compelling square, middle-of-the-road manner, as he is /019000/444gil and intensely felt composition full of originali- here. L.T. ty and, despite its sonic devices (which in an- aid/di/ft/he other composer you might feel were gimmick- DVOitAK: String Quintet in G Major, op. 77 ry), one that is honest, cohesive, and convinc-(Orig. Op. 18). Boston Symphony Chamber 2031 Merritt Ave. ing.Black Angelsis almost scary in its evoca- Players.DEUTSCHE GRAMMOPHON 2530 214 Baltimore, Md. 21222 tion of the gargoyle -ridden moods of the Mid- $6.98. mail answered within 24 hours dle Ages. Charles Jones' String Quartet No. 6 (1970) Performance: Sturdy Phone (301) Daily 9AM to 10PM isnon -programmaticandusesthefour Recording: Somewhat bass -heavy 288-1710 Sat. 9AM to 6PM stringed instruments without amplification or Not so many months agoIreviewed in these Pickups Daily 8. Saturday 5 P.M. other devices to change their timbres. The in- pages an excellent recorded performance of Evening Pickup by Appointment tricacies of this work are all manifested in thisstring quintet with double -bass from the CIRCLE NO. 28 ON READER SERVICE CARD terms of melody, harmony, rhythm, and struc- pen of the thirty -year -old Dvofak played by ture. But even coming on the heels of so co-members of the Berlin Philharmonic Octet for lor -laden a piece as Crumb's, the quartetPhilips, and with two of the lovely Op. 54 holds its own totally and with ease as a power- waltzes thrown in as a nice bonus. The dis- ful, unconventional, and impassioned state- tinctive element in this new Boston Sympho- GE ment. Jones' harmonies are fresh and pun- ny Chamber Players offering is the interpola- gent; his melodies and motivic materials are tion as the second movement of what Dvofak beautifully lyrical. But itisin his texturaleventually published ashis Nocturne for BRAND manipulations of these materials that the Strings, Op. 40. As such it serves as a wel- spotsvmous greatest surprises occur. There is immense come and lovely lightening of texture between CONWONEWIS concentration in these textures. Without giv-the extended first movement and the earthy STEREO ing up his prevailing lyricism, the composer scherzo-and it was, as a matter of fact, part manages almost constantly to combine sever- of the Quintet when the manuscript was sub- allevels of contrasting activity. Passages mitted in a prize competition in 1875 (it won, seem to be saying several things simultane- by the way). Save for somewhat heavy going DISCOUNTS ously but making complete and convincing in the developmental sections of thefirst ON NATIONALLY ADVERTISED sense, emotionally and intellectually, in the movement, the Quintet is for me among the TURNTABLES CARTRIDGES process. This is a thoroughly masterly string better works of Dvofik's early output, and COMPACTS RECEIVERS quartet, on a par with the best our century has most notably the slow movement that imme- produced. AMPLIFIERS TAPE RECORDERS diately precedes the finale. Since Charles Jones had a long association Ihave no fault to find with the Boston Wholesale Prices! Audio Warehouse Sales, with Darius Milhaud at Mills College and at one of the capitols largest stereo whole Symphony Chamber Players' performance the Aspen Music School (where Jones has here, which is both virile in rhythmic articula- salers willfill and deliver allyour mail continued to teach since Milhaud's retire- orders promptlyin factory sealedcartons, tion and warm in tonal quality. But I am not atprices that will amaze you. ment), the tinge of Milhaud "influence" in thehappy with the recorded sound as compared 1942 Sonatina is not a surprise. Nor does it Writefor quote on FamousBrand, with the Philips disc. The Philips sound is Stereo Components.Askabout detract from the work, which is full of attri- open and transparent in texture, yet ample in our SpecialPolicy. We guarantee butes that are Jones' own. The impact of the tonal body. The DGG sound is, if anything, a satisfaction. work comes not only from its lyricism, butbit too ample at the low end of the frequency from its structure, its rhythmic vigor, and its spectrum, but it sounds confined at the top- élan. But a comparison of the Sonatina with this despite evidences of a fairly reverberant the String Quartet shows that (as one wouldrecording locale.I can only guess that the hope, in twenty-eight years) the composer at microphone placement must have been un- AUDIO some point along the line developed a lan-usually close to the performers. Though this is guage capable of carrying even larger ideas WAREHOUSESALESE. the only recorded version of the Dvofak G efficiently -a language, however, founded in Major Quintet in its original five -movement 20'24 W.VIRGINIAVE...N D.C.2000232 exactly the same kinds of imaginativeness andversion, I'll hang on to the Philips Berlin rec- WASHINGTON, unconventionality that enlivened the earlierording with its more pleasing sonics and -1616 work. The performances by the New Yorkequally fine interpretation. D.H. (202) 8 String Quartet and pianist Gilbert Kalish are superb. The engineering merits equal praise. (Continued onpage 112) CIRCLE NO. 7 ON READER SERVICE CARD I06 STEREO REVIEW All cartridgesaredifferent. Empire cartridges are moredifferent than others! Takeatechnical look for yourself.

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How it works. show that an Empire cartridge 1000ZE/X and 999VE/X.) AUDIO MAGAZINE said of the Empire If you know how moving can give as much as 50 times the cartridge "outstanding square magnetic cartridges are made, you number of plays you'd get from an can see right away how different ordinary cartridge without any waves... tops in separation." HIGH an Empire variable reluctance measurable record wear! 1--fl-Fl FIDELITY noted "... the sound is SOUND MAGAZINE summed it up superb. The performance data cartridge is. With others, a magnet very well by calling the Empire is among the very best." While is attached directly to the stylus, cartridge "a real hi-fi masterpiece STEREO REVIEW, who tested 13 so that all the extra weight rests on different cartridges, rated the your record. With Empire's ...A remarkable cartridge unlikely to wear out discs any more rapidly Empire tops of all in light -weight construction (unique of its type), tracking. the stylus floats free of its three than a feather held lightly against the spinning groove." magnets. So naturally, it imposes X Designates newest improved version. much less weight on the record surface. Superb performance. World Famous Long Playing Cartridges The light -weight Empire Less record wear. cartridge picks up the sound from Empire's light -weight tracking the record groove with amazing emire ability means less wear on the accuracy. Distortion is minimal. For further details write: stylus, and less wear on your (None at all could be measured at Empire Scientific Corp., records. Laboratory measurements normal sound levels with Empire's Garden City, N.Y. 11530. Mfd USA

NOVEMBER 1 972 CIRCLE NO. 21 ON READER SERVICE CARD 107 10 Heathkit gilt ideas-

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4705 W. 16th Ave.;GA.: Atlanta, 5285 Roswell Rd.;ILL.: Chicago, 3452-66 W. Devon Enclosed is $ ,plus shipping. Ave.; Downers Grove, 224 Ogden Ave.; IND.; Indianapolis, 2112 E. 62nd Ave.; KANSAS: Please send model(s) Kansas City (Mission), 5960 Lamar Ave.; MD.: Baltimore, 1713 E. Joppa Rd.; Rockville, 5542 Nicholson Lane; MASS.: Boston (Wellesley), 165 Worcester St.;MICH.: Detroit, Name 18645 W. Eight Mile Rd. & 18149 E. Eight Mile Rd.; MINN.: Minneapolis (Hopkins), 101 Shady Oak Rd.; MO.: St. Louis, 9296 Gravois Ave.; N.J.: Fair Lawn, 35-07 Broadway (Rte. Acdress 4); N.Y.: Buffalo (Amherst), 3476 Sheridan Dr.; New York City, 35 W. 45th St.; Jericho, City L.I.,15 Jericho Turnpike; Rochester, Long Ridge Plaza; OHIO: Cincinnati (Woodlawn), State lip 10133 Springfield Pike; Cleveland, 5444 PearlRd.;PA.:Philadelphia, 6318 Roosevelt Prices & specifications subject to change without notice. Blvd.; Pittsburgh, 3482 Wm. Penn Hwy.; TEXAS: Dallas, 2715 Ross Ave.; Houston, 3705 *Mail older prices; F.O.B. factory. CL -444i Westheimer; WASH.: Seattle, 221 Third Ave.; WIS.: Milwaukee, 5215 Fond du Lac. L CIRCLE NO. 25 ON READERSERVICE CARD RECORDING OF SPECIAL MERIT of that instrument; we all know how expert old hand with Gershwin, has all the room he Stokowski is in drawing a kind of organ tone FRANCK:Symphony in D Minor.RAVEL: needs to build its varying moods and themes. from a symphony orchestra, as if it were one If he is a little less tense in his approach to this Fanfare, from L'Eventail de Jeanne. Hilver- mighty super-Wurlitzer. He succeeds better sumRadio Philharmonic Orchestra, Leopold music than he might be, he has its idiom well than ever before in doing so here, and I like to within his grasp. Stokowski cond. LONDON SPC 21061 $5.98, think the composer would have been pleased. The concerto gets a good going-over too, ® L 75061 $7.95, M 95061 $6.95, M The engineering on Phase Four, which has 94061 $6.95. though I found myself wishing Mr. List could improved considerably over the past few be as brash and lowdown in his approach to it Performance: Personal and powerful years, is remarkable. The listener also is of- as Mr. Adler persuades his Berlin players to Recording: Remarkable fered an opening treat in the form of a little- be; Earl Wild's recording with the Boston known fanfare composed by Ravel as the pre- Pops remains the winner for me in that cor- When I was growing up, or thought I was, in lude to a ballet for children called L'Eventail ner, with Leonard Bernstein as mere runner- the lost reaches of upper Manhattan, the best de Jeanne,to which such other French mas- up (what with his cuts and cutenesses). The remedy I knew for a rotten day in school was ters as Roussel, Milhaud, and Ibert also con- preludes are played with appropriate vigor about with the Cesar Franck Symphony. Oh, tributed various movements. The standard of and syncopation, even with a certain affection those solemn ruminations in the murkylento brilliant playing set in the fanfare is main- they fail to get in the only rival version avail- opening, those quivering, ghostly runs on the tained throughout the symphony. P.K. able, with Oscar Levant, their virtual proprie- strings which presage the entrance of that se- tor, at the keyboard. Mr. Gershwin himself rene main theme in the second movement, RECORDING OF SPECIAL MERIT once recorded these three preludes for Co- those bursts of joy in the finale, followed by lumbia, but even he failed to manage them GERSHWiN: renewed anxiety and doubt, and the grand Rhapsody in Blue (original ver- quite as persuasively as Mr. List does on this resolution in the end, with faith victorious! In sion for Piano and Band); Concerto, in F Ma- all -in -allrather remarkable recording from the great triple wheel of its circular design, it Turnabout. P.K. seemed to me that this one work announced in music every question that had ever troubled MIRIAM GIDEON:Rhymes from the Hill.Jan my anxious soul, and proceeded to answer de Gaetani (mezzo-soprano), Arthur Bloom each one. I obtained, and practically wore out, (clarinet), Raymond Des Roches (marimba). a cheap Decca reprint of the piece played by Fred Sherry (cello), David Gilbert cond.The the Pasdeloup Orchestra under a conductor Hound of Heaven.William Metcalf (baritone), with the marvelously apt name of Rhene Ronald Roseman (oboe),Isidore Cohen Baton. In that set, the symphony took up (violin), Karen Phillips (viola), Fred Sherry eight sides, and it groaned a lot, but it was (cello), Fritz Jahoda cond. BURRILL PHIL- good enough for me. When I wanted to wal- LIPS:Canzona III.Elinor Basescu (reader); low in clearer waters, there was always the Juilliard Ensemble, Dennis Russel Davies Stokowski recording (eleven sides, plus Panis cond. COMPOSERS RECORDINGS INC. CR1 SD Angelicas)at a friend's house. 286 $5.95. It was only later I found out that this music which had been giving me what amounted to Performance: Excellent religious absolution had somehow become Recording: Excellent declasseand disreputable even as I was en- It would be easy to begin a review of Miriam joying it. Truly knowing music -lovers scorned Gideon's music by saying that she is "one of all that soul-searching as self-pity. Stravinsky the United States' finest women composers." said the only emotion that could be expressed It would be more accurate to say simply that inmusic was "excitement." When Irving she is one of our most gifted and accom- Kolodin'sNew Guide to Recorded Music plished composers, period. Her setting for came out in 1950, I blushed to read of his "ac- solo voice and chamber group entitled The tive dislike for this music . . . a statement I Hound of Heaven(1945) Ifirst heard in con- would scarcely make about another work in MIRIAMGIDEON cert sometime during the Fifties, and I was the whole range of this volume." Of the Sto- Among this country's most gifted composers impressed. It seemed an unusually sensitive kowski album, he declared stingingly that the and individual work, and a strongly expres- conductor's "agitation is delivered with sono- jor, for Piano and Orchestra; Three Preludes sive one. It still does. But her later composi- rous turbulence, but it can scarcely be ex- for Piano.Eugene List (piano); Berlin Sym- tionRhymes from the Hill(1968) shows such ceeded as an example of a labor of love bring- phony Orchestra, Samuel Adler cond. TURN- development of her language toward an even ing forth a musical mouse." After that, I was ABOUT TVS 34457 $2.98. greater fluency. even more elegant and inti- careful to listen to the Franck symphony only mate lyricism, that it makes the earlier work in secret, at low volume, with the blinds Performance: The real thing Recording. Excellent seem more unyieldingthanitreallyis. drawn. Rhymes from theHill (from the "Gallows For years I have favored the Beecham re- Eugene List has recorded both the Rhapsody Songs" by Christian Morgenstern) has a kind cording (still available on the low-priced Sera- inBlue and the Concerto in F before, and of coloristic and lyrical inspiration that adds phim label), but now Stokowski has returned with greater orchestras, but in this album we an element of naturalness and frankness to the once more to the recording studios with this get the opportunity for the first time to hear Expressionistic ethos, an ingredient one does work, and may Iconfess thatIfind it,in the Rhapsody as Gershwin actually presented not expect. This has always seemed to me one Phase Four, grander and nobler than ever. the score to Paul Whiteman in January, 1924. of Gideon's particular strengths as a compos- This, Kolodin, is no mouse! At ninety, the with the inscription "forJazz Band and Piano," er: her ability to take both the refractory conductor has not given up his personal. ec- beforeit was turned over to Ferde Grofe twelve-tone method and Expressionism in centric views of the piece, but he knows and to be orchestrated. So far as is known, the hand and make them the servant of a very searches out every nuance of it to perfection score has never been played before as Gersh- personal imagery. Hers is American Expres- now and scales all its elements with a magnifi- win personally arranged it, and it is a revela- sionism, not Central European. cent sense of proportion. Not only does the tion to hear it that way. If the orchestration is Burrill Phillips'Canzona HIdoes not quite work stir and sing even as it spirals propul- thin in spots, itis also lean, muscular, and convince, and I am sorry, for I have admired sively from one climax to the next, but from completely free of the padding and gratuitous certain of his earlier pieces very much. This his Netherlands forces the conductor exacts color effects that Grofe later inked into it. It is one, a work for seven instruments and a such solo work in one passage after another as startling to hear how strong and down-to- reader, employs texts written by Alberta Phil- is breathtaking to hear for sheer clarity and earth a piece theRhapsody in Blueis in this lips, the composer's wife, scattered in be- sensuousness of sound-particularly from the pared -down approach,duringwhichthe tween a number of vignette -like sections for English horn, which plays a starring role in "band," with the honest use of clarinet, saxo- various instrumental combinations. Each mu- the musical drama. Franck. who completed phone, banjo. and other homely instruments, sical section apparently relates to the words the symphony in1888 as one of hislast provides little more than a sketchy accompa- which precede. The texts are not very im- works, was a master organist, and tended to niment for the piano most of the time. The full pressive, and Phillips seems to be moving construct his scores in terms of the resources work is heard uncut, though, and Mr. List, an away from his former, relatively conservative 112 STEREO REVIEW style into a world of "almost avant-garde" where he does not yet sound quite comfortable. Performances and recorded sound are first-rate. L.T. Pg-{HILHP5 P3E5EINT5 IVES:Piano Sonata No. 2, "Concord, Mass., 1840-1860"; Three -Page Sonata.Roberto Szidon (piano); Walter Stangl (viola); Dieter Sonntag(flute).DEUTSCHE GRAMMOPHON 2530 215 $6.98. Performance: Dutiful Recording: Adequate

Ives'"Concord"Sonata, amagnificent, sprawling, yet cogent piece of translated tran- scendentalism, contains much of the greatest American composer's greatest music. But it is played with far more vivid and profound understanding both by John Kirkpatrick on Co- lumbia and by Alan Mandel in his complete set of the Ives piano music on Desto than it is in this new Deutsche Grammophon version. Roberto Szidon is a young pianist with nimble fingers and a clear pedal technique. He realizes the copious dynamic markings with the utmost conscientiousness (and, by the way, employs a violist and a flutist for the two short optional solos that Ives cheerfully included in this "piano sonata"). But the music never comes to life under his hands. It is all very Berlioz: correct, and allquite unatmospheric. The BENVENUTO CELLINI shallowness of the piano tone doesn't help- Colin Davis, Conductor since this is my first encounter with Szidon, I Gedda, Bastin, Massard, Soyer, Eda-Pierre, cannot be sure whether the fault in this regard Berhie, Cuenod; Chorus of tie Royal Opera House, Covent Garden; B.B.C. Symphony Orchestra /6707.019 lies with the pianist or with the recording, 4 record set inzludes unpub fished scenes from the which is the reason for the rather grumpy rat- original version and a deluxe booklet with complete ing I have given the latter. But since some libretto. A Wo-ld Premiere recording. passages do ring out effectively enough, the performer may well be the culprit. COLLECT TIE COMPLETE COHN WV" RFRI107 CYl" I n. PHILIPS IMPORTS Szidon's inclusion of a fill -up in the shape of CIRCLE NO. 50 ON READER SERVICE CARD theterselyenergeticThree -Page Sonata (where he follows another Ivesian license by using Richard Metzler as "assistant pianist") is a point in favor of his new record. Kirkpat- rick's "Concord" fills an entire disc, and #1 SOUND Mandel's is most inconveniently split over three sides. But again, Mandel is preferable in the shorter work, and so is Luise Vosgerchi- an, who plays it on a useful Cambridge record #1 COMFORT of assorted I vesiana. B.J.

RECORDING OF SPECIAL MERIT IVES:Symphony No. 2.London Symphony Orchestra, Bernard Herrmann cond. LONDON SPC 21086 $5.98. C lark/S tereophones. Performance: Veteran Ivesian The ultimateinperform- has his say ance and comfort. Recording: Extraordinarily detailed Send for literature on all My first hearings of Charles Ives' orchestral our models. music, outside of the early New Music Quar- terly recordings conducted by Nicolas Slon- imsky (now reissued on the Orion label), were the CBS -Symphony radio performances done by "Benny" Herrmann in the Thirties and Forties. Herrmann was in personal contact with Ives and was propagating his music when that master's name was, for most establishment musicians, synonymous with sheer ec- centricity. For my generation, these early radio performances by Herrmann together with John Kirkpatrick's1939 premiere of the "Concord" Sonata for piano, were major milestones in the acceptance of Ives as the ( prophet -patriarch of twentieth-century Amer- Offlugal Clark COMPANY ican art -music. INCORPORATED Herrmann's is the fourth recorded perfor- 360 Franklin St.,Worcester, Mass., 01604 mance of the Ives Second Symphony. The F. WEST COAST OFFICE: 1696 Centinela, Suite 2. legiewood, Calif. 90302 MODEL 100A Charles Adler SPA disc, dating from 1954, the year of the composer's death, has long NOVEMBER 1972 CIRCLE NO. 112 ON READER SERVICE CARD 113 been out of print, and represents at besta bravepioneeringeffortwithinadequate Viennese orchestral forces. Leonard Bern- stein's for Columbia (1960) and Harold Far- Stanton Quality is avery special quality... berman's for the Vanguard Cardinal series (1968) are still readily available. in all 6 headsets. Comparing all four readings, I find Farber- man's on the facile side and rather too distant- Isophase Electrostatic ly microphoned to stand up to the competition Headset System offered by the very different interpretations of Dynaphase Sixty 4-) Bernstein and Herrmann. To my way of With Two-way System thinking there can be no clear preference between the two, since the comparison amounts to viewing a mountain peak from different vantage points and at different times of day. To stretch the image a bit further, Bernstein's view is at dazzling high noon on a hot summer's day when one can sense the lushness of the vegetation on the slopes; Herrmann's is on a bright early morning, when intensely clear air and long shadows etch every detail of tree, leaf, and mountan profile against a cloud- less sky. So carefully detailed is Herrmann's performance - with microphoning to match-that one could virtually copy the notes back onto score paper simply from a hearing of this recording. What is lost in the sentiment and poetry offered by Bernstein is made up for by a rough-hewn rhythmic vigor and crystal-clear articulation of figures and phrase -patterns. The high point of Herrmann's reading is the final Allegro with its collage of old American country dance tunes working toward a climax of Columbia the Gem of the OceanandRev- Dynaphase Fifty eille ctrl With Balance Level Controls and ending as a splendid and fully orchestrated barbaric yawp. Herrmann's (and the Dynaphase Seventy -Five Phase 4 engineers') delineation of the coun- With Remote Control terpoints from the beginning to the end of this movement would be the envy of any New England stitchery expert. Quite rightly, and unlike Bernstein, Mr. Herrmann does not try to get more out of the concluding "yawp" Stanton headsets - all of them- are designed just like a fine loud- than is written in the score. speaker system for your head. Yet there are many different models I am not about to foresake my moving and picturesque Bernstein disc of this marvelous because we know there are many needs and tastes to satisfy. score, but I wouldn't be without the sharper - Although there is a great variety of features and priceranges, two contoured Herrmann version either. D.H. things are constant in all Stanton headsets-their exciting "presence" JONES: String Quartet No. 6; Sonatina (see and their equally exciting sense of styling that makes them the hand- CRUMB) somest headsets a head ever wore. At the top of the Stanton Dynaphase dynamic headset line, JOPLIN, SCOTT:VariousRags (see MAX our MORATH in Popular Review Section) brand new Dynaphase Seventy -Five($74.95)reigns supreme. It employs a true two-way system (separate woofer and tweeter) andan KUPFERMAN: The Music of MeyerKupfer- L -C crossover network in each earpiece, plus a remote control station man, Vol.5. Chamber Concerto for Flute, Piano,and String Quartet; Mask of Electra, for volume and tone adjustment, as well as stereo andmono mode for Mezzo-soprano, Oboe, and Electric Harp- selection. sichord; Curtain Raiser for Flute, Clarinet, Horn, and Piano. Samuel Baron (flute); Gil- This same exceptional system is offered in the Stanton Dynaphase bert Kalish (piano); Serenus Quartet; Jan de Model Sixty($59.95)without remote control station. You can always Gaetani (mezzo-soprano); Ronald Roseman add this unit as an accessory (Model5741, $19.95)at a later date. (oboe);JoelSpiegelman(electricharpsi- chord); Conjunto Cameristico de Barcelona. Three other Dynaphase models feature a special high-performance, SERENUS SRS 12 034 $6.98. Stanton wide -range single -speaker system at a popular price -Model Performance:Good Forty and Model Forty 600 ohm and Model Fifty with balance level Recording: A bit shrill controls on each earpiece($49.95 ). This is Volume Five of Serenus' compendium And for the most discriminating audiophile, we of the music of Meyer Kupferman. It is, to say the least, a rich sampling of the works of this offer the incomparable Stanton Isophase Electrostatic composer, who might well be described as the Headset($159.95)complete with Polarizer unit. "complete eclectic." Kupferman uses any- See your Stanton franchised dealer or write Stanton thing that comes to hand, be it Romantically or Impressionistically harmonic, twelve-tone Magnetics, Inc., Terminal Drive, Plainview, L. I., N.Y. linear, or any combination of these. He loves 11803. gra Nrron to write "sound pieces" such as theMask of Electra(twelve-tone), which uses the electric (Continued on page 118) 114 CIRCLE NO. 64 ON READER SERVICE CARD STEREO REVIEW \ew! dynacoA-35 loucspeakers

Accuracy-the new A 35 is you- rent step towards sonic pe-fection. This sightly larger brother of the A-25 ref nes that speaier's acknowledged performance. Tie high end benefits from s ghtly axtendec range and subtly smoother dispersion characterist cs. More cefinrion, 3rd smoother olending of tha two divers is observed in the midrarge. for added "presence". The low erd is even more articulate more crisply defined. The deep bass is there all ri,git- rninLs any trace ofboom". Cynaco s exclusive two -chamber cabinet prmides iceal aperiodic dual -spectrum damp ng: variable volume ac -Jon for mid -pass cort-ol,plus the a:vantages o' a sealec enclosu-e for the bottom octave. 5 -step tweeter control and cor:ealed wall -nounts are included. special 4-D DYNACO/Va-guard LP is available. now Send $2.95 t: us, o' see your Dynaco Dealer. $119.95 in walnut

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NOVEMBER 1972 CIRCLE NO. 22 ON READER SERVICE CARD 115 r

TWO VIEWS OF STEPHEN FOSTER His historical importance SOMETHING Ihave lately had no great Chinese, among other languages, around the shows, Ethiopian Serenaders, and the tour- hope of hearing is a really distinguished gaming tables of Sacramento. Some months ing "singing families." album of the songs of Stephen Foster, one later he also heard it sung in Arabic (along What this kind of critical snobbery began, produced with the kind of historical sophis- with other Foster songs) by Egyptian fella- professional condescension was to com- tication European musicologists routinely hin - not to mention a version in fractured plete. America's "classical" professionals lavish on the murkiest Mittelaltersrelic English by a Hindu street singer in Delhi began to feature Foster songs in the 1860's from the court of Sigismund the Hairy. who hadn't the faintest notion what the song only after Gottschalk had made popular (Before explaining my pessimism, let me was about, having learned it outside a Brit- concert pieces from several of them. It add happily that I was wrong to despair: the ish officer's club (British officers? singing seemslikely thatGottschalkhimself new Nonesuch album called "Songs by Ste- American songs? in I njah?). thought that Foster's tunes, like many of his phen Foster" so elegantly balances musical Nor has this vast international interest own, were simply literal notations of anony- scruple with period awareness thatIfind ever flagged. During World War II this writ- mousAfro-Americanoriginals.Gotts- myself thinking of it as being somehow er learned from German prisoners that Fos- chalk's Columbia (1858-1859), which is a three-dimensional, a witty theater -in -the - ter's songs were by far the most popular set of piano variations on My Old Kentucky round piece in which the musicians are also campfire music of the Hitler Jugend, and Home (1853), was probably written out of actors and their performances take on the twenty years after that he obtained an in- the country - and, to judge from lapses in aspect of characterizations.) sanely cheerful up -tempo version of Old the musical text, with no copy of the song Even avid Foster collectors are some- Folks at Home on a disc from behind the athand. (GivenGottschalk'shabitual times unaware of the extreme historical Bamboo Curtain in Shanghai, where it was a probity in such matters, itis perhaps the peculiarity of the Foster story, a chapter of recorded hit in several Asian dialects. more significant that all mention of Foster our cultural mythology that never found its and his song is omitted from the Columbia Parson Weems. Foster was born during ow, for obvious reasons,universal title -page as published in 1860.) those occult hours when two Revolutionary popularity is the one thing that academic Far more culpable were the great divas giants, Thomas Jefferson and John Adams, musicology as such is utterly unprepared to who learned from Gottschalk that you could breathed their last-the Fourth of July, cope with. Given the will, of course, there wow the American peasants by giving them 1826, the fiftieth anniversary of the Declara- are ways around this, but the will, with a few as an encore one of "their own" simple dit- tion of Independence. Almost any musician belated exceptions (such as Dvoffik, who ties in the vernacular. For the Foster record, born in the shadow of this preternatural co- gave Foster a massive and affectionate plug this custom seems to have been launched by incidence might be expected to concoct a as a named composer), is precisely what has a young professional friend of Gottschalk's, music in some way involved with democra- been lacking from the first. The Boston edi- America's own Clara Louise Kellogg, a cy. But not even the phrenological Fowler tor J. S. Dwight, the father of America's es- steely -eyed operatic soprano of New En- brothers in their wildest moments could tablishmentarian music criticism, managed gland stock by way of South Carolina. To have predicted that he would write the most to miss the boat as tidily with Foster as he judge from her childhood photographs, Miss important body of composed popular song did with Gottschalk. The early issues of Kellogg could have played Nero's mother in the annals of music. And who would have Dwight's Journal (published in 1851-1852, without much coaching at the age of seven, further supposed what is stranger, that even when Foster's songs were conquering the and at the grande-dame close of her admit- as the songs entered immortality, their com- globe) fairly crawl with the names of forget- tedly distinguished career she had lost none poser would sink unmourned into musico- table third-rate European and fourth -rate of her basic ingenuousness. After being logical oblivion? German -American composers -but omit piped as a guest of honor aboard the U.S. As it happened, both of these develop- the name of Foster utterly. The single refer- flagship Trenton at Nice (to the strains of ments were practically instantaneous. Fos- ence to a Foster song I have been able to Hail, Columbia), Miss Kellogg noted that ter wrote 0 Susanna in 1849 as the young find is a timid misquotation from a Georgia "At the end of the dejeuner the whole crew nation's great Western trek erupted into the correspondent. Later issues, when they al- contemplated us from afar as I conversed Gold Rush. That same year Bayard Taylor, lude to Foster songs at all, are apt to dismiss with our hosts, and, realising what might be the sturdiest of our early literary globetrot- them sniffily as belonging among the regret- expected of me, I sang, as soon as the or- ters, heard the song sung in Greek and in table popular trashoffered by minstrel chestra had adjusted their instruments, the

116 STEREO REVIEW solo of Violetta from Traviata: Ah force e the instrument of choice among the Ameri- what we get is a reverent suspiration on the lui the l'anima" (Miss Kellogg's spelling). can literati for the better part of a century. sound "bruuuuus.. . " "As an encore I sang Down on the Suwanee Among many others,Irving, Audubon, It is probably in the matter of unfamiliar River. The orchestra not being able to ac- Cooper, Poe, Longfellow, and Lanier all repertoire that the album will most excite company me" - the full score of Traviata played it, as did Foster himself. As sounded collectors-and justifiably, for it contains having always, apparently, been standard with an exquisite discretion in Wilt thou be only three widely familiar favorites (which equipment on U.S. battleships, but not a gone, love?, it lends just the right touch ofhere sound fresh as daisies) and the rest is measure of Foster's -"I accompanied my- almost -opera to a really lovely and virtually real news in great variety. Roughly half the self on a banjo that happened to be handy. I unknown duet that Foster adapted from album is concerned with Foster's melan- was told afterwards that 'the one sweet, fa- Romeo and Juliet. choly side, and that couldn't be better repre- miliar plantation melody was better to us The album's two vocalists, mezzo-so- sented. Butimagine that the big surprise than a dozen Italian cavatinas.' " prano Jan DeGaetani and baritone Leslie for most will be the many up -tempo pieces, From an infinity of such episodes, and Guinn, provide us with excellent singing including a vigorously partisan political duet others even less creditable to the nine- that is also the deftest kind of social charac- (That's what's the matter) and an equally teenth-century musical community, time has terization. Despite Miss DeGaetani's ob- energetic comic one (Mr. & Mrs. Brown). woven the peculiarly utilitarian American vious musical and vocal resources, there is One of the most remarkable songs is also the status of the songs, the immense profits of no trace here of great -diva condescension. earliest: There's a good time coming (1846) their merchandisers, and the virtual invisi- In Was my brother in the battle?, for exam- is set to a text that Foster picked up from bility of their composer. Today it is as diffi- ple, she manages to sound like an unusually the London Daily News. Its ostensible opti- cult to recapture the real delicacy of Fos- gifted girl of good family with a perfectly mism is- simply a vehicle for pointed refer- ter's musicality from the mindless commer- lovely voice (and sound training) who ac- ences to the iniquities of war, religious big- cial blowups of his most famous songs as it tually has a brother away at the wars. And in otry, and child labor. Also topical but tho- isto recover the wonder of Whitman's Sweetly she sleeps, my Alice fair it is worth roughly merry is If you've only got a mous- America among the shoddy tourist traps of the price of admission to hear Mr. Guinn's tache, which is concerned with the universal Niagara Falls or on the scabrous banks of resonant, manly baritone as he navigates the masculine passion for ornamental facial hair the Hudson River. To know these lost word "breast" - certainly not an anatomical in the 1860's. All in all, it would be hard to things we must now consult those who long entity in the parlors of 1851, and obviously imagine an album that did more justice to ago had in some way a precise and blazing more a state of mind than a thing. And that Foster's unsuspected many-sidedness and vision of them -George Catlin among his is how Mr. Guinn delivers it, flattening the the real nature of his historical greatness. Indians, Audubon all over the map, the jour- vowel and suppressing the final "t." so that Robert Offergeld nals of Lewis and Clark, the forest epics of Cooper, the painters of our mountains, prai- ries, rivers, and cataracts - Bingham, Bier- His astonishing staying power stadt, Cole, Church-and a thousand lesser but equally honorable reporters. HARD on the heels of Nonesuch's suc- forms -generally melodies-that enter the cesses with ragtime comes a charming popular consciousness as types, paradigms. T is some similar, lingering vision of Fos- album of Stephen Foster songs edited by Beautiful dreamer, like Maple Leaf Rag or ter's mislaid reality that distinguishes the William Bolcom and Joshua Rifkin-theBlowin' in the Wind or Yesterday, thus new Nonesuch album. Its musical directors ragtime team- and performed with great quickly look on a kind of existence indepen- are William Bolcom and Joshua Rifkin, two affection by an excellent group of "classi-dent of its creator; it is, in effect, middle- exponents of a new American musicology cal" musicians on historical instrumentsclass folk music, invented with the con- based not on European intellectual tradition belonging to the Smithsonian Institution. sciousness of art but long since transformed but on a top-flight musical professionalism- Foster is probably best known for his into something more general - dispersed, as plus a profound respect for American musi- minstrel and blackface songs, but, as Wiley it were, into the collective awareness. cal intentions observed with sensitivity and Hitchcock points out in his excellent album What this recording does-through in- understanding within the context of Ameri- notes, most of Foster's songs belong in an- cluding some of the artier of Foster's pro- can sociology. To begin with, they make use other category: the sentimental household ductions, through the extremely tasteful and of Foster's original and extremely simple song. Two of the most familiar of these,attractive arrangements, and through the sheet music, and Bolcom's instrumental Jeanie with the light brown hair and Beauti-quality of the performances-is to refocus accompaniments as realized from these orig-ful dreamer, are included here, along with attention on this music as art. Since the so- inals are models of economy, taste, and peri- Civil War songs, comic songs, an almost op-cial situation that produced it does not exist od authenticity. The instruments used have eratic duet based on Romeo and Juliet, and anymore, this is the only way we can revive the realer -than -real rightness of perfect the- a group of nostalgic ballads including thethat aspect of the music that has not passed atrical props. One is a Chickering square very beautiful Ah! may the red rose liveinto the collective consciousness. If it be piano made in 1850 (it belongs to the Smith- al way. said that the music can just barely sustain sonian Institution and is illustrated on the A critical analysis of Foster's music atthis weight, it must be added that somehow album cover). Its thin and sweet voice (and this juncture seems almost superfluous. The it does sustain it. It may take a little effort on the delicate wooden plunk of its hammers) staying power of certain of his songs mustthe part of the listener-some kind of in- are a marvelous complement to the trans- seem astonishing to an outsider. There is volvement, some suspension of disbelief- parent Foster harmonic texture. Equally nothing much to the harmonies or simple but if you can go that far with it, the album is authentic is an 1864 melodeon, an American accompaniments, the texts hardly qualify as much to be recommended. It is, in any case. relative of the European harmonium (the great poetry, and he cannot be shown tobeautifully arranged, performed, recorded. reeds of the former are activated by suction, have been a great original melodist- influ- and produced. Eric Salzman those of the latter by pressure). Its contem- ences from black music and the church poraries thought the melodeon was the more hymnal combine with Italian opera, popular FOSTER: Songs. Jeanie with the light brown "religious" (meaning "sadder") of the two, theater, the British sentimental ballad, andhair; There's a good time coming; Was me and it adds the nostalgia of a Civil War da- the Anglo-Irish-American folktradition. brother in the battle?; Sweetly she sleeps, guerreotype to I'm nothing but a plain old Nevertheless, it would be a mistake to dis- my Alice fair; If you've only got a mous- soldier and Was my brother in the battle? miss this recording as an oddity or as meretache; Gentle Annie; Wilt thou be gone, But it is with the sounds of two other in- sentimental camp. Foster belongs to a very love?; That's what's the matter; Ah! may struments, the somewhat bumptious keyed special area of music which is not folk, not the red rose live alway; I'm nothing but a bugle and the one -keyed boxwood flute, that true pop music, and not art music, but par- plain old soldier; Beautiful dreamer; Mr. & we feel the veritable breath of the American takes of elements of all three. This is theMrs. Brown; Slumber my darling; Some past upon us. The touch-and-go intonation tradition to which Scott Joplin belongs and,folks. Jan DeGaetani (mezzo-soprano), Les- of the keyed bugle is hilarious in a marvel- one could add, Dylan and the Beatles. Thelie Guinn (baritone), Gilbert Kalish (piano ous humorous duet called Some Folks. And genius of these musicians comes from theirand melodeon), Robert Sheldon (flute and it becomes obvious here why the husky, ability to create archetypal patterns, to syn- keyedbugle),Sonya Monosoff (violin). haunting tone of the one -keyed flute made it thesize existing traditions into expressive NONESUCH H 71268 $2.98.

NOVEMBER 1972 117 harpsichord to whip up a fairly wild congeries This Seraphim bargain set is a reissue of the "into" Monteverdi (he will have the Curtis of auditory phenomena while the vocalist abridged Monteverdi opera, the composer's performance, or he may be waiting for the one sings and the oboe helps out. The Chamber last, first released on Angel in 1964. The pro- likely to come from Harnoncourt in the near Concerto, on the other hand (non -twelve- duction stems from performances at Glynde- future), but for the person who has not yet tone), is a long Romantic -Impressionist piece bourne and features a much -altered score, brought himself to early Baroque opera, this that the composer refers to as being essential- edited and reconstructed by Raymond Lep- Seraphim reissue is not at all a bad introduc- ly rhapsodic in design. ILis attractive, but like pard, who also played one of the two continuo tion. Unless I miss my guess, this sort of lis- many rhapsodies, loose in structure and a bit harpsichords. To judge how much has been tener will be surprised at the amount of emo- wandering in direction. Curtain Raiser is a cut out, one need only compare the present tion generated by these works. I'm thinking plain, old fashioned twelve-tone piece -and a two discs with the four on which the opera is particularly of the final love duet between pretty dull one. given complete in the authentic performance Nero and Poppea, about as voluptuous a In searching for a clue to an understanding by Alan Curtis on Cambridge (CRS B1901)- scene as one can hear. Incidentally, Seraphim of Kupferman's compositional attitudes.I a total of 98 minutes here versus the uncut provides texts and translations. I.K. have come to suspect an answer may be found 191. The difference between the two, how- in that word "rhapsodic." For, whether the ever, goes beyond matters of completeness. MOZART: Vesperae solennes de confessore (K. composer is using his "Infinities" twelve-tone The Leppard edition, which is conducted by 339); Kyrie in D Minor (K. 341); Ave verum row, or some other kind of material, there is John Pritchard, has been severely criticized corpus (K. 618); Exsultate, jubilate (K. 165). always an air of improvisation in his music, a for its post-Monteverdian scoring, including Kiri Te Kanawa (soprano); Elizabeth Bain- sense that ideas have been put down quickly, an extremely active and elaborately realized bridge (contralto); Ryland Davies (tenor); with little pre- or post -consideration, out of continuo part. The composer's original cannot Gwynne Howell (bass); London Symphony the composer's eagerness to get on with the be performed as it stands, since, among other Orchestra and Chorus; John Constable, or- piece and put his message across. Many hand- things, much of the instrumentation must be gan; Colin Davis cond. PHILIPS 6500 271 some things do occur, but there is far too $5.98. much that sounds arbitrary. L.T. is Performance: Good to very good MAYER: Two Pastels; Andante for Strings Recording: Very good (see SKROWACZEWSKI) In this well -planned collection of works by the "religious" Mozart -early, middle, and RECORDING OF SPECIAL MERIT late-the highest marks go to the conductor and orchestra for playing that is well-defined MESSIAEN: Visions de l'Amen. John Ogdon and precise throughout. Davis' approach to and Brenda Lucas (pianos). ARGO ZRG 665 the Vesperae solennes de confessore is pri- $5.98. marily orchestral, and it is very effective. The Performance Masterly fast movements (four of the six) are played Recording: Superb with sustained energy and a bracing spirit. The chorus keeps up very well; the soloists, In their presentation of one of Messiaen's except for the soprano, are not very assertive, most dazzlingly evocative works, John Ogdon and they are given little prominence. and his wife Brenda Lucas have achieved a Except for its exquisite slow movement, performance worthy, at almost every point, of Laudate Dominum, the Vesperae solennes is the music. The actual playing is just as stun- not major Mozart, but the Kyrie in D Minor ning as in Ogdon's earlier two -disc Argo re- (a blueprint for the Requiem) and the Ave lease of the Vingt Regards (a more loquacious verum corpus motet are peak inspirations. work in the same visionary vein), and this They are presented in a lovingly detailed time there is scarcely a trace of the willfulness manner that is dramatically effective in the about tempos that marred Ogdon's interpreta- first instance and convincingly devotional in tion of the solo work. the second. Soprano Kiri Te Kanawa displays Only in the last of the seven Visions, the ITZHAK PERLMAN a lovely timbre and an effortless top register. Amen de la Consommation, does the players' Fiddling that amply justifies cockiness She sings the Laudate Dominum affectingly, virtuosity run away with them, depriving what but as yet her Exsultate, jubilate is more ought to sound like the timeless tintinnabula- reconstructed. As against Curtis' very prop- promise than fulfillment. G.J. tions of all the bells in Christendom of a mea- er treatment(i.e.,following Monteverdi's sure of its awesome dignity. example in Orfeo, as well as other contempo- This peroration was more convincingly re- rary guides), a bit dull but eminently cor- RECORDING OF SPECIAL MERIT alized by Peter Serkin and Yuji Takahashi in rect, the Leppard edition adds all sorts of an- PAGANINI: Violin Concerto No. 1 in D, Op. 6. a performance they gave at Ravinia a couple achronistic things; there are urr-Monteverdian SARASATE: Carmen Fantasy, Op. 25. Itzhak of summers ago. But in other respects I do not effects galore, harp glissandos, concerto -like Perlman (violin); Royal Philharmonic Or- think the- Ogdons can be faulted. They cap- obbligatos from the harpsichords, and a defi- chestra, Lawrence Foster cond. ANGEL S ture all the glorious, outrageous, ethereal, sol- nite leaning toward an operatic style that 36836 $5.98, ® 8XS 36836 $6.98, © 4XS emn, vulgar richness of Messiaen's unique came into being long after the original, which 36836 $6.98. inspiration, and Argo's engineers have cap- was written in 1642. Performance: Excellent tured every nuance of their performance. This Is there any excuse for this combination of is a record to shake the cobwebs from many stylistic excess and severe pruning? Well, Recording: Excellent a clogged ear- it is highly recommended. yes- a public otherwise uninterested in Mon- On the jacket of this record there is a photo- B J. teverdi's period might be charmed enough to graph of twenty -six -year -old Itzhak Perlman warm up to such "early music." In some radiating cocky self-confidence. And what he MONTEVERDI: The Coronation of Poppea ways, I suppose, it's a bit like Harty dressing does on the record itself provides the clue to (abridged). Magda Laszlo (soprano), Poppea; up Handel orStokowskireorchestrating his expression. He sails through the hazards Richard Lewis (tenor), Nerone; Oralia Dom- Bach-they did have their use for a time. Per- of the Paganini Concerto seemingly unper- inguez (contralto), Arnalta; Lydia Marimpie- haps, too, Leppard has not been as extreme as turbed, with a kind of brash impetuosity that tri (soprano), Drusilla; Walter Alberti (bass), these examples, but purists will, and indeed insists on clean articulation and total security, Ottone; Carlo Cava (bass), Seneca; Frances already have, raised a cry over the goings-on as though the difficulties did not exist. In so Bible (soprano), Ottavia; Duncan Robertson in this set. Yet, authentic or not, it is definitely doing, he manages to sustain a warm, singing (tenor), Valetto; Annon Lee Silver (soprano), a colorful and highly entertaining production. tone throughout. It is obvious that he is hav- Amor; others; Glyndebourne Festival Cho- It is also very dramatic in effect (something ing fun with the music; had he taken it more rus and Royal Philharmonic Orchestra, John lacking in part in the Curtis set), and the pac- seriously,excessiveemotionmight have Pritchard cond. SERAPHIM SIB 6073 two ing, though not always Monteverdian, is su- drained the youthful spirit from his playing. discs $5.94. perb.The singing is on a high level, and the As for the Carmen Fantasy, even its compos- Performance. Colorful recording is most satisfactory. I wouldn't rec- er conceived it as a fun piece, notwithstanding Recording: Very good ommend the set to the listener who is already the fact that its challenges are on the hair - 118 STEREO REVIEW raising Paganini level. Perlman may seem to rush things a bit in the Habanera section, but overall this performance is absolutely brilliant. He gets exceptionally good support from the conductor, and the engineering is excellent. This is a marvelous record. G J.

PHILLIPS: Canzona HI (see GIDEON)

PORTER: New England Episodes. Polish Na- tional Radio Orchestra, Vohdan Wodiczko cond. WARD: Concerto for Piano and Orches- tra. Marjorie Mitchell (piano); Stuttgart Ra- dio Orchestra, William Strickland cond. Des - CHARCOAL TODC 7123 $5.98. MELLOWING Performance:Generally good Good Recording: BUILD! N G Robert Ward's Concerto for Piano and Or- chestra was premiered by the present soloist in June of 1968. Like all of Ward's music, it is a warmly melodious, neo-Romantic piece, full of amiable ideas,adroitly composed and scored. It breaks no new technical or idiomat- ic ground, but fulfils the composer's aim "to follow in the tradition of those concerti which fully utilize the potential of the piano in the broad lyric musical statements." Miss Mitch- ell plays it with great breadth and aplomb, and if Strickland's accompaniment is a bit stiff, it is nonetheless energetic. The late Quincy Porter's New England Episodes dates from the late Fifties and, like Ward's Concerto, falls generally into the neo- Romantic category. A rather introverted work, it has many tenderly ruminative sections and takes delicate side -trips to surprising and pleasing places. It is a more securely realized piece than this performance makes evident-one of the hazards American composers often encounter with performers who don't fathom our styles completely (and I do wish the orchestra had tuned to match the pitch of those final chimes). But it's good to have this work in the catalog. L.T. RIGHT HERE, IN THIS VAT of hard maple charcoal, is where Jack Daniel's becomes a smooth, sippin' RECORDING OF SPECIAL MERIT RACHMANINOFF: Piano Concertos: No. 1, Tennessee Whiskey. in F -sharp Minor, Op. 1; No. 2, in C Minor, Op. 18; No. 3, in D Minor, Op. 30 (original version); No. 4, in G Minor, Op. 40; Rhapsody When we first make Jack Daniel's on a Theme of Paganini, Op. 43. Vladimir Ashkenazy (piano); London Symphony Or- it's much like any good whiskey. But chestra, Andre Previn cond.LONDONCSA 2311 three discs $17.94. then, in our mellowing house, we give Performance: Dazzling Recording:Excellent it an extra blessing. Here, every drop is Availablerecordedperformancesofthe seeped through twelve feet of charcoal Rachmaninoff Second Piano Concerto and of the Rhapsody on a Theme of Paganini number a dozen or more, including the composer's before aging. And this slow trip puts own, derived from 78 -rpm originals. Hardly any are below par in performance and record- it in a class all its own. Charcoal CHARCOAL ing, and some are of genuine distinction. The Ashkenazy-Previn collaboration on these two mellowing is why no other MELLOWED popular favorites belongs in the "exceptionally distinguished" category. Not only is Ash- whiskey achieves such rare, 0 kenazy's pianism of the most dazzling fluen- DROP cy, but the lyrical essence of the Rachmani- sippin' smoothness. And why noff idiom comes as second nature to him. Previn is in top form, and I was delighted to our labels will always read: hear piano and orchestra in perfect balance in BY DROP the first -movement recapitulation of the Con- certo No. 2. Jack Daniel's Tennessee Whiskey. As for the F -sharp Minor Concerto, originally written in 1891 and revised in 1917, not even the formidable talents of Ashkenazy and TENNESSEE WHISKEY 90 PROOF o 1972, Jack Daniel Distillery, Lem Motlow, Prop., Inc. Previn can sustain my interest in its musical DISTILLED AND BOTTLED BY JACK DANIEL DISTILLERY LYNCHBURG (POP. 361), TENNESSEE NOVEMBER1972 I 19 substance, though it does hold its own as a virtuoso display vehicle. A curious thinness of musical substance also plagues the G Minor Concerto of 1926; but here Ashkenazy and Previn manage to get more out of the piece than I've been able to hear previously either in concert or on records. As with all late Rachmaninoff, one is truly dazzled by the sophisticated display of craftsmanship. If unevenness of musical substance explains the relatively few recordings of the First and Fourth concertos, such is certainly not the case with the Third Concerto, which is the most completely realized and richest in New substance of all Rachmaninoff's mature mu- from sic. But it takes a great pianist, an expert conductor, and some hard, concentrated listening tOTDOTo to convince the skeptical that this is so. Fur- RECORDS thermore, the music should be heard as originally published and with the first and more elaborate of the cadenzas. Regrettably, as Mahler: THE NINE SYMPHONIES Rachmaninoff became more engrossedin The Chicago Symphony Orchestra- The London Symphony touring during his American years, he sanc- Orchestra - The Concertgebouw Orchestra of Amsterdam tioned the cuts used in most performances, Georg Solti - including his own, as well as the use of the CSP-7 shorter cadenza. The "live" 1958 performance by Van Cliburn, still on the RCA label, SAN FRANCISCO OPERA GALA is the only recorded performance, other than A Historic De Luxe Edition Especially Released to Celebrate the 50th this one, of the D Minor Concerto in its origi- Season of a Great Opera Company with a Panorama of Stars nal form. Fortunately, the Ashkenazy-Previn and Operas and a Lavishly Illustrated Souvenir Booklet. Artists include: reading is the high point of the present Lon- don album, and I trust that it will be made Flagstad, Bjoerling, Milanov, Warren, Tebaldi, Del Monaco, available separately. It would be hard to imag- Simionato, Borkh, Siepi, Rysanek, Nilsson, Hotter, Price, Merrill, ine a more eloquent and lovingly detailed real- Vickers, Tozzi, Schoeffler, Jurinac, Cioni, McCracken, Gobbi, Sutherland. Resnik, Lorengar, Bastianini, Corelli, Burrows, ization of this immensely complex and fascinating score - super -intricate, immensely flu- Crespin, Ghiaurov, Pavarotti, Jones, Berganza, Deutekom,Bergonzi, Evans, King, Donath, Domingo, Solti, Varviso, Bonynge andothers. ent, a kind of musicalart nouveau a la OSA-1441 Russe. Despite my reservations about the First and Fourth concertos, I found this al- Liszt: THE BATTLE OF THE HUNS; bum as a whole an immensely satisfying lis- ORPHEUS; MAZEPPA tening experience: a fine collaboration, beau- The Los Angeles Philharmonic Orchestra- Zubin Mehta tifully recorded throughout. D.H. CS -6738 ALICIA DE LARROCHA- SCHUMANN RECITAL RACHMANINOFF:Piano Concerto No. 2, in Kreisleriana (Op. 16); Allegro (Op. 8); Romance (Op. 28, No. 2); C Minor, Op. 18.SCRIABIN:Etude in G- Novelette (Op. 21, No. 8) sharp Minor, Op. 8, No. 9.Vladimir Krainev CS -6749 (piano); Moscow Radio Symphony Orches- MARTTI TALVELA -A LIEDER RECITAL tra,Konstantin Ivanov cond.MELODIYA/ ANGELSR -40190 $5.98. Schumann: Lust der Sturmnacht; Stirb, Lieb' and Freud'; Wanderlied; Erstes Gran; Sehnsucht nach der Waldgegend; Auf das Performance: Fine pianism Trinkglas eines verstorbenen Freundes; Wanderung; Stille Liebe; Recording: Good Frage; Stille Tranen; Wer machte dich so krank; Alte Laute. Kilpinen: 8 Songs with Irwin Gage (piano) It is a relief to hear another young Russian 0S-26240 pianist who, like Aleksei Nasedkin, tran- scends the category of blockbuster virtuoso. Suk: SERENADE FOR STRINGS Mr. Krainev, co -winner of the 1970 Tchai- Wolf: ITALIAN SERENADE kovsky Piano Competition, delivers here a R. Strauss: INTRODUCTION FOR STRING reading of the thrice -familiar Rachmaninoff SEXTET FROM "CAPRICCIO" Concerto as rich in sensibility and nuance as The Stuttgart Chamber Orchestra- Karl Miinchinger it is in the obligatory element of brilliant and CS -6737 fluent technique. Krainev's flair for properly ROMANTIC CELLO CONCERTOS balancing technique and musical substance comes through even more potently in his play- Auber: Cello Concerto No. 1in A Minor; Massenet: Fantasy for ing of the stormy Scriabin etude. Here is a tal- Cello and Orchestra; Popper: Cello Concerto in E ent to watch. Jascha Silberstein - L'Orchestre de la Suisse Romande Richard Bonynge - The orchestral support in the Rachmaninoff CS -6750 is solid and well recorded. Balances are good throughout, save in the first -movement recap- THE ROYAL FAMILY OF OPERA itulation, where the piano accompaniment SINGS ENSEMBLES figure is decidedly over -prominent. D.H. Music from Cosi Fan Tutte, Norma, The Barber of Seville, Lucia di Lammermoor, Don Giovanni, Un Ballo in Maschera, Carmen, RAVEL: Fanfare from L'Eventail de Jeanne Rigoletto, La Boheme and Faust sung by Sutherland, (see FRANCK) Tebaldi, Lorengar, Horne, Berganza, Resnik, Simionato, Corelli, Bergonzi, Cioni, Alexander, Bastianini, Merrill, Ghiaurov, RIMSKY-KORSAKOV:Piano Concerto in C - Siepi, Corena and others. sharp Minor, Op. 30.TCHAIKOVSKY:Piano OS -26258 Concerto No. 3 (Allegro brillante) in E -flat Major, Op. 75; Andante and Finale for Piano and Orchestra, Op. 79 (orch.Taniev). Michael (Continued on page 122) 1 20 CIRCLE NO. 37 ON READER SERVICE CARD STEREO REVIEW BASF jamproof cassettes. 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CIRCLE NO. 8 ON READER SERVICE CARD Ponti (piano); Radio Luxembourg Orchestra, Malagii (mezzo-soprano), Berta; Renato Ces- delicious orchestral touches that few conduc- Louis de Froment cond. CANDIDE CE 31056 ari(baritone), Fiorello; Enzo Dara (bass),tors have sought out so painstakingly. On the $3.98. Officer. The Ambrosian Opera Chorus; Lon- other hand, he seems deliberate and calculat- Performance:Glittering don Symphony Orchestra, Claudio Abbado ing when spontaneity would be more desir- Recording:Good cond. DEUTSCHE GRAMMOPHON DGG 2709 able. Precision is laudably high (the finale of 041 three discs $20.94. Act Two is a particularly happy example), but RIMSKY-KORSAKOV:Piano Concerto in C - animation is at times in short supply. There is sharp Minor, Op. 30.SCRIABIN (orch. Performance: Berganza tops G. Recording: Very good also a certain literal -mindedness in Abbado's Zinger): Fantasia in A Minor (1899).TCHAI- reading-denying the baritone the conven- KOVSKY:Piano Concerto No. 3 (Allegro bril- There is a lopsided quality to this new Bar- tional final flourish in "Largo al factotum" in lante) in E -flat Major, Op. 75; Allegro in C biere, and you can blame it on Teresa Bergan- place of the written bland ending seems al- Minor, for Piano and Strings (1863-4). Igor za. The action comes to life only when she is most ostentatiously pedantic. The praiseI Zhukov (piano); Moscow Radio Symphony part of it. Although her characterization of extend to the orchestral execution in general Orchestra, Gennady Rozhdestvensky cond. Rosina is relatively subdued -a minx, to be should specifically include the inventive cem- (in concertos); Mikhail Yurovsky cond. (in sure, but without exaggerated displays of balo work of Theodor Guschlbauer. fantasia and allegro). MELODIYA/ANGEL SR temperament-it is an impersonation that is DGG's engineering is clean and well-bal- 40188 $5.98. thoroughly and delightfully alive. As for her anced, except for certain dynamic miscalcula- Performance: Good singing, it is warm -hued, absolutely secure, tions which result in pianissimos being re- Recording: Variable and full of effortless grace. Her intonation is duced to near -inaudibility. In sum, except for impeccable and herfioritura a joy. Berganza and Montarsolo, this is a good but Here is a mixed bag of Russian snackniks if No one else involved in this production is not a wholly satisfactory performance. And ever there was one! The folksong-inspired quite in Berganza's class. I was looking for- the art of Berganza is better served in the LisztianPianoConcerto,composed by 1965 London set alongside a superior Alma- Rimsky-Korsakov five years before he hit his viva (UgoBenelli)andBasilio(Nicolai orchestral stride with his three best-known Ghiaurov). The London set also offers the masterpieces, is pleasant though rather thin seasoned and ripely humorous Bartolo of listening fare. The Tchaikovsky Third Piano Fernando Corena, though neither its Figaro Concerto began as a projected Sixth Sympho- nor its conductor surpasses what we are of- ny, but the composer set it aside for the great fered here. The best Figaro is probably Sesto "Pathetique" and later orchestrated only the Bruscantini on Angel, where he keeps compa- Allegro brillantefirstmovement; a slow ny with the delightful Rosina of Victoria de movement and finale in sketch form were or- los Angeles, but little else worth noting. RCA chestrated by his pupil and protégé Alexander Victor's earlier set (with Merrill, Peters, Val- Taniev as Op. 79. Some twenty-five years letti, Tozzi, Corena-Leinsdorf conducting) ago, the Soviet musicologist Semyon Bogatyr- holds up very well. The field is crowded, but yev transformed the three movements into a no single version offers undiluted excellence. "Seventh Symphony," adding, by way of a It should be added that the present DGG scherzo, his orchestration of the Scherzo- set is laudably complete, offering more music Fantasy from Tchaikovsky's Eighteen Piano Pieces, Op. 72. The Ormandy-Philadelphia than we generally receive inthe theater. recording of this "symphony" for Columbia is Almaviva's difficult final aria is omitted- still listed in Schwann. under the circumstances a wise decision, I think. The Tchaikovsky Allegro in C Minor resur- G J. rected on the Melodiya/Angel disc is rather SARASATE:Carmen Fantasy, Op. 25 (see uninteresting juvenilia of somewhat Schu- PAGANINI) mannesque caste, and the Scriabin Fantasia, dating from his teens and orchestrated from SATIE: Socrate; Mercure. Andrea Guiot, the four -hand original published in 1940, is TERESA BERGANZA WITH HER DAUGHTER Andree Esposito, and Mady Mesple also pretty weak stuff. (Incidentally, fanciers A Rosina who is delightfully alive (sopranos); Danielle Millet (mezzo-soprano); of import labels will find a recording of the Orchestre de Paris, Pierre Dervaux cond. four -hand version on Da Camera Magna ward to Hermann Prey's Figaro, because theANGEL. S 36846 $5.98. 93107.) German baritone has emerged in recent years Performance:Bad As for the recorded performances, the Pon- as an international specialist in the role (Tito ti -Luxembourg discis an excellent value. Gobbi stage -directed him in it in Chicago dur- Recording:Poor There's lots of zip and glitter to his solo work; ing the past season). He offersa youthful - Socrate, Erik Satie's masterpiece and one of the orchestral backing is competent and vital, sounding, energetic, and generally likable bar- the few legitimate stylistic descendants of the and the recorded sound is good. Zhukov on ber, with no disturbing Germanic traces,and narrativemanner pioneeredinBerlioz's the Melodiya/Angel disc is a virile and bril- his light timbre is a welcome alternativeto L'Enfance du Christ, has been badly treated liant performer; but the recorded sound var- the dark -sounding baritones (Merrill, Basti- on records, and this latest effort continues the ies among the four performances. This, not anini, Bruscantini) who have essayed thepart sorry chronicle. Mady Mesple, the best of the to mention the slight interest of the shorter in previous recordings. 1 find him rathersuper- soloists, sings the moving account of Socra- Tchaikovsky and Scriabin items, is no help to ficial, however, in vocal refinement: careless tes' death fairly well. But Dervaux's leaden the effectiveness of the disc as a whole. The in articulation and often impure in intonation. tempo is fatal to the flow of this miraculously Rimsky Concerto gets a fine open sound; but Paolo Montarsolo's Bartolo lacks the buffo unemphatic music. Neither this nor any of the the other pieces appear to have been taped in impact of, say, Corena's. On the other hand, other versions to be found in the current cata- somewhat more cramped and less acousti- he indulges in no distracting shenanigans, of- logs can hold a candle to the supremely idio- cally congenial surroundings. fers secure vocalization at all times, and dis- matic and touching performance sung by By the way, the winner and still champion plays considerable virtuosity in the floridpas- Anne Laloe and conducted by Henri Sauguet among existing recordings of the Tchaikovsky sages. Luigi Roni is a big -voiced, gruff, com- on a French disc issued by Le Chant du Op. 75 is, for me, the Columbia disc by Graff- petent Basilio, Stefania Melee' a satisfac- Monde. Some enterprising firm like Musical man and Ormandy with the Philadelphia Or- tory Berta. The big weakness of the cast is the Heritage Society really ought to license it for chestra, which features as its major attraction Count of Luigi Alva. Agilityishis main release here. a stunning reading of the Tchaikovsky G strength, but there is not much joy in hearing My battered old copy of the Laloe per- Major Piano Concerto No. 2. D.H. fast runs articulated in a manner that is unin- formance is in mono -1 am not sure whether gratiating in tone and precarious in intonation. there was ever a stereo counterpart-but the ROSSINI:II Barbiere di Siviglia. Teresa Ber- Claudio Abbado secures playing of virtuo- recording still sounds much better than this ganza (mezzo-soprano), Rosina; Hermann so caliber from his excellent orchestra. He is new Angel, in which the orchestra is recorded Prey (baritone), Figaro; Paolo Montarsolo an interesting conductor whose work evokes so backwardly in relation to the singers as to (bass), Bartolo; Luigi Roni (bass), Basilio; mixed feelings. The sound he maintains is make scarcely any effect. Mercure, a short Luigi Alva (tenor), Count Almaviva; Stefania warm and endearing throughout, and he finds (Continued on page 124) 122 STEREO REVIEW All in the family. In the space of a few short years, the For what distinguishes the Revox A76 critically acclaimed Revox A77 has from all the rest is its uncanny ability established itself as the tape recorder to capture the weakest signals with a of choice for the knowledgeable clarity and a freedom from noise that is enthusiast. truly startling. 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Revox Corporation 155 Michael Drive, Syosset, N.Y. 11791. Calif: 3627 Cahuenga Blvd. West. Hollywood 90068. Canada: Revox Sales and Service. Montreal CIRCLE NO. 54 ON READER SERV CE CARD ballet in Satie's more familiar but notmore Musical Heritage Society, Inc., 1991 Broad- There have been other recorded sets of significant circusy idiom, is the filler, and it way, New York, N.Y., 10023). this too is dismally done, with lackluster direction, music-by Schoenberg'sfriendand crude orchestral playing, and dim recording. Performance: Excellent collaborator Edward Steuermann, and by This time there is at least an acceptable alter- Recording: Very good Glenn Gould. This one is notable for its high- native - in ly sympathetic treatment of the difficult Op. Abravanel's attractive two -disc Schoenberg's music for piano lasts under an 23 and Op. 25. Schoenberg's early twelve- "Homage to Erik Satie" collection on the hour in toto but consists of works of the first Vanguard Cardinal label. tone music is all highly neo-Classic (Op. 25 is B.J. importance. Opus 11 comprises the first large- an eighteenth -century suite complete with scale fully atonal works; Op. 19 represents Prelude, Gavotte, Minuet and Gigue). Helffer, one of Schoenberg's most concise concep- RECORDING OF SPECIAL MERIT perhaps the leading French contemporary- tions and some of the earliest "pointillist"music pianist, manages a nice balance be- SCHOENBERG: Complete Works for Piano. 5music; Op. 23 ends up with the very first ac- tween the classical formalism of this music Pieces for Piano, Op. 23; Suite for Piano, Op. tual twelve-tone music (a waltz!); and Op. 25 25: 3 Pieces for Piano, Op. 11; 6 Little Pieces and its highly expressive-still quite "expres- is the first extended twelve-tone composition. sionist"- content. He is very successful at for Piano, Op. 19; Piece for Piano, Op. 33a; Op. 33a and 33b, the last pieces Schoenberg Piece for Piano, Op. 33b. Claude Helffer bendingtone,articulation,dynamic, and wrote in Europe, can be said to represent arhythmic impulse to the needs of shaping big (piano). MUSICAL HERITAGE SOCIETY MHS musical turning point in the development of a 1215 $2.98 (plus 65¢ handling charge from lines. It is not easy to achieve an effective lin- more organic twelve-tone "style." ear shape and motion in this music, but ultimately this is the essential factor, and itis very well handled here. The earlier and later pieces also come off well, and the piano sound is good. -11 I have two small complaints. One has to do A"Straight Line... with the liner notes which, among other things, describe the "themelessness" or "lack is the shortest distancebetween of melodic repetition" in Op. 11. Zounds! The first movement of Op. 11 is one of the most you and Artistry in Sound doggedly and obviously thematic pieces of music ever written and possibly Schoenberg's only composition with a really memorable Model TX -666

14 FREQUENCY & TONE CONTROL thematic melody! The other complaint is that

12 CHARACTERISTICS this is not a particularly quiet recording. Nev- 10 BASS MAX ertheless, it can be recommended. E.S. e TREBLE MAX SCHUBERT: Quartet No. 13, in A Minor, Op. FLAT ,233 2 FLAT 29 (D. 804); Quartettsatz in C Minor. Guar- ° neri Quartet. RCA LSC3285 $5.98. '2 -2

Performance: Gorgeous, but. . . OW CUT HIGH CUT "6 FILTER Recording: Excellent -e FILTER -10 BASS MIN. Joseph Roddy's liner notes for this album -12 -14 quote a letter from Moritz von Schwind de- 16 TREBLE MIN scribing the first performance of the A Minor -18 Quartet: "Schubert's quartet has been per-

rtIC. 201 401, formed, rather slowly in his opinion, but very FREQUENCY purely and tenderly." This is exactly my opinion of this performance. Schubert's markings do not exactly suggest whirlwind tempos- Look at the response curve Allegro ma non troppo, Andante. Allegretto, for our TX -555 and TX -666 Allegro moderato-but there is such a thing Solid State Stereo Receiv- as too much non troppo. This is a gorgeous performance in every ers. Note the "straight other respect. Those who enjoy the beautiful line" frequency response tone and ensemble of the Guarneri, their sen- . . . no roll -off from 30 to sitive phrasing and expressive style, and don't

20,000Hz . . . barely a 3dB drop from 20,000 mind their lingering a bit over this other- to 70,000Hz! These simple facts should alert worldly music may not mind as much as I did. you to Onkyo's There is also a beautiful performance of the outstanding quality and to the reason whywe guarantee Quartettsatz-no tempo problems here -and product performance to meetor exceed printed specifica- the recording is excellent. E.S.

tions. This also applies to our Scepter SpeakerSystems.. . SCHUMANN: Symphonies: No. 1, in B -flat Mark II Speaker Components . . . and our Tuners and Amp- Major, Op. 38 ("Spring"); No. 4, in D Minor, lifiers. Each is designed and built with infinitecare and pre- Op. 120. New Philharmonia Orchestra, Elia- cision for optimum balance of electronic and musicalfac- hu Inbal cond. PHILIPS 6500 134 $6.98. tors. Speakers carry a 5 year parts/laborwarrantee Performance:More polished than - electronics, 3 years parts/2 years labor. Ex fervent perience "Artistry in Sound" first hand. Your Recording: Good Onkyo dealer has the straight facts. With the sounds of Leonard Bernstein's ele- mentally urgent reading of the "Spring" Sym- phony and George Szell's brilliantly intense 0 1%1 interpretation of the D Minor fresh in my mind, I find the young Israeli conductor Elia- Artistry in Sound hu Inbal hardly in the same ball park when it comes to communicating the essence of these Mitsubishi International Corp./Onkyo Sales Section works. The "Spring" Symphony in his per- 25-19 43rd Avenue. Long Island City, N.Y. 11101 I(212)729-2323j formance comes out rather prim and overpol- ished, and the D Minor somewhat foursquare, with the exposition repeats in the end move- I 24 CIRCLE NO. 47 ON READER SERVICE CARD STEREO REVIEW ments adding length but not variety to the in this vein. The present recording includes string quartet based on native Panamanian whole. The recorded sound and orchestralsome, beginning with an attractivepiece dance tunes, is not my dish of tea (I never playing are excellent. D.H. calledEnnanga (1956),based on the compos- cared for those old Flonzaley Quartet encore er's impressions of African music (and named albums, either), but the tunes are jolly enough. SCRIABIN (orch. Zinger): Fantasia in A Mi- after a native African harp), for strings, piano, The composer has a fine and faithful group nor(seeRIMSKY-KORSAKOV) and harp. Like much of Still's music, this of musicians performing his music, and they work is simple, sensuous, and refined, with have made other recordings of it on the Orion SCRIABIN (arr. Stokowski): Etude in C -sharp pretty melodies, catchy rhythms, and harmo- label. Their readings here are splendid.L.T. Minor, Op. 2, No. I(seeTCHAIKOVSKY) nies that lie in Ravel -Debussy territory. Most important, it is convincing in its gentle state- STRAVINSKY: Le Sacre du printemps(see SKROWACZEWSKI: Concerto for English ment and elegant in workmanship. Best of the Month, page 77) Horn and Orchestra.Thomas Stacy (English Many of Still's songs are nostalgic; they are horn). MAYER:Two Pastels; Andante for all Romantic. Mezzo-soprano Claudine Carl- TCHAIKOVSKY: PianoConcerto No.3 (Allegro brillante) in Eli& Major, Op. 75; Strings.MinnesotaOrchestra,Stanislaw son does a beautiful job (except for her dic- Andante and Finale for Piano and Orchestra Skrowaczewski cond.DESTODC 7126 $5.98. tion) on theSongs of Separation,based on texts by five different black authors, and onA (seeRIMSKY-KORSAKOV) Performance: Splendid Song for the Lonely.Printed texts are on the Recording: Splendid jacket. TheDanzas de Panama,a suite for (Continued on page 128) Desto Records' burgeoning catalog of twentieth-century works has a splendid addition in this sonorous, well -programmed, and beautifully produced disc. Stanislaw Skrowaczew- ski, the Polish -born conductor of the Minne- Available at last! sota Orchestra (formerly the Minneapolis Symphony) is featured both as conductor and composer on the firstside, presenting his Concerto for English Horn and Orchestra. gheiturtwangleriting Thomas Stacy is a superb soloist in this work, which embraces some of the stylistic attributes of the modern Polish school-particularly a fascination with such new instrumental devices as chord -playing on the woodwind ImE. or me noELun solo instrument, maneuveringsinside the piano directly on the strings, and expression- r'x'4"('-tg istically surcharged sounds from the body of the orchestra. The solo part is, for much of the way, straightforwardly lyrical, despite many "far-out" touches in and around it. William Mayer'sTwo Pastels for Orchestra andAndante for Stringsare conducted by Skrowaczewski with the same high degree of polish and conviction he brings to his own Concerto. These Mayer works are highly poetic, direct in the expression of sentiment, and beautifully instrumented. TheTwo Pas- telsare consistently airy and resonant, redo- lent with color, and prevailingly evanescent. TheAndante for Strings,based on the second movement of an early string quartet, is Ro- mantic, gracefully and warmly songful, and THECOMPLETECYCLE has enough dramatic thrust to provide con- DASRHEINGOLD 5IELPGsF)RIED /DIE WALKURE /GOTTERDAMMERUNG trast and climax. L.T. (3 LPs) (5 / (5 LPs) / (5 LPs) Slip -case Edition 19 Records-only $53.98* SMETANA: Orchestral Works (see Best of the MONIER THE SERAPHIM With an all-star international cast that includes Month, page 78) GUIDE TOME RING Ferdinand Frantz, Martha Mod, Ludwig Suthaus, Wolfgang Windgassen and Gottlob Frick. 1611.11119.11NRININIMGLEPlarliopko RECORDING OF SPECIALMERIT AND ...in the set as a free bonus: THE SERAPHIM STILL: Ennanga, for Harp, Piano and Strings. GUIDE TO 'THE RING'- a 1 -LP narrated plot synopsis Lois Adele Craft (harp); Georgia Akst (piano); with musical motifs 'rom the legendary 1953 recordings. ensemble, Louis Kaufman dir.A Song for the *Price optional with dealer. Lonely; Songs of Separation.Claudine Carlson immunimmosasSPECIAL $1.00 OFFER Nossummessos

To acquaint yourself with these recordings (mezzo-soprano): Georgia Akst (piano).Dan- a zas de Panama(performers not listed).ORION

Please send me copy(s) of THE SERAPHIM GUIDE TO 'THE RING'- ORS 7278 $5.98. the plot synopsis/ musical motif disc taken from the Wilhelm Furtwangler con-

Performance: Excellent ducted Ring of the Nibelung. My E check 0 money order in the amount of per each disc is enclosed. Recording. Excellent $

This recording brings back memories of sim- pler times, when American composers were Name

fascinated by the idea of incorporating ethnic materials of various sorts into their music. Address City State Zip

There was a great deal of this in our early

Romantic period. And, indeed, when a com- Note: The complete 19 disc set is available only through your record dealer.

poser uses such material, the result is almost

certain to be some species of Romanticism. California residents add 5% state sales tax. Offer expires 12-31-72.

William Grant Still, one of the United

Angel Records. Capitol Tower -3rd Floor, 1750 North Vine Street; States' elder musical generation (bornin

Los Angeles, California 90028

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on complete systems Export packing 220 er febrile interpretation for Deutsche Gram- ponent at Special Discount Prices, Volts, 50 Cycle merchandising a specialty Free from one of the East Coast's Lead- list of monthly specials. mophon notwithstanding, Bernstein has fixed ing Wholesalers...Your order this score most satisfactorily on discs for us shipped promptly in factory -sealed BEFORE YOU BUY GET A RABSONS on this recording. It is satisfying at the same cartons. Write for quote today. time to know that his personal overview of the QUOTE...YOU'LL BE GLAD YOU DID! 7126 AMBASSADOR S-4 symphonies is now available in tow. P.K. SECURITY INDUSTRIAL PARK BALTIMORE, MD. 21207 RABSONS57 ST. INC. VAUGHAN WILLIAMS:Symphony No. 2, "A 1-301-265-8617 119 West 57th Street, New York, N. Y. 10019 London Symphony." London Symphony Or - Tel. Area Code 212-247-0070 (Continued on page 130) CIRCLE NO. 9 ON READER SERVICE CARD CIRCLE NO. 51 ON READER SERVICE CARD STEREO REVIEW The ADC-XLM aclass by itself."

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AOC AUDIO DYNAMICS CORPORATION Pickett District Road. New Milford. Connecticut 06776 CIRCLE NO. 6 ON READER SERVICE CARD chestra, Andre Previn cond. RCA LSC 3282 support for a film, it must be first-rate. As simply didn't do it as well, I find a number of $5.98. concert music it provides a rather casual but these concertos mainly of documentary value, Performance: Excellent diverting adventure. L.T. with the Vivaldi B Minor and the Torelli A Recording: Excellent Minor and one -movement D Minor concertos WALTHER:Six Concertos for Organ after being the best. Vaughan Williams never decided for sure Italian Masters. Concerto in F Major after E. Power Biggs' performances on a superb whether he wanted his Symphony No. 2 to be Albinoni; Concerto in A Major after Gentili; 1714 Gottfried Silbermann organ in the Ca- heard as a programmatic or an absolute work. Concerto in B Minor after Vivaldi; Concerto thedral of Freiburg are very much worth hear- That's not hard to understand, for the piece in B -flat Major after Taglietti; Concerto in A ing for the resplendent quality of the instru- has so many attributes of both. It is distinctly Minor after Torelli; Concerto in D Minor af- ment and for the organist's usual excellence in symphonic, and yet one has such a strong ter Torelli.E. Power Biggs (Gottfried Silber- choice of registration. Some of the playing sense that it is describing or singing about mann organ in the Cathedral of Freiburg, sounds a little dutiful, but the recorded sound things specifically British-and often urban- Germany). COLUMBIA M 31205 $5.98. is satisfying indeed. I.K. that the title "A London Symphony" is not Performance: Enterprising only credible, but irresistible. When Ifirst Recording: Excellent WARD:Concerto for Piano and Orchestra(see heard this work many years ago-at a time PORTER) when I enjoyed "programs" more than I now During Bach's tenure at Weimar in the teens do -it impressed me a great deal and was for a of the eighteenth century, he spent a consider- COLLECTIONS period my favorite Vaughan Williams sym- able amount of time studying the form of the phony. Since then it has been nudged down- Italian concerto; part of the fruit of this effort RECORDING OF SPECIALMERIT ward by others which strike deeper and with was a series of adaptations of the works ofa ALI AKBAR KHAN: more maturity into musical matters. But I still number of composers, such as Vivaldi, for a Bangla Desh. Raga find it an appealing piece, full of melodies and Bhim Palashree; Raga Misra Shivaranjani. jolly rhythms, plus frequent examples of the Ali Akbar Khan (sarod); Shankar Ghosh (tabla, in composer's ineffable species of British picto- Raga Misra Shivaranjani).CON- rialism. Andre Previn and the London Sym- NOISSEUR SOCIETY CS 2042 $5.98. phony give it a performance that is sensitive Performance: Sublime and yet full of energy. Contrasts are strongly Recording: Superb marked: where Previn has felt that frank out- The first side of this record -the tenth in Ali spokenness was in order, he has let that quality prevail. Whether he occasionally favors Akbar Khan's magnificent Connoisseur Soci- vigor too much over subtlety is a question one ety series-is a veritable "Italian Concerto" might raise. But certainly he puts forth an aes- of Indian music. The great sarodist sets him- thetically consistent and compelling view of self the task of maintaining interest through a the Second Symphony. The orchestra plays twenty -minute piece without any of the easy contrasts obtainable through the interplay of brilliantly, and the recording is first-rate.L.T. the solo instrument with the tabla, or hand- drums. Playing with only the regular drone RECORDING OF SPECIALMERIT obbligatoof the tamboura -a purely "me- VAUGHAN WILLIAMS:Symphony No. 9, in chanical" background-he thus combines the E Minor. Three Portraits from "The England roles of "solo" and "tutti" in one instrumental of Elizabeth."London Symphony Orchestra, tour de force, much as Bach does in his Andre Previn cond. RCA LSC 3280 $5.98. famous concerto for unaccompanied two - manual harpsichord. Performance: Superb As often happens, art thrives on self-im- Recording: Superb posed restrictions-both virtuosity and emo- With this recording of the Ninth, and an al- tive power are at their highest in this deeply most simultaneous release of the Second, impressive creation. Like theRaga Bhim ANDRf PREVIN Palashree,theRaga Misra Shivaranjani on Andre Previn completes his saga of the A remarkable Vaughan Williams series ended Vaughan Williams symphonies, an enterprise the other side of the disc is a powerfully mov- in which he has shown himself to be a remark- single keyboard instrument, organ as well as ing piece, and here Khan is stimulated by the able interpreter of theBritish composer's harpsichord. Johann Sebastian's distant rela- brilliance of his tablaist, Shankar Ghosh, to music. From a listener's point of view, the tive Johann Gottfried Walther (1684-1748) some of the most telling feats of sustained Ninth Symphony is not one of Vaughan Wil- evidently took an interest in the same activity, rhythmic brinkmanshipI have ever heard liams' easier works. Darkly ruminative,it for this composer, lexicographer, and town from him. flows forth in a modestly dramatic stream of organist of Weimar also arranged a series of The recording maintains the standard of lyric ideas, many of them almost pessimistic concertos from Italian originals. By means of superlative realism set by previous Akbar in their mood of understated resignation. Not the manuals on the organ, of course, it is per- Khan releases on Connoisseur Society. As far until the Scherzo movement is there a really fectly possible to register the solo voice ap- as I can tell from the jacket, the record is not definitive change in this ambiance. And at that propriately with one hand and the accompani- being sold for the financial benefit of Bangla point there arrives a kind of martialgrotes- ment with the other, as well as delivering the Desh. But Khan's dedication of these two queriewhich is, in effect, as uncompromising full sound of the "tutti" on the loudest manual ragas to the people of that gallant and hard- as the previous sections. In short, this is not with both hands plus pedal, thereby complete- pressed country is an apt artistic gesture-and an "upbeat" symphony, but one in which the ly maintaining the concept of contrast in the he is a man fully entitled to make it, since his composer seems to have been communicating form of the concerto. own relationship -by -marriage to Ravi Shan- some special wisdoms of his eighty-sixth year, Walther and Bach are reputed to have been kar could serve as a pattern for peaceful coex- without flinching from their sobriety. It is a good friends, and Bach was even godfather to istence between the Moslem and Hindu worlds. beautifully composed work, solid as Gibral- his colleague's first son. Walther, interesting- B.J. tar, full of conviction and fine melody. Previn ly, is best remembered today for hisMusical- gives it a stellar performance. isches Lexicon,a 1732 dictionary of music RECORDING OF SPECIAL MERIT The "Three Portraits" are really a concert and musicians that curiously devoted very lit- VLADIMIR HOROWITZ:Great Romantic suite,adapted by Muir Mathieson, from tle space to Bach. Walther may not have had Piano Favorites.Brahms:Intermezzo in B -flat Vaughan Williams' score for a documentary quite as high an opinion of his cousin as Minor, Op. 117, No. 2; Waltz in A -flat Major, film entitledThe England of Elizabeth.There Bach had of him, and it is true that Walther Op. 39, No. 15. Chopin: Mazurka in F Minor, is much attractive music in the suite, and was far more widely admired in Germany Op. 7, No. 3; Nocturnes in F Sharp Major, Previn treats it with as much elegance and than Bach ever was. Certainly the tables have Op. 15, No. 2, and E Minor, Op. 72, No. 1. understanding as he does the symphony. This since turned, but whether the sources for Liszt:Funerailles; Valse oubliee No. I.Men- is a lesser work, of course, more loosely orga- Walther's concertos (Albinoni's Op. 2, No. 8, delssohn:Songs Without Words: Elegy, Op. nized and more superficially "moody" than Torelli,et al.)have less intrinsic interest than 85, No. 4; Spring Song, Op. 62, No. 6; Shep- Vaughan Williams' usual concert music. As Bach's Vivaldiet al.,or whether Walther (Continued on page 132) 130 STEREO REVIEW EASY TO ASSEMBLE

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NOVEMBER 1972 CIRCLE NO. 45 ON READER SERVICE CARD 131 Sony's got a brand new angle. herd's Complaint, Op. 67, No. 5. Schubert: Impromptu in G Major, Op. 90, No. 3. Schu- Sony's new TC-377 ($289.95) has a reversible slanted base that provides mann: Triiumerei, Op. 15, No. 7. Vladimir the perfect angle for either horizontal or vertical operation.This Sony three -head Horowitz (piano). RCA VICTROLA VICS tape deck is loaded with extra performance and convenient features. Also 1649(e) $2.98. available the Sony TC-366, with TMS. See both only at your Sony/Superscope Performance: Incomparable dealer. Recording Generally satisfactory This collection contains many recordings that Ferrite and Ferrite Heads. Long have already been issued in one form or an- life, high performance, lasts up other on mono LP's, although their genesis is Total Mechanism Shut -Off. Sony's to 200 times longer than per- mainly 78 -rpm's. The dates range from 1946 TMS completely turns off recorder malloy type. (thethreeMendelssohn SongsWithout mechanism when end -of -tape is Words-what happened to the fourth he re- reached. corded?) to the Chopin Nocturne in E Minor from Horowitz's 1953 twenty-fifth anniversary recital.The wonderfully Three -Heads. For Tape/Source sensitive Brahms Intermezzo, Op. 117, No. 2, is here monitoring and wider fre- dated 1955, but this excerpt from a "live" re- quency response. cital (first issued on LM 1957) more likely dates from 1952 or 1953. The Horowitz enthusiast will also want to know that the familiar Brahms A -flat Waltz appears on LP for the first time (it was a 1950 shellac disc), and for the first time in any form there is a 1953 performance of the Schubert Impromptu, Op. 90, No. 3, for which the pianist had until recently refused his approval.Interestingly, thisis played in G Major (the publisher's preference at the time Schubert wrote the work) rather than the composer's original G -flat Major; Horowitz later remade the Impromptu for Columbia (MS -6411) in the original key. The SONY SUPER COPE® interpretations are remarkably similar, though You never heard it so good the later one, perhaps because of its more recent sonics, seems to me to be more clearly 01972 Superscope. Inc.. 8104 Vineland Are., Sun Valley. Calif. 91352. Prices and models subject to change without notice. Consult the Yellow Pages for your nearest Sony/Superscope dealer. Send for tree catalog detailed. So much for the recording details-except CIRCLE NO. 63 ON READER SERVICE CARD that in the apparent interest of keeping a disc such as this before a public unwilling to accept such an old-fashioned thing as a mono record, RCA has reprocessed thesingle - A channel originals into stereo. What results is certainly not bad sonically, but the piano has lost some of its presence, the effect at times is diffused, and, of course, since the sources are FOUR -CHANNEL widely varied in origin, the sound is naturally quite variable. The main thing, however, in this case, is RECEIVER FOR the quality of the playing, which is extraordinarily beautiful. Note that I don't necessarily add electrifying, the usual description of Ho- $23995? rowitz's skills. For, with the exception of the virtuosic Liszt Funerailles, this collection is restricted by and large to lyric, gentle music in which the pianist's incredible ability to make his instrument sing is paramount. This is an aspect of Horowitz's art that is often overlooked, but it is uppermost here. If you want s 7 7 3, -10 to hear why Horowitz is a great pianist, you should not miss this one. I.K.

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It plays back 4 discrete channels through Nobody knows more about sound -on -tape a quadrasonic system when you're ready for the very or has more experience in tape latest stereo advancement. recording than 3M Company. The Wollensak 8060's Logic Control Circuitry includes Find out why at your nearest nri a unique "cueing" feature that makes sure tape is Wollensak dealer. COMPANY 3M Center Saint Paul, Minnesota 55101 NOVEMBER 1972 CIRCLE NO. 73 ON READER SERVICE CARD 133 Ion, and the comparison between Vaughan Williams' evocation of the one and Walton's picture, in Belshazzar's Feast, of the other is illuminating. Walton, in his dazzling but rather superficialpiece,invests soulless sensuality with a high gloss of glamour. Vaughan Williams, a much more inward artist, concentrates on the reality at the heart of evil rather than on the allure of its surface. He does not, like Walton, give the Devil all the good tunes, and a battery of brass bands to boot. He paints him instead with a banal harmony here, a jigging harmony there, and the effect is all the stronger. Let me add at this point, from my own experience, that it is not necessary to be a traditional believer to appreciate The Pil- grim's Progress, any more than it was necessary for Vaughan Williams to be one to write it. His absorption in the subject is total, but it is on the level of universal ethical values, and has nothing to do with the ob- servances of any particular religion. Just as Brahms- whose intention is often betrayed in translation-carefully excluded any reference to Christ from the texts he assembled for A German Requiem, so Vaughan Wil- liams deliberately calls his protagonist Pil- grim instead of Christian. I have used most of this review to talk about the work rather than the performance simply because the latter is so devoted and comprehensive a realization of the former. The large cast is exemplary in expression and vocally all but flawless, demonstrating especially the wealth of good baritones now on the English musical scene. John Noble is extraordinarily moving as Pilgrim-it was his success in.thexole, in a Cambridge Uni- The Pilgrim Christian meets Apollyon, the foul fiend from the bottomless pit versity production in 1954, that diverted him from physics to the professional pursuit of music. Adrian Boult's direction-its method genially, wittily, and at the same time THE PILGRIM'S PROGRESS shrewdly illustratedinthe rehearsal ex- Sir Adrian Boult conducts a devoted and comprehensive cerpts that fill the sixth side-marks a peak realization of the Vaughan Williams of sensitivity and organic cohesion in a long opera career of fine Vaughan Williams perfor- Reviewed by BERNARD JACOBSON mances. The recording is surpassingly clear and natural, and the accompanying booklet (complete with libretto) helpfully annotated. RALPH VAUGHAN WILLIAMSThe Pil- mode, that is to say, is of contemplation This package is a worthy centennial celebra- grim's Progress, now recorded for the rather than action, of a pervasive oneness tion indeed. first time in the centennial year of the com- ratherthanaunityconstructed-even poser's birth, is an opera without any con- wrested-out of dramatic contrast. VAUGHAN WILLIAMS:The Pilgrim's Pro- ventional operatic attributes, based on one It's true that there are contrasts in The gress.John Noble (baritone), the Pilgrim; of the great Christian classics and composed Pilgrim's Progress-most notably the scene Raimund Herincx (baritone), John Bunyan with magnificent conviction by an agnostic. in which Pilgrim vanquishes Apollyon, the and Lord Hate -good; John Carol Case If, indeed, opera appeals to you chiefly as a long scene at Vanity Fair, and, in a gentler (baritone),Evangelist;WynfordEvans frothy entertainment full of amusing contre- vein, the meeting with Mister By -Ends, the (tenor),PliableandSecondShepherd: temps and confusing disguises in moonlit last being essentially comic relief. But all of Christopher Keyte (bass), Obstinate, Judas gardens, or as tempestuous emotional drama this morally negative material fits pretty well Iscariot, and Pontius Pilate; Sheila Arm- peopled with lusty tenors and sopranos who, into the middle third of the work. The vision strong (soprano), First Shining One and as Bernard Shaw put it, "repeatedly call of the Celestial City, from which these other Voice of a Bird; Marie Hayward (soprano), each other's attention to the fact that at last episodes are in the nature of temporary dis- Second Shining One and Madam Wanton; they meet again," then Vaughan Williams' tractions, is the dominant image of the Mor- Ian Partridge (tenor), Interpreter and Super- stage masterpiece may not be to your taste. ality. The narrative emerges from Pilgrim's stition;John Shirley -Quirk(baritone), The composer called it not an "opera" at preoccupation with it, and returns to his WatchfulthePorter; Norma Burrowes all (though he insisted on theater rather than successful attainment of his goal, just as the (soprano), Branch Bearer and Malice; Jo- churchpresentation),but"aMorality work's outward dramatic arc is framed by seph Ward (tenor), Lord Lechery; Richard founded on John Bunyan's Allegory of the the brief Prologue and Epilogue depicting Angas (bass), Simon Magus and Envy; John same name." And I think the clue to under- Bunyan in prison, commending his book to Elwes (tenor), Worldly Glory and Celestial standing and enjoying the work lies in ap- the spectator. Messenger; Delia Wallis (mezzo-soprano), proaching it without the set of expectations Yet, though the radiant music more wide- Madam Bubble; Gerald English (tenor), we bring to our ordinary traffic with opera. ly known from its appearance in the Fifth Mister By -Ends; other soloists; London For Vaughan Williams' piece exhibits about Symphony is the fundamental business of Philharmonic Choir andOrchestra,Sir the same relation to the normal conception the opera's score, it is worth noting that the Adrian Boult cond. (Side Six: "Sir Adrian in of opera as his Pastoral Symphony does to composer's depiction of evil i; powerfully Rehearsal").ANGELSCL 3785 three discs the normal conception of symphony. Its vivid too. Vanity is a city much like Baby - $17.94.

134 STEREO REVIEW The Base Performance of the BOSE 501 Did you know that the one inch base on the bottom os the As a consequence of this variation with position, the per- BOSE 501 DIRECT/REFLECTINGespeaker is essential for the formance of every 'bookshelf' speaker is at best a compro- clarity of its sound? It is-but for a very different reason mise. Does it sound better on a free standing shelf, on the than you might expect. floor, along the wall, in the corner, or, is it designed to sound The surfaces immediately adjacent to any loudspeaker reasonably well in all posiTions and therefore, not yield affect the balance of frequencies that it radiates into the optimum performance in any? This is a fundamental acoustical room. You have no doubt discovered this in changing the problem inherent in the concept of a 'shelf' speaker and position of your speakers at home. Variations in the location independent of designer cr manufacturer. of any speaker relative to adjacent wall or floor surfaces And this is where the base of the 501 comes in. The base can cause gross variations of the frequency balance of the itself has nothing to do with the radiation of sound but it was sound radiated into the room, in the manner shown in Figure 1. designed so that you must place the 501 on the floor. In This is often more variation in sound than you get between addition, you are instructed to place it along a wall. And we speakers of widely differing price ranges. don't allow you to place it in a corner! Our knowledge of your placement of the 501 gives us a design advantage that directly converts to a superior per- Fig. 1 Two frequency response curves, measured at a fixed microphone location, of a good quality conventional formance for you. The 501 is designed to optimally couple to speaker p aced at 2 different locations in the same room. the adjacent floor and wall surfaces. ao d b Admittedly, it is a rather autocratic approach for a designer

35 to tell you how to place your speaker. However, we feel

30 about the 501 as we do about the now famous 901, with which it shares many features. We would much prefer that you buy 25 a conventional speaker than to use ours improperly-even 20 if it still has an edge over the competition when so used. 15 Your enjoyment and our reputation are involved with every 10 performance. 5

0 100 1000 10000 20000 20 FRAMINGHAM MA. 01701.Aira7MAE FREQUENCY IN CYCLES PER SECOND You can hear the difference now.

systems under "It has not been publicized and itislittle known to the general public that BOSE Corporation for many years, has been involved in the research and design of the most advanced electronic contracts I rom NASA, the Department of Transportation and other government agencies.It has long been rumored that BOSE Corporation's top flight team of scientists and engineers has been devoting significant research to consumer electronics. We have it on reliable information that sometime this fall they will introduce their first electronic product to the consumermarket-a highly sophisticated power amplifier." NOVEMBER 1972 CIRCLE NO. 75 ON READER SERVICE CARD 135 of London, David Munrow dir.ARGOZRG 673 $5.95. Performance: An unqualified success save on everything in Recording: Superior This collection of vocal and instrumental pieces dating from between 1137 and 1250 bears the subtitle, "Songs of Love and War." The conception is excellent, the realization faultless. The repertoire, which is consistently interesting, involves Troubadour, Trouvere, Minnesinger, and twelfth -century Latin songs, as well as motets and polyphoniccon- ducti, and for variety there are several anon- ymousthirteenth -centuryFrench dances. There is much variety in the texts, and two very famous songs are included: Walther von der Vogelweide's description of the Holy 1973 CATALOG Land, the Paliistinalied, and Richard Coeur- de -Lion's Ja nus hons pris, in which he laments the fact that nobody has come to his prison to ransom him. There is also Gaucelm Faidit's lament on the death of Richard in 1199, Fortz chausa es, Chfitelain de Coucy's Li noviaus tens (in which the departing cru- olson sader sings of his love and begs to "hold her IN YOUR LIFE once naked in my arms before I go overseas"), F OR THE ELECTRONICS and even a French recruiting song, Cheva- wing lier, mull estes guariz, the refrain of which AR NOW... AKM runs, "He who goes with Louis will never MABEE BOGEN have fear of Hell; his soul will go to Paradise CONCORD the only catalog DUAL 14. TELEXPIE Swat, FM OR Re*. with our Lord's angels." FLECTRO-VOMM offering a wide ANE.? EISNER selection of the Not everything is directly related to actual GARRARD events of the Crusades, but most are close KOSS BEST OF THE MOTOROLA enough to fit under the rubric. But why quib- FAMOUS BRANDS ble? This is a truly fascinating document, as much for the historical connections and in- CALL -NEWANNUAL sights as for the excellent selection of medi- evalmusic.Allthe performers- soprano AKAI Christina Clarke, countertenors James Bow- AUDIO RESEARCH man and Charles Brett, tenor Nigel Rogers, CONCORD and baritone Geoffrey Shaw, in addition to DUAL eightinstrumentalistsplaying,atvarious DYNACO times, some sixteen different instruments- ELECTRO-VOICE are exceptionally sensitive and vital. David DEACORE SWITCNERAET FISHER Munrow, who will be best remembered for his TEAC TELEOYNE GARRARD musical contribution to the Elizabeth I and INESTOICOMJUSE IMOLLENSAK KOSS Henry VIII television series, presents this And AD A., OLSON program in so stimulating a manner that it can PIONEER be heartily recommended even to those not SANYO normally enthusiastic about medieval music. OADA ELA,Au TEAC The sonic reproduction, furthermore, is su- TELEDYNE perb. Try it - you'll like it. I.K. and many others! PERCUSSION FROM DENMARK. Varese: OLSON YOUR COMPLETE AUDIO BUYING GUIDE EXCLUSIVES! Ionisation (1931). Norgaard: Waves (1969); See special Rondo (1954). Lylloff: Places (1971). Bent Send today for your FREE '73 Olson catalog. It's values soldproductsand including only by Olson, Lylloff (percussionist); Aarhus Music Con- your handy source for everything in audio and our all -new DYNE stereohi-fi line!TELE- servatory Percussion Ensemble (in Varese); tape recording. Save on complete stereo systems Copenhagen Percussion Ensemble; Royal and the best of the famous make components. Danish Theatre Orchestra Strings, Bent Lyl- See (in full color!) the very newest in 4 -channel SEE THE NEWEST IN loff cond.CAMBRIDGE CC2824 $5.98. equipment. And-get our special $$-saving prices 4 -CHANNELOlson Performance: Fascinating on components systems of your own choice. Send STEREO Recording: Excellent for your copy ... NOW! mail coupon now! Considering the highly original percussion r scoring Carl Nielsen incorporated into the OLSON ELECTRONICSDept. FZ classic symphonic tradition, itis surprising 260 S. Forge St., Akron, Ohio 44327 that intensive exploration of the percussion more of the b Rush FREE Olson 1973 catalog to: medium by Danish composers has not taken place until the 1960's. Forty -year -old Bent in stereo hi-fi Name Apt Lylloff, who is featured as soloist, conductor, and recording Address and composer on this disc, has unquestiona- City State Zip bly provided a major stimulus for this explora- OLSON tion, at least judging by these two richly imaginative scores by Per NOrgaard (b. 1932), ELECTRONICS Name Apt considered by many the most substantially Address gifted of the Danish composers who have City State Zip matured since World War II. L (Continued on page 138) CIRCLE NO. 46 ONREADER SERVICE CARD STEREO REVIEW Scott audio systems arefully integrated todeliver the best sound New Scott fully integrated audio component systems

AM -FM stereo IHF *Watts per Matching Frequency Power handling receiver sensitivity channel speaker response capacity, watts 35 Hz to D-41 35 357B I 2.5 uV 20,000 Hz I

I 30 Hz to 1.9 uV 42 D-51 20,000 Hz 60 30 Hz to 387B I 1.9 uV 57 D-51 20,000 Hz 60 30 Hz to 477 I 1.9 uV 78 11 D-61 20,000 Hz 75 28 Hz to I 100 525 I 1.7 uV 100 20,000 Hz Rated with both channels driven into 8 ohms One superiority of Scott component audio systems selected so that the receiver has sufficient power over others is that our amplifiers, receivers and to drive its matched speaker pair to more than speakers are designed from the drawing board up adequate listening levels, yet not so much as to to complement each other precisely in dynamic cause damage to the speaker or drive it into impedance and power transfer characteristics. This serious distortion. means that when you buy one of the receivers You'll know the implications of this after listed above with its matching controlled im- you've visited your Scott dealer to hear pedance speaker system, you know the en- the fully integrated Scott audio sys- semble will reproduce sound better than a tems he has on display. Or you may component system selected at random.In receive complete product informa- each Scott integrated system the tion by circling our number on the components are carefully reader response card.

E3where SCOTT innovation is a tradition H H Scott, Inc 111 Powdermil I Road. Maynard, Mass 01754

NOVEMBER 1972 CIRCLE NO 100 ON READER SERVICE CARD 137 Waves is a solo piece, dedicated to and played by Lylloff, and is oddly hypnotic in its effect, which is produced by various changes made over a basic pulse. The result, for this listener, is a kind of aural counterpart to one of Maurits Escher's optical -illusionprints. Rondo for six players is as varied and unexpected in its course and its events as Waves is determined. The seemingly random and almost inaudible opening paves the way for a series of related sonic events comparable to a passing storm of hail, sleet, and wind, which then recedes into the aural distance in a haunting and eerie fashion. Lylloff's own piece, Places, is not as gripping as the two by NO- gaard; it strikes this listener as an attempt to ...t..2db 30-15.000 combine some of the procedures of Ives' The DISPERSI Unanswered Question-the endlessly repeat- Uniform power radiation over 47 steradians. ed slow string theme-with the percussive POWER OUTPUT: and rhythmic elaborations characteristic of 103 db SPL in 4,000 cu. ft. room M es siaen. with 50 watts input. The Varese classic Ionisation, for me, still DISTORTION: Function of frequency and power /evel says more in its four minutes and twenty sec- lowest at 25 Hz of any speaker measured. onds than any of the other works, which take SPEAKER COMPLEMENT: twice as long and more. Mr. Lylloff's group of Nine 21/2" diameter cone type tweeters. 5" diameter mid range, and 10" diameter Aarhus students, recorded at a public per- high excursion woofer. formance, come through with a wonderfully ENCLOSURE: clean and crisp performance, and the some- Dodecahedron shaped (21/2 cu. ft.) tuned to 27 Hz resonance. Maximum width 22", what dry ambiance of the recording does height 30" on pedestal. Weight 45 lbs wonders for the details of Vanese's score. NOMINAL IMPEDANCE. The other pieces were recorded with Co- 8 ohms Price: $325.00 per uni penhagen studio facilities, and wonderfully For more detailed information, write. well. You can count on Cambridge Records, whose releases are modest in quantity but high desify in quality, to make each of their productions I accustq not just another marketing scheme but a truly P.O. Box 2722, Palos Verdes, CA 90274 worthy and stimulating musical and sonic T lePh05.1"- event. D.H. CIRCLE NO. 15 ON READER SERVICE CARD MICHAEL RABIN:In Memoriam.Kreisler: ABOUT YOUR SUBSCRIPTION Caprice viennois; The Old Refrain. Dinicu- Heifetz: Hora staccato.Massenet:Meditation YOU subscription to STEREO REVIEW iS start sending you two copies of STEREO from"Thais."Sarasate:Zigeunerweisen. maintained on one of the world's most mod- REVIEW each month. Other examples of com- Paganini-Kreisler: Moto perpetuo. Rimsky- ern, efficient computer systems, and if you're binations of names that would confuse the Korsakov-Heifetz: The Flight of the Bumble- like 99% of our subscribers, you'll never computer would include: John Henry Smith bee.Saint -Satins: Introduction and Rondo have any reason to complain about your sub- and Henry Smith; and Mrs. Joseph Jones and Capriccioso. Michael Rabin (violin); Holly- Mary Jones. Minor differences in addresses scription service. wood Bowl Symphony Orchestra, Felix Slat- We have found that when complaints do can also lead to difficulties. For example, to kin cond. SERAPHIM S-60199 $2.98. arise, the majority of them occur because the computer, 100 Second St. is not the same as 100 2nd St. Performance: Virtuosic people have written their names or addresses Recording: Good differently at different times. For example, So, please, when you write us about your subscription, be sure to enclose the mailing it your subscription were listed under "Wil- The well-worn concert favorites offered in label from the cover of the magazine-or else liam Jones, Cedar Lane, Middletown, Ari- this reissue (of Capitol 8510, originally re- copy your name and address exactly as they leased in 1960) are played by the late Michael zona," and you were to renew it as "Bill appear on the mailing label. This will greatly Jones, Cedar Lane, Middletown, Arizona," Rabin with a warm tone and virtuosic aban- reduce any chance of error, and we will be don. However familiar these pieces may be, our computer would think that two separate able to service your request much more subscriptions were involved, andit would the technical challenges they pose to the fid- quickly. dler should not be underestimated. Rabin proves equal to them in all instances. This is a worthy souvenir, capturing a fine artist at the top of his form. The accompaniments are Lowest of the LOW! rather discreet; the recording is satisfactory. G J . Shamelessly Low Prices... As one of America's largest wholesale distributors, we're guilty RECORDING OF SPECIAL of shamelessly low prices. Our buying volume has made our MERIT prices the lowest. We seriously doubt you can find one lower... SPANISH MUSIC FOR HARPSICHORD and that we're proud of. What's more, at S.C.A. you can select AND OTHER INSTRUMENTS. Folio:Con- from hundreds of NEW, Factory Sealed, Full Warrantee, Brand certo for Harpsichord, Flute, Oboe, Clarinet, name, Hi-Fi Stereo components. If its in the Hi-Fi, Audio field... Violin, and Cello.Orbon:Tres Cantigas del we have it! Rey (Alfonso X, el Sabio); Partitas.Selma y Salaverde:Canzona a 4; Gagliarda a 2; Can- Write for a lowest of the low quote ... we're not ashamed. zona per soprano solo; Balletto a 2 e a 3; Corrente a 3; Corrente a 4; Canzona a 3. Correa de Arauxo:Quinto tient° de septimo tono. Rafael Puyana (harpsichord); Heather STEREO CORPORATION 01AMERICA Harper (soprano, in the Orbon Tres Cantigas); 212 2 UTICA AVENUE, BROOKLYN, NEW YORK 11234 (212) 338.8555 variousinstrumentalensembles;Charles Mackerras cond.(inFalla);Antal Dorati

I 8 CIRCLE NO. 65 ON READER SERVICE CARD STEREO REVIEW cond. (in Tres Cantigas). PHILIPS 6505 001 Pinchas Zukerman (violin); Lawrence Smith but really by Kreisler." Pinchas Zukerman $6.98. (piano). COLUMBIA M 31378 $5.98. plays the opening Liebesfreud with a certain want of intimacy, but otherwise captures the Performance: Sparkling Performance: First-rate nostalgic charm of these pieces remarkably Recording: Wonderfully vivid Recording. Excellent well for a young representative of the jet age. In addition to the Falla Harpsichord Concer- Whatever reservation one may have about a His technically brilliant, warm -toned playing to, a twentieth-century piece of some charm, meal consisting of a varied assortment of par- disposes of the violinistic challenges with airy and Orb6n's skillful but somewhat neutral faits preceded and followed by generous help- lightness and even some welcome touches of Partitas of 1960, what this delectable record ings of Viennese Sachertorte,its musical humor in Leclair and Couperin. It should be offers is a magical evocation of antiquity. The equivalent-this collection-may be enjoyed noted that the Mendelssohn and Albeniz second side is devoted entirely to music by without any nutritional concern whatever. It selections(listedabove as Mendelssohn- two Spanish composers of the seventeenth brings together an unusual number of the Kreisler, etc.) are indeed by those composers, century, Bart°tome de Selma y Salaverde and clever "Classical" pieces Fritz Kreisler com- originally written for the piano; but these Francisco Correa de Arauxo. Selma y Sala- posed early in his career, attributing them to Kreisler transcriptions make them sound as if verde contributes a sequence of ensemble Francoeur, Pugnani, and other departed eigh- they had been conceived for the fiddle. Good dances and canzonas and Correa a keyboard teenth -centurymasters.Thesearelisted accompaniments and warm, well-balanced tiento (something like a ricercar), and both are above as, for example, Leclair (Kreisler), recorded sound round out the list of this re- richly endowed with that touching, plangent which is to be read as "said to be by Leclair cording's virtues. GJ. sweetness of expression peculiar to composers of Spain's musical golden age. But the contemporary side of the disc has its share of "oldness" too, for the Tres Canti- gas by the forty -six -year -old Julian Orb& are a free reworking of three of the famous Canti- gas de Sancta Maria by Alfonso the Wise, the thirteenth -century king of Leon and Galicia. This is antiquity viewed from a modern angle, but with affection and respect. Even purist devotees-like me!-of "authentic" perfor- WriteforaArs init. mance should be able to derive considerable pleasure from them, especially when they are as beautifully sung as they are by Heather Dixie HiaAnd sois Harper on this record. Rafael Puyana is the one performer heard in all of these varied pieces, and his playing has its accustomed measure of brilliance and Wholesaleeverybody incisive sensitivity. Incisiveness is perhaps the characteristic most needed in the Falla Concerto, which is a kind of Spanish counter- Catalog. else. part to Jangek's equally idiosyncratic Slavic In the new Dixie catalogue you'll find all Acoustic Research is just one of about 50 compositions for piano and chamber ensem- brand names you'll find in the new Dixie ble. It is masterfully played here, with a fine the names you recognize, and you'll pay less for them than anywhere else. catalog. group of instrumentalists well directed by That's a pretty gutsy statement, but we've If you're familiar with AR, there's no need Charles Mackerras. been backing it up for over 14 years. to elaborate. If you're not-let's just say For the older music on side two, Puyana's And it's paid off. We started out gear- they are one of the few companies big instrument and "grand -manner" playing ing our efforts to strictly Hi-Fi buffs who still believe in old-fashioned may be thought a shade overdrawn. But he -and their loyalty projected us in- things like"pride"and"craftsmanship': does keep his tendency toward flamboyant to the top five wholesale distribu- In fact, after 15 years of imitation by registrations pretty well under control, and his tors in the country. other manufacturers, the acous- Now we've expanded our ware- tic suspension speaker sys- involvement in the music is never in doubt. tem used in the original Moreover, the presence of David Munrow - housefacilitiesto60,000 square feet and we want to AR -1(and currently in director of London's superb Early Music get our new catalog in- the AR -3a and AR -1W) Consort-to play recorders and dulcian may to everybody's hands. is still considered by au- have imposed a greater degree of stylistic We've even re -written thorities to achieve the fidelity on the performances than they might thetechnical lan- cleanest, least distorted otherwise have had, and even the nonspe- guage so it will also bass response ofall cialists in the ensemble, like that admirable make sense for peo- speaker systems. violinist Raymond Cohen, succeed in subor- ple who are just getting As for their receivers, interested in stereo or amplifiers, tuners and dinating their predilection to modern vibrato the new four -channel turntables, they can sup- to the demands of seventeenth -century en- equipment. ply you with a list of semble music. Once you receive the "who's who" in music For the most part, this is a record of attrac- catalogue, you can or- that have complete AR tive pieces that do not pretend to be great. Its der by mail or by calling systems in their homes. unpretentiousness is a further point in its fa- (301) 937-3090. We stock One such gentleman is vor-and a final one is the absolutely ravish- every item in the cata- Arthur Fiedler,(left) conductor of the Boston ing quality of the recorded sound. BJ. log, and your order will be promptly shipped in Pops Orchestra. That factory -sealed cartons. one name alone is worth RECORDING OF SPECIAL MERIT Ifyou want a quote more than we could on something that's not ever tell you about AR. PINCHAS ZUKERMAN:Plays Fritz Kreisler. listed, we'll get one out (P.S. Our new catalog Kreisler: Liebesfreud; Polichinelle; Liebesleid. to you the same day. will also have the new Martini(Kreisler):Andantino;Preghiera. We also honoraftDOE AR -7 speaker.) Couperin (Kreisler): La Precieuse; Chanson Bank Americard NE- 10 40 Bacon Drive, Louis XI II and Pavane. Leclair (Kreisler): and Master Charge. Beltsville, Maryland 20705 Tambourin. Boccherini (Kreisler): Allegretto. CIRCLE NO. 17 ON READER SERVICE CARD Dittersdorf(Kreisler): Scherzo. Porpora (Kreisler): Scherzo. Francoeur (Kreisler): Sici- lianoand Rigaudon.Pugnani(Kreisler): Tempo di Minuetto. Mendelssohn-Kreisler: Lied ohne Worte. Albeniz-Kreisler: Tango. NOVEMBER 1972 139 STEREO REVIEW MARKETPLACE

NON -DISPLAY CLASSIFIED: COMMERCIAL RATES: For firms or individuals offering commercial productsor services, $1.50 per word (including name and address). Minimum order $15.00. Payment must accompany copy except when ads are placed by accredited advertising agencies. Frequency discount: 5% for 6 months: 10% for 12 months paid in advance. READER RATE: For individuals with a personal item to buy or sell. $1.00 per word (including name and address). No minimum! Paymentmust accompany cop DISPLAY CLASSIFIED:One inch by one column, $215.00. Two inches by one column, $430.00. Column width 21/4". Advertiser to supply film positives. Please write or phone for frequency rates. GENERAL INFORMATION: First word in all ads set in bold caps at no extra charge. All copy subject to publisher's approval. All advertisers using PostOffice Boxes in their addresses MUST supply publisher with permanent address and telephone number before ad can be run. Closing Date: 1st of the 2nd month preceding cover date (for example, March issue closes January 1st). Send order and remittance to: Hal Cymes, STEREO REVIEW, One Park Avenue, New York, New York 10016. RENT 4 -track open reel tapes -all major labels -3,000 dif- EQUIPMENT ferent -free brochure. Stereo-Parti, 55 St. James Drive, FOR SALE Santa Rosa, California 95401. SCOTCH RECORDING TAPE, lowest prices. TAPE CEN- WRITE for quotation on any Hi-Fi components: Sound Re- JAPAN HONG KONG Directory. World products informa- TER, Box 4305, Washington, D.C. 20012. production Inc., 460 Central Avenue, East Orange, N.J. tion. $1.00 today. Sekai Shogyo Annai, Hillyard, Wash. 07018. 201-673-0600. OLD Radio Programs Catalog. $1.00 (refundable). The 99207. Radio Vault, Box 9032SR, Wyoming, Michigan 49509. NEW low prices on all stereo components and tape record RARE SOUNDTRACKS -Mint Condition. Many valuable. ers. Write for our quote. Stereo Corp. of America, 2122 MEMOREX recording tape, audio & video. Lowest prices; List 10 cents. Lowell, 2160 Fifth, Bay City, Michigan 48706. Utica Avenue, Brooklyn, New York 11234. write for free information. BERGETZ SYSTEMS CO., Box 1181, Melrose Park, III. 60161. FILMS/Original Casts, rare 0/P's, List 25 cents. Katrina STEREO COMPONENTS, Appliances, low quotes, $1.00 for Bradford, Box 9443, Berkeley 94709. catalog. Famco Electronics, 184-05 Horace Harding Ex- LIVE OPERA PERFORMANCES on reel-to-reel tapes. In- pressway. Flushing, New York 11365. credible performances dating back 40 years. From Pon- LOWEST quotes Dynaco kits & wired, AR lines, Hi-Fi, selle-Callas. Catalog: Mr. Tape, Box 138, Murray Hill RECORDS Roslyn, Pa. 19001. Station, N.Y.C. 10016. ELECTRONIC TUBES, Semiconductors, Equipment and -OPEN REEL STEREO TAPE BUYERS! - SHOW ALBUMS, Rare, Out -of -Print LP's. Large list.16 Parts, Electro-Voice Quad Stereo, Lab matched tubes. cents. Broadway/Hollywood Recordings, Georgetown, Finest quality. Serving TV/Hi-Fi Servicemen, Engineers, At last! An open reel compilation, including titles, songs, etc., of 95 long play, 1%-3 hour albums, Conn. 06829. and Industry for 28 years. Advise needs. Write for Catalog. by American Airlines, Continental Airlines, and "HARD To Get" records -all speeds. Record Exchange, Barry Electronics, 512 Broadway, New York, N.Y. 10012 Ampex 4 track stereo tapes (includes a group of 842 Seventh Avenue, New York, N.Y. 10019. (212) 925-7000. "sound effects" tapes by Audio Fidelity). Send $1.00 - and we will also mail you a NO fair trade laws in D.C. Write for discount prices on your 140 -page Harrison stereo tape cata- PROTECT your records -Poly sleeves for jackets 5 cents; choice of components. District Sound, Inc., 2316 R.I. Ave. log - so you'll get both for $1.00- Inner sleeves 4 cents; Poly lined paper 10 cents; white N.E.. Wash., D.C. 20018. (202) 832-1900. and this $1.00 is refundable on your jackets 25 cents. Postage $1.00. Record House, Hillburn, first $10.00 purchase of open reel N.Y. 10931. DIAMOND NEEDLES and Stereo Cartridges at Discount stereo tapes at our 30% discount! prices for Shure, Pickering, Stanton, Empire, Grado and LIKE new LP's and prerecorded tapes. Catalogue 75 cents. SCOTCH MAGNETIC TAPE (USED) Records, Hillburn, New York 10931. ADC. Send for free catalog. All merchandise brand new 4160, 1 MIL POLYESTER, 3600 FT. ON 10% IN and factory sealed. LYLE CARTRIDGES. Dept. S, Box 69 r iBERGLASS REELS. USED ONCE, $1.99, 1800 FREE 162 -PAGE CATALOG offers over 1,000 fine record- Kensington Station, Brooklyn, New York 11218. F T.,7 IN. REELS. 99! - GUARANTEED TO ings of Renaissance, Baroque, Classical, Romantic and PERFORM AS GOOD AS NEW OR MONEY RE. Modern music. All late stereo recordings. Highest quality DISCOUNT PRICES on Stereo Components and Systems UNDER. (BULK, NO BOX). USED 10% IN. iBERGLASS REELS (SMALL HOLE) 504. NEW at budget labelprices.Available only by mail from For lowest cost, fastest service, write for our quote and or- HINGED BOXES. 10'/, IN., 394, 7 IN., 94 (ALL der form. West Coast customers: Save on shipping costs PLUS POSTAGE BY WEIGHT & ZONE) MUSICAL HERITAGE SOCIETY, Box 932 HS, New York, N.Y. 10023. and time. Redwood Stereo Co., P.O. Box 2794, San Rafael. SAXITONE TAPE SALES Calif. 94902. (415) 472-2255. RARE Deleted Motion Picture Soundtrack and Show Al- 1776 Columbia Rd., N.W. Washington, D.020009 LOW, LOW prices, on audio equipment. All factory fresh. bums. Steiner, North, Goldsmith, Waxman, Young, Bern- 1st quality items. Trained personnel at your disposal for stein. Styne, etc. "ONLY THE BEST." Send 25 cents for audio consultation. For free catalogs or information write LEAR 8 track blank cartridges. 36 minutes 75 cents, 80 new quality catalog to ReCollections, P.O. Box 197, Roselle Park, New Jersey 07204. to: Mr. A, Dept. AMS at SMG Distributors, Inc., 46-35 54th minutes 90 cents. All minutes. SG Cartridges, 2709 Armory Road, Maspeth, New York 11378. Wichita Falls, Texas 76302. MINT Hard to find Show and Soundtrack Records. List 10 BUY WHOLESALE, Kenwood, AR, BSR, Dyna, Koss, RENT stereo (or) monaural musicassettes 90 days: $2. cents. Music Minstrel, P.O. Box 15271, New Orleans, La. Shure, etc. Write for prices. Dealers invited. Arkay Majestic, 9651 Foxbury, Pico Rivera, California 90660. 70115. National, 1028-01 Commonwealth, Boston, Mass. 02215. BASF Special Mechanics (jamproof) cassettes: C-60... 78 CLASSICAL Discs our specialty. Send wants or sub- AUDIO FURNITURE? Ask for Jerry Joseph of Toujay $1.39, C-90... $2.09, C-120... $2.69. 10 Lot, deduct 10%. scribe to our monthly lists. $1 year subscription. Gramatan, Box 711, Rye, New York 10580. Designs at Hi-Fi Expo, 443 Park Avenue South, NYC 10016. Sent Postpaid. For Chromdioxid write: DTR Sound. 2575 Tues.-Fri. 11-5, Sat. 11-4. Full Line brochure 25 cents. Main, Littleton, Colorado 80120. COLLECTORS JOURNAL -valuable data, record mart. WESTCOAST-lowest prices -factory sealed car- RADIO reruns catalogs $1.00 (refundable). Box 724 -SR, Twelve issues -$3.00. RECORD RESEARCH, 65 Grand tons -fast service -write for quotes on most major Redmond, Wash. 98052. Ave., Brooklyn, N.Y. 11205. brands -Western Sound Components, 2901 Fulton, STEREO TAPE RENTAL for particular people. Free cata- SOUNDTRACKS rare-o.p. Lynn Hunt, 8890 Country Club Berkeley, CA 94705. log. Gold Coast Tape Library, Box 2262, Palm Village Pl., Spring Valley, Calif. 92077. Station, Hialeah, Fla. 33012. JAZZ LPS, many out -of -print. 25 cents for list. Craig Re- OLD Radio Shows catalog 50 cents. TBOR, Box 1692B cording, 700 W. Main, El Dorado, Ark. 71730. F.D.R. Station, New York 10022. FREE monthly stereo record bargain list. Al Roseman, P.O. BASF RECORDING TAPE...Prerecorded Stereo Tape. Box 16083, Phila., Pa. 19114. .f Postpaid. Stereotone-Tapes, Box 657,Sterling,Illinois SOUNDTRACKS, Show Albums, Rare. Send to: Show NOW 61801. Music, Box 12, Wood River, Illinois 62095. OPERA tapes -historical performances of past 40 years. "RARE" Soundtracks. Box 8270, Santurce, Puerto Rico AVAILABLE! Unbelievable treasures and rarities.Free catalog. Ed 00910. Rosen, Box 97, Freeport, N.Y. 11520. THE WORLD'S JO STAFFORD and PAUL WESTON present JONATHAN MOST FABULOUS OLD Radio Programs on cassettes or reels. High quality, AND DARLENE EDWARDS IN PARIS. Vocal artistry and TURNTABLE! low prices, thousands to choose from, professional equip- pianistic pyrotechnics at their most horrible. A perfect gift ment, catalog 50 cents. Remember Radio Inc., Box 2513, for discriminating music lovers! Order: LSM Industries, WRITE NOW FOR INFORMATION! Norman, Okla. 73069. Box 3168, Los Angeles, Calif. 90028. $4.95 -California add GOLDEN AGE RADIO -Your best source for radio tapes 5% tax. Box 8404-T, Olivette, Missouri 63132. DISCONTINUED RECORDS. Classical, Popular, lists. 7/OFAMERICAf4stde BASF, SCOTCH, Memorex, TDK reels, cassettes, 8 -tracks. Steinmetz, One Seaview Avenue, Massapequa, New York 3328 E. Bellaire Way, Fresno, Calif. 93726 11758. Lowest Prices. S&S Audio, Box 2065, Champaign,II . 7817 79th St., Glendale, New York 11227 61820. ANY RECORD, ANY TAPE AT LOWEST DISCOUNT (OVERSEAS) 6456 Langenselbold, PRICES. EnrollinSaturnian Record Club. $1Lifetime Wachtersbacher Str. 19, West Germany RENT any cassette or open reel. Prerecorded Tape. All labels catalog 75 cents. Tape & Time, 1116 4th Ave. N., membership fee brings you a Free Schwann catalogue and Sauk Rapids, Minnesota 56379. forms for immediate ordering of any record at unmatchably low prices. No minimum, no limit. Write Saturnian Record CASSETTES -Blanks, spoken -word and language, plus Club, 507 5th Avenue, N.Y.C. 10017, Box STR. novel accessories. Send 10 cents in stamp or coin for Brand New 1973 Catalog. Cassettes Unlimited, P.O. Box TAPE AND RECORDERS 13119S, Pittsburgh, Pa. 15243. PERSONALS 1930-1962 RADIO Programs on Tape. Huge Catalog! Sample recordings! $1.00, Refundable!! AM Treasures, Box WANT correspondents from New York, Massachusetts, RENT stereo tapes $1.50 week postpaid -NEW catalog 25 192J, Babylon, N.Y. 11702. cents. Tape Library, Box 8126, Washington, D.C. 20024. New Hampshire, to discuss music, swap tapes, make RECORD, DUB, EDIT; interconnect three recorders in your friends. Travel to Eastern US each summer. Mr. & Mrs. OLD Time radio programs -all your old favorites. 50 cents music system. Dubie Electronics -91, 1223 East Louisiana, Jean Simard, 2630 rue Mont Joli, Ste -Foy (Quebec 10e) for catalog. Robert Mussehl, R. 1, Brooklyn, Wisc. 53521 Norman, Okla. 73069. Province of Quebec, Canada. 140 STEREO REVIEW MAKE FRIENDS WORLDWIDE through international correspondence. Illustrated brochure free. Hermes, Berlin 11, GOVERNMEIT SURPLUS Germany.

EMPLOYMENT OPPORTUNITIES JEEPS Typically From 853.90...Trucks From $78.40... Boats, Typewriters, Knives, Airplanes, Clothing, Multi - meters, Oscilloscopes, Transceivers, Photographic, Elec- Let us know 6 to 8 weeks in advance so that you ELECTRO-ACOUSTIC DESIGN ENGINEER. We desire to tronics Equipment. Wide Variety, Condition. 100,000 Bid won't miss a single issue of STEREO REVIEW. lingage for mutual benefit someone who has the urge to Bargains Direct From Government Nationwide. Complete Attach old label where indicated and print new create and see produced elegant loudspeakers and loud- Sales Directory and Surplus Categories Catalog $1.00 address in space provided. Also include your mail- speaker systems. You can satisfy your urge for creativity (Deductible on Orders From Separate Included Catalog). ing label whenever you write concerning your sub- Surplus Service, Box 820-L, Holland, Michigan 49423. and our needs simultaneously. Prime requisites are imagi- scription. It helps us serve you promptly. nation and a love of music coupled with a background in physics, and engineering discipline or mathematics. A de- Write to: P.O. Box 2771, Boulder, Colo. 80302, gree in one of these fields is desirable but not mandatory, TUBES giving the following information. as we also treasure the supremely self-educatedin- 0 Change address only. dividual.Experienceinthefieldofapplied musical TV and Radio Tubes 36 cents. Free 48 page color catalog. 0 Extend subscription. 0 Enter new subscription. acoustics is of high value. Send resume and salary require- Cornell, 4215-H University, San Diego, California 92105. Ill 0 5 years $261210 3 years $18 13)0 1 year $7 ments in complete confidence to: Harold Boyce, V.P. In- 0 Payment enclosed (1 extra issue per yr. as a dustrialRelations,Electro-Voice,Inc.,600 CecilSt.. Buchanan, Michigan 49107. PRINTING BONUS) 0 Bill me later. AFFIXL ABEL, BUSINESS OPPORTUNITIES PRINTED envelopes. Samples, Price List. Anderson En- r c.0 velope Co., P.O. Box 606A, Anderson, Indiana 46015. I 1' Oco I MADE $40,000.00 Year by mailorder! Helped others make RECYCLED PAPER -Catalog, 50 cents. Wisconsin Speed -8 money! Start with 810.00 -Free Proof. Torrey, Box 318-N, Press, 241 N. 35th Street, Milwaukee, Wisc. 53208. a Ypsilanti, Michigan 48197. $200.00 Daily In Your Mailbox! Your Opportunity To Do MUSICAL INSTRUMENTS What Mai!order Experts Do. Free Details. Associates, Box 136 -SR, Holland, Michigan 49423. MAILORDER MILLIONAIRE helps beginners make $500 30% DISCOUNT name brand musical instruments. Free weekly. Free report reveals secret plan! Executive (1K11), catalog. Freeport Music, 4550, Route 110 Melville, N.Y. 333 North Michigan, Chicago 60601. 11746. S FREE BOOK "999 Successful, Little-known businesses a Work home! Plymouth-BGL, Brooklyn, New York 11218 MOVIE FILMS 1 FREE SECRET BOOK "2042 Unique, Proven Enterprises." Beat inflation with fabulous, successful "Little Knowns." 16mm SOUND Features, Shorts, New, Used for Sale. Free Work home! Haylings-B3, Carlsbad, Calif. 92008. Catalog. National Cinema. 333 W. 57th St..N.Y., N.Y. 10019

Guide to Earning EDUCATIONAL OPPORTUNITIES

E -6 I3 o EXTRA INCOME c 0 PUBLICATION LEARN WHILE ASLEEP. Hypnotize! Strange catalog free. E 2 Packed with fresh ideas, expert o -0 Autosuggestion, Box 24-ZD, Olympia, Washington 98501. mfxix = advice and valuable details on '"I'Niws money -makingideas - fulland Add') postage: $1 per year outside U S., its poss. & Can part-time - for both men and women. Provides in depth cover- MAGAZINES age in many important areas of

income opportunities . . . mail order - franchising - vending machines - directselling - NOW PUBLISHED TWICE YEARLY - house parties - plus many TAPE ALL NEW EDITION! special features on seasonal business opportunities and RECORDER The age of quadrasonics has arrived money -saving ideas. 1972 Oct./ GUIDE - -and it'sallspelled out for you Nov. issue now available. Only 75c. in this edition -4 -Channel Sound - 1912 Spring What, How and When? -plus com- Order from the liff.Davis Service Division, 595 Broadway, New York, plete Directories of 4 -channel com- New York 10012. Enclose an additional 25c for postage and handling. ponents,matrix discs and discrete TAPE RECOREf R 8 -tracktapes. The Guide also de- GUIDE 1972 liverseverythingelseyou'llwant to know about recorders and tapes. Order by number from INSTRUCTION Ziff -Davis Service Division, a 595 Broadway, N. Y., N.Y. 10012. ahThe ideal way to save your valuable copies, keep Enclose an additional 35c per copy them well protected and makeiteasy for you to LEARN Electronics Organ Servicing at home. All makes, forpostage and handling. Outside refer to any issue at any time. Both decorative and including transistors. Experimental kit -trouble -shooting. USAallmagazines are $2.50 per attractive enough to enhance the decor of any room, Accredited NHSC, Free Booklet. Niles Bryant School, 3631 copy, postpaid. each case holds a full year's copies. Constructed of Stockton, Dept. A, Sacramento, Calif. 95820. reinforcedfiberboard,thesedurable casesare 1972 Spring- # 51 1972-#56 coveredin a rich -texturedleatherette. The gold ASSOCIATE DEGREE IN ELECTRONICS through corre- 1971-#19 $1.50 each embossed back adds toitselegance and makes spondence instruction. G.I. Bill approved. Free catalog. PAYMENT MUST BE ENCLOSED WITH ORDER each case a welcome addition to your bookshelf Grantham, 1509 N. Western, Hollywood, Calif. 90027. or cabinet. LOGIC trainers catalogs 50 cents. UTI, POB 252, Wald- Magazine cases are available for any of your favorite magazines. They're only $4.20 each, 3 for wick, N.J. 07463. $11.60, in any combination of titles ordered. Add LEARN Tape Recording from studio engineers. Free EMPLOYMENT INFORMATION $0e per case for postage and handling. Outside U.S.A. add $1.00 per case ordered. literature. Write: NNA, Box 721-A, Rye, New York 10580. MOM ON THE AIR announcer training at R.E.I. features indivi- EXCITING Overseas Jobs. Directory $1.00. Research As- CHARGE YOUR AMERICAN EXPRESS dual,realisticpreparationforyour Radio/TV career. sociates, Box 889-E, Belmont, California 94002. OR BANKAMERICARD ACCOUNT 11.11111. R.E.I.'s engineering course features intensive training for Ziff -Davis Pub. Co., Dept. 23, 1 Park Ave., N.Y. 10016 the FCC First Phone! Complete either course in just five (5) MISCELLANEOUS My remittance in the amount of $ weeks! Call 1-800-237-2251 toll free for brochure. Write: os enclosed. Please send magazine cases for the R.E.I., 1336 Main Street, Sarasota, Florida 33577. titles indicated below. iD AMERICAN EXPRESS [I BANKAMERICARO WINEMAKERS. Free illustrated catalog of yeasts, equip- CHARGE: WANTED ment. Semplex, Box 12276Q, Minneapolis, Minn. 55412. Account # Signature TITLE QUANTITY QUICKSILVER, Platinum,Silver, Gold, Ores Analyzed. Spectacular sound! Stereo testing! SR -11 Free Circular. Mercury Terminal, Norwood, Mass. 02062. FREE! Background music and sound effects! SPECIAL Special Interest Records available HYPNOTISM exclusively from Ziff -Davis Check One: INTEREST ElAll Black 1=I Maroon Back, Black Sides Send for your free Record Catalog - RECORD Print Name Free Hypnotism, Self -Hypnosis, Sleep Learning Catalog! Ziff -Davis Publishing Co.. Dept. 23, CATALOG Address Drawer H400, Ruidoso, New Mexico 88345. One Park Ave., New York, N.Y. 10016. Zip SLEEP LEARNING. Hypnotic Method. 92% effective. De- City State tails free. ASR Foundation. Box 7566 EG, Fort Lauderdale, YOUR ad in these columns will reach an audience of Florida 33304. 300.000 interested buyers monthly NOVEMBER 1972 141 STEREO REVIEW NOVEMBER 1972 ADVERTISERS INDEX

READER PAGE SERVICE NO. ADVERTISER NUMBER

1 A.D.R. Audio 90 2 Acoustic Research 33 Advent Corporation 11 3 Akai America 89 4 Altec 19 TAPE 5 Angel Records 125 6 Audio Dynamics Corporation 129 7 Audio Warehouse 106 8 BASF Systems 121 9 Baltimore Stereo Wholesalers 128 10,11 Bose Corporation 97 HORI70\S 75 Bose Corporation 135 3y CRAIG < 103 British Industries -Garrard 2 STAR 13Capitol Audio Devices 54 12Carston Studios 90 14 Clark Co., David 113 Columbia Records 102 TAPE DROP -OUTS 15Design Acoustics 138 16 District Sound 100 HAVEYOUever noticed that suddenly, and unpredictably, the taped music 17Dixie 139 18 Dokorder 96 you're listening to disappears momentarily-and usually fromthe left 20 Dual 38, 39 22 Dynaco 115 speaker? If so, you've encountered whatare appropriately called "drop- Electro Music Division of CBS 93 outs," which are among the chief maladies that afflict 19 Electro-Voice, Inc. 4th Cover tape as a recording 90 Empire Scientific 21 medium. And while there is no completecure for the disease, understanding 21 Empire Scientific 107 23 Finney Company 48 its origins can help you take thenecessary steps to minimize its severity. 24 Harman/Kardon 52;53 25 Heath Company 108 thru 111 Drop -outs arise from two basic kinds ofcauses: imperfections in the 26 Illinois Audio 48 tape's oxide coating, and physical interruption of the intimate 27 Impro/PE 105 contact be- 28 International Hi-Fi Distributors 106 tween the moving tape and the recorder's heads. Other than using only high- 29 JVC America 5 Jack Daniel Distillery 119 quality tape, there is nothing you can do about the firstsource of difficulty. 30Jenson Manufacturing Company 87 31 KLH Research & Development 85 An oxide coating may be rife with dirt particles, bubbles, pinholes,or 32 Kaywoodie Pipe 50 clumps, but you won't know it until a prized recording is flawed. Nor isthere 33 Kenwood 82 34 Koss Stereophones 37 any home remedy for some of the other mechanical problems cheap tape 35 Lafayette Radio Electronics 31 36 London Records 128 causes. Improper slitting, for example, can create a burr along the tape edges 37 London Records 120 (which carry the left -channel signals in quarter -track tapes), lifting 38 Magnavox 98,99 the tape 39 Magnum Opus Electronics Ltd. 12 away from the heads and thus causing drop -outs. 43 Marantz 15 40Maze!! Corporation of America 101 Given good tape, however, you can minimize the number ofdrop -outs 32 Medico Pipes 50 50 Mercury Records 113 that arise after manufacture. A warped reel that rubs the tapeat every revo- 42 Midwest Hi-Fi Wholesalers 100 lution, or a worn tape head can damage the tape edgesas much as if they had 3M 6, 7 44McIntosh Laboratory Inc. 94 been badly slit originally. Storing tapes rewound raggedly at high speed, 45National Tel-Tronics 131 46Olson Electronics 136 exposing edges here and there to damage, can have thesame effect. Improp- 47 Onkyo 124 erly adjusted hold -back tension in your recorder will aggravate the problem, 49 Panasonic 41 41 Pickering & Company 9 as will worn or excessively dirty pressure pads. (To clean pressure pads, 50 Phillips Records 113 48 Quadraflex 25 don't use a solvent, or they may become unglued. I recommend buffing with 51 Rabsons' 57th Street Inc. 128 the kind of stiff -bristle brush used to clean fingernails.) With 52 Radio Speakers of Canada 49 open -reel tapes 74 Radio Shack 47 I always count on cutting off ten feet or so at the end of sideone, for there 53 Rectilinear Research 23 54 Revox Corporation 123 are usually folds at this point that will cause drop -outs at the start of side 55 Rotel of America, Inc. 132 56 Sansui Electronics 26, 27 two. Cassettes with leaders improperly attached to the reel hubs presenta 57 Sansui Electronics 126,127 special danger. Poor design of the leader attachment at the 100 Scott, Inc. H.H. 137 start of a side can 58 Sharpe Audio Division of Scintrex, Inc 20 create a sharp hump that impresses itself on subsequent tape layers, again 59 Sherwood Electronics 81 60 Shure Brothers Inc 95 causing a drop -out problem. (You can inspect for this by turning the take-up 61 Sony Corporation of America 51 63 Sony Superscope 94,132 hub manually, using the point of a pencil.) 62 Sound Reproduction 88 The cassette's slow speed and narrow track width also increase the diffi- 64 Stanton Magnetics 114 65 Stereo Corporation of America 138 culty, for a small imperfection that would pass an open -reel tape head inaudi- 66 TDK Electronics 13 67 TEAC Corporation of America 3rd Cover bly in a hundredth of a second at 15 ips takes nearly a tenth ofa second to go 68 Tandberg of America, Inc. 28 past at 17/8 ips, making it painfully obvious. Further, narrow tracks mean 69 Telex Communications Division 35 70 Telex Communications Division 22 that very small discrepancies can produce drop -outs, and similarly, high 71 Telex Communications Division 24 72 Tokyo Shapiro 88 frequencies (which occupy shorter lengths of tape) aremore susceptible U.S. Pioneer 2nd Cover.1 U.S. Navy 42 thru 45 than are bass tones. 20 United Audio 38,39 While you can't prevent drop -outs altogether, thorough cleaning of all Warner Brothers 91 73 Wollensak 3M 133 parts that come in contact with the tape will help, for part of the problem 32Yelo-Bole Pipes 50 arises when loose oxide shed from one tape layer is transferred and im- CLASSIFIED 140,141 pressed into the surface of another. Even dust can hurt! Printed in the U.S.A. 142 STEREO REVIEW TEAC

TEAC AN -80 Doiby noise reduction unit TEAC 3300: the strong,silent type

If you've been shopping the field for deck. At the same time, we addressed a semi -pro deck with studio -sizereels, ourselves to making tie 3300 transport you've probably had to cut your way through (already world-renowned for its superlative a lot of noise about silence. Andyou've quality and unmatched reliability) a near - probably wondered why you haven't heard perfect mechanism. By manufacturing all TEAC blowing its horn on the subject. critical components it -house -and to specs The answer is simple-we didn't feel we and tolerances we wouldn't dare impose on had to. Long before the dawning of Dolby" anyone else. By quality control tantamount TEAC perfected the kind of electron,cs to paranoia-for example, we adjust, check, that lets you use the most advanced and readjust our heads as many as 17 times low-noise/high-output tapes on decks like during manufacture. Over and above this, the 3300 with startling results. We effectively we provide audiophile conveniences reduced tape noise and hiss below audible overlooked on other decks. Like a bias- level levels. And let Dolby take it from there. switch. And the famous Edi-Q control for But we wanted to keep the 3300 a truly one -hand editing and cueing. Two full-size versatile semi -pro deck for the audiophile. VU meters. All this for only $499.50. Now So instead of building Dolby in, we would you really expect a machine as strong outboarded it, as you can see-in the as all this to be anything but silent? Andif AN -80 Dolby Noise -Reduction Unit. Now you all you need is a 7" -reel deck with many could get better signal-to-noise than was of the 3300's fine features, checkout our dreamed of in your ratio for $149.50. Not 1230 at $359.50. only on your 3300 but on any other existing TE AGTEAC Corporation of America, 7733 Telegraph Road, Montebello, California 90640 TEAC Corporation. 1-8-1 Nishi-shiniuku. Shinjuku-ku. Tokyo. Japan TEAC EUROPE N V_ Kabelweg 45-47. Amsterdam - W.2. Holland 'Dolby is a trademark of Dolby Laboratories. Inc In Canada. White Electronic Development Corp., Ltd., Toronto

CIRCLE NO. 67 ON READER SERVICE CARD You havesome questions about 4 -channel? We have the answers Whatever -r EVX-44 Four -Charm*. Wive sal happened to Decoder $99.95 suggested retail 0. With so many different matrix encodings (E -V Stereo -4T', SQ, QS, woofers and Dyna, and all the rest) how do I know which decoder to buy? A. Simple. Choose the new EVX-44 Universal Decoder. It plays ALL tweeters? matrixes accurately without swihing, no matter how they are made. 0. The EVX-44 has an extra Separation Enhancement circuit. Why? Nowadays it seems almost A. To keep a soloist firmly in the front of the room by increasing impossible to see or touch a hi-fi center -front to back isolation to as much as 18 dB (at the cost of some speaker. All that you are shown back left -right separation). The enhancement is automatic and unobtrusive, acting only when the center soloist is performing. It can is grille cloth and walnut. And the also be switched "on" continuously or "off" completely if preferred. inside of the system is a mystery The circuit works equally well with all encodings and even with reserved only for engineers. 2 -channel stereo records. It need not be so. Because there's another way to select a O. What if so-called "discrete" records become popular? Won't I be speaker system, starting with the wasting my money buying a matrix decoder now? actual components themselves. A. Not at all. Major record companies are firmly committed to matrix There's a whole world of E -V four channel. In addition E -V decoders enhance 2 -channel sources, custom loudspeakers waiting. adding a feeling of ambience and dimension that is rivaled only Woofers, tweeters, and full -range by actual 4 -channel material. Discrete demodulators can't do this. speakers to suit every plan and After all, 2 -channel records, tapes, and FM won't disappear overnight, need. no matter what happens with 4 -channel sound. Our decoders can even "enhance" the main channels of discrete 4 -channel recordings. The rewards are two -fold. Not So your E -V decoder will be use'ul for years to come. only do you create a system that perfectly mirrors your taste in Q. Why does E -V offer two decoders? sound, you also have free rein to A. Cost, mostly. The original EVX-4 is still a great bargain. It does express your taste in enclosures. an excellent job of decoding matrix records and is tops for enhancing You can build component 2 -channel stereo. But the new EVX-44 does a more accurate job speakers into walls or shelves to with all matrixes, and it has the separation enhancement circuit. It's quite a bit more complex, hence more expensive. E -V thinks you save space and reduce clutter. should have a choice. Or install them in existing or custom furniture that is a positive O.I don't want to buy 2 stereo systems to get 4 -channel sound. asset to your living room rather What should I do? than an intrusion. A. Choose the EVR-4X4 4 -char nel AM/FM receiver. It has everything If the flexibility of the custom including the Universal Decoder circuit built right in. Simply hook up speaker idea engages your 4 loudspeakers (hopefully E -V!) and whatever tape or record players interest and challenges your you prefer, and play. creativity, send for our catalog today. It will put you back in When it comes to 4 -channel... there's no question about it. touch with the basic elements of Electro-Voice makes it happen. high fidelity. Write for your free E -V 4 -channel products are produced under U.S. Patent No. 3,632,886 copy or visit your nearby Electro-Voice salesroom soon.

ELECTRO-VOICE, INC., Dept. 1124F, 616 Cecil Street, Buchanan, Michigan 49107 In Europe: Electro-Voice, S.A., Rornerstrasse 49, 2560 Nidau, Switzerland Gulton In Canada. EV of Canada, Ltd.. Gananoctue, Ontario COMPANY gitigel."/MCC CIRCLE NO. 19 ON READER SERVICE CARD