•

& MUSIC REVIEVV

April 1958 35¢

STOKOWSKI and FLAGSTAD Ne1N Albums Tell o£ Greaf: Careers

LOUDSPEAKERS: 1958. Per£orm SeHer· Smaller Size· Same Price

OPERA PROMPTER Uneasy Li£e D01Nnsf:age

JAZZ VOCALISTS Why They Sing As They Do When the music sounds like it is being played in the subway ... you've got RUMBLE *. You can eliminate "rumble" with a Rek-O-Kut Roncline Turntable as the heart of your system. Prove this by listening to a Rondine at your dealer. Compare its accuracy and silence. It will stay that vyay for keeps! Compare its precision crafting, luxurious styling. Compare it with what you now own. It's like coming out into the sunshine ... the difference is that great! Rondine Turntables from $59.95. Rek-O-Kut 12" Turntable Arm-$26.95-Bases in walnut and blonde. Send for free color booklet and Strobe dis~. 'Annoying extraneous low-pitched noise produced by conventional phono motor and reproduced by the loudspeaker. REK-O-KUT

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Anew 21/n dual purpose 4-speed record player ... an automatic intermix changer This is the handsome new version of Garrard's most compact, most economical lind manual player higb fidelity changer. It now represents, even more than before, the most replacing the highly adaptable unit of itS type, refiecting the special standards of quality and en­ during performance that distinguish all Garrard players. The RC121/ U in· respected RC121 "Renown". corporates all the basic Garrard "Renown" features and in addition. these' No increase in price. refinements:

HEW UNITInG CONTROL NEW lRUE. INTERMIX STOP I PAUst fEllUI£, for automatic anet full chances 12" and 10" - - -..::: A control that Int.fJupU manu. I operation. An recorda In any order. performance .t any pollll lutomatlc unit • . • yel Exclusive new spindle and permits It 1.0 oe tone .rm Is always free positively prevents started ag.ln without and ready for single rec­ double record drop. lif· losing groove poslnoll; ord pl.y at the turn 01 fords extra protection or the record rejected the knobl No walt In, for aealnst center holl .t option of user. eyclln,. lirm dlsenaleed wear. from the ~haneer mecl\­ anlsm .t ." times.

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RCIa RC121/.II 301 "A/10 Madll Till Su.... Mix.,. '1'ranserlPtl.... TranscriPtIon Manual Ch... ..,. Chan"r TIIl1Itable TcmeAfIII Player $67.50 $42.50 $89.00 $24.50 $32.50 Porlnjormalion Write Departmetll GD-l28 GARRARD SALES CORPORATION, PORT WASHINGTON, N. Y.. "Until actual sound is produced, music does not exist." Ralph Vaughan W illiams ·· 1-F-, ·· 1 H& MllslC REVIEW ·FEATURE ARTICLES April,.1958

Vol. 1 No. 3 Man In Three-Sided Cell 19 Jack Farbson Trials, tribulations and perils of a Met Opera prompter

Publisher The Voice As Horn 22 Nat Hentoff Oliver Read Some more thoughts about classifying jazz vocalists Editor Oliver P. Ferrell Stokowski Revisited 27 Bert Whyte Tw o new a lbums add hi g h­ lights to a g reat career Managing Editor David Hall Loudspeakers Are Getting Better 30 Herbert Reid Transforming electricity to Art Editor sound becomes ea sier Saul D. Weiner Three Albums To Fame 33 Peter DuBois Associat e Editors Lanin annotates his Hans H. Fantel 1,000,000 record safe Warren DeMotte • Jazz On TV 35 Assistant Editor CBS and NBC vie for artistry Rodney H. Williams with the vie wer the w inner

West Coast Editor Livid Lingo 47 Edward A. Altshuler " Wow and flutter" e x plained in non-te chnical verbiage Contributing Editors Martin Sookspan Flagstad & Wagner & FFRR 50 Martin Bookspan Ralph J . Gleason London releases special Stanley Green recording of the " greatest" Wagnerian Nat Hentoff David' Randolph Golden Era Of High Fidelity Klaus George Roy 59 Frank Jacobs A tongue-in-chee k account Sert Whyte of the ever-changing record speed problem Advertising Director • John A. Ronan, .Jr'. Sound Impressions 63 Hans H. Fantel History quietly and calmly reverses itself and winners Advertising Manager become "also-rans" Herb O/sow REVIEWS

ZIFF- DAV IS P(j B~I SHING Co: One Park . Ave., New ' Yolk' 16, N . . Y. William Zif!, ' President; H.: J. Morganro th, . Vice Presi . ' dent; W. Bradford Br igg s, Vice President ; Your Entertainment Mood 12 Ra lph J. Gleason, Stanley Michae l H. Froelich, Vice President ; Mi­ c hael Michaelson. Vice Presi dent and C i'r­ Green, Nat Hentoff .c ulation Dire ctor; V. C. Stabile Treasu'rer' Albert Gruen, Art Di rector. ' . , Your HiFi Concert 67 Martin Bookspan, David BRANCH O F.FICES:· Mid western -O ffice 64 E.. l ake St., C hi c ~go I, II I., l arry Sp;'rn, Randolph , Klaus George Roy M'c:twest Advertising M a nag e'r ; . W e ste rn Office, Room 41 2, 21 5 W est 7th St. Los Angeles 17, C alif., John E. Payne, m a n~g e r . The Stereo Reel 77 Bert Why te

SU BSC RI PTIO N SERVIC E COLUMNS All communications concerning subscriptions should be addressed to CilCulation Dept .. 64 E. La ke St .. Chi cago I. IIi. Incl ude your old add ress as we ll dS new - .e nclosing if possible an dddress labe l from a recent Sounding Board 6 Just Looking 90 'ssue. Allow 4 weeks for change, o f add ress CO NTRIBUTORS HiFi-ndings 41 Dealer Listing 93 Contribut o rs dre ddvlsed t o retell" d copy o f Weathers Turntable, Arm and their rnanuscrtpt and dlustrat lons. Contri­ Cartridge; Tandberg Comp lete but ions shoul d be mailed t o t he New YOlk Stereo System; EMC Stereo Unit; EditOria l o ff ice and must - be a ccomp a nied ESL C-60 Cartridge by returo postage. Contribut ions a,e handfed with re a sona b le ( a re, but this magazine The Flip Side 98 ass um es no resp onsibility for th eir safe ty. An y a ccept able tTla nuscnpt is subject to wh atever add pta tions and reVIs ions are necessary to meet req uirements o f th is pub· Ilcat lon. Pdyment covers \;1·11 author's' rights, ti tles a nd intere st In and to t he mate nal HiFI & MU SIC REVIEW IS p ub li she d mont hly by Ziff-Davis Pu b lishing Company, W illi a m B. accepted and will be made a't Our current Ziff , Cha ir man o f the Boa rd ( 1946. 1953 ), at 64 E. l ake St. Chicago 1. 111 . Applicat io n for second rates upon acce ptance . A ll p hotos and d(aw~ cl ass ma iling p ri vil ege is pe nd ing a t Chicago, Illi nois. Sub scription Rates: O ne year U.S. and fng s will be considered a s part of matellal p oss e ss ions, a nd Ca naoa $4 .00 ; Pa n-Ame rica n Uni o n co untries $4.50, all othe r foreign countries purchased. $5.00. Copyright © 1958 by ZIFF-DAVIS PUBLISHING Company All ri ghts reserved. A PRIL 1958 5 i

So.unding Board

David Hall, Managing Editor STEREO DISC TIMETABLE- elusively· that stereo discs, played Previous statements in this col­ on present monaural equipment, umn to the contrary, it now looks as are not compatible. . . . A stereo though stereophonic discs for the disc, played monaurally, will dis­ home-and the equipment on which seminate a sound of music. But the to play them-will be with us well net hearing result is comparable to before next Christmas. At least one that obtained from a worn pre-high­ of the major record companies fidelity record." seems to be shooting for September The opinion has also been ex­ as a target date for discs and rea­ pressed from authoritative quarters sonably priced playback or conver­ that playing a stereo disc with a sion equipment to be made avail­ monaural cartridge will do no good able to the public. A goodly num­ to the grooves of the disc in terms ber of the smaller specialty record of future playback on stereo equip­ labels, which can move faster than ment. AN ANNOUNCEMENT the production giants of the indus­ . Exercising not just our editorial TO OWNERS OF KLIPSCH try, will have stereo discs on the prerogative, but also our instinct market before the summer. There and knowledge as long time record LOUDSPEAKERS will likewise be three or four stereo and high-fidelity consumers, we disc cartridges available ranging in tend to heed the warning from RCA '1 price from $19.50 up. Victor and to steer clear of using the new stereo discs, when avail­ A more highly refined · Which brings us to that bugbear able, on any equipment but that crossover network has recently of compatibility: Will a stereo­ fitted with a 45/45 stereo playback been developed by Paul W . phonic cartridge play conventional cartridge. RCA Victor, after all, has Klipsch for KLIPSCHORN and LP discs with results comparable to the biggest possible stake in the SHORTHORN systems. Its adop­ those obtained with a good mon­ future success of a completely com­ tion bring us one more step nearer aural cartridge? Can a stereophonic patible stereophonic disc for the to our goal-reproduction of disc be played successfully on a home listener, and so would be less sound which is identical with the good monaural cartridge with ac­ than overjoyed at the prospect of a original. ceptable sound quality and without disc that could be played only on damage to the grooves prior to the stereo equipment. Therefore the re­ Owners of KLIPSCHORN and time one obtains one of the new port of their Engineering Commit­ SHORTHORN loudspeakers and stereo cartridges? To some extent tee carries double weight under the of K-ORTHO drive systems may it depends which published infor­ circumstances. have their networks modified by mation you care to believe. This being the case, it seems clear their dealers or by the factory at a Counterpoint Records of New to us that one should hold off buy­ nominal charge. York City advertises a disc featur­ ing stereophonic discs until such ing the gifted 'cellist, AIdo Parisot, time as one has on hand the neces­ This is in keeping with our sary stereo cartridge together with policy of offering owners of in concerti of Vivaldi and Boc­ the proper second amplifier-speaker Klipsch systems the very latest cherini as follows: developments of our laboratory. Double Listening Pleasure channel. Research is being conducted con­ recorded on The stereo revolution now seems stantly-every new development Westrex 45/45 inevitable, and the best informed in the field of loudspeaker design compatible stereo disc sources indicate that the so-called is fully tested and periodic reports playable on any LP phono­ Westrex 45/45 cutting and play­ are made to owners so that they graph back system will become the stand­ may continue to enjoy "the ulti­ or on 45/45 stereophonic disc ard for both the U.S.A. and Europe mate in fidelity of music reproduc­ reproduction equipment. -thus eliminating any crisis com­ tion". The January 20, 1958 issue of The parable to that provoked by the Billboard, authoritative trade jour­ "battle of the speeds" (33 vs 45) Write: nal for the entertainment industry, some years ago. Almost all record quotes as follows from the Engi­ companies of any consequence have neering and Manufacturing Com­ in their vaults a backlog of stereo­ ~~D[?~©D=O mittee of RCA Victor Records: phonic master tapes dating from the AND ASSOCIATES HOPE, ARKANSAS "Exhaustive tests in our Indi­ fall of 1955 which can be trans- anapolis plant have proved con- ( C ontinlled on page 10) 6 HIFI & MUSIC REVIEW Here are the Features That Make the H. H. Scott 310-B the BESTF

H. H. Scott 810·8 T uner'shown in handsome mahogany accessory case. H. H. SCOTT TUNER SETS NEW DX RECORD! ONLY the 310-B was rated outstanding in ONLY the 310-B will stay tuned, without all respects by a leading consumer testing drift or "pull" when set to a weak signal The Apparatus Development organization. adjacent to a very strong one. This feature Company, ManuCacturers oCthe is essential for good performance in crowded ONLY the 310-B limits fully on random FM/Q FM Antenna reports the signal areas. noise. This means true high fidelity FM Scott consistently receives sig­ performance on even the weakest signals. ONLY the 310-B will reject an unwanted nals Crom a distance oC 510 signal or interference that is only 2Y2db miles. This is the best record ONLY the 310-B has 85db cross-modula­ weaker than the desired signal. Strong Cor any FM tuner in their files. tion rejection. This means you can listen interference can come from a TV receiver to weak stations even though strong signals or another station on the same channel. are nearby. The 310-B will reject this interference. Additional Specifications: ONLY the 310-B will maintain audio out­ H. H. Scott Engineering Department Sensitivity 1.5 microvolts on 300 ohm put voltage constant within ±1.5db, even input for 20db of quieting. Three IF stages; STATEMENT OF GUARANTEE Three Stages of Limiting; Broadcast-type though signal strength may vary from 1.5 All the statements regarding the perform­ signal strength meter; Interstation Noise microvolts to 1 million microvolts. This ance of the 310-B tuner are backed up by Suppressor; Multiplex output. Price laboratory measurements available for in­ $189.95. Prices slightly higher west of Rockies. means you never have to re-adjust volume spection at the H. H. Scott engineering Case extra. level. department. The 310-B will outperform any tuner. It will work in the most difficult locations, where other tuners fail. ONLY the 310-B can perfectly separate a y,~.~ ~. vo~ ~&J,~'1-"'­ weak station from one in an adjacent chan­ Certified: D. von Recklinghausen nel that is up to 15db stronger. Chief Research Engineer

~ ------H. H. Scott Inc. 111 Powdermill Road, Maynard, Mass. Export: T elesco International Corp., 36 West 40th Street. N ew York City RUSH me my free copy of your completely new catalog MR-4

NAME ...... ADDRESS ...... •••....•..••.•.•••••.••...... •.. • •••...••••••••• CITY ...... STATE ...... : .. "Emory, You're in terrible spot!"

BOlAK: "Here you are, selling top-drawer 7%" stereo tapes, and everybody knows there's no market for them." COOK: "I'm selling them, though."

BOlAK: "T 0 whom, boy?" COOK: "Why, to the out-of-step people who are buying Bozak speakers. Except that there aren't any: there's no market for your speakers either." BOlAK: "But Emory, I'm selling lots of speakers!" COOK: "Impossible, Rudy! Who buys them?" BOlAK: "Same people who are buying your tapes, old man." COOK: "In other words, people to whom "high fidelity" means uncompromising quality in sound and pro­ gram material. People with a sophisticated ear, who evaluate high fidelity in terms of music." BOlAK: "And who judge a high fidelity installation not as a household appliance, but as a musical instrument." COOK: "That's got it, Rudy. We're witnessing the phenom­ enon of high fidelity's becoming the 20th century musical instrument. If we respect the listener's intelligence, we must face the implications of that." BOlAK: "Which means that, if we are to satisfy the high fidelity ears of the discerning players of that musi­ cal instrument, we must make available the best possible components and program material. No compromises, no commercial short-cuts."

inevitably - BOZAK , With stereo as with all sound repro­ duction, the speaker is the heart and voice. Just as the serious musician always seeks out the finest instrument, so, for the perceptive listener the fin­ est speaker is-inevitahly-a BOlAK "How's that, Rudy?"

COOK: "You're doing your part, Rudy. And so is Cook Labs, because we are now presenting the largest and finest catalogue of bona fide stereo to be found anywhere!"

The COOK catalogue of stereo tapes is all Emory says, and more! Included are 13 symphonies, recorded in Symphony Hall Boston, the acoustic showplace of the nation . . . there are 15 sizzling stereo jazz tapes all recorded on the scene ... and, like all Cook tapes, recorded by special techniques and with special Cook equipment ... 10 tremendous pipe organ masterpieces - classics from the Aeolian Skinner to the lush sounds of the great New York Paramount Theatre organ. The fabulous, cavernous Mosque with Reginald Foort at its unique Wurlitzer and the rare and exotic Walker organ in Morelia Cathedral, Mexico - the largest and oldest in the western hemisphere. It's a real stereo transport ... 14 stereo journeys that will plunge you into the enchantment of exotic places. Carnival, ritual, atmosphere from Spain, Mexico, Venezuela, and a cross section of the West Indies ... there's the monu· mental Dubois' Seven Last W ords* - a towering master· piece - and many other unique collector's items that shine out from the largest and finest stereo catalogue in the world! Over 65 tapes and more than 400 titles!

Use the coupon below *This magnificent work, singularly ap­ propriate for Easter, will be rushed to you in time for the holiday if order is to get your received by April 5. Price $14.95 post­ paid. Add 45¢ for special delivery an free copy NOW! later orders to be delivered by Easter. r------ICOOK ILaboratories 101 Second Street, Stamford, Conn.

Dear Emory: Please rush me a copy of your new stereo catalogue, and put me on the mailing list to receive news of future ' releases.

Name'______

Street~ ______

Cit ______,State ______(Continued from page 6) ferred to stereo disc as soon as the necessary cutting equipment be­ comes available. So we can look for­ •I ward to a rapid growth of the stereo disc repertoire from the be­ ginning of 1959 on. What does this mean for the con­ ventional LP disc, in which so many of us have a very large investment? Presumably record companies will continue for some years hence to issue conventional monaural discs together with their stereo releases. But what about the large number of outstanding performances recorded before 1955, for which no stereo­ phonic tape masters exist? The answer here is that we shall con­ tinue to enjoy and to treasure these monaural discs. If by some lucky chance some audio genius should be able to perfect a reasonably priced and readily available "magic black box" that will enhance mon­ aural disc and radio program mate­ rial with a stereophonic illusion, then, so much the better! This may well be the next major development to which we can look forward. The next year or two will tell. Meanwhile, we advise our read­ ers to bear in mind that compati­ bility as applied to the forthcoming stereo discs and playback systems is strictly one way-the stereo car­ tridge of the 45/45 type will play both stereo discs and conventional LP's; but this does not seem to be the case with the 45/45 stereo disc, at least in its present form. The re­ search and development divisions of the record companies have a Practically new ranch house with 200-foot, project here! poured-concrete, spirally curled, exponential STEREO TAPE FANCIERS CAN bass horn; 12-foot multicellular midrange hOorn (24 cells); large inventory of assorted dynamic and electrostatic tweeters; three 2,000-watt water-cooled amplifiers; infi­ LOOK TO REEVES SOUND­ nite-attenuation electronic crossover networks; master control-mixer-preamplifier CRAFT for a treat; for this firm has console; two 1,500-lb. belt-driven turntables suspended in mercury bath; vacuum­ a tempting bonus offer to tie in with sealed record-positioning chamber with servo-controlled record lifters and nuclear- the over-the-counter purchase of . reactor record deionizer; foam-rubber basement for acoustical feedback isolation; any 7-inch reel of Sotmdcraft tape also complete blueprints for construction of identi~l house for stereo. - -namely a pre-recorded tape of WLl sacrifice; or trade for NORELCO speaker, which owner of house has dis­ Dixieland Jamfest in Stereo featur­ covered to be ideal for delightful hi-fi listening without electronic anxiety neuroses ing such name figures as Coleman or showdowns with the loan company. For detailed and convincing confirmation Hawkins, "Red" Allen, J. C. Higgin­ of latter viewpoint, write to North American Philips Co., Inc., High Fidelity botham, and Cozy Cole. The 20- Products Division, 230 Duffy Avenue, Dept. MRLl, Hicksville, Long Island, N. Y. minute tape includes such h'adi­ tional jazz favorites as When the NORELCO® Saints Go Marching In and a fine series of originals. The price of the loudspeakers 7-inch Soundcraft reel, plus a 75- cent handling charge, will assure the buyer of the Dixieland lamfest specially recorded on the tape he has purchased. Not bad, we say! a complete line 0/ 5" to 12" high-fidelity speakers and acoustically engineered enclosures - END 10 HIFI & MUSIC REVIEW untr

Over $100,000 and two long years of development guarantees the superior performance of the new MR-55 Mcintosh AM-FM tuner. An outstanding feature is a capture ratio of near unity giving more interference-free stations, reduced distortion on all receivable signals, and improved multi-path conditions. Among other unique features are - ultra sonic muting - zero time constant limiters -lowest total noise and distortion - and lowest hum level- and many, many more •

•• •

clntosh laboratories, Inc. 2 Chambers Street, Dept. HFR 3-58 Binghamton, New York

Please send mea full color photograph of the Mcintosh MR·SS A.M.-F.M. tuner ••• The tuner that "keeps the promise of ·F.M." NAME ______ADDRESS ______CITY ______ZONE ____ _

STATE ------

APRIL 1958 II Your Mood

Review ed by: THE BEST _ ..

RALPH GLEASON J . Fo r a Broadway Show with Get-Up-and-Go-Try Capitol's original cast al­ STANLEY GREEN bum of the Meredith Willson Broadway hit THE MUSIC MAN (p. 12).

NAT HENTOFF For Crea tive Pop Singing-Columbia's new Tony Bennett album-The Beal of My Hearl-where top jazz players supply the backing (p. 83).

Willson's Gilded Corn For Fanciers of Jazz String Bass- the latest Charlie Mingus offering o n the Bethl e hem labe l w ith brilliant collaboration from trombonist Jimmy Knep­ Meredith Willson: The Mus ic Man. Rob­ e rt Preston. Barbara Cook. and original per and pianist Bill Evans (p. 87). Broadway Cast. Orchestra and Chorus, Herbert Gree ne condo For Mood Music in Lushest Hi Fi-Try the gorgeous Kos telanetz sound in his Overture & Rock Isla nd; Iowa Stubborn; Trouble; Pi a no Lesson; G oodnight . My Some­ new est for Columbia-The Lure of France (p. 88). o ne ; Seventy-Si x Trombones ; Sincere; The Sadder·B ut·Wise r G irl ; Pickalittle & G ood ­ For American History Brought to Life-Columbia's comes as a d is­ night Ladies ; Maria n The Librarian ; My The Union White Knight; Wells Fargo Wagon; It's You; tinguished and fittin g companion to their earlier Civil War record-book Sh ipoopi; Lida Rose ; G ary, Indiana; Til l maste rpiece Th e Confederacy (p. 88). There W as You; Finale. C a p itol WAO 990.

In the history of the popular Broad­ simulates tile sounds and rhythms of a After Hours featuring Thad Jones way musical show, the triple threat writ­ train as the men discuss the business con­ (trumpet) . Kenny Burrell (guitar! , er- composer, lyricist, librettist- has been diti ons of the day. There is also a rous­ Frank Wess (t enor sax) . Mal Waldron (pianol. Paul Chambers (bassI. Arthur a pretty rare specimen. Only George M. ing, rapid-fire recitative called T'rauble in which Hobert Preston whips up the Taylor (drums!' Cohan, Noel Coward, Charles Gaynor, C ount One; Empty Street; Blue J elly; Steam­ Sandy \Vilson and Frank Loesser come townspeople to an almost evangelical in'. readily to mind as men who have frenzy. Preston, who performs with rel­ Prestig e 7118. achieved success in all three capacities. ish throughout, is equally effective de­ To this exclusive group has been added livering a comic love song, Madan the Four Altos featuring Phil Woods. Gene 9uill, Sahib Shihab, Hal Stein. Meredith W illson, who with his very Librarian, or belting out a lusty tribute to The Sadder- But-Wiser Gi·rl. Pedal Eyes; Kokochee; No Mo re Nights; first musical, The Music Man, has estab­ Kind a Kanon ic ; Don't Blame Me; Stagge rs. lished himself as one of the theater's Prest ig e 71 16. most inventive and knowledgeable crafts­ men. Jammin' in Hi-Fi w ith Gene Ammons. \ i\That Willson has done is to recreate The Twiste rs; Four; Pennies Fro m H eaven; Cattin'. a whole era in songs and patter as he Prestige 7110. takes us back to a small Iowa town in 1912. There are the expected sentimen­ Hank featuring the Hank Mobley Sextet _ tal ballads and barbershop quartets to be Fit For A H anker; H i Groove; Low Feed­ sure, but the score has so much style, back; Ea sy To Love; Tim e After Time; Dance showmanship and originality that the O f The Infi dels . listener is readily caught in its spell from Bl ue Note 1560. the fir st blast of the whistle Signalling Jazz Erotica-Richie Kamuca (tenor the overtme to the last note of the fin ale. sax). Conte Candoli (trumpet). Frank Perhaps the most immediately winning Rosolino (trombone), Ed Leddy (trum­ of all the selections is the gaily infectious pet), Bill Holman (baritone sax), Vince marcb Seventy-Six Tl'ambanes, a descrip­ Guara ldi (piano). Monte Budwig (bass) , tion of the most mammoth of all parades, Stan Le vey (drums!' , ~~'::'p~' MoRToN D1I CoSTA A ngel Eye ; Li nger Awh ile; Fun; Indiana ; with "each bassoon having its big, fat Stella By Sta rlight & ot hers. say!" I think you'll also like the barber­ The entire cast, choms and orchestra Hifi record R 604. shop chords of Uda Rase, particularly perform with such spirit that it's posi­ as it is used as a counter melody to the The small group in jazz is usually tively contageous, and the Capitol en­ wistful Will I Ever T ell You?, charm­ recorded in one of two- ways today. gineers have given the record a most ingly sung by Barbara Cook. Gaadnight, Either the group rehearses the numbers realistic sound. My Sameane and Till There ,~ras Yau to be recorded several times, improvising are attractive but more conventional bal­ a thicker fl eshing of the original skeletal lads, while Sincere ( "How can there be Jazz- Atlantic To Pacific arrangement or they merely go into a any 'sin' in 'sincere'?") gives us another studio, agree upon some familiar tunes touching example of mustache-cup har­ Mode rn Jazz Perspective featur ing Don to play (or just the blues), quickly ar­ monies. Byrd. Gigi Gryce and the J azz Lab range the sequence of solos and the But the music is used even more clev­ 9 uintet . devices for the beginnings and endings erly i.n some of the specialty numbers. Earling Morning Blues; Early Bi rd; Elgy; Sta­ blemates ; Steppin' O ut ; Social Ca ll ; An Eve­ of tile numbers and then blow. For the opening, Rael, Island, an a cap­ ning In Casa blance; Satell ite. The first way is intrinsically superior, pella. male chorus of traveling sales men Columb ia CL 1058. (Cantinued an page 14) 12 HIFI & MUSIC REVIEW REX HARRISON ~UUE ANDREWS FREE LADY ANV3 of these superb IHigh-Fidelityl 12" COLUMBIA @RECORDS

if you join the Columbia @ Record Club now-and agree to purchase 4 selections during the coming 12 months AMBASSADOR SATCH * You receive, at once, any 3 of these records-FREE. One is your gift for joining, and the other t wo are 6 lOUIS your Bonus records "in advance" * After you have purchased only four records, you reo ceive a 12" Columbia I!i> Bonus record of your choice 'A:~NG FREE for every two additional selections you purchase from the Club. In this way your record purchases earn a 50% dividend * You enroll in anyone of the four Club Divisions: Classical; listening and Dancing; Jazz; Broadway, Movies, Television and Musical ComedieS * Every month you receive, FREE, a new issue of the Columbia I!i> Record Club Magazine - which describes all forthcoming selections * You may accept or reject the selection for your Divi· sion , take records from other Divisions or take NO records in any particular month * Your only membership obligation is to buy four selec· tions from the more than 100 to be offered in the coming 12 months. You may discontinue membership any time thereafter * The records you want are mailed and 'billed to you at only $3.98 (original cast Musical Shows somewhat higher), plus small mailing charge * You must be delighted with membership or you" may cancel it by returning the free records within 10 days

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COLUMBIA ([f) RECORD CLUB, Dept. 222·3 CIRCLE THE NUMBERS OF THE 3 RECORDS YOU WANT- TERRE HAUTE, INDIANA I. Eddy Ouchin Story 7. Dave Brubeck and 13. Strauss Waltzes 19. 'The Great Melodies Please send me as my FREE gift the 3 records whose Original Duchln re­ Jay & Kai at Newport Bruno Walter conduct­ of TchaikovskY numbers I have circled at the right - and enroll me in cordings of The Man Seven exciting new jazz Ing New York Phil­ Phila delphia Orch .. 1 Love, April Showers. improvisations from harmoniC. Emperor Ormandy. conductor. 8 the following Division of the Club: Am 1 Blue? , 12 others. the history -making Waltz., Blue Danube, romantic selections. (check one box only) Newport Jazz Festival. Vienna Life, etc. 2. Beethoven: 20. SuddenlY It's o Classical 0 Listening and Dancing 0 Jazz "Moonlight" Sonata; 8. Gershwin Hits 14. 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Ridin' Righ, 4 •. Offenbach: Gait6 Sinatra sings I Could Valse. Escales, etc. Moonglow. 9 more. Parisienne; Chopin: Write A Book, Love Name • ••••••• ••••••••••••••••• • ••• •• • • • • •••••••• •• • • • ••••••••••• • Les Sylphides Me, Sorry, 9 more 16. Oklahoma! 22. Brahms: Symphony (Please Print) T wo delightful ballet Rodgers & Hammer­ No.3: Academic scores performed by to. Ambassador Satch stein's fabulous hit. Festival Overture Address • • ••••••• • •••••••••••••••• •• •• •• • , •••••••••••••••••••••••• The Philadelphia Or­ Louis Armstrong and The complete score . .. Bruno walter conduct- chestra, Eugene Or­ his All-Stars In re­ starring Nelson Eddy Ing New York Philhar­ mandy. conductor. cordings of the famous In the role of Curly. monic. Also included European concert tour. -4 Hungarian Dances. (ily ...... ' ...... ZONE •• ••• • Slale •••••••••••• 5. Easy To Remember 10 numbers. 17. Levant Plays 23. The Merry Widow CANADA : Prices slightly higher, address 11-13 Soho st., Toronto 2B Norman Lubof[ Choir. Gershwin If you wish to have this membership credited to an estab­ 12 songs-Deep Pur/pIe, II. Stravinsky: Firebird Dorothy Kirsten and Suite; TchaikovskY: 3 works-Rhapsody In Robert Rounseville. lished Columbia Records dealer. authorized to accept T enderly. Soon, etc. Blue; Concerto in F; subscriptions, please fill In the following information: Rom eo and Juliet The complete score of 6. My Fair Lady Leonard Bernstein con- A.n American In Paris. Lehar's gay · operetta. Original Broadway ducting the New York Cast recording with Philharmonic. 18. The Elgart Touch 24. Wonderful, Dealer's Name ••••• • • •• ••••••••••••••••••••••••••••••••••••••••••• • Rex Harrison and Jul1e Les Elgart and his Or- Wonderful . Andrews. Complete 12. Day By Day chestra. 12 numbers- Johnny Mathis· sings ' score includes Rain in Doris Day sings The Street oj Dreams. Slo Old Black M.cgic, Day u Dealer's Address ...... ~ 87-2 ~ft~~· -:::.t ;3 ;:;g;!: ~~:ge:: 1~c:rior!~tumn ~~~~:nh~~~e~~d~h:t~: In Day Out. 10 more. I @ColumbiaRecordsSalesCorp., 1958 @ "Columblo".®.arrangements are good. bum, occasionally bordering on the Kamuca is never an exciting tenor player The second way can be uniquely excit­ frenetic and anly now and tllen lyrical. of the quality of, say, Mobley, whose ing, but only if the talents of the soloists Of all the altoists, Phil Woods seems phraSing can on accasion express ex­ are of major league calibre. the most likely to break through the tremes in tension. Rather, he is a soft­ The benison of the use of organization Parker mold and assume the outlines of voiced purveyor of emotion whose main in a small group is exemplilied by the an individual talent. There is more of attribute is a fine sense of time and a Don Byrd-Gigi Gryce Jazz Lab LP. This the quality of singing in his work than turn of phrase which frequently makes group, one of the most consistently pro­ in that of the others represented on this his solos extremely pretty. The jazz feel­ vocative of the experimental groups op­ LP. All the tracks show what a won­ ing on tillS album is essentially more erating in jazz, features the arresting derful help it is to have a finely inte­ shallow than on the Mobley LP, but compositions of Gryce and several other grated rhythm section with which to there are a number of directly commu­ young musicians, including Benny Gol­ work. nicative moments contributed by both son. The usual plan is an arranged leader Frank Rosolino, the trombone introduction and theme, a series of ar­ Another excellent rhythm section soloist, and Vince Guaraldi, once of tlle ranged transitional passages separating (with the same pianist, Mal W aldron) Woody Herman band and naw pianist the inlprovised solo statements and then supports the free-blowing solos of Gene with Cal Tiader. Guaraldi is one of the an arranged ending. Because this device Ammons (son of tile historic boogie­ few West Coast pianists who understands lends over-all fonn to what otherwise woogie pianist Albert Ammons) , altoist the value of economy of phrase and im­ would be merely a string of solos, many Jackie McLean and trumpeter Idrees provisatory line in his solos and in his of the Jazz Lab Quintet LPs have been Sulieman on Jammin' in Hi Fi. They set brief appearances on tllis album he unusually interesting. On this one, for up a delightful swinging beat which car­ sounds as though he might well have instance, they have a very satisfying ver­ ries through on all the tracks, but there been given more to say with profit to all. sion of Benny Golson's tune, Stable­ is too little restraint among the solo R.J.G. mates, which is rapidly becoming a stand­ horns, with the result that the music ard in the books of all small jazz groups. seems to be even longer tllan long play. Jelly Roll's Own Story Byrd is a consistently good soloist and It degenerates into monotony too often Gryce, while not as consistent, does man­ and even the relatively inspired alto solos Jelly Roll Morton-The Library of Con­ age to lay the ghost of Charlie Parker by McLean are not enough to bring it Cjress RecordinCjs featuring Jelly Roll and emerge as an individual with inter­ back to something else. Morton (piano. vocals. and talk), esting solo ideas. On this album Jackie Riverside RLP 9001/12 12 12". Paris, a jazz singer Witll a soft, almost feminine voice, is added for several num­ In 1938, folklorist Alan Lomax ena­ bers on which he sings wordless vocals; bled New Orleans-born pianist-composer­ an effect which might be considered to leader Jelly Roll Morton to record for have been overdone here. Aside from the Library of Congress. Morton spoke, the two leaders, the outstanding soloist sang and played from memories of his is Wynton Kelly, a fine, blues-based early life in New Orleans and on the pianist who maintains a high level of road. In the course af the recital, Mor­ inspiration in all his performances. Co­ ton provided much graphic social and lumbia's proof readers have managed musical detail of early jazz. He also per­ to ruin Nat Hentoff's liner notes by con­ formed several of his intriguingly struc­ fUSing Don Byrd with Charlie "Bird" tured works, which were among the Parker. earliest to show the possibilities of find­ ing more challenging fonns for jazz As a good example of the free-blowing witilln the materials of the music itself. type of LP in which each soloist con­ After ten years, these recordings were tributes a long statement backed by the finally made available in a limited 78 rhythm section, After Hours displays the r.p.m. edition on the Circle label; and talents of several top-notch jazzmen. Hank Mobley is a tough but not in 1950, they were packaged on 12 LPs. Trumpeter Thad Jones (he's the one raucous soloist with a somewhat heavy Circle went out of business a few years who does the Pop Goes the Weasel solo timbre to his saxophone sound and a later, and until tIlis Riverside reissue, the on Count Basie's hit April in Paris) gets general ability to create interesting solo Morton reminiscences have been un­ an unusually good opportunity to be lines. With a good rhythm section fea­ available. RiverSide, unfortunately, does heard here. He constructs logically turing the exciting drumming of Philly not seem to have devoted much care planned solos which seem to carry with Joe Jones and witll tbe bright trumpet and time to the remastering of the origi­ them a built-in editing device; he never solo work of Donald Byrd, the group nals. Admittedly, tile 1938 acetates plays too long. Frank Wess, Basie's races through five tracks, on each of made with a crystal microphone were tenor saxophone soloist, plays botll tenor which there is contributed something of poorly balanced, and in addition, con­ and flute here and Kenny Burrell, one value by each soloist. The main attrac­ tained wavers in pitch and uneven speed. of the most promising guitarists to tion, however, is tile work of the leader, Yet I would think a better job of re­ emerge in recent years, is heard in occa­ Hank Mobley, who is determinedly seek­ mastering could have been done. There sional solos and throughout as a solid ing to express himself in new ways and are sudden dips in volume level; bad rhythm man. There are only four extra­ to broaden the scope of the jazz soloist cuts in continuity; aberrations in speed; long tunes and it is curious that the most without losing tile essential blues base and strange juxtapositions of some sec­ effective are the slower ones. In the from whence all jazz flows. tions. The original Circle order of se­ brace of up-tempo numbers, there's a lection was apparently retained to enable tendency for the net effect to be dif­ A tenor saxophonist with a more ob­ buyers of some of the original volumes fused, but in the slawer tempO' there is vialls debt to Les ter Young (whO' actual­ to' fill in only the sets they were missing, '0' a fine, maody feeling best described in ly is the fountainhead of most modem but why penalize the larger number of the title of the LP, After Hours. jazz tenor saxophone solo playing ) is potential new buyers? Richie Kamuca. An Easterner originally Riverside does, however, deserve cred­ It is hard for a modem jazz alto and a Westerner by choice, he has it for having commissioned Martin Wil­ player these days not to sound as if he worked with numerous big bands in­ liams to write the program notes for each were imitating Charlie Parker. Faur of cluding Stan Kenton and Woody Her­ volume. These essays represent the most the best of the yaung modems, Phil man and is now toiling mainly in the stimulating single body of critical opinion Woods, Gene Quill, Sahib Shihab and vineyard of the Hollywood studio. Here, yet written about Morton. Williams does Hal Stein struggle with tllis problem despite the incongruous title of the LP, (Continued on page 83) 14 HIFI & MUSIC REVIEW ./ QUALI GUA NTEED SPRAGUE "BLAGf< BEAUTY" PLASTIC

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New York. Canada : London, Ontario. © 3M Co., 1958 APRIL 1958 17 merely the man in the little tin box-the prompter. level. Shortly before each singer begins his part, This season, for the 25th year, the little tin box at Ceroni calls out the first words. When a performer the Met is being occupied by Otello Ceroni, senior loses his place, Ceroni summons attention by "pssting" prompter and a man who may very well be the top or making a squeaking sound with his lips, much like opera authority in his field. Since 1929, he has someone calling a cat. He then beats tempo and sings prompted more than 3,600 Met performances, and out the words until order is restored. today, at the age of 65, shows no signs of letting up. It's not surprising that Ceroni's many years of Ceroni knows the score-the opera score, that is . He prompting have endowed him with near perfect pitch. is on intimate terms with the words and music of more 'When a singer goes flat or sharp, Ceroni moves his than 200 of them. When he prompts a performance index finger up or down until the singer's voice adjusts he has to know each passage practically as well as the to the proper key. Ceroni, incidentally, has never sung performer does. A tenor can lose his place, but not professionally and describes himself as "a baritone of the prompter. no consequence." Ceroni's chores begin a few moments before the When prompting, Ceroni is a man of few words; he opening curtain goes up. He climbs up from the Met's has to be. The French word for prompter is souffleul' cellar, sits on a small swivel chair beneath the metal which means, literally, whisperer. But often Ceroni's hood of the prompter's box, and places the opera score "whisper" must be loud enough to carry across 50 feet before him. Only his head and hands are above stage of stage, and in rare cases can be heard by the paying

,/

La B6heme-"Watch Dishes!"

Hansel and Gretel­ No time or rOOm to duck.

Carmen- "Watch cape-and dust!"

20

HIFI & MUSIC REVIEW Met prompter Otello Ceroni isn't always in peril. Here he is in the open at stage rehearsal.

customers as well. A Boston critic once wrote a review formances of different operas. For each there is a of a Met performance which concluded tartly, "In gen­ series of three rehearsals on stage-the first with piano, eral, everyone was in good voice last night, including the second with full dress. During this hectic period, the prompter." Cet'oni hardly stirs from the Met stage. He must work In this modern era of automation, when man is con­ all three rehearsals plus performances in the evening stantly being replaced by the machine, it is reassuring (Ceroni handles all French and Italian operas; another to know that the opera is still holding its own using prompter takes care of the ones in German and humans. But on Saturday afternoons, when the Met English). broadcasts its matinee performance, Ceroni might very well wish for a teleprompter. Just the thought of each impending Saturday broadcast is enough to furrow the On the Score, Some Warnings prompter's brow. "I don't look forward to Saturday afternoons," says At work in his rabbit hole, Ceroni follows his own Ceroni. "The microphones-some of which are placed private score which often contains brief messages such in the footlights- pick up every sound, and the radio as "Watch cape!" or "Watch dishes!" These are notes people send me notes telling me not to talk too loud. which he was written to himself as a means of self­ So I don't talk. I don't even whisper. I have to move preservation. Ceroni lives a dangerous life in his vul­ my lips and use my hands and pray that the singers nerable outpost. The "Watch cape!" memo occurs have sharp eyes." during the second act of "Carmen" when the toreador grandly swishes his cape around while singing his Of the Score, Its Master famous aria. He also swishes clouds of dust, grit, nuts, bolts, and old scenery nails toward the footlights and Before Ceroni will prompt an opera he must feel into the face of Ceroni. For this reason, Ceroni dons a that he is its master. Learning a new score is a long black artist's smock while working, thus saving wear process, and the prompter must study the pages for and tear on his clothes. weeks, often months. A few years back he was told The "Watch dishes!" note refers to La Boheme when that he would have to prompt a performance of Alban Musetta is called upon to shatter a set of dishes. Ce­ Berg's modern opera, Wozzeck. It took Ceroni three roni's warning to himself gives him time to duck the months of constant study before he felt comfOliable flying saucers. with the score. Today, even with the most familiar The notes, however, can't foresee the unexpected. opera, he closets himself with the score for at least an In a performance several seasons back of Hansel and hour before each performance. Gretel, soprano Thelma Votipka, playing the step­ Ceroni's busiest period comes in the fall at the begin­ mother, swung a broomstick against her two children. ning of each season. During the first two weeks, the This particular broomstick caught a heavy cup of milk Met may present as many as 10 first-of-the-season per­ ( Continued on page 26) APRIL 1958 21 Carl van Vechten Bessie Smith-the most arresting, mesmerically earthy of the great female blues singers who dominated the 20's. Is The Voice a Jazz Instrument? By NAT HENTOFF

Part Two of a Two-Part Story

HE elements that make up an authentic jazz per­ hazy line in the minds of most listeners, including the Tformance, vocal or instrumental, are notoriously professionals, between superior pop singers who have difficult to describe with exactitude. Among jazz mu­ been influenced by jazz (Sinatra, for instance) and the sicians themselves, there is frequent disagreement as few authentic jazz voices that remain. to whether a particular horn player "swings" or has The sources of jazz singing-and playing-are in the "soul" or "good conception." The area of jazz, however, Afro-American backgrounds outlined in last month's in which most controversy ferments is the jazz vocal. article, "If You Can't Sing It, You Can't Play It!" (Hi­ A hundred leading jazzmen voting in the 1956 En­ Fi & Music Review, March, 1958). There was no con­ cyclopedia of Jazz Musicians' Poll selected Frank fusion concerning the musical authenticity of the Sinatra, for example, as their favorite male singer. singers of those work songs, blues, and spirituals in Sinatra, in fact, polled more than half the total vote. the decades before instrumental jazz began to take The choice struck several critics, including this one, shape. It was only after Negro music began to be as odd while singers like Louis Armstrong, Jack Tea­ widely heard among whites- starting, of course, with garden and Jimmy Rushing were still active. But the phonograph record in the twenties-that cross­ Sinatra's victory did indicate further the increasingly influences, imitations and various commercial pres- 22 HIFI & MUSIC REVIEW sures began to saddle "jazz" sing­ ing with a cloud of definitions, some of them quite bizarre. There was still no mistaking the earthy, urgent blues records of Blind Lemon Jefferson in the Twen­ ties for those of AI J olson, nor was anyone likely to confuse Bessie Smith with Helen Morgan. The real blues singers give out so spontane­ ously and personally of themselves and their lives that they cannot be convincingly imitated. Nor could even as astute a pop vocalist as Sinatra come close to the naturally unorthodox harmony, subtle sus­ pended rhythms, and rawly indi­ vidual vocal textures of the blues vocalists. Even today, therefore, there is no controversy over the legitimacy of recordings by con­ temporary blues singers like Big Bill Broonzy, Muddy Waters, Lightning Hopkins or Brownie Mc­ Ghee. There is also no problem in au­ thenticating as jazz singers such early instrumentalists as Louis Armstrong who sang the same way they played and who regarded their singing as a natural extension of their playing. It was years before Armstrong seriously considered himself a vocalist, and he may not even now. In the unfortunately out­ of-print American Jazz Music (W. W. Norton, 1939), Wilder Hobson has described the essence of jazz playing by using several terms that are usually applied to singing. His description can be turned around to define equally well what jazz vocalizing is: "The jazz players 'sang' with their instruments, played them with personal, expressive in­ flections variable between robust roughness and pure, bodiless lyri­ cism. There was a warm, natural, fluid use of slight slurs and glis­ sandi, varying degrees of trembling vibrato, muted effects-choked, thin, acrid, mellow, with natural flares or veiling-as there may be in the singing voice ... (These ) ele- ments move in ... subtle momen- tums which are the products of an instinct for suspended rhythm. The music naturally puts a premium on improvisation." More explicitly concerning sing­ ing, Hobson wrote: "Just as the jazz

Anita 0' Day-uses her voice like an irrepressible horn.

APRIL 1958 23 insh'uments are vocalized, so jazz singing takes on an Maynard Frank Wolfe instrumental character. The singers often distort syl­ lables for linear effect, and add others which are linguistically meaningless but musically significant. There is, for example, an obvious expressive similarity between Louis Armstrong's singing and trumpeting in I Can't Give You Anything But Love." (Hobson's Ann­ sh'ong example is contained in The Louis Armstrong Story, Vol. 4, Columbia CL-854.) For a more recent example of Armsh'ong's insh'u­ mentalized vocalizing, there is Louis Armstrong Plays W. C. Handy, Columbia CL-591. There is also in this latter album singing by Velma Middleton that lacks nearly all the qualities that make Armstrong a jazz singer. When both sing on the same number, the con­ trast is vividly instructive. Among other jazzmen who have been primarily in­ strumentalists and have considered their singing as secondary, there are the late "Hot Lips" Page, who has no collection on LP; Jack Teagarden (Jazz Great, Bethlehem 32); Jelly Roll Morton (Volume 8 in the Library of Cong1'ess series, Riverside RLP 9008) ; and Fats Waller, whose singing also lampooned the con­ ventions of non-jazz pop singing with hilarious ac­ curacy (The Amazing M1·. Waller, Riverside 12-109 and Handful of Keys, Victor LPM 1502). Most of the significant male jazz singers have been instrumentalists as well, and even the wandering blues singers usually played piano or guitar or harmonica. It may well be that the spreading confusion about what constitutes jazz singing began with the mostly non­ playing female jazz singers of the Thirties. Blues singers-Bessie Smith, Ma Rainey, Ida Cox, etc.-had dominated the Twenties, but the direction of female jazz singing began to change in the next decade. The best of the singers who followed Bessie Smith were deeply influenced by the blues, but their approach to singing and their repertory were on a broader-and sometimes- weaker base.

Mildred Bailey-the first non-Negro girl singer to make her mark in jazz.

"Satchmo" Louis Armstrong-there is expressive similarity between the singing and trumpeting. 24 RIFI & MUSIC REVIEW Sarah Vaughan-so intrigued with making a horn Joe Carroll-an expert modern "scat" singer. Here of her voice that she forgets she must sing too. the voice is used entirely as an instrument.

A key transitional influence between the blues sing­ she cannot strongly identify emotionally. As a result, ers and later jazz stylists like Billie Holiday and Lee she projects intense warmth, whether singing in rueful Wiley was Ethel Waters. Unfortunately, there is no sorrow or celebrating pleasure. She has a superb sense collection on LP of her recordings of the Twenties, the of timing, knowing-as do all major jazz musicians­ best of which were made with jazz accompaniment. how to wait to make her point. Her horn-like phrasing Some idea of her style can be obtained from Ethel and pungent, husky sound are thoroughly individual; Waters (Label "X" LVA-1009 containing 1938-39 re­ and because she possesses stinging intelligence and a cOl·dings) and the considerably later Ethel Waters bitterly acquired knowledge of a wide range of life (Mercury MG 20051). experience, Billie animates the lyrics of the songs she Ethel Waters was not a jazz singer in the true sense chooses with more knowing care than any other jazz although her singing was instrumentalized to a degree. vocalist. Among the better Holiday albums are Lady She was important, however, as Dick Hadlock of The Day, Columbia CL-637; one half of Jazz Recital, Clef Record Changer has noted, because of her "concept of MC-718, consisting of excerpts from a 1946 concert; seeking material with melodic value, adding sophisti­ and Velvet Mood, Verve 8096. cation and new meaning in the lyrics, hiring skilled, By contrast with Billie, Ella Fitzgerald is a jazz swinging musicians, and setting forth a quieter, more singer with considerably more technical equipment but insinuating voice. . . . The intimacy and subtlety in with less intelligence and less depth of interpretation. Ethel's singing grew out of a background of cabaret Ella enjoys nearly flawless rhythmic control and in­ entertaining. The subsequent development of electrical tonation and she phrases with flowing ease in the most ampli£cation permitted her "small room" style to be intricate material. She is capable of delicate lyricism used on stage and for records. The blues singers carried in ballads and can stomp exuberantly on up-tempos. 011 without need for microphones, but young talents When Ella, however, is confronted with some of the were listening to Ethel Waters. The gifted ones used more subtle, sophisticated lyrics of Cole Porter or the outlook, rather than the style, to come forth with Lorenz Hart, the effect often is of lovely sound with their own style." anemic emotional and intellectual content. There are . Billie Holiday, for example, was influenced musically also times when Ella can be emotionally moving by by Louis Armstrong and Bessie Smith, but her "out­ means of a rather innocent simplicity that is rare look" toward singing grew closer to Waters' "intimacy among jazz vocalists. and subtlety." Billie is unusually selective in her choice A haunting, poignant, and wholly unpretentious of repertory and will rarely sing material with which (Continued on page 38) APRIL 1958 25 MAN IN CELL prompters," he shrugs with a smile, In 1947 he marked his 15th season "are the unknown soldiers." by becoming a U. S. citizen. To­ (Continued from l1age 21) Understanding how an opera day, although at "retirement age," company works is old hat to Ce­ he can find no reason to step down. on the table and sent it flying roni. He has been surrounded by Ceroni is often asked if he gets straight at Ceroni's head. He didn't singers and musicians as far back tired sitting in his tiny three-sided have the time or the room to duck. as he can remember. In Ravenna, cell. Happily for the prompter, he Bleeding freely from a badly gashed Italy, where he was born and raised, must keep so busy that he scarcely lip, he stared numbly at the stunned his father played the trombone in has time to feel cramped. He has, singers and then disappeared down a local opera orchestra. The elder however, felt for some time that his rabbit hole. Miss Votipka, visi­ Ceroni was particularly fond of there are certain improvements that bly shaken, nearly burst into tears, Verdi's Otello, and, when a son was could be made to ease his working and the performance wobbled along born, named him after the title role. conditions. In addition to the con­ until another prompter took over As a boy, young Otello mastered stant tIll' eat of flying plates and milk and whispered that Ceroni was all the French horn and at the age of cups, Ceroni has to avoid being dis­ right. 18 was hired for the orchesh'a of a h'acted by the voices of the electri­ Besides overseeing the singers, touring opera company. cians, a chatty crew, who work just the prompter must also serve as a Ceroni liked his work in the or­ below stage. Furthermore, the Met sort of chief of staff to the orchestra chestra. Even today, he feels a is notorious for its draftiness, and conductor. Ceroni does this by twinge of nostalgia whenever he Ceroni, exposed above and below watching the conductor through a hears one of the Met musicians play stage, feels every breeze. small rear-vision mirror which he a horn solo. But the horn never parks out on the stage. In addition, completely satisfied him and he the prompter must help cue the as­ yearned for a job with a little more With New Quarters, New Hopes sistant conductor in the wings who authority. supervises offstage singing. And if One day in Rome the conductor There is a good chance that Ce­ this weren't enough, there is still asked Ceroni if he would like to fill roni's lot will improve. By 1960 the the score of the opera which must in for the regular prompter who was Met will move into its new quarters be followed constantly and pre­ ill. Ceroni jumped at the chance, in New York City's Lincoln Square, cisely. although he now admits that he had and Ceroni is hoping for the best. Ceroni is one of the few peoJ;>le no idea what he was in for. "I would like to meet the archi­ at the Met who never has to fear "The opera was Tosca," he re­ tect," he says, "and have a little talk the wrath of a prima donna. All lates, "and I didn't know what I with him. If he would try sitting in performers, regardless of impor­ was supposed to do. It was a very, the prompter's box for an hour or tance, soon realize that the prompt­ very hard job and the performance two, I think he would understand er is the best friend they have in seemed to last much longer than my position." the house. usual. But I got through it, and Cm'oni's job with the Met takes when it was over I wanted more." up his time from October to June. Fortunately for Ceroni's career, The Singer's Lifebelt In past years he has spent his sum­ the other prompter remained ill for mer months prompting at the Tea­ quite some time. Ceroni worked h'o Colon, the opera company in "The prompter," suggests Ceroni, hard and gradually acquired the Buenos Aires. But due to the shaky "is the life belt for the singer. Some skill and confidence that only ex­ political situation in Argentina, he singers start to worry before play­ perience can produce. Then, in is not sure if he will go back this ing a certain part, and often they 1929, an old schoolmate, the late summer. If not, he will spend a ask me to give them special atten­ Ezio Pinza, encouraged Cm'oni to lengthy vacation with his relatives tion that night. Many singers look come to America and prompt at the in Italy. unwittingly at me while they are Met. Ever since, except for a three­ For a man who lives and breathes singing. They know that if they year leave of absence in Rome, Ce­ opera for days on end, Ceroni's out­ should lose their nerve I'll encour­ roni's head and hands have been a side tastes are decidedly non-oper­ age them. That's why I always wear welcome sight to singers on the Met atic. When he has a few free hours a big smile no matter how difficult stage. he likes to take in a movie or go to the situation." Ceroni looks forward to many Carnegie Hall and listen to pure It is generall y agreed that prompt­ more years of prompting at the Met. symphonic music. He especially ers enjoy a unique standing in the likes Beethoven, Brahms, and Schu­ opera world. Few members of a bert and is continually adding to company have as much responsibil­ his hi-fi collection of non-vocal ity or importarice. Yet the prompter classics. must stand in the background while Ceroni never minimizes the great the stars, the conductor, the chorus, role that opera has played in his and the orchestra take their bows. life, but he is quick to add: "I can't Ceroni takes a philosophical atti­ remember the last time I saw an tude toward all of this. "We opera from a regular seat." -END 26 HIFI & MUSIC REVIEW Stokowski today continues to seek new sonic and musical horizons. STD DWSKI REVISITED

"Fantasia" and "Landmarks" discs from Disneyland and Capitol provoke a fresh look

By BERT WHYTE

FANTASIA-Original Soundtrack Recording from the 1940 Philadelphia Orchestra , Leopold Stokowski c o ndo Disneyl and WDX Walt Disney Film-Bach-Stokowski: Toccata and Fugue in D Minor; 101 3 12" in De lu xe Illustrated Album. Beethoven: Symphony No. 6 in F Maior. Op. 68 (,'Pastoral"); Dukas: Landmarks of a Distinguished Career-Bach-Stokowski: Toccata The Sorcerer's Apprentice; Ponchelli: Dance of the Hours from La Gio­ and Fugue in D Minor; Debuss y-Stokowski: Clair d e lun e; Sibelius: Th e conda; Tchaikovsky: Nutcracker Suite; Stravinsky: Excerpts from Le Sacre Swan of Tuon ela; Debussy: Prelude to Th e Afternoon of a Faun ; Sibelius: au Printemps; Moussorgsky-Stokowski: A Night on Bald Mountain; Schu­ Finlandia. bert: Ave Maria. Symphony Orchestra, Leopold Stokowski condo C apitol P 8399. A PRIL 1958 27 charge at the controls for balance and dynamics? Leo­ pold Stokowski, to whom the Bell scientists accord grateful acknowledgement for his help. Later that year, in Berlin, Stokowski is working with scientists on a new-fangled thing called magnetic recording. Long be­ fore the Bell stereo experiment, and in all the years of his tenure with the Philadelphia Orchestra, Stokowski is to be found e}..llerimenting, innovating, inventing in the field of music and sound reproduction. He h·ies new microphones and methods of pickup in broadcasting his concerts; he arranges and re-arranges his musicians in many seating patterns keyed to the acoustics of the Academy of Music. For matters of balance and control in recording multiple microphone setups are used. The list is long, but as time passes, the Philadelphia Orchestra discs for RCA Victor become famous the world over for fidelity of reproduction, amazing acous­ tical balance, detail and clarity. During all this time another facet of Stokowski comes to the fore. His musicianship and conducting are universally acclaimed and he has become a teacher with an almost uncanny ability to transform a group of musicians into a world acclaimed orchestra. Under his baton, the Philadel­ phia Orchestra becomes one of the greatest-which it has remained to tlus day-with a special claim for the ~ most lushly rich and beautiful string tone to be heard

Sorcerer's Apprentice-irrepressible Mickey Philadelphia's Stokowski-Hollywood's Walt Disney came up with something new in 1940.

LEOPOLD STOKOWSKI has come to the fore once more as a major recording conductor, thanks to the Capitol LP discs and stereo tapes emanating from Los Angeles and Houston. Now the super-deluxe Disney­ land album from the soundtrack of their pioneer "stereo" film concert, Fantasia, takes us back to what can well be called Stokowski's "Golden Age." For this monumental virtuoso study in the ali of film and music features Stokowski and the orchesh·a he built-the Philadelphia Orchesh·a-at their very peak of achieve­ ment. Here we have a singularly vivid re-creation-for younger listeners especially-of what Stokowski con­ h·ibuted 20 years ago and more to the art and science of recording. See you later, aLLigator-to Ponchielli The release of this Fantasia album (Disneyland WDX 101, 3 12"), together with Capitol's disc entitled Landmarks of a Distinguished Camer (Capitol P 9399) , throws into bold relief the work of an extraor­ dinary man and musician, some highlights of which are well worth recalling here. Let's go back to 1933, when Bell Telephone and "\iVestern Elech·ic are preparing a history-making ex­ periment (see "Where Did It All Begin?", p. 35, March 1958 issue). From the Academy of Music in Philadel­ phia, they propose to transmit the sound of the Phila­ delphia Orchesh·a over three independent channels to Constitution Hall in Washington, D. C. That's right- 3-channel stereophonic reproduction 25 years ago! On the stage of Constitution Hall are three huge loud­ speaker systems and at the rear of the hall a battery of amplifiers and controls. And who is that gentleman in 28 HIFI & MUSIC REVIEW anywhere. While thus molding a virtuoso orchestra, ulate the first interest in stereophonic sound as a com­ Stokowski serves the cause of music and his h·anscrip­ mercial proposition. Fantasia was a great and contro­ tions of Bach organ works become a trademark to­ versial artistic and musical success, but it was initially gether with his championing of new and modern music. a disappointment at the box-office. However, re-runs It is in fact his unremitting efforts in behalf of con­ in later hi-fi conscious years have met with better audi­ temporary composers that cause an eventual parting ence response and the show has made money. of the ways with the PhHadelphia city fathers and he It is interesting to note that in the early days of takes leave of his great orchestra in the late Thirties. stereophonic sound as used in the Cinemascope proc­ During the intervening years, Stokowski chooses to ess, a number of concert music shorts were made in remain independent of the problems of a permanent which a symphony orchestra was shown in perform­ conducting post, and he is heard with many great ance. The novelty of the stereo sound was appealing orchestras all over the world. Meanwhile he continues at first, but interest soon palled, because the enhancing his interest in electronics and sound reproduction. element of a pictorial story line, a la Disney, was In 1940, cartoon film colossus Walt Disney and missing. Stokowski put their heads together and came up with By 1952 binaural and stereophonic sound were strug­ a fabulously new form of entertainment, known as gling to gain a commercial foothold, but there were Fantasia. Essentially, Fantasia consisted of concert many obstacles, not the least of which was the lack of works for which the artists and animators of the Dis­ pre-recorded tape, or in fact any practical information ney studios created pictorial story backgrounds to on multi-channel recording for use in the home. At "fuse" with the music. that time I was associated with Magnecord, Inc., who For this occasion, Stokowski was re-united with his pioneered the first commercial stereo recorder. Need­ beloved Philadelphia Orchestra. Drawing on all his less to say, we were very eager to gain experience in musical resources and on the immense technical facili­ this field, but were severely handicapped by lack of ties available in Hollywood, Stokowski and Disney de­ opportunity to record suitable performing groups. Dr. cided to use a process of sound reproduction which was Stokowski, having heard of our activities, was kind dubbed "Fantasound," this being a six-channel stereo enough to invite us to record him with full symphony system which worked from normal movie optical sound orchestra on a number of occasions. His kind interest tracks. It was crude in comparison to today's Cine­ and cooperation did much to advance the commercial rama, being plagued with cinema equalization which development of stereophonic sound. I still cherish a lopped off all frequencies above 7000 cycles. stereo recording of his famous orchestral transcription Due to its complexity, the original "Fantasound" of the Bach Toccata and Fugue in D minor, which we was used only in a limited number of movie houses, made with the Detroit Symphony-which brings us where a long run could be assured. But with all its back to the Disneyland Fantasia soundtrack album, limitations, it did work-and effectively enough to stim- (Continued on page 38)

Producer, Conductor, and M. C.- Disney, Stokowski and Deems Taylor confer on script problems for Fantasia.

APRIL 1958 LOUDSPEAKERS ARE

Smart engineering whittles down the last obstinate obstacles to tonal perfection in transducers.

By HERBERT RE ID

HE loudspeaker is a perennial problem child of Taudio. It has reached a remarkably advanced state Stephens uses a floating cone suspen­ of development, but engineers are still burning mid­ sion in new 8 and 12 inch models. night oil to achieve the ultin1ate ring of h·uth. Loudspeakers belong to the obstinate and ornery tribe of "transducers" which have traditionally tripped up engineers in their sh'iving for perfection. A h'ansducer is a device which converts energy from one form into another. For instance, pickups and mi­ crophones are transducers because they convert the mechanical energy of sound vibrations (in air or in the record groove) into conespondil1g electrical oscil­ lations, A loudspeaker is a transducer because it does the same thing, only in reverse: it converts elech'ical energy into its mechanical equivalent, thereby making it audible to the human ear in the form of acollstic vibrations. By translating energy from mechanics into electricity and vice versa, transducers act as middle-men between Hartley developed stiff polymerized these provinces of nature. In this role they must oc­ cones for true piston action . . • casionally reconcile the conflicting requirements of these two realms, It is this element of compromise which sets certain limits to the fid elity attainable in the h'anslation from sound to electricity and back again. But the smal1 remaining margin that now sep­ arates us from ideal sound reproduction is constantly whittled down by the ingenuity which audio engineers sometimes use to find loopholes in the natural law. One constant problem is the cone itself and the manner in which it is attached to the loudspeaker frame, Ideally, the cone should float freely, without anything to resh'ain it in its motion. A loosely sus­ pended cone can tlU'ust out far enough to give power to the low bass fundamentals. If nothing holds it back, it won't bend in the middle and thereby add distortion. But in solving some problems, loose cone suspension creates others. Efficiency goes down. The speaker needs more power to produce a given volume of sound. Moreover, it tends to keep swinging after the signal has stopped, This prolongs and blurs the sharp sounds known as "h'ansients" (see Livid Lingo, March 1958, p , 53) and makes music sound soggy. In attacking this dilemma, the Stephens engineers . . . which work to best advantage recently found a way of having the cake and eating it in the complete Hartley 220 system. too, Their "Trusonic" Free Cone Suspension is made from a specially prepared material, a plastic-impreg­ nated molded fabric that has plenty of "give" to allow 30 HIFI & MUSIC REVIEW GETTING BETTER

KLH gets more bass from less space A plastic foam center plug turns thanks to "acoustic suspension." the JansZen woofer into a flat piston.

maximum cone swing. Yet at the piston motion has been achieved. same time this material has enough The material, which makes a resilience to bounce the cone right rather strange-looking white cone, Electro-Voice horn tweeters have a back. In this way, an advantage is is a polymer resin. Once the basic gained in bass reproduction with­ new phase-equalizing throat ... substance was found, pains were out impairing efficiency of transient taken to eliminate any inherent res­ response. With Trusonic suspen­ onance. The amalgam now em­ sion, the new Stephens 8-inch ployed sounds deader than wood, speaker (Model 80FR) rivals the no matter how it is struck. This performance of ordinary 12-inch assures the listener that the Hartley rr:odels, reaching down to 40 cycles speaker adds no spurious coloration with Hat response. The new suspen­ of its own to the music it repro­ sion will also be incorporated in duces. Stephens' larger models, with a pro­ An altogether different tack to-, portionate gain in bass and tran­ ward the dual goal of stabilizing sient response and lowering of dis­ the speaker cone while at the same tortion. . . while horn loading has been time allowing it sufficient freedom The material of the cone itself is added to the E-V mid-range unit. of motion is taken by the KLH Re­ as vital to its function as the manner sem'ch and D evelopment Corpora­ of its rim attachment. Ideally, the tion. To avoid false tone coloration, cone should move as a unified area that might be subjectively de­ -like the surface of a piston push­ scribed as "boominess," "boxiness," ing against the air. If the cone and "screechiness," etc., KLH em­ bends or buckles during its motion, ploys the acoustic suspension prin­ these random movements create ciple that was first introduced some ugly distortion. At best, they falsify years ago in the AR (Acoustic Re­ tone color by adding odd harmon­ search) loudspeakers. Instead of ics. At worst, it grates on the ears stiffening the cone itself, it is left by generating tiny clashes of sound to Hop about quite loosely. The that were never in the music. necessary resilience is provided by To move as a piston over a wide an air cushion formed in the interior range of frequencies, a loudspeaker of a small, hermetically sealed cab­ cone must be both stiff and light. inet that is an integral part of the Hartley P1'Oducts Co. have recently speaker system. Unlike the elastici­ developed a new cone material for ty of some mechanical suspension their new No. 220 speaker that is devices, the restoring force remains as rigid as thin china. It simply constant (linear). This permits the won't buckle. If one edge of the Complete Bass Plane Stephens cone to swing out on very wide speaker is pressed down, the oppo­ speaker systems in elegant cabinets. bass thrusts without encountering site edge goes down with it. It's any resistance different from its not easy to tilt. In other words, true normal "load." The result is clean- APRIL 1958 31 sounding bass without coloration different time (or out-of-phase as added by any changes in load con­ the engineer would say) to those dition of the cone. coming from the center. This system is capable of pro­ For cone tweeters, this difficulty ducing low bass from a small, book­ has been eliminated in the new shelf-type enclosure because the free-floating upright tweeter used speaker only needs a small, tightly in the ErGO HF-2 loudspeaker. sealed air space behind it. But this Elect1'O-Voice no\>,' reports a suc­ economy in space is not matched cessful new angle in licking this by a corresponding economy of problem for horn tweeters. The new power. It takes a good twenty watts E-V horn throat prevents dia­ of amplifler output to push the phragm breakup because out-of­ speaker effectively against its au: phase sounds from the center of the cushion. diaphragm are made to travel a KLH is one of the growing num­ much longer path before reaching ber of small finns who deliberately the outside air. The sound "frag­ stay small and limit their produc­ ments" that were out of step are thus pulled back in phase. The me­ tion in order to maintain strict Odd-shaped center in University's quality control on every unit they tallic harslmess that marred the new tweeter disperses highs. produce. They control every part sound from many horn h;yeeters as of the manufacturing process, in­ the result of diaphragm breakup is cluding the making of the pulp thus eliminated. from which the soft speaker cone Metallic resonance in horn tweet­ is pressed. ers has been eliminated by AZtec A similar manufacturing philoso­ Lans'ing through the simple expedi­ phy pervades the precincts of the ent of avoiding metal. The horn N eshaminy E Zectmnic GO1'Poration structure in their new 602B coaxial where JansZen loudspeakers are "Duplex" loudspeaker is made of fi­ made. However, JansZen follows a berglas. This is another instance of different design principle in their the growing use of specially treated cone speakers, which they use only plastics of controllable properties as for bass and mid-range, supple­ loudspeaker materials. menting their electrostatic tweeters. University Loudspeakers have al­ The desired piston action of the so been experimenting with the cone is obtained by filling the cavity shape of tweeter horns and recenfly with a plastic-foam center plug. came up with something they call a This novel approach makes the "front plane equalizer," which looks woofer look somewhat like a stop­ like a small rocket about to zoom pered tuba, but the resulting sound out at the listener. It is part of the A fiberglass tweeter in Altec Lans­ is quite pleasantly clean and true. University H-600 horn and aids in ing's coax avoids metal resonance. To get more bass from a given the uniform dispersion of treble amount of baffle space, Mr. R. L. notes. Bradford borrowed an idea from The unique "tri-axial" speaker de­ steam boilers. His "Bradford Baffle" sign introduced by Jensen several has a kind of safety valve in back. years ago has been brought up to Whenever the motion of the speak­ date in their new model G-600. It er compresses the air in the small is the only 3-way system, complete enclosure to the point where the with woofer, mid-range and tweeter back pressure impairs speaker mo­ cones and horns, all nestled within tion, the relief valve simply "lets off a single speaker frame. steam." This permits an infinite The sheer variety and divergence baffle enclosure to be reduced to a of current loudspeaker development fraction of its normal size. A recent easily puzzles the casual observer. version of the Bradford principle It goes to prove that, if perfection features four "cells," each with its in its elusiveness may be likened own 12-inch speaker and pressure unto a cat, there are many ways to relief valve in back. skin it. Or, to switch proverbs, there The problem of cone deformation are many roads leading to Rome and resultant distortion exists also and gradual progress is made on in tweeters. At the very rapid to­ quite a few of them. and-fro motion at high frequencies, Jensen makes the only "triax" speak­ Meanwhile the old arguments the cone material or diaphragm ma­ er with three separate drivers. continue. Advocates of cone tweet­ terial (in horn tweeters) loses its ers accuse the horn partisans of be­ physical shape and radiates sound ing raucous; the infinite baffle boys waves from the outer surfaces at a (Continued on page 62) 32 HIFI & MUSIC REVIEW THREE ALBUMS TO FAME

l r II'hrtl let- rC(J(/ of fhl' fa'mb)lI.-8 f$ociet" affuirs lhttll(lke plot-'f. we < 0011 ((hltolJt I)e (-prlft;" Ihe llWRiC' i$ 8.U1J}}/i,,1 by £elller Lnnin.. / L~S I {fY Lot~ill ill. ttll a fide. (f8$fJciaf"fi wi,h IJ~ '400' set. f/lJfllf'l'Cr, Jt'lr "~'fJlize 11m' Itt, 1111.'1 ('rellll'!l (I 8tY(I' of IlHUUC SI) dq1!"f'flhle. il w ' wille tu IIrder' jr)T (HIli parlO.A. (wIJl1'luQe/1?hi$ is tl/(, 1It'.Jl:Ut 11i/,I wi!! turll your pnr/lJ it,lo nIl ()r

~ ..t: a. ~ C) o (; ..t: c..

Energetic, and now phenomenally successful, L ester Lanin provides distinctive music for particular people and fashionable pa7·ties.

By PETE R DUBOIS

THE Astors, Vanderbilts, Rockefellers, Fords, DuPonts and their guests have known him for some time. Now the whole country is aware of Lester Lanin, mostly through the Epic label dance music LPs of Leste1' Lanin and His Orchestra (LN 3242), Dance to the Music of Lester Lanin (LN 3340), and At the Tiffany Ball (LN 3410). Describing the growth of his band from a modest hotel group to a complex operation in band date logistics, Lanin says, "One thing led to another. The places we played catered to society and we played to please the people." This striving to give his dance public what it asks for and introducing a variety of familiar favorites-all with impeccable styling­ constitute the essence of the Lanin format. His latest album, At the Tiffany Ball, demonstrates this format. Where a normal "pop" LP offers a dozen or so selections, this one boasts no less than 43 tunes-a mixture of fox b'ots, waltzes, jazz and Latin music. At a party Lanin has a sixth sense when it comes to playing just the music to get things moving. People are sometimes reluctant to be the first on the floor; and if a nicely-paced fox trot doesn't get the dancing underway in short order, Lanin and his men will feel out the situation with different tempos and tunes in fairly rapid succession. Once the people are dancing, Lanin pays careful attention to requests. "I feel the pulse of what people want," he says, "then I play accordingly. I've taken thousands of requests at dances and know what the people I · play for like to hear." As a matter of fact, Lanin keeps a close tabulation of requested tunes. 33 The band m'rives and starts unpaclcing the car. Party engagements absorb most of Lanin's time. II

Special arrangements a1'e outlined with the cla1'inetist just before the band goes out on the flo01·.

The first number of the· evening may be a foxtmt, rumba, 01' tCJa ltz depen-ding Q?t the audience reaction.

When a new. Epic. LP ris ap JOT FecoTding, it is ·from his request lists that the: final .contents are ·chosen. _ . - -'. . . Lester Lanin's .pers.onal stofy goes. back some -40 years, 'wllere in· his '. native P.hiladelphia he divideo.his hoy:hood music.al stumed)etween jazz . ~rumming and -serious piano. Eeeause he·has s.ll:lCespent.s@ much.. af his · time .constantly. occupied with hisbasiness-a,nd In this case it 'certainiy , is BIG. business- Lanin has never found tifh~ for man:iage. ''I'm a bach­ elor;" he adrriits, "but I can't say that it is Il1Y preference. It would -J:5e one of my happiest achievements to be happily manied, to··find someone who cop.ld tolerate the demanding hours of my business." But essentially Lanin remains married to· his orchestra and its ever­ active schedule; for his date book contains notations as far ahead as 1963. Lester Lanin is .not just a suave, finely disciplined leader frQPting his own thirty-piece band. He is also a knowledgeable coordinator of some five hundred musicians, all'of whom are experts in the dance and society party field. The Lanin musiCians have to be good, for they are his reputa­ tion and advertisement rolled into one. At one point or another in their own careers, Artie Shaw, Benny Goodman, Glenn Miller and many others have played as part of the Lanin organization. Questioned how it felt to appeal to a nationwide audience, Lester Lanin replled, "I feel the same way a football substitute would if he were called into a game after years of warming the bench, and score~ a touchdown. At last I've scored with the general public." -END

34 HIFI & MUSIC REVIEW I

Gene Krupa sets the beat for Charlie Ventura (sax) and Bobby Scott (piano) at NBC's Timex All-Star Jazz Show .JAZZ ON TV

CBS with The Sound of Jazz and NBC with the Timex All-Star Jazz Show give the cats their innings over nationwide. TV.

"The blues to me is like being very sad, very sick, going to church, being very happy"- Billie Holiday on the CBS Sound of Jazz- shown here with Lester Young, Coleman Hawkins, Gerry Mulligan.

I I APRIL 1958 35 .. CBS producer'$-eye-view oj Jimmy Rushing singing. the blues with Count Basie Orchestra backing.

N. Y . Herald-Tribune radio columnist, John Crosby, Meed The Sound of Jazz Jo Jones, core and heartbeat of the celebrated Basie rhythm for CBS "Seven Lively Arts" show. section. Here he makes with his famous light cymbal work.

36 HIFI & MUSIC REVIEW Top: Clarinet marma­ lade in process of concoction at CBS by Pee Wee Russell and Jimmy Guiffre.

Left: June Christy adds her share of sparkle and zest to NBC's jazz pageantry.

Right: Woody Herman steps out at NBC to front the "herd" in The Preacher.

APRIL 1958 STOKOWSKI REVISITED Philadelphia forces sound much greater, even with re­ (Continued from page 29) stricted sound. Should you then deny yourself the new Capitol LP in favor of this original Fantasia version? The new one since it also contains that great stunningly dramatic is not perfect, but the sound of the original is also not music. It would be folly to assert that the recording palatable for modem hi-fi tastes. I suspect that when taken from the soundtrack even approximates hi-fi a stereo tape or stereo disc of this Capitol recording sound as we know it today. However, it is still good becomes available, the faults will disappear, as has enough to let us savor the incredible sonority of the been the case with some of the other Stokowski Capitol Philadelphia players under Stokowski. The "Toccata" issues in similar dispute. As to the rest of the program is almost granitic in its massive projection here. The in the Fantasia album, the Beethoven Pastoral Sym­ huge contrabass sound, the sustained tonal breadth of phony, the Ponchielli Dance of the Hours, theStravin­ the brass choir, the sparkling precision and sumptuous sky Rite of Spring, the Tchaikovsky Nutcracker Suite, tone of the violin sections are something at which to Moussorgsky's Night on Bald Mountain in Stokowski's marvel. There is a truly soul stirring majesty to this lurid arrangement, Dukas' The Sorcerers Apprentice playing and interpretation. and Schubert's Ave Maria, they too bear the stamp of And what of Stokowski's latest version for Capitol Stokowski and glow with the fabulous virtuosity of the of this music-its sixth recording since the 1929 Victor Philadelphians. And in matters of sound, all save the session with the Philadelphia Orchestra? Well, the in­ Rite of Spring and Ave Maria have been subsequently terpretation is different in various subtle ways. A dif­ recorded in LP format with sound of infinitely better ferent dynamic shading here, a new phrasing, etc. For quality. the most part, this bears the unmistakable sonic im­ Before we leave Fantasia, it is interesting to note print of Stokowski. It would be foolish also, to com­ how little the Stokowski readings can change, I timed pare the sound on this Capitol disc with that of Fan­ the Bach "Toccata and Fugue" in Fantasia at 9:23 and tasia. Most certainly, there is sharp clean hi-fi sound the same in the new Capitol at 9:33. Ten seconds in here, but unhappily, the trouble that has been plagu­ 15 years is pretty good! The rest of the Capitol album ing the first few Capitol Stokowski discs crops up here is given over to works closely identified over the years as well-this being a curious lack of balance in the with Stokowski, such as the Johann Strauss Blue Dan­ sound as recorded on the finished disc. The sonic ube, Debussy's Clair de Lune, SibeIius' Finlandia, etc. weight is toward the high end and the lack of sufficient The sound is for the most part quite good, though the bass makes the sound frequently .rather thin. Every balance is somewhat variable. The Fantasia album, by now and then the balance seems to be all right, and I the way, is beautifully packaged with illusb·ations from can only conclude that someone might be fussing with the picture. As a sonic and visual document of the the mixer controls too assiduously. Dynamics too, are greatness that was Stokowski with the Philadelphia not of the wide range that they should be. Above all, Orchestra it is a worthy keepsake for all even at its I think this latest edition suffers in terms of the playing premium cost. and the actual physical size of the orchestra. The -END

THE VOICE AS HORN to sing the song her way." turned out to be a school of quasi­ (Continued from page 25) A lusty mixture of blues, gospel jazz singers who tended to confuse singing and a stripped-down-for­ huskiness a Ion e for .emotional immediate-action a p pro a c h to warmth and whose phrasing and jazz singer was the late Ivie Ander­ standard popular songs combine in rhythmic pulsation were self-con­ son, who can be heard on two num­ the curiously powerful and eclectic sciously mannered to the point of bers in Duke Ellington: In a Mello­ talent that is Dinah Washington musical distortion. June Christy, tone, Victor LPM-1364. A vocalist (The Best in Blues, Mercury MG perhaps the best of the O'Day line, who made a light, deceptively 20247 and For Those In Love, Em­ has been improving in the past two sweet voice into an unusually sup­ Arcy MG-36011). Miss Washington or three years and indicates in a ple, tasteful and perceptive instru­ is rarely subtle but she cuts into the couple of recent albums (Fair and ment was the late Mildred Bailey imagination with the shouting di­ Warmer, Capitol T-833 and The (Me and the Blues, Regent 6032. rectness of a Wild Bill Davison. Misty Miss Christy, Capitol T-725) Columbia has yet to reissue her best Hotly memorable in quite an­ that she has become one of the bet­ recordings) .. other way is Anita O'Day. Initially ter pop singers influenced by jazz. Lee Wiley also has a sound that influenced by Billie Holiday, Anita Influenced in tum by Christy has is limited in power and range but developed her own style, marked been the widely publicized Chris is instantly identifiable. Her voice is by a powerful beat, explosive Connor ( Chris Connor, Atlantic intimate with something of the phrasing and unpredictable humor. 1228) who occasionally suggests a quality of an Emily Dickinson let She uses her voice like an irrepress­ jazz approach to a song, but too out into the world. She selects her ible hom and is often daring in her often is over-stylized to the verge of material carefully and as trumpeter improvisations. Anita misses oc­ self-caricature. Ruby Braff has noted, "There are casionally, but is exhilarating when Through the years, there has times when she doesn't change a in form. (Anita, Verve 2000 and been a sizable number of essentially note (of the original melody), but with Roy Eldridge in Gene Krupa, pop singers who have incorporated she can hold one note a little bit Columbia CL 753.) jazz elements into their styles with- longer or bend it just the right way Anita O'Day influenced what (Continued on page 56) 38 HIFI & MUSIC REVIEW !

From the Brussels World's Fair to for Ultimate Fidelity Harvey's in New York, From Leading for Ultimate Fidelity Consumer Test Labs to Music City in * Honolulu. SUERWODt SH[RWOOD~

The World's Most Honored Hi Fi the first choice of those who know

Sherwood has been selected to repre­ sent the American High Fidelity art at the Brussels World's Fair, 1958, lead­ ing consumer research organizations have declared it "best buy," and deal­ ers around the World feel secure in recommending it ... and no wonder! ·outstandlng honors Sherwood tuners were first to extend bestowed, unsolicited, by FM reception beyond the 100 mile most recognized testing organizations. "limit" by achieving under one micro­ volt sensitivity for 20 db FM quieting. Why will your records sound better And recognizing first what you want­ with the new Sherwood 36-watt am­ ed in amplifiers, Sherwood engineers plifier, though you seldom play them produced the 36-watt amplifier that at levels exceeding 11f2 watts? Be­ delivers instantaneous music peaks of cause amplifier peaks in many mu­ 100 watts. sical passages demand 100 watt peak No matter what your source of music In addition, the new Sherwood am­ capability - and the new Sherwood -FM, your own discs, or tape-you plifier matches every feature competi­ S-1000 II delivers this instantaneous will enjoy it at its best coming from tion has to offer plus six features un­ peak power while operating at Ph Sherwood's complete home mu sic center obtainable anywhere else. watts! ... most honored of them all! Sherwood No other choice, according to lead­ tuners for exa rh pie ... ing research agencies, gives you so S-1000 IT front panel controls much while costing you so little! include 6-db presence-rise button; First to achieve under one microvolt Here, with Sherwood, is Hi Fi designed record, microphone and tape-play­ sensitivity for 20 db FM qui eting in· to satisfy the most exacting audio­ back equalization; exclusive "center­ creases station range to over 100 mil es. phile while still being a precision in­ set" loudness control, loudness Other important ·features includ e the strument that even the newest comer to compensation switch, scratch and new " Feather· Ray" tuning eye, auto­ High Fidelity can operate with ease rumble filters, phono level control, matic frequency control , flywheel tun­ and simplicity. For the housewife "lis­ tape-monitor switch 6 inputs, output ing output level control and cathode­ tener" it delivers the finest music tube balance control and test switch follower output. reproduction possible-and for her on rear. audiophile "hobbyist" husband Sher­ wood has everything he wants to For complete specifications, Model S·2000 FM·AM Tun er S139.50 net achieve "The Ultimate" in the science write Dept. MR4 Model S-3000 FM (only) Tuner S99.50 net of electronically reproduced sound.

For camalete specifications. write Dept. MR4 Plus beauty of cabinet design? In­ deed yes-Sherwood fits into any home with consummate grace, offering tasteful design in tuner and amplifier Sherwood Electronic Laboratories, Inc. cabinets plus wood cabinets for com­ 2802 West Cullom Ave., Chicago 18, Illinois ELECTRONIC LABORATORIES, INC, ponents and speakers that have been 2802 West Cullom Avenue, Chicago 18, illinois featured in leading home design magazine articles. The " complete high fidelity home music center:' The "complete high Hdellty home music center." No wonder that from Brussels to Honolulu, Sherwood is the First choice of laboratory sound men, discriminat­ ing home planners, audio enthusiasts, music lovers and just plain music "lis­ teners" who want the best sound at a price anyone can afford to pay-yet unmatched at any price! 1n New York hear'o Accent on Sound" with Skip In New York hear "Accent on Sound" with W eshner. WBAI.FM, week nights, 9 P.M. in Sherwood truly is the World's Most Skip Weshner, WBAI-FM, week nights, 9 P.M. Los Angeles, KRHM-FM, 10 P. M. Honored Hi Fi. In Los Angeles, KRHM -FM, 10 P.M.

APRIL 1958 39 For a greater measure

of listening pleasiire'~':': play your records with the

incomparable f/uxva/vE. 4!il Exclusive built-in hum-rejec­ tion circuit. __ requires no PICKERING'S truly miniature FLUXVALVE magnetic phonograph cartridge adjustment! represents the newest concept in high fidelity cartridge design since PICKERING introduced the firs t really lightweight high fidelity pickup more than a decade ago. You get a full measure of listening pleasure . .. because the FLUXVALVE has a full range response, flat within 2 db, from 10 to 30,000 cycles. Hermetically sealed, the FLUXVALVE is impervious to any and all of the elements . .. heat, cold, humidity, etc. Moreover, the FLUXVALVE has the exclusive PICKERING hum Exclusive " T-GUARD" stylus rejection circuit built-in, assuring hum-free performance. assembly ... no precarious fingernail fumbling! PICKERING'S "T-GUARD," the newest and safest idea in a stylus assembly, is incorporated in all FLUXVAL VE models. Change of stylus is done quickly and easily with the comfortable grip of the "T" shaped assembly .. . no precarious Low feather· fingernail fumbling . . . you are always sure the stylus is correctly seated. The most touch tracking flexible cartridge in the world, the FLUXVALVE is the only cartridge with the pressure, preserves the amazing lh mil stylus, and it can be used with five interchangeable styli to play any quality and record, at any speed. prolongs the life of your Only the FLUXVALVE has 100% IQF*, and it may interest you to know that records. because of its ability to make precise and reproducible record measurements, the FLUXVALVE is used for calibrating recording channels and record masters. ' IJDportant Quality Features,

.a n.e ••••1I')' r o l' hlgb tidellty reproduc tio Q BUILD UP THE QUALITY OF YOUR HI-FI SYSTEM WITH A PICKERING FLUX VALVE

Model 194D UNJPOISE FLUXVALVE TWIN FLUXVALV E SIN GLE P ickup Ann-This new . .. SERIES 350 - A turnover SERIES 370-A miniature lightweight . . . integrated cartridg e providing a high quality ca rtridge for a rm a nd cart r idge a s· r a pid c h a n g e of sty Ills use in a ny type of a u to~ sembly conta ining the point radius. Available in changer or manua l player FLUXVA LVE w ith ex­ 12 models featuring many arm. Ava il able in 5 mod· clusive "T·Guard" stylus­ combin a tions Qf sty li. els, prices sta rt at a low is only a fraction .of the prices sI a n at a modest $24 •. . $17.85. w eight o f con ven tiona l m icrogroove a nd standard tone a rms. H igh compli· groove recordings. Avail­ a nce and single friction· able with the Y.!, 1 or 2.7 free pivot bearing assure mil diamond stylus. Prices distortionless tracking of from $59.85 •.

lor tnose wno cOlllneorjtne o'Illerellce "FINE QUALITY HIGH FIDELITY PRODUCTS BY PICKERING & COMPANY, INC., Plainview, N. V. Enjoy the quality of a FLUXVALVE at your favorite Hi·Fi shop today ... you can hear the d ifference. For the dealer nearest you or for complete literature write to Dept. Z·48 40 H IFI & MUSIC REVI E W High fidelity audio never sits still. It is a lively art where new ideas pop like firecrackers. This monthly department reports on equipment that has been carefully inspected and evaluated by the staff of HiFi & MUSIC REVIEW. Technical specifications have been omitted since they are immediately available from the manufacturer and they are often phrased in jargon that precludes direct comparison with comparable gear. We are interested in what the new equipment does, how it does it, and most important, how it sounds.

Weathers Models K-730-D and MM-S

AVING had the neld to itself as H the manufacturer of the light­ est weight phon a pickup in hi-n, Weathers Industries now offers the lightest turntable and arm. This is a unit with several individual fea­ tures to intrigue the audiophile, plus a physical attractiveness that will please anyone's esthetic sense. The heart of a turntable is its mo­ tor and the manner in which it drives the platter on which the rec­ ord sits. This can be a complicated affair, with gears, belts and pulleys. ' iVeathers has simplified it in prac­ tical fashion. Assuming that the pri- Weathers turntable, arm and pickup mary need for a precision turntable (Weathers In dustri es. Inc .. 66 E. G loucester Pi ke, is for the playing of 33-1/3 rpm records, this Barrington, N.J . ) turntable is deS igned for use only at this sin gle speed. The W eathers motor is a 12-pole synchro­ nous type, similar to the motor of a good elec­ tric clock. It is precision made and is practically vibrationless. It is not designed for power; it cannot move heavy objects. How­ ever, to turn the platter with which it is paired, it works like a charm. It is powerful enough to rotate the platter at a constant 33-1/3 rpm with a pickup exerting a tracking force as high as 15 grams. This is almost three times as great as the heaviest tracking force in practical use and at least six times as much as the over­ all force of the W eathers pickup and brush. On the shaft of the motor is a pure gum rub­ ber wheel. It is soft and resilient and it snug­ gles against the inside rim of the platter. The distance between the motor shaft and the plat­ ter is nxed and the gum rubber drive wheel accommodates itself to this distance, thus maintaining constant speed, virtually free of rumble, wow or flutter. The elasticity of the gum is insurance against flatting and should EMC Stereo Tape Player ( EM C Recordings Corp., B06 E. 7t h St ., the wheel wear out, it may be replaced merely St. Pa ul 6. Mi nn.) by pulling it off the shaft and pushing another one on. The motor, platter and tone arm are fect on the stability of the seismic mounted on a platform that is suspended on platform. The platform itself is of the unit's base by an ingenious spring arrange­ heavy aluminum, anodized a light ment. W eathers calls the platform "seismic" shade of gold, and it contrasts hand­ and it is that. It is so well suspended, that the somely with the black base, arm base may be struck quite a hard blow while and platter pad. the unit is in use without causing the stylus to The platter and its pad have a jump a groove. Vibrations caused by walking few individual features of their own. across the room or by heavy traffic have no ef- The platter is not heavy. It has a

APRIL 1958 41 spindle that fits into an upper hous­ tionless through more than the audi­ The Weathers arm has the float­ ing, which goes through the record; ble range, transmitting clean sound ing action associated with viscous and below the platter, the spindle with a remarkably fine response to damping. It swings easily and it sits in a housing fixed in the seismic h'ansients. has the necessary compliance to platform. It runs freely and may be The Weathers pickup is actuated permit h'acking of warped records. stopped by hand with the motor on, by a tuned Gscillator using a 12AX7/ It is no trick at all for tlle arm or even turned back, without injury ECC83 tube. This is mounted inside and pickup to work perfectly even to the motor. This makes cueing the base, with holes for making nec­ when the turntable is not level. easy. It takes % of a revolution to essary adjm.tments conveniently lo­ We did like: The craftsmanship get up to full speed from a dead cated. Tuning the oscillator is simple and originality of design, mechan­ stop. and after a short break-in period, it ically, electronically and estheti­ The pad, termed a "discushion," remains stable, subject only to the cally. is made of flexible rubber and is idiosyncrasies and wear of the tube. We were doubtful about: The life removable. Three concentric ridg­ Two outputs from the pickup of the oscillator tube with the in­ es protrude on its upper surface and oscillator are available, with a tegral switching arrangement. The and these support 12", 10" and 7" switch for choosing either. If "MAG" switch on the unit turns the mo­ records by their edges. The grooved position is chosen, the output plugs tor on and off without affecting the portion of the record does not come into the magnetic carh'idge input of oscillator. If the power cord is in contact with the pad; hence, the a preamplifier, enabling the preamp plugged into the auxiliary power grooves are less likely to pick up to select the equalizations required. socket of the amplifier, the oscilla­ turntable dust. This position need only be used if tor will be turned on and off with The Weathers pickup and arm records made prior to 1953 are to the amplifier. However, when a made their reputation a while be played. The other position is tuner or tape machine is being used, back. The cartridge has no coils or marked "RIAA" and when it is se­ the oscillator will b e on unneces­ magnets. It is an electrostatic de­ lected, the output plugs into the sarily. Inasmuch as the 12AX7/ vice, extremely light and compliant. "tuner," "auxiliary" or "tape "input, ECC83 is a critical tube at best, it It tracks perfectly at only 1 to This bypasses the equalization con­ would be preferable to have a sep­ 1.5 grams, an important consider­ trols of the preamplifier and usually arate switch to cut out the oscillator ation in holding record stylus wear results in a better signal-to-noise when the tuner or tape machine is to a minimum. It is virtually dis tor- ratiu and sometimes less distortion. operating. •

EMC Model 2000L Stereo Tape Player

LLUSION plays as important a translation into sound of what is As a self-contained unit, the EMC I role in stereo as it does in ro­ on those tapes. That means high­ can be used only for monaural play­ mance. The stereo effect- depth and quality reproduction, hi-fi sound in back. It cannot record and, of directionalism- is so vivid an ex­ stereo with as few allowances for course, it will not erase. A monaural perience, even the initiated audio­ distortion in either channel as in tape will play through one of the phile may be beguiled into accept­ monaural reproduction. Conceding unit's preamplifiers, its amplifier ing a relatively high percentage of this premise means that stereo tape and its speaker. The amplifier is distortion for its sake. This is proved equipment should, of necessity, be capable of only a 3-watt maximum regularly inthose areas where stereo of prime quality. It should always output and the speaker system llas broadcasting is done by means of be "very good"; even if in otl1er a woofer only 5" in diameter, so the AM and FM radio. Obviously, the media, "pretty good" is acceptable. odds are stacked against low-distor­ AM channel is narrow in frequency The EMC Stereophonic Tape tion sound. An outside speaker may and dynamic range and its distor­ Player is a simple approach to the be plugged into a provided outlet tion figure is far above that usually problem of stereo sound reproduc­ for better sound, but the limitations allowed in normal hi-fi practice. Yet tion from tapes. Priced at $189.50 of the amplifier will still prevail. despite the obvious imbalance be­ it is designed to play back 7~ ips However, the player is primarily tween the two channels, these tapes. It is a compact cenh'al unit, deSigned for stereo, and for this broadcasts are enjoyed, for they made up of a tape transport, a dual function, at least one outside ampli­ have a high degree of impact. preamplifier, a single amplifier and fier and speaker are necessary. Used With stereo tape, the sihlation is a speaker, all neatly cased in a space thusly the unit's own amplifier, different. This source of reproduced of only 13~ x 9~ x 8% inches. Phys­ speaker and one of the preampli­ sound is as close to perfection as the ically, it is ath'active. The case is fiers handle one of the two chan­ recording art has reached. An effort covered in black leatherette, piped nels, while the other chamlel is has been made, presumably, to cap­ with white, and the hardware is handled by the other internal pre­ ture the original sound in full-with nickel-plated. The control panel is amplifier plus the external amplifier a minimum of distortion in either gray, black and nickel. A black and speaker. The results in this channel, with depth and with di­ plastic handle is well placed for arrangement are limited by the rectionalism. Hence, it is entirely convenient carrying. As the weight abilities of the internal components reasonable to believe that the buyer of the entire unit is only 20 pounds, and even the amplifier and speaker of stereo tapes will want a faithful portability is practical. of an ordinary radio or television 42 HIFI & MUSIC REVIEW II THE FISH'ER FM-AM Tuner • 3D-Watt Amplifier • Audio Control Center

DELIABLERECEPTION on signals as low as one microvolt! Harmonic SPECIFICATIONS OF THE FISHER "500" ft and 1M distortion, inaudible! Hum and noise, 80 db below rated output! This is the sterling performance that will delight you at your first • Operates on FM signals as low as 1 microvolt. meeting with THE FISHER "500" -and in the years ahead. And, as your • AM sensitivity is better than 3 microvolts. acquaintance with the "500" grows, so also will its dependable, flexible • Micro-accurate tuning meter for both FM performance provide a never-ending source of pride and pleasure. and AM. • Overall frequency response, uni­ On one compact, integrated chassis, THE FISHER "500" combines an form from 25 to 30,000 cycles, within 1 db. extreme-sensitivity FM-AM Tuner, a powerful 30-Watt Amplifier (with • Harmonic distortion, less than 0.5% at 30 60 watts reserve for orchestral peaks) and a completely versatile Audio watts. • 1M distortion, less than 1% at 30 Control Center. Just add a record changer and a loudspeaker system-and watts. • Hum and noise inaudible, (better you have a complete high fidelity installation for your home! than 80 db below full output.) • 4 inputs, '. including separate tape playback preamplilier­ In apperu:ance and construction, the quality of the "500" is instantly equalizer.• 4, 8 and 16·ohm speaker con· apparent. The simple and easy-to-use arrangement of the controls and nections.• Separate monitoring output-listen control panel designation make it a delight to use - whether by a novice while you record. • Seven simple controls, in· or a technically-minded high fidelity aficionado. c1uding 9·position Channel Selector with pin· Flywheel tuning and a professional tuning meter for both FM and AM, point channel indicator lights.• Easy.to.read make for convenient station selection. The audio controls include a two· tone tuner dial, with logging scale•• FM Volume Control, continuously variable Bass and Treble tone controls, a Dipole and AM Ferrite Loop antennas included. 4-position Loudness Contour Control, and complete $249 • SIZE: 13%" wide, 13%" deep, 6'111" high. equalization for all disc and tape recordings. Chassis, 50 • SHIPPING WEIGHT: 35 pounds. Blonde, Mahogany or Walnut Cabinet, $19.95

APRIL 1958 43 (a.c. only; not a.c./d.c.) will suffice. troIs. Operation is simple. After knob must be locked firmly in the The result is stereo, but, of course, turning 0n the power switch, put PLAY groove to insure constant it is not hi-fi stereo. the tape reel and the takeup reel speed. The third manner of using the on their respective spindles and We did like: The simplicity of EMC really ~s its raison d'etTe. Two thread the tape. By this time the operation, the functional design and external amplifiers are required, tubes will have warmed up, so move the compactness of the unit. plus two outside speakers and their the tape-motion knob to PLAY po­ We we1'e doubtful about: The enclosures. Upon the quality of sition. When sound is heard, it thickness of the fins on the spindles these amplifiers and speakers de­ should be balanced for equal vol­ that engage the slots in the tape pends most of the quality of the ume from both speakers. The same reels. They an: a hair too thick sound that can be obtained. If these knob that turns the machine on and and the reels must be forced onto amplifiers and speakers are of good oH is the balance conhol. After the the spindles. No pressure should hi-fi quality, the sound will be cred­ sound is balanced, the volume con­ be required. There are no dots or itable, because the limitations then hoI may be used to make it louder arrows on the knobs to indicate po­ will be only those of the EMC tape or softer. This knob gives the im­ sitions. This makes it impossible to head, motor and preamplifiers, all pression of increasing bass response duplicate settings exactly in future {)f which are of an acceptable hi-fi by actually cutting highs, and this use. The instruction manual neg­ standard. This arrangement of the really is the weakest electronic fea­ lects to mention the need for out­ EMC (tape mechanism only) sells ture of the unit. Single tone con­ side amplifiers and speakers until for under $90. h'ols date ba.::k to the primitive days near the end. This may antagonize The EMC possesses all of the of hi-fi; the unit deserves separate the potential buyer who obtains his necessary controls for operation, so treble an:1 bass controls. The tape first impression of the unit from a any external amplifier should be movement responds easily to the display of its self-contained mon­ just a basic amplifier, without con- Tape Motion Control Knob, but the aural system. •

Tandberg Model 3-266 Stereo System (Reeves Equipment Corp., 10 E. 52 St., N.Y. 22 , N.Y.) HE Tandberg monaural machine placed at either end of a 10-foot of its three speeds ( 7Jf, 3~ , or H~ Thas been on the American mar­ bookcase and spectacular results inches-per-second). We also found :ket for some time and now with were achieved in playing back Cap­ the sonic results equally good their Model 3-266 stereo system, itol's Russkaya tape and Mercury's whether playing stereo, half-h'ack, they are making a strong bid in the Pete Rugolo Brass in Hi-Fi. A dozen or full-h'ack tapes. Of course, the American home stereo sweepstakes. other tapes from as many labels finest sound was to be had at the We were intrigued with the idea of were sampled-all to good eHect. fastest speed, 7Jf ips, (30 to 17,000 a portable stereo system capable of This speaks for the wide range re­ cycles is claimed); but that heard -first class results. So we took one sponse and efficiency of the Tand­ at 3~ ips (30 to 10,000 cycles) and home and tested it out on a variety berg 8" speakers mounted in the even at H~ ips (30 to 5000 cycles) {)f stereo and monaural program bookcase size enclosures. In this was thoroughly acceptable and free material. connection it should be noted that from audible distortion. The two Sonic ally, the results have been the Europeans go in for high effi­ amplifiers work in parallel when the 'very good. The low power (3Jf ciency speakers and conservatively tape machine is operated monaural­ watts) amplifiers used with the powered amplifiers. ly, thus putting out about 7 watts Tandberg oHer all the volume N e}.1: we checked into some of the maximum all told. needed to fill a reasonably large other features of the Tandberg sys­ In terms of operation the Tand­ Jiving room without a trace of audi­ tem. We found no noticeable wow berg should be a joy even for the ble distortion. The speakers were or Hutter when playing back at any housewife. If one is using it for playback of stereo tape, there are just three conh'ols to think about­ the on-oH switch, the volume con­ hoI, and the play-wind switch Stereo speakers for which works in a T-pattern-down the Tandberg (not for playback, left for tape rewind, shown in this pho­ right for fast-forward wind. The to) attach to the playback unit rewind and fast-forward speeds are through special con­ moderate (2 minutes for rewinding nections at the bot­ 1200 feet), thus assuring a solidly tom rear of the wound tape and lack of unneces­ chassis. Tape reel sary strain. Tape threading-slot shown here is the type-is wholly unproblematical. new Ferrodynamic. Both braking action on "stop" and take-up on "start" are positive yet gentle-on excess tension or slip­ page problems that we could dis­ cern. 44 HIFI & MUSIC REVIEW Bozak quality loudspeakers for the very best in sound

A straightforward and uncompromising approach to the problems of loudspeaker • design / respect for the esthetics of music and the laws of physics / the devo'ted craftsmanship of the entire Bozak organization ... these basic principles underlie the total, exact re-creation of the power and detail of music that define Bozak Sound. Hear the J.3ozaks at your Franchised Bozak Dealer, write us for literature. THE R.T. ,SOZAK SALES COMPANY. DARIEN, CONN. APRIL 1958 45 All input and output jacks are mounted on a single strip in back ALLIED knigh'~k i ' HI-FI EQUIPMENT of the machine, save for the micro­ phone jack which is on top, near .. "".YO·BUILD HI.FI 'VERYON' CAN .fFORD the volume control. The dual speak­ : wi * World's Finest Hi-Fi in Kit Form er outputs are rated at 4 ohms, in­ * Beautiful Custom-Styled Line * Adv.anced, Easiest-to-Build Design dicator and a clock-type "footage" ...... S~ * Money-Saving Hi-Fi At It s Best counter are also included. ---- The lady of the house will proba­ bly appreciate the tasteful mahog­ EASY TERMS any casing of both the tape machine AVAI LAB LE and the speakers. The carrying case is mighty handsome too, and comes complete with lock. W e did like: The fact that this tape recorder and playback has been thoroughly proven reliable, rugged and versatile. The calibre of the workmanship is the highest possible and should present no Only $4. 99 down problems if it ever required servic­ knight-kit FM-AM Deluxe Hi-Fi Tuner Kit ing. Frequency response, wow and featuring: The best-looking, best-performing Hi-Fi tuner your Hutter were also within the order of m oney can buy! Covers full AM broadcast and 88 to • Full FM-AM Covera ge 108 m c FM. Sensitivity is 2.5 microvolts for 20 db of magnitude expected from American • 2.5 J1.v FM Sensitivity quieting on FM; 3 microvolts for 10 db signal-to-noise units costing one to two hundred • Automatic Fre qu ency Control ratio on AM. Also has drift-compensated oscilla tor; built-in AM ferrite antenna; ca thode follo wer outputs; dollars or more. • Printed-Circuit Board two outputs-one for recorder, one for a mpli fi er. • Pre-aligned RF & IF Coils H a ndsome, custom-styled case, 4 x 13 x 8". Ready for W e were doubtful about: The ob­ • Tuned RF Stage on FM easy, money-saving assembly. 12 1bs. . 95 viously European concept of "how" • Neon Glow Tuning Pointer Model Y- 787. N et, F .O.B . Chicago, only . . .. . $49 the playback is to be used. For ex­ ample, not everyone who purchases knight-kit 30-Wott Complete Hi-Fi Amplifier Kit the Tandberg will want to always Model use it as an independent stereo sys­ Y-762 • All-New Custom Styling 95 • New Printed-Circuit Swi tches tem. Some are going to prefer to $76 • 3 Printed-Circuit Boards feed it into tlJeir existing m-n set­ Only $7.69 • 8 Inputs • Fult Equ alization down • Full 3~-W att Hi-Fi Output ups. Yet there is no way of bypass­ Build the best a nd SAVE! Linear-deluxe Willia mson-type ing the internal amplifiers. Most power amplifier-flawless response ± J.1l db, 15-100,000 . cps at full 3D-wa tt level! E q ualization for all records within J.1l db of American machines have a separate recommended accuracy. E xtra features: separate B ass and Treble, Level a nd Loudness Controls; Rumble Fil te ~; Va ria ble D a mping; A-AB-B "external amplifier" conn e c t ion. spea ker selector; custom cabinet, 4 ~ x 15 x 15". 32 1bs. Mode l Y-762. Net, F .O.B. C hica go, only ...... $7695 This permits monaural and stereo playback over the previously in­ THERE IS AN EASY-TO-BU IL D knight-kit FOR EVER Y H I- FI NEE D stalled hi-fi system. Secondly, there should b e some thought given to amplifier volume balancing on the ltf- J stereo channels- especially after the unit "ages." Lastly, a treble "cut" control would be handy in the case of American tapes that are not ac­ 2-Way Hi-F. cording to equalization standards . • Speaker Ki t ~~ 20-W.att 25-Watt Basic $4450 Complete $3575 AIOm-wpla"fit,t, rHiK' ,Fti $2350 Ampli fi er Ki t Ampl ifier Kit ~ See our 1958 Cata log for full cletails ESL Model C-60 Cartridge

ALLIE D RADIO (E lectro-Son ic La bo ratori es. Inc .. 35-54 36th St .• ~Ht-ft~ Long Isla nd C ity 6, N. Y. )

404-PAGE ALLIED RADIO CORP., De pt. 115-D8 100 N. Weslern Ave., Ch icogo 80, III. I NEW high fidelity cartridge­ 1958 the C-60 series-has been re­ • Ship the following H i-Fi K NIGHT-KITS: A ALLIED I leased by Electro-Sonic Laborato­ CATALOG ------_ _ __ $,__ __--"e nclosed . I ries, Inc. It is the successor to the S e nd fo r this o Send FREE 1958 ALLIED 404-Page Ca talog I esteemed ESL Concert Series car­ v al u e -p a cked N ame ______catalog featuring the world's largest tridge and based upon our tests un­ selection of Hi-Fi Kits, components doubtedly will garner even more and complete music systems, includ­ Address ______I ing Everything in Electronics. ' Send well deserved praises than the for your FREE copy today. City Zone_ _ Stal.e_ _ I earlier model. L-______~ ... "'" ___ " "'",~__I ______. ___ .J ( Continued on page 89) 46 HIFI & MUSI C R EVIEW ..

....

Livid Lingo

Load up with the simple explanations in this glossary* and you won't have to turn and run when the next seasoned hi-fi addict throws some livid lingo in your direction

WOW AND FLUTTER along will sooner or later succumb to ~onic s e~s ickn es.s. We get a queasy feeling that seems lIke a mIld COUSI~ (The Case of the Seasick Listener) to the detestable impulse that hangs us over the raJI on a stormy day at sea. The motor fault that produces sonic nausea is called HEN a storm hits at sea and our stout ship plunges • "wow " which is a three-letter way of saying that the Wup, down, up, down, there may be a few well­ motOl: is slowing down a little, speeding up- slowing seasoned stomachs on board that manage to survive down-speeding up-over and over. No on~ knows the ride without violen~ upheavals. (this writer doesn't, anyway) who first used thIS slang?, But when an unsteady motor on a record changer or term for a strictly engineering concept, but maybe It tape machine takes us for a ride over waves of musical was suggested by the "eeeeeee-oowww" sound. ~f a pitch that go up, down, up, down, every ear that goes siren going dead, a severe case of wow, by defimho~ . * Feb. '58 issue- Watts Output and Frequency Response. ill March '58 issue-Transients. Wow and musical pitch are intimately connected APRIL 1958 47 a phonograph or tape machine because the speed of tones to jelly? Wow is measured by the percentage of motion determines the rate of vibration at the pickup speed change. Let's say for ease of calculation that a device. Let's say, for instance, that the wiggles in a record changer with normal speed of 33 revolutions record groove are passing under your pickup stylus per minute is jumping to 36, falling to 30, jumping to at the rate of 256 per second. You will hear middle C 36 etc. You would have about 10% wow, and you coming out of your speaker. If the motor speeds up a would clap your hands to your ears and run for your little so 270 wiggles pass per second, the reproduced li£e, if you stalied a record on such a turntable. Even note will rise to C sharp, a semi-tone change that the 1% wow is strongly disturbing. composer did not write into the music. Many of the cheaper turntables manage about 0.5% If you want a quick demonstration of the aU-out wow, which is all right for fast music but may turn wow, bring your finger lightly against the outer edge of your stomach on slow piano. Most high quality turn­ the turntable, when a record is playing, and apply tables and tape transports are somewhere between enough pressure to slow the turntable noticeably-it about 0.4% and 0.1%, the latter figure being just about won't take much. Then let go. Repeat about once a perfection. But don't expect to get 0.1%wow in a low­ second. There it is, brother, and we guarantee that you or moderately-priced unit, because it requires costly won't use this little exercise to impress the neighbors high precision to every moving part. when you are showing off your hi-fi system. You can study published figures on wow as general However, it is not usually this knock-'em-dead wow guides to quality, but for final judgment on a turntable you have to watch out for, because such obvious musi­ or tape drive always use your ear and a recording that cal murder will be caught before it reaches you. The you have heard often before, with very slow piano, dangerous culprit is a sneaky wow that steals into your organ, or violin music. Laboratory studies have shown living room to give you sonic seasickness before you that under some conditions, you, I, any normal guy or know it is there. Fast, snappy music is the main dis­ doll can hear a pitch change almost down to that 0.1% guise used by this criminal. In jazz, marches, or sym­ figure, in the mid-high treble. Translated to the musi­ phonic allegros, a small amount of wow will be hidden cal scale, that means we know when the pitch changes from your ear. To unmask the devil, try slow, long­ as little as a fiftieth of a semi-tone! In the low bass and held solo or chord passages. high treble, we are not nearly so fantastic in pitch The piano and organ are extremely sensitive to wow. perception. Great little test instrument, your ear. Sustained piano chords made a wonderful wow test. "Flutter" is wow when the up-down-up-down in Try to hear some live piano music of this type or a live speed takes place faster than about 10 times per sec­ piano broadcast from the studio of an FM station, not ond. We change the name at this point because the too long before you make your test. The ear needs ear begins to get a different message. Instead of an periodic reminding of the sound of "real" music. Then over-the-waves effect, we hear a roughness of tone, a listen carefully to the recording. Wow will cause a general blurriness or fuzziness that anyone would call somewhat "closed," harp like, or "watery" quality, distortion. Since both wow and flutter are caused by which stands out against the rock-firm, "open" quality the same general fault, changes in speed, they are usu­ of the live piano. Slight wow will make you feel un­ ally linked in specifications: "wow and flutter, 0.2%." easy about the pitch of the long-held notes. If you What do you do if you realize that your turntable hear the pitch actually going up or down when it or tape drive is giving your stomach a twist on slow ought to be steady, you know you have considerable music? If you have used your machine for some time, wow. it may be that simple maintenance procedures will get How much wow does it take to turn nice, firm piano it back on the straight and narrow. On some turn-

Two eager notes entering the amplifier ought to come out as pure as they went in ...

48 HIFI & MUSIC REVIEW tables, for instance, new belts, or new rubber driving The condition that allows intermodulation to happen wheels, or simply cleaning and oiling, will do the trick. in an amplifier, or in any other unit of sound system, In many cases, however, it means that you had better is "non-linearity." The non-linear unit is so-called be­ start saving your money for a high-quality drive mech­ cause it handles weak notes differently than it handles anism that has had speed precision built into it from strong notes. An example: suppose the hi-fi amplifier the start. is designed to give a ten-times boost to every audio wave fed to it. Then perfect operation would mean INTERMODULATION AND HARMONIC that a 2-volt wave would emerge as a 20-volt wave, a S-volt input would emerge as a SO-volt wave, etc. But DISTORTION suppose further that the amplifier weakens a little as (Sex Among the Sound Waves) the voltage goes up, so that the S-volt input comes out as only 45 volts, or nine-times multiplication. The am­ SUPPOSE two young electrical waves, representing plifier will thus produce intermodulation distortion, two musical notes, start through your amplifier at with its train of spurious notes that foul up the music. the same time, which is just about the most intimate Biology keeps getting back in the story. The chil­ sihlation that two young electrical waves can get into. dren are indelibly marked by their parentage, but also . The question that pops to mind right away is-can strongly at odds with it. Let's say that the low note is anything happen? Alone together, and all that . .. ISO cycles per second, the high one 1,000 cycles. The answer that will exhilarate you is, plenty can Among the next generation will be l1S0 cycles (1000 happen. If the conditions are favorable, as we will ex­ plus ISO); 8S0 cycles (1000 minus ISO) ~ 1300 cycles plain in a moment, those two notes will emerge at the (1000 plus twice 150); 700 cycles (1000 minus twice output of the amplifier with enough offspring to make 150), etc. etc. Now the reason intermodulation can be the Old Woman in the Shoe look like a Vassar girl, so irritating is that these extra notes do not form pleas­ class of 1935. Pappa and Momma Note and a whole ing "chords" with the original notes. Tbe children are multitude of little Notes will all be eager to go for the "inharmonic," or musically jarring. This is particularly ride into your loudspeaker and out into the room. And grating to the ear if the music contains complex mod­ the whole process takes considerably less than a split ern harmonies rather than simple chords. The inter­ second. modulation products of such dissonant sounds can Before we throw our philoprogenitive hats in the air, really set your teeth on edge. however, let's consider how this affects your ear when To keep Pappa and Momma childless we need an the speaker turns it into sound. The original notes amplifier, pickup, or speaker that is evenhanded in its came fi·om a recording or a tuner, and represent some treahnent of all notes, strong and weak. No sound music you want to hear. But your musical reaction to system unit is perfect in this respect, but the best Pappa and Momma will be muddied and interrupted designs today reduce it below the point at which the by the swarming bambini. The effect will range from ear can detect any blurring of the music. The speci­ a thin veil over the music to a harsh, unpleasant blur­ fication "Intermodulation, less than O.S%," or "less than ring, depending on how "active" the bambini are. 1%," or whatever, is thus one good measure of the Appropriately enough, this addition of extra, un­ success of a design. What the intermodulation figure wanted notes from the interaction of two wanted notes means is that the surly, rioting children, all stacked is called "intermodulation distortion." Evidently we up together, are only one percent 01: one-half to one must lay a stern puritan hand on simultaneously oc­ percent of their Momma, whatever the fig- curring electrical waves, to keep them out of "trouble." (Continued on page 62)

... but their interaction often results in strictly "illegitimate" tonal products.

.-" .

, .

Illustrations by Steve Duquette

APRIL 1958 49 - ( FLAGSTAD & WAGNER & ffrr

By MARTIN BOOKSPAN

WAGNER: Die Walkiire-Acf III (Complefe ) and Act II: Todesver· kiindigung Scene_ Kirsten Fl agstad (soprano)-Brunnhilde; Otto Ed el mann (bass-bari­ tone)- W otan ; Marian ne Schech (soprano )-Sieglinde; Set Sva n­ holm (te nor)-Siegmund; and others wi th the Vi enn a Phi lha rmonic Orchestra, G eorge Solti cond_ London A 4225 2 12".

F THE four parts of the "Ring," Die Walkiire has O become far and away the most popular and the one most often performed by itself. This situation has been reflected in the recording industry as well as in the opera houses of the world; D-ie Walkiire was the first of the "Ring" operas to be available complete on long playing records (RCA Victor's release on the HMV label of the recording made by Furtwangler with the Vienna Philharmonic-Furtwangler's last completed re­ cording, incidentally, and cunently out of print). The present London two-disc set marks the third time that Act III has been recorded. As a matter of fact, even in the pre-LP era it was possible for the avid collector to piece together, patch­ work-fashion, a complete recording of Die Walkiire compounded of elements recorded partly in Vienna, partly in Berlin and partly in New York, with three different conductors ( Bruno Walter, Bruno Seidler­ Winkler and Artur Rodzinski) and with Lotte Leh­ mann as Sieglinde, Lauritz Melchoir as Siegmund and Emanuel List as Hunding. Acts II and III is where it really got complicated, with three different Brunn­ hildes (Marta Fuchs, Ella Flesch and H elen Traubel) three different Wotans (Hans Hotter, Alfred Jerger and Herbert Janssen) and a new Sieglinde (Irene Jess­ ner). But how proud we were of those three fat vol­ umes of 78 RPM discs on our record shelves! Imagine, a complete performance of Die Walkiire! With LP's plethora of riches we may now be more blase than we were a decade ago, but even those of us whose tastes are the most jaded must be brought bolt-upright in our seats the moment we put the first side of this new London release on our hun-tables. In the pamphlet which accompanies the records we are informed that at the recording sessions an attempt was made to arrive at a compromise between studio­ recorded opera and actual-performance atmosphere. A real stage was built and the performers were en­ com-aged to act their parts and to make entrances and exits. The music WaS not recorded in bits and pieces, as is customary, but in huge "takes" of twenty minutes ~ and more. The result can only be described as tlu-illing.

Die Walkiire-Covent Garden, London, 1949-Flag­ stad as Briinnhilde in Act II. HIFI & MUSIC REVIEW 1

The Ride of the Valkyries which opens the Third At the Met before World War II-the opening ~cene of Act has a spatial dimension and tremendous excite­ Die WalkUre-Act Ill. ment which only is possible on an actual stage, and throughout the remainder of the act we are always consciou,s that this is a living, vital performance un­ Memories of the Wagnerian golden era at the Met­ hampered by normal recording-studio restrictions. If Schorr and Flagstad in Wotan's Farewell. there is an occasional fluff of a word or note, or a minor imperfection of balance, these things are of no conse­ quence in the overall shattering effect. Actually, this is a refreshing novelty in this era of tape editing-a large scale recorded performance that doesn't sound "pasted together!" To details, then: It was in a performance of Die Walkiim in February, 1935, that Flagstad made her Metropolitan Opera debut-not as Briinnhilde, how­ ever, but as Sieglinde. The story goes that when she first opened her mouth to sing at the first rehearsal, the Siegmund was so astonished that he missed his cue and the conductor dropped his baton. For the next half-dozen years a Flagstad appearance was a sure guarantee of standing-room at the metropolitan; in­ deed, she has been credited with saving the company from bankruptcy during the bad depression years. When Flagstad officially "retired" from the operatic stage some years ago, it was feared that the tremendous impact of her vocal powers would thenceforth be lost to future generations. Within the past two years, how­ ever, she has been lured with increasing frequency back to the recording studios-English Decca's, this time (for she formerly recorded for HMV and RCA Victor), allowing us to hope that she will record many more of the Wagnerian roles of which she has been the supreme interpreter of our generation. What of her performance in this new set of Act III of Die Walkii1"e? In a word, tremendous! True, it takes her a while to warm up and she doesn't quite have the security in her opening Schutzt mich, und helft in hochster not! "Protect me and help me in this hour of greatest (Continued on page 62) APRIL 1958 easy-to-build

high quality

Look ... how simply you can assembl e your very own high fid elity system ! Fun-filled hours of shared pleasure, and an everlasting sense of personal accom plishment are just a few of the re wards. Heath kits cost you only HALF as much as ordinary equipment and the quality is unexcel led . Let us show you how easy it really is ! . .•

Step-by-Step Assexnbly Instructions . Read the step ... perform t he operation ... an d check ,it off- it 's just t hat simplel Th ese plainl y-word ed, easy·to·follow steps cover eve ry assembly operation.

Easy-to-follow HEATHKIT Pictorial Diagraxns . . . Detailed pi ctori al bookshelf 12-watt diag rams in you r Heath kit construction manual m lifier kit :...... : show where each an d a p : MODEL EA-2 : every wi re and part is to be placed. $2595 NEW • •• •• • f • • •• • •• •• •

Learn -by-doing There are many reasons why this attractive amplifie r is a tre· Experience mendous dollar va lue. You get many extras not expected at this For All Ages .. price level. Ri ch , fu ll range, high fideli ty sound reproduction Kit construction is not with low di stortion and noise ... plus " modern" styling, mak­ only fun-but it is ing it suitable for use in the open, on a bookcase, or end ta ble. ed ucati ona l tool You Look at the fe atu res offered by the model EA·2: full range fre· learn about radio, quency res ponse (20-20,000 CPS ± 1 db) with less than 1% electron ic parts and distortion ove r t hi s range at fu l1 12 watt output-its own bui lt·in circu its as you build pream piifier wit h provision for three se parate inputs. mag your own equipment. phono, crystal phono, and tuner- RIAA equalization-separate bass and treb le tone controls- special hum cont rol-and it's easy·to·build. Complete instructions and pictori al diag rams Top Quality show where eve ry part goes. Cabinet shel l has smooth leat her N a xne-Brand textu re in black with i nlaid gold design. Front panel features brushed gold trim and buff knobs with gold inserts. For a real Coxnponents sound thrill t he EA·2 wi ll more than meet you r expectations. Used in All Kits _ .. Shpg. Wt. 15 Ibs. El ectronic components used in Heathkits co me from we ll · known manu­ facturers wit h established TIME PAYMENTS AVAILABLE reputations. You r ON ALL HEATHKITS assu rance of long life WRITE FOR FULL DETAILS and t rouble·free service.

52 HIFI & MUSIC REVIEW chairside enclosure kit

NEW This beautiful equipment enclosure will make your hi-fi system as attractive as any factory-built professionally-finished unit. Smartly designed for maxi­ mum flexibility and compactness consistent with attractive appear­ ance, this enclosure is intended to house the AM and FM tuners (BC-1A and FM -3A) and the WA-P2 preamplifier, along with the majority of record changers, which wi ll fit in the space provided. Adequate space is also provided for any of the Heathkit amplifiers designed to operate with the WA-P2. During construction the tilt-out shelf and lift-top lid can be installed on either right or left side as de­ CONTEMPORARY sired. Cabinet is constructed of sturdy, veneer-surfaced furniture­ grade plywood ]/,H and Y.H thick. All parts are precut and predrilled ·...... for easy assembly. Contemporary available in birch or mahogany, · . . traditional in mahogany only. Beautiful hardware supplied to match Be sure to specify H model you prefer each style. Dimensions are 18 W x 24H H X 35]/,H D. Shpg. Wt. 46 Ibs. CE-1T Mahogany TRADITIONAL $4395 . each

·10 ••••••••••••••••••.

HEATHKIT HEATHKIT high fidelity FM tuner kit broadband AM tuner kit

For noise and static free sound reception, this FM tuner is your least This tuner differs from an ordinary AM radio in that it has been de­ expensive source of high fidelity material. Efficient circuit design signed especially for hi gh fidelity. A special detector is incorporated features stablized oscillator circuit to eliminate drift after wa rm-up and the IF circuits are "broadbanded" for low si gnal distortion. Sen­ and broadband IF circuits assure full fidelity with high sensitivity. All sitivity and selectivity are excellent and quiet performance is assured tunable components are prealigned so it is ready for operation as soon by a hi gh signal-to-noise ratio. All tunable components are prealigned as construction is completed. The edge-illuminated slide rule dial is before shipment. Incorporates automatic volume control, two outputs, clearly numbered for easy tuning. Covers complete FM band from and two antenna inputs. An edge-lighted glass slide rul e dial allows 88 to 108 mc. Shpg. Wt. 8 Ibs. easy tuning. Your "best buy" in an AM tuner. Shpg. Wt. 9lbs. MODEL FM-3A $25.95 (with cabinet) MODEL BC-1A $25.95 (with cabinet)

HEATHKIT :master control prea:mpiifier kit

Desig ned as the "master control" for use with any of the Heathkit Williamson-type amplifiers, the WA-P2 provides the necessary compen­ sation, tone, and volume controls to properly amplify and condition a signal before sending it to the amplifier. Extended frequency response of ± 1]/, db from 15 to 35,000 CPS will do full justice to the finest program material. Features equalization for LP, RIAA, AES, and early 78 records. Fi ve switch-selected inputs with separate level controls. Separate bass and treble controls, and volume control on front panel. Very attractively styled, and an exceptional dollar value. Shpg. Wt. 7 Ibs. pioneer in "do-it-yourself" MODEL WA-P2 $19.75 (with cabinet) electronics U~bSidiary of Daystrom, Inc.

HEATH COMPANY • .BENTON HARBOR 40, MICHIGAN

APRIL 1958 53 MODEL W-6M MODEL W-SM high fidelity a:mplifier kits

To provide you with an ampl if ier of top-flight performance, For an amplifier of increased power to keep pace with the yet at the lowest possible cost, Heath has combi ned the growing capacities of your high fidelity system, Heath latest design techniques with the highest quality materials provides you with the Heathkit W-6M. Recognizing that as to bring you the W-5M. As a critica l listener you will thrill loud speaker systems improve and versati lity in recordings to the near-distortionl ess reprod uction from on e of the approach a dynamic range close to the concert hall itself, most outstanding high fidelity amplifiers available today. Heath brings to you an amplifier capable of supplying The high peak-power handling capabilities of the W-5M plenty of reserve power without distortion. If you are look­ guarantee you faithful reproduction with any high fidelity ing for a high powered amplifier of outstanding quality, system. The W-5M is a must if you desire quality plus yet at a price well within your reach, the W-6M is for youl economy ! Note: Heathkit WA-P2 preamplifier recom­ Note: Heathkit model WA-P2 preamplifier recommended. mended. Shpg. Wt. 31 Ibs. Shpg. Wt. 52 Ibs. •

HEATHKIT DUAL-CHASSIS HEATHKIT SINGLE-CHASSIS MODEL W3-AM MODEL W4-AM

high fidelity a:mplifier kits

One 01 t he greatest developments in modern hi-fi reproduction was In his sea rch for the "pedect" amplilier, Williamson brought to the advent of the Williamson ampli fier circuit. Now Heath offers the world a now-famous circuit which, after eight years, still ac­ you a 20-watt amplifier incorporating all of the advantages of counts for by far the largest percentage of power amplifiers in use Wi lliamson ci rcuit simplicity with a quality of performance con­ today. Heath brings to you in the W4-AM a 20-watt amplitier in­ sidered by many to surpass the original Wi lliamson. Affording you corporating all the improve ments resu lting from this unequalled flexi bility in custom installations, the W3 -AM power supply and background. Thousands of satisfied use rs of the Heath­ amplifier stages are on separate chassis allowing them to be kit Wi ll iamson-type amplifiers are amazed by its outstanding per- mounted side by side or one above the other as you desire. Here 10rmance . For many pleasure-filled hours of listening enjoyment is a low cost amplifier of ideal versatility. Shpg. Wt. 291bs. this Heathkit is hard to beat. Shpg. Wt. 28 Ibs.

H EATHKIT HEATHKIT

high fidelity electronic _ amplifier kit crossover kit

MODEL A-9C $3550 MODEL XO-1

For maximu m performance and versatility at the lowest One of the most exciting improvements you can make in possible cost t he Heat hkit model A-9C 20-watt audio your hi-fi system is the addition of this Heathkit Crossover amplif ier offers you a t remendous hi-fi value. Whether for model XO-1. This unique kit separates high and low fre­ you r home install ation or public address requirements quencies and feeds them th'rough two amplif iers into this power-packed kit answers every need and contains separate speakers. Because of its location ahead of the many features unusual in instruments of this price rang e. main amplifiers, 1M distortion and matching problems are T h~ preamplifier, main amplifier and power supply are all virtually eliminated. Crossover frequencies for each chan­ on one chass is providi ng a ve ry c;:ompact and econom ical nel are 100, 200, 400, 700, 1200, 2000 and 3500 CPS. Amaz­ package. A very inexpensive way to start yo u on the road ing versatil ity at a moderate cost. Note: Not for use with to t rue hi-fi enjoyment. Shpg_ Wt. 23 Ibs, Heathkit Legato Sp'eaker System. Shpg. Wt. 6 Ibs. 54 HIF I & MUSIC R EVIEW "LEGATO"

high fidelity speaker system kit

W rap yo urse lf in a blanket of hig h f idelity music in its true form. Thrill to sparkling treb le tones, rich, resonant bass chords or the sp ine-ting ling clash of pe rcuss ion instruments in this masterpiece of sound reprod uc­ t ion. In the creation of t he Legato no stone has been left unturned to brin g yo u nea r- pe rfection in performa nce and sheer beauty of style. Th e sec ret of the Legato's phenomenal success is its unique balance of soun d. The ...... ,. carefu l phasing of high and low f requency drivers takes yo u on a me lod ic MODEL HH-1-C toboggan ri de f rom the heights of 20,000 CPS into the low 20's without t he (i mpcrted white birch) slightest bump or fade along the way. The elegant simplicity of style will MODEL HH-1-CM complement yo ur f urnishings in any part of t he home. No electroni c know­ (African mahogany) how, no woodworking experience required for construction. Just follow clearly illustrated step-by-step instructions. We are proud to present the Legato- we know yo u will be proud to own it! Shpg. Wt. 195 lbs......

HEATHKIT I HEATHKIT BASIC RANGE RANGE EXTENDING

high fidelity speaker system. kits MODEL $3995 55-1 A truly outstanding performer for 'its Designed to. supply very high and size, the Heathkit model SS-l provides very low frequencies to fill aut the you with an excell ent basic hi gh f ideli ty speaker system. The respanse of the bas ic (SS -l ) use of an 8" mid -range woofer and a high frequency speaker speaker, this speaker system ex- with fl ared horn enclosed in an especiall y designed cabinet tends the ra nge of your li sten ing ~~~~L $9995 allows yo u to enjoy a quality instrument at a very low cost. pleasure to practicall y the ent ire Can be use d wit h the Heathkit " range extending" (SS -1 8) range of the aud io scmle . Giving t he appearance of a sing le speaker system. Eas il y assembled cabinet is made of veneer­ piece of furniture the two speakers together provide a su­ surfaced furniture-grade ~" plywood . Impedance 16 ohms. pe rbly integrated fou r speaker system. Impedance 16 ohms. Shpg. Wt. 25 Ibs. Shpg. wt. 80 Ibs.

Catalog! HEATH COMPANY . BENTON HARBOR 40 MICHIGAN Froo cf Daystrcm, Inc. pioneer in D~bSidia ry " dc-it-yourself" Dcn't deprive yourself cf o Please send the Free HEATHKIT catalog . the thrill of high fidelity or el ectrcnics the pleasu re of bu ilding o En closed is 25c for the New HI-FI book. your own eq uipment any longer. Our free catalog ,name lists our entire li ne of kits with complete schematics add ress and specifications. Send for it today ! city & state ...... ~ ...... ' .. ALSO SEND THE FOLLOWING KITS ' NEW! "DOWN-TO-EARTH" QUANTITY ITEM MoaEL NO. . PRICE HIGH FIDELITY BOOK

THE Haw AND WHY OF HIGH FIDEL­ ITY, by Milton Sleepe r, ex plains what hi gh fidelity is. and how you can select and plan your own system. This Ilberally-illustrated , 48·page book tells you the HI-FI 25 story without fancy technical C jargon or high-sounding ter- En closed find $ ...... Pl ease enclose postage for parcel post-express ord~rs a're sh ipped delivery charges col lect. Al l prices F,O.B . Benton Harbor, Mich. NOTE: Prices subject to change Without notice. minolog.y. L______~

A PRIL 1958 55 THE VOICE AS HORN tions of the more sophisticated example of scat is Louis Armstrong's songs she sings. She possesses, how­ H eebie J eebies (The Louis Ann­ ( Continued from page 38) ever, a voice of inherent dramatic strong Story, Vol. 1, Columbia CL- texture, so that whatever she sings 851). Other masters of this roller­ out becoming true jazz vocalists. has the illusion of urgency even coasterish form of vocal humor have Some have recognized the limita­ though her comprehension does not been Ella Fitzgerald (several num­ tions of their capacity to develop always plunge very deeply. There bers in her Lullabies of Bi1'dland, the constantly swinging beat; the are also times when she becomes so Decca DL 8149); Jackie Paris; Bet­ improvisatory originality; instru­ intrigued with making a horn of her ty Roche in one notable perform­ mentalized phrasing and the natu­ voice that she forgets that so long ance (Take The A Train from Hi-Fi rally personal "sound" that make as a singer does use lyrics, 'she must Ellington Uptown, Columbia CL for real jazz singers. Others have, sing too, even in jazz. In recent 830); and Sarah Vaughan (there however, deluded themselves into years, Sarah has frequently become are a few examples in Swingin' thinking of themselves as jazz vo­ overly ornamental in her work, but Easy, EmArcy 36109). The most calists and have billed themselves is still able to return at times to a consistently brilliant of all scat sing­ as such. A few have skirted so close relatively functional use of her rare ers was the late Leo Watson, but to the line that at times they were instrument. . there are no LPs of his work. largely jazz singers and other times The young female jazz singers Along with scat singing, there has they were closer to the pop field. after Sarah have included a few been a gradual development in the Among the superior pop singers apprentices of promise, but most course of jazz history of the use of who-to varying degrees-are jazz­ have unwittingly illustrated a point the voice as a thoroughly integrated tinged but not consistent jazz sing­ made by critic Mike Levin a couple instrument in the orchestra or ers in the sense that Armstrong, of years ago: "Now singers are so combo, often with parts written for Holiday and Rushing are, the most concerned with getting a 'sound' it just as for another horn. It may popular and musically successful that is individual, they forget that well be that in this still relatively .. example is Frank Sinatra (Songs they are charged with the sense of unexplored direction there lies a for Swing-in' Lovers, Capitol W- lyrics and an idea of melodic con­ significant part of the future of the 653) . tinuity as well." voice in jazz. .. . Keely Smith has indicated in her Among the more substantial of The key el..:plorer of this applica­ television appearances with her tlle newer jazz or nearly jazz singers tion of the voice has been Duke El­ husband, Louis Prima, that she is a -neither of them likely to reach the lington (illustrations from 1928 and popular singer unusually oriented stature of Vaughan, Fitzgerald or 1949 are contained in Duke Elling­ in the swinging wit of jazz. In her Holid Carmen McRae (By ton, Columbia CL 558). More re- ~l·<::t !llhllTYl hn.Ul 0ua.. · T 1XT";.e>h . v i"'\ ." GOLDEN ERA OF HIGH FIDELITV •

By FRANK JACOBS

OOKING back over the past twenty years, one may sell, mainly because many music lovers already owned L well marvel at the advances made in the art of several better versions of each symphony. hi-fi. Who would have thought, back in the days of The second Tortoise 8)5 disc (Tort. X-802) sold 1958, thr.t today we would be enjoying the blessing better, primarily because the firm selected a program of such wonders as 1/33 rpm discs and ultramultiste­ of more obscure works. These included Knudson's reopllonic sound? rarely performed Swedish Septet for Six Bassoons and Some audio experts feel that the beginning of the Lute, Hoggenlich's Donnybrook Cantata for Irish Ten- Golden Age of Hi-Fi began in 1958 with the first 01'S, the Symphony No. 65 in G Minor by Willie stereo records. Most authorities-social science as well Turner (son of Tortoise president Henry C. Turner), as audio-, are convinced however, that the 8)£ disc, Variations on an Oxford Cricket March by the modern developed in 1959, did the trick, and we are inclined British composer H elmsley Brooks-Smythe, and four to agree with this latter view. others. In that year, nearly all hi-fi enthusiasts had already The 8)~ disc became and remained the standard un­ converted their collections from 33J~ to 16%and seemed til 1966, when Eternity Records tested its 2-1/12 rpm quite happy with the result. After all, the 16% disc record. If the 8J5 disc offered an evening's entertain­ usually contained four average-length works and often ment, then the 2-1/12-boasting a playing time of more more. But if the 16% disc was twice as good as the than 15 hours-truly deserved its slogan, "Your Favor­ 33)5, then the 8J~ was four times as good. H ere was a ite Disc from Dawn to Dusk." record at a speed that truly afforded "a full evening's Many hi-fi fans immediately converted their rigs to entertainment." be able to play Eternity's first offering: the four music The first 8J~ disc, manufactured by Tortoise Records, dramas of W agner's Ring Cycle-complete (Eter. contained complete, but rather amateurish, versions 14001). Equally successful was Eternity's second title, of the first eight Beethoven symphonies. (It was found "The Complete Overture" (Eter. 14002). In this imagi­ later that the firm employed an orchestra comprised native record, solo renditions of Tchaikovsky's 1812 mainly of students from four nearby high schools.) Ove1tU1'e were played in succession by each instrument Not surprisingly, the record (Tort. S-801) failed to of the 60-piece Spitsbergen Festival Orchesh·a.

.. Hoggenlich's Donnybrook Cantata for Irish tenors ...

APRIL 1958 59 11

~.

~----~~------rr- . reviewers became hard-pressed to hear many new releases . . .

•

Oddly enough, the 2-1/12 disc remained popular for continuously for more than a month. The only group less than a year. By 1968, most record enthusiasts with a somewhat valid objection was the GlIild of Rec­ were turning to the new 1/3 rpm disc, first developed ord Revie-ners, the members of which became rather by Endless Records. Boasting a playing time of 72 hard-pressed to find the time to hear the many new hours, the Endless platters proved a satisfactory solu­ releases. But even they conceded that the 1/33 disc tion to the pro1)lem of the three-day weekend. The offered a h·ue test of the hi-fi devotee's dedication. cost of again replacing comprehensive record libraries The first few offerings on 1/33 were released on the was, of course, quite high, but most hi-fi fans felt Ultimate label. Opera-lovers welcomed "The Inter­ that the advantages of the new discs outweighed the national La Boheme" (Ult. 405), containing complete ex-pense. versions of the Puccini opera performed consecutively Wisely, the first Endless discs concentrated on lesser­ in every known language and dialect. Another favorite known works. Some critics, in fact, complained that was "The Key of G Sharp Minor" (Ult. 407), a disc they never had heard of the composer of the music containing every symphonic work-symphony, concerto on the first Endless record, "The Complete Works of and tone poem-written in G Sharp Miner after 1850. Morton Lovejoy" (End. 10001). However, no one It was only a matter of time before the record in­ could say that the disc was not complete. Of special dustry discovered that 1/33 lent itself neatly to the interest to Lovejoy followers were the rare Tobacco spoken word. The trend towards prose began when Transcriptions (Side 1, Band 83) which the composer, Marathon Records came out with the first record of its lacking funds for manuscript paper, jotted down on the series, "Charles Laughton Reads the Encyclopaedia backs of 776 cigar bands. Britannica" (Mar. F -813). To date, Marathon's most Within two years after the birth of the 1/3 rpm disc, popular release has been "Greetings from Dixie" every major record company converted to this newest ( Mara. F -898) in which every man, woman and child speed. As usual, there was some duplication of titles. in the State of Alabama says Hello! Mention should A glance at the 1/3 catalog of July, 1970, shows 17 ver­ also be made of "Psychoanalysis" (Mara. F -903) which sions alone of Haydn's 104 symphonies. But in the gives an actual session-by-session account of a patient's main, most listeners were pleased with the new speed, complete seven-year analysis. aI1d it was not unusual for families to spend their Records such as these, and the increase in playing­ summer vacations at home in order to be able to enjoy time pa- record in general, have caused hi-fi fans to a few of thei;: favorite records. acclaim the advances made during these highly cri­ It was not until 1975 that the currently popular 1/33 tical twenty years. Of course, there has been a paral­ rpm record came into being. We have become so lel improvement in sound and recording techniques. accustomed to 1/33 today that it seems odd that so And most propitiously, the Methuselah Pharmaceutical many hi-fi fans at first objected to this new speed. But Co. has just announced a production run of its recently their reactionary outcries soon ceased once they real­ perfected Longevity Elixir. ized the advantages of owning a disc which could play -END

60 HIFI & MUSIC REVIEW II

"

"University speakers .. were top performers on our Hi-Fi Holiday* Concert Tour~~

"I had always dreamed of applying hi-fi techniques to our live concerts ... but I hadn't thought it could be accomplished to my satisfaction. I presented the problem to University engineers prior to launching our most recent nation-wide tour. Result? University provided the most stirring sound I had ever heard in a concert hall, so dynamically effective that we named our show 'Hi-Fi Holiday.' "'Hi-Fi Holiday' made sound history ... it was sound success-and we plan to repeat the tour. University deserves a low bow for their contribution to the success of our show -a top performer most welcome to share the stage with The Pennsylvanians anytime." · First such live stage presentation in musical and high fidelity history ...... AND HERE'S WHAT FRED WARING'S CHIEF ENGINEER HAS TO SAY • •• "Fred Waring's la-week 'Hi-Fi Holiday' needed loud­ cause of their reputation for quality and reliability, but speakers which would withstand the abuse of a gruel­ also for their constancy of performance characteristics ling 200-500 miles per day in a trailer truck_ The which is extremely important to the exacting achieve­ speakers had to be easy to set up in theaters, audito­ ment of aural 'balance' and 'perspective.' riums and even large, hard-surfaced gymnasiums which, each night, would be physically and acoustically dif­ "We were happy to find that these technical objectives ferent, yet produce high fidelity sound that would make could be accomplished using various speaker types and every seat 'front row center: systems from University's standard high fidelity line_ Not a single speaker failure occurred during the 20,000 "University loudspeakers were selected not only be- mile cross-country tour." Russ Turner

LISTEN

61 non-linearity that produces intermodulation from com­ LIVID LINGO binations of tones simultaneously produces another set (Continued from page 40) of spurious tones from each tone singly considered. If we have some intermodulation, we have some har­ ure is. The smaller the percentage of children, the monic distortion, and vice versa. But the harmonic clearer and less harassed Momma will be and the more distortion tones are just what the name implies: they pleasure we will get from listening to her. With inter­ have a "harmonic" relation with the original tone, and modulation less than 1%, we have excellent fidelity. our ears will therefore accept a great deal more har­ You can study published specifications for preliminary monic than intermodulation distortion. If the original guidance on whether or not a component makes the tone is 150 cps, the "second harmonic" will be 300 cps grade on intermodulation, but the final test should (the octave), the next or "third harmonic" is 450 cps always be by ear. Use a top-grade recording you know (octave plus fifth) etc. intimately, and test for comparative intermodulation It is sometimes more convenient for the engineer to by changing just one thing at a time, just the pickup, measure harmonic rather than intermodulation distor­ or the speaker, or the amplifier. Great clarity, distinct­ tion, but the user of high fidelity needs only to know ness, and especially increased relaxation and ease with that the intermodulation is low in his equipment. He the music as you listen are the signs of low intermodu­ will know that the system is close to linear and that lation distortion. If you forget about the equipment Poppa and Momma come through unencumbered by and hear only music, the distortion is very low. angry offspring. Now, what about "harmonic distortion?" The same -END

FLAGSTAD & WAGNER & FFRR and while Svanholm is not the most imaginative Sieg­ mund within memory, he is an intelligent artist, secure (Continued from page 51) and dependable. I have left for last discussion of the role of Solti and • urgency") addressed to the Valkyries as she comes on the orchestra. Solti for several years has been the Gen­ stage supporting Sieglinde. But her next phrase is eral Music Director of the Frankfurt Opera. If this much better (Zum erstenmal flieh' ich und bin verfolgt! recording is an indication of the kind of performances -"For the first time I flee and am pursued" ) and it's he turns in consistently, then the Frankfurt audiences not long after that that she begins to pour out that are hearing some of the greatest opera performances to magnificent stream of gorgeous sound which she alone be heard anywhere. The orchestra seethes and glows can produce. For the remainder of the act it's sheer under his inspired leadership and there is a logic and magic-and Flagstad seems now to inject a deeper inevitability about his pacing which seem just right. psychological perception into the role than she used to. And the sound captured in the grooves by the London Edelmann? He's not nearly as impressive as Flag­ engineers is electrifying in its excitement. On tech­ stad, but he does succeed in winning a good deal of nical grounds alone, this set is a standout among op­ sympathy for Wotan and he sings the Farewell mov­ eratic recordings. ingly. Schech is a pale Sieglinde, but then the Sieg­ Here, then, is an accomplishment of the very first linde of the Third Act is a pretty pale gal! In the Act II rank, for which grateful thanks are due to all con­ Todesverkundigung Scene Flagstad is again superb, cerned. -END

SPEAKERS ARE gineers, that has yielded today's covers all known speakers. The 100 BETTER amazing achievements and the pres­ has power enough to drive even the ent rate of progress. -END lowest efficiency speaker system on ( Continued from page 32) the market and an Impedance Matching Switch permits the use berate the bass reflex brigade for JUST LOOKING of 4, 8 and 16 ohm speaker systems. raising instead of lowel'ing the "boom" and the resulting agitated AVERY FISHER has put the 80- discourse - verbal and printed ­ AZ thirty watt amplifier out to often matches the decibel output of pasture and replaced it with a new tIe equipment itself. But these dif­ steed, the Fisher 100. This is rated ferences of opinion are a healthy at 30 watts in continuous sine-wave sign that audio is one of the few operation, with constant response fields where individual imagination throughout the entire audible still counts. Unlike many other in­ range. Its peak is a whopping 70 dustries, audio still affords freedom watts, at least 10 watts more than of experinient. And behind the di­ any other 30 watt amplifier lays versity of ideas and design lies that claim to. Intermodulation distor­ common dedication to true musical tion of less than 1 % at 15 watts is sound which often makes audio de­ another quality statistic that com­ sign a passion rather than a busi­ pels notice. Hum and noise are in The amplifier comes with a brass­ ness. It is this passionate devotion, the inaudible zone and the famed plated control panel and a match­ so characteristic of many audio en- Z-Matic Variable Damping Conh'ol ing cage, and it is priced at $119.50. 62 HIFI & MUSIC REVIEW • "Hi-fi is a bridge between music and the listener. It spans distance in time as well as space. No matter where, no matter when the music was played, high fidelity puts it always in the present, always on the .. spot. This column zeros in on music, to bring it into sharper focus for the scattered but strangely unified community of high fidelity fans."

By HANS H. FANTEl

J. S. Bach Mendelssohn An also-ran . . ... ti/l he set the pace. THEY ALSO RAN

Photographs courtesy Bettmann Archive IN MUSIC-as in baseball-to day's hero can be to- along with Mozart and Beethoven, as the supreme mu­ morrow's bum-and vice versa. The jackpot in the sical creator of all time. Yet throughout his life he was musical sweepstakes is immortality-or at least a few regarded chiefly as a good church organist with the hundred years of fame. But the winner can never be knack for writing original music for his congregation. sure of his prize. Even if contemporary acclaim makes Few people outside Bach's church parish in Leipzig him top man on the musical totem pole, posterity might knew his name or his work. Handel and Telemann rearrange the order. The "also rans" often turn out (now nearly forgotten) were among the "big wheels" more durable. of the time when Bach stood in the shadow. The moral of these mixed metaphors is simply that After his death, Bach was forgotten for nearly a in music all bets are off. Take, for instance, the case century. Finally, Mendelssohn, delving into Bach's of one Johann Sebastian Bach. Today he is revered, dusty manuscripts, discovered their true worth. On APRIL 1958 63 March 11, 1829, Mendelssohn conducted Bach's setting "II of The Passion According to Saint Matthew-the first performance of this monumental work since the com­ poser's death seventy-nine years earlier. That day marked the turning point in Bach's posthumous career. Mendelssohn's spade work had effectively exposed the buried musical treasure that we now enjoy and venerate. It is a curious irony of fate that Mendelssohn him­ self suffered something of the fate from which he had rescued Bach. A lion in his lifetime, Mendelssohn remained the darling of the Victorian age. The temper of the times was in accord with the gen­ tility and the elegantly expressed sentiment (never too profound) that pervades much of Mendelssohn's music. But the war of 1914 shattered the Victorian world. The new century demanded starker expression in its art. Mendelssohn accordingly suffered eclipse. Now he is again appreciated-not alone for reasons of nostalgia, but for the genuine musical quality and sense of order conveyed by his work. Even within a relatively short span of years musical tides may turn. In the Thirties, Finland's Jean Sibelius was idolized in America and England as "the Giant of Cherubini: Beethoven considered him a master, the North." But the fickle favor of the musical opinion­ • but the world soon forgot him. makers and avant-gm·dists has since turned to tlle so­ phisticated experiments of such 12-tone pioneers as Berg and Webern, and Sibelius appears to be spending the early part of his after-life in the critical doghouse. But with the curious workings of musical fashion, this STOP US IF YOU'VE HEARD THESE situation may again reverse itself. The general public Choice LP/s from Yesterday's and Today's Also-Rans has remained loyal to Sibelius, and possibly their musi­ cal instinct is right. Perhaps the twenty-first century Balakirev Russio; Thamar; Islamey. Angel 35291

Berwald . Symphony No. 2' in G Minor (" Singu· Decca DL 9853 liere"); Symphony No.3 in E·nal.

Boccherini Quintet in E Minor for Guitar and Decca Arehive AR( 3057 Haydn: the force of social evolution changed him Strings. from a private servant to a public celebrity. Busoni Fantasia (ontrapuntisti,". SPA 56

Hummel Septet in D Minor, Op . 74. Westminster XWN 18586

Janacek Slavonic Festival Mall . Urania 7072 Youth-Wind Sextet; (oncertino. (olumbia ML 4995

Lekeu Violin Sonata in G Major. RCA Vielor LM 2014x

Gesualdo Madrigals & Sacred Pieces . Columbia ML 5234

Medtner Piano Sonata in G Minor, Op, 22. Westminster XWN 18180

Nielsen Symphony No.3 (" Espansiva"). .Epic LC 3225

Flute Concerto; Clarinet Concerto. London LL 1124

Reger Variations and Fugue on a Theme Decca DL 9565 by Mozart, Op . 132 .

Revueltas Homage "to Garcia Lorea. Capitol T 10083

Cherubini Requiem. RCA Viclor LM 2000

Spohr. ' Oelet in E Major, Op . 32. London LL 1610

64 HIFI & MUSIC REVIEW • will see the musical innovators of our time as just that on writing music he was never to hear performed in and no more, and thereby restore to lasting esteem his lifetime-even when he couldn't afford to buy composers like Sibelius and Vaughan Williams, who enough paper and had to cram the lines together. have retained in their work the more positive aspects An entirely different reaction to adverse chance gave of human expression. a curious twist to the career of hitherto unknown Franz What, then, causes the ups and down of a musical Berwald of Sweden. His dates, 1796-1868, mark him reputation? What determines a composer's standing in as more durable (at least corporeally) than his con­ his own generation, in the next, or several generations temporary Schubert. Possibly his lo.ngevity was after. achieved at the cost of compromising his musical mis­ The Book of Ecclesiastes offers a measure of insight sion. Berwald, a fine creative musician, found himself observing (in Chapter IX, Verse II) that "the race is sitting off in the northern corner of Europe, unknown not always to the swift, nor the battle to the strong, and neglected. Vienna, Leipzig and Palis were the neither yet bread to the wise, nor yet riches to men of musical centers of the day, and nobody bothered to understanding, nor favor to men of skill, but time and look beyond those horizons. chance happeneth to them all." So Berwald took to running a gymnasium in Berlin The kind of chance that "happeneth" to a composer and glass factory in Sweden as bread-and-butter jobs. sometimes comes in the form of influential friends and Music often became somewhat of a sideline for him. conveniently greased wheels. It is anyone's guess Yet into his spare time he managed to crowd the crea­ whether Dvorak would have achieved his worldwide tion of several symphonies, concertos, a handful of fame if his "sponsor," the all-powerful Brahms, had not operas, and some chamber music. After half a century introduced him to publisher Simrock. From then on of oblivion, the Swedes have "discovered" him as a Simrock's music press gobbled up Dvorak's scores and composer of considerable character, power and origi­ scattered them throughout the world. Of course, nality. One can't help wonder if these qualities might Dvorak had genius and could answer the proverbial have carried him beyond the status of an also-ran if his knock of opportunity with fast delivery of first-rate dedication to music had been more uncompromising. goods. Finding a publisher is a crucial step toward building Lack of a lucky break marked the life of Schubert, a composer's reputation. This is a relatively new hur­ who died young from a fatal mixture of poverty, physi­ dle in the career of creative musicians. cal hardship, overwork and exhaustion. Not until a Few composers before about 1800 were ever too generation after his death did Schubert attain his pres­ worried about publication. All their work was strictly ent rank in the musical hierarchy. on commission for a specific occasion; a church per­ Schubert sealed his fate by sticking to his guns. With formance, a princely reception, or the royal opera. In similarly single-minded determination Schubert kept (Continued on page 91)

Sibelius: critical acclaim proved fickle, but Nielsen: Denmark's great composer was public favor constant. eclipsed by his contemporary, Sibelius.

65 APRIL 1958 NEW RED SEAL ALBUMS FROM RCA VICTOR RECORDS FOR

I

IN NEW ORTHOPHONIC HIGH FIDELITY

(LM-2186) Beethoven's mastery is (LM-2188) Tozzi - the new sensa­ (LM-2197 SO R Selection) Nicole richly evident in these early trios. tion of the Metropolitan Opera - Henriot thrillingly performs Proko­ Heifetz, Primrose and Piatigorsky sings 9 bass arias by Mozart and fieff's Concerto No.2. Munch pre­ perform these chamber works. Verdi in a truly outstanding album. sents exciting new Barber score.

(LM-2183) Ravel and Rachmani-:­ (LM-2194) Wanda Landowska, the (LM-2199) Mighty is the word for noif in an astounding recording of world's outstanding harpsichordist, the Robert Shaw Chorale. Shaw con­ dazzling musical contrasts. Fritz gives her truly brilliant interpreta­ ducts 15 magnificent hymns. An al­ Reiner and the Chicago Symphony. tion of Bach and Fischer. bum of unusual richness and depth. THE WORLD'S GREATEST ARTISTS ARE ON • RC1\Yt~IQJt @ 66 HIFI & MUSIC REVIEW .. ·· your concert I THE BEST . ..

Reviews by For Symphony Lovers Who Want Something Different-Decca's stunning MARTIN BOOKSPAN package featuring the two most popular Anton Bruckner symphonies (4 & 7) under Eugen Jochum's baton (see below). DAVID RANDOLPH KLAUS GEORGE ROY For Hi-Fi Fanciers-The long-awaited Clifford Curzon recording of Bee­ thoven's Emperor Concerto lives up to fondest advance expectations-this Viennese Twin Titans is it! (p. 68)

BRUCKNER: Symphony No.4 in E-flaf ("Ro­ mantic"); Symphony No. 7 in E Major. Radio Berli n Sympho ny Orchestra ; Berlin For Fiddle Fanatics-Russia's top virtuosi, David & Igor Oistrakh, a nd Philharmonic Orchestra, Eu gen J ochum condo Leonid Kogan can be heard as soloists or chamber players on topnotch new Decca DXE 146 3 12". discs from Decca and Monitor featuring Bach, Beethoven, and Mozart rep­ Here, on six LP sides, are the defini­ ertoire (p. 74). tive performances of Bruckner's two most popular symphonies. Each occupies three sides in this coupling and each is pre­ For Collectors of Timeless Musical Monuments-Helmut Walcha's definitive sented in the original, un-doctored organ recording for Decca Archive of Bach's last towering and incomplete Bruckner orchestration. Jochum long ago masterpiece-The Art of Fugue (p. 75). proved his eminence as a Bruckner con­ ductor on records, with superb per­ formances for Telefunken of the Fifth and Seventh Symphonies. More recently these are the versions to have, pure and is exemplary, with Angel's the cleaner simple. M. B. of the two, Decca's the more mellow. The single element of clear superiority MAHLER: Symphony No. 4 in G Major. one has over the other is Emmy Loose's "' fl//'I/f i\ \ \ 0 J Phi lharmonia Orchest ra, Paul Kletzki cond. · singing of the soprano solo in the fi nal with Emm y Loose (soprano). Angel 35570. IO ll1{1/If)\) ,\ (), i ' lI~nlIIVI'nlOO. ! movement of the Angel recording-a ...H ...... ~ ...... 'f_ .. '''. ' .... ""' ...... ~ .. . Saxon State Orchestra, Leopo ld Ludwig much more successful evocation of the condo with Anny Sch lemm (soprano ). Decca DL 9944. innocence of the child's vision of heaven than is Schlemm's performance for A decade-and-a-half ago Bruno Walter Decca. recorded Mahler's Fourth Symphony for Of the recordings released since Wal­ Cohm1bia with the New York Philhar­ ter's, this reviewer still prefers the Epic monic and soprano Desi Halban. If I disc by van Otterloo with the Hague were asked to part with all my Bruno Philharmonic Orchestra and Teresa Stich­ Walter recordings save one, the Mahler Randall, a performance more imaginative Fomth is the one I would keep. Cer­ and atmospheric than either Kletzki's tainly the sound is not hi fi by 1958 or Ludwig's. M. B. standards, but what a superb re-creation of all the magic in this disarmingly gen­ Romanticism in Full Flower tle yet sophisticated score. With the ad­ he seems to have embarked upon a vent of LP the performance became one BRAHMS: Variations on a Theme by Haydn , program of recording all the Bruckner Op. 56a; Academic Festival Overture, Op. 80; of the earlies t of Columbia's transfers to Tragic O verture , Op. 81. symphonies for Deutsche Grammophon the new medium and it still remains in Vi e nn a Philh a rmonic Orchestra, Hans Knap· and its American affi liate, Decca. This the catalogue as ML-40Sl. pe rtsbusch condo London LL 1752. new set comes on the heels of Decca's If each successive recording of the recent release of a Jochum recording of score suffers by comparison with that of Knappertsbusch is well-known for the composer's Ninth Symphony and an Bruno Walter, it is because the Walter his slow tempi in Wagner. It turns out earlier issue of the Eighth. Jochum's performance is one of those thrills of that he hears the music of Brahms, too­ ability as a clarifier of the architectural a concert-going lifetime. In the two new­ or these three pieces at least-more vastness of a Bruckner canvas is almost es t versions both Kletzki and Ludwig slowly than most other conductors. In unique among conductors, and he com­ offer readings of perception- Kletzki the Haydn Variations and Tragic Over­ bines the right combination of heroic does rather more personal things with ture the Knappertsbusch approach gives grandeur -and relaxed sentiment in his the music than Ludwig, who offers a us readings of great power and elo­ readings. There would be little point in more straightforward approach generally quence-almos t of a hypnotic nature. comparing these new performances with - but neither man begins to efface memo­ From first to last each work has an in­ I others available. Let it be said simply ries of the Walter recording. evitability about its unfolding which is that Jochum really has no competition : Recorded sound in both new issues akin to the unravelling of a ball of wool. I APRIL 1958 67 Only in the Academic Fest·ival Overture Op. 73 ( " Emperor" ). Menuhin gives the work a mature does the Knappertsbusch way go awry; Clifford Curzon with t he Vienna Ph ilharmonic reading. One has the feeling that he has here we are given a stodgy, plodding Orchestra, Hans Knappertsbusch condo lived with it for a long time, and has performance with an over-emphasis on London LL 1757. made it h is own. His interpretation is ricb and unhurried, yet it preserves the the first word of the title and almost This magazine is three issues old and none of the spirit of the second. drama and the excitement that is in the in each of the first three issues th us far music. He gets sympathetic support For the Haydn Variati ons and Tragic I've had a new recording of the Emperor Overture, however, this disc is highly from the orches tra and conductor, and Concerto to review! But whereas the is aided by good sonic balance Witll the recommended, especially as the sound previous two ( Gilels' on Angel and engraved in the grooves by the London orchestra throughout. Lateiner's iconoclastic view on West­ D.R. engineers is echt Vienna Philharmonic, minster) left me very unhappy, here at which means full, rich and enveloping. last is a new version I can welcome with M.B. almost unalloyed pleasure. This is Cur­ zon's second recording of the score for 'YE HUDI MENUHIN, VIOLIN BRAHMS-CONCERTO IN 0 MAJ OR London- the first, now a decade old, "hi: IlAAl. 'f "u.J.I~qll( M:: ~($TilA ..__ .. 1IIIOO..f'IO ~rl.!~t was made with George Szell conducting the London Philharmonic Orchestra- and reunites him with the orchestra and con­ ductor with whom he produced such a superlative account of Beethoven's Fourth Concerto about three years ago. Here Curzon thunders where Beetho­ ven directs him to and he is properly in­ trospective where appropriate. There

apparently exists a wonderful rapport be­ /" tween the English virtuoso and the Ger­ .' '.'/ ,,- man conductor, for this performance is / pervaded by a nearly tangible quality of artistic give-and-take. Rubinstein, in his recent RCA Victor recording with Krips conducting, brought more unbuttoned abandon to his performance of the score and this makes his the preferred version Classicizing Folk lor ists SCHUBERT: Symphony No. 8 in B Minor as far as this reviewe:' is concerned, but ( " Unfinished" ) ; MENDELSSOHN: Overture BARToK: Concerto fo r Orchestra. this new Curzon disc must surely rank Be rlin Radio Symphony Orchestra, Fe renc [, Incidental Mu sic to A Midsummer Night's close behind Rubinstein's among tbe rash Dream . Fricsay condo Decca DL 9951. Phi ladelphia Orchestra, Eug ene Orma ndy of recent "Emperors." The sound of the condo Columbia ML 5221. new London disc is full and well bal­ For a large contemporary orch estral anced. work to receive more than a half dozen THE SOUND OF WAGNER-Lohengrin­ M. B. recordings in a dozen years implies a Prelude to Act 11/ ; Tannhauser O verture; Die kind of popularity that goes either with Gotterdammerung-Siegfried's Fun eral Music ; a masterwork or with a piece of effective Die Meistersing er-Dance of the Apprentices [, Procession of the Mastersingers; Die W alkiire trash. Bart6k's Concerto for Orchestra, -Ride of the Valkyries [, Magic Fire Mu sic. first heard late in 1944, is unquestionably Concert Arts Sympho ny Orches tra, Erich tlle former-music that captures and en­ Leinsdo rf con do Capitol PAO 8411. thralls the listener with all the assur­ ance of a "standard classic." This or­ Given a group of staple works of the chestral display-piece is full-blooded, orchestral repertoire, plus high calibre genuine music, a feast of lyricism, equal­ performing bodies, experienced, recog­ ly in esistible in emotion as well as in nized conductors, and the best modern motion. recording techniques, it would be rea­ From the magically conveyed begin­ sonable to assume that the results would ning, it is evident that Fricsay feels his be satisfactory. They are, where this fellow Hungari an's communication with pair of discs is concerned. especial keenness. H is reading is very Ormandy mercifully omits the W ed­ subtle in sonority and tex ture, extraor­ ding March of the Midsummer Night's dinarily sensitive to the composer's mi­ Dream music, but includes the less­ raculous scoring. vVhere, to these ears, familiar and very welcome Intermezzo. it fails to fulfil its promise, is in the mat­ His choice of tempo gives what is to my ter of pacing. Somehow, Fricsay seems ears just the right amount of urgency. more convincing in details than in the BRAHMS: Violin Concerto in D Maior, Op. overall shape of a section or movement. The W agnerian excerpts offered by 77. At times, he sticks very closely to Bar­ Yehudi Menuhin with th e Be rlin Philharmonic Leinsdorf are given suitably vital, idio­ Orchestra, Rud olf Kempe con do Capitol t6k's own metronome markings, as in the matic performances. PAO 8410'. introductory bars of the finale; but the The jacket notes include an unusual main body of the movement goes a bit feature : they list every single member Because of its difficu lty, the Brahms too fast for clarity, and tl1e great string of the Concert Arts Symphony Orchestra, violin concerto was facetiously dubbed melody from the 4th movement which even unto the name of the Manager and at the time of its appearance "a concerto the composer marked 106 quarter-notes the Librarian! But, since they were so against the violin." By now, however, to the minute the conductor takes at a lavish with names, couldn't Capitol it is recognized as one of the supreme painfully dxagging 72-76. have found room for just one more­ masterpieces of the concerto literature. The orchestra (formerly called the the name of the person who wrote the It is, in fact, one of tbe most difficult RIAS Orches tra of Berlin) plays mag­ fin e jacket notes? works in the 19th century repertoim. Al ­ nificently for him, and the recording is D.R. though Brahms sought technical advice superlative. Ja mes Lyons has supplied about the solo part from one of the lead­ perceptive historical notes. Good as this Symphonic Concertos ing violinists of his day, Joseph Joachim, performance is, in so many ways, one he ultimately ignored most of the sug­ cannot wholeheartedly endorse it over BEETHOVEN : Piano Concerto No. 5 in E-flat, gestions. Dorati's, Ormandy's, Reiner's (three 68 HIFI & MUSIC REVIEW Hungarians also!), Ansermet's, and von Karajan's, not to include the path break­ Not a Club, Not a Gimmick, No Strings ...... ing Van Beinum reading now apparently unavailable. Listen to them all and com­ pare; what a way to know the workl A A New Way to Buy Records worthwhile and engrossing effort it would be. K.G.R. ... And Save Money Too SKALKOTTAS: 12 Greek Dances. Little Symphony Orchestra of Sa n Francisco, Gregory Mill a r cond o Fantasy 5002. pREvIEWS Nikos Skalkottas (1904-1949) was a highly prolific Greek composer who lived and died in yirtual obscurity. Only now, by with widespread performance and record­ LI~~~ ing, has his great talent begun to be recognized. ~~V The Greek Dances (one third of 36) It takes Westminster to come up with the most are not cast in Skalkottas's usual complex ~ exciting record buying idea in years - the new adaptation of the 12-tone method, but '\' Preview Plan. It's our own unique way of intro­ are tonal, straightforward, and very easi­ ducing you to Westminster's matchless high fidelity ly assimilated. Attractive music indeed recordings - at substantial savings to you. Here's -most of it based on original tunes that how it works: (like many of Haydn's and Bartok's ) \. Superb musical excerpts from outstanding West­ only seem to be drawn froin folk sources. minster releases are specially pressed on full 7" Skalkottas has found some quite original Long Play high fidelity records. You get these textures, occasionalIy overrich, but in­ records directly from Westminster FREE. (You ventive and alive. Everything realIy pay only handling and postage charges.) sounds in this music of 1933-34, written Play the records on your own equipment. Judge for yourself the quality as sort of personal challenge. Here, he of the recording. Be your own record critic. Decide which complete West­ may have done for Greek music what minster record, as listed on,the Preview, you want to own-and here's where Falla did for Spanish. you save money. The performances by the Litt:e Sym­ With each Preview you get four coupons-each worth $1.00 towards the phony Orchestra of San Francisco are purchase of anyone of the four records on the Preview. Should you want admirable; Mr. Millar, himself of Greek them all-you wind up with a savings of $4,00 and, of course, the Preview descent, splendidly conveys the vitality is also yours. (Should you take both Previews, as listed below, you could of the dances. Nat Hentoff's notes are save as much as $8.00.) truly illuminating. The recording is a You simply take the coupons to your dealer, turn them in and he'll be bit sharp-sounding, not full-bodied, but glad to give you the discount. (If you do not know your local Westminster nowhere objectionable. dealer-write us for his address,) To help you in building your own fine K.G.R. music library, a complete new Westminster catalog is included along with your Preview at no extra cost. Toward the Modern Baroque So send for your Westminster Preview today. Preview your records before you buy-and save money when you buy. (See coupon below.) BUSONI: Violin Concerto, Op. 35a; Violin Here's what you get on your first Previews. Excerpts trom: Sonata No.2 in E Minor, Op. 36a. J oseph Szigeti with the Little Orchestra So­ ciety, Thoma s C. Scherm a n co ndo & CLA SS ICA L POPULAR Mi eczyslaw Horszows ki (piano). Columbia BEE TH OVEN DEUTSCHMEISTER DRUMS ML 5224. Symphony =5 111 C "'lIth Symphony AND BRASSES =8}; Pililharrllonic Symphony of Lon, The Deutschmeister Band, conducted uell. eorullcleu by Hermann Scher, Ferruccio Busoni (1866-1924 ) was cherl. XVIN 18348 by julius Herrmann, WP 6070 one of the great piani sts of the last 100 GRI EG NIGHT AND DAY years, and an enormously inBuential Piano Concerto ill A; Yuri Bouko ff And Other Cole Porter Favorites teacher and aesthetician. As a composer, and Phililarmonic Symphony Orches­ Joel Herron. his piano and tra of Lonuon, conducted by Artur the orchestra, WP 6079 he somehow remains on the periphery of RouZinskl. XWN 18231 the musical main-stream; his master­ LlSZT KETELBEY piece, the opera, Doktor Faustus, is not Hu ngarian Rhapso(lles INos. 1·61; In A Chinese Temple Garden, etc,; Ph

AN EVENING AT THE LYRIC OPERA OF CHICAGO featuring Giulietta Simionato • (mezzo-soprano), Renata Tebaldi (soprano), Eftore Bastianini (baritone) with Lyric Opera DO YOU WANT of Chicago Orchestra, Georg Solti condo Tchaikovsky: Eugene One gin-Lette r Scene ; Boito: Mefistofele-L'altra notte; Ponchielli: La G ioconda-L'Amo come il fugor; Sai nt­ , Saens: Samson et Da lila-Ma n coeur s'ouvre ••. OR JUST SOUND a ta voix; Mascagni: C ava ll e ria Rusticana­ Voi 10 sapete; Giord a no : Andrea C he ni er­ Ne mi co d e ll a patria . London X 5320. Full, wide-range, RITA STREICH SINGS GREAT OPERA natural reproduction of ARIAS. Rita Streich (soprano) with Orchestra. all the musical notes Rossini: The Barbe r of Sevi lle-Una voce -for enjoyable listening poco fa; Semiramide-Bel raggio lusinghier; Verdi: Un Ba ll o in maschera-Volta la terra in your own home­ fronte & Saper vorrest e; Rigoletto-Gaul­ comes first with Frazier.. t ier Ma lde; Thomas: Mignon-Oui, pou r ce That is why so ir ie su is; Meyerbeer: Les H ugenots­ Frazier-Engineered Nobles Seigneurs, sa lut!; Moza rt: Ido me neo High Fidelity Speaker -Zefiretti lu sing hi e ri; Zaid e-Ruhe sa nft, Systems prove so me in hold es Leben; C osi fa n tutte-Una satisfying. It is not d onna a quind ici an ni. Decca DL 9943. the size of the drivers, but the way they are There is some thrilling singing to be coupled to an found in the London disc, which stems acousti cally -adeq uate from a benefit concert given in Novem­ enclosure that gives ber, 1956, by the Lyric Opera of Chica­ you the range, go. The three vocalists are in top form the balance and the HIGH FIDELITY NEW YORKER and this disc exudes that quality of ex­ foZ';/{ realism you want, citement which distinguishes live from Combines remarkable wide-range reproduction with with minimum distortion, recorded performance. beautiful cabinetry. Specially-designed inside this popu­ without coloration, Especially outstanding are Simionato's lar New Yorker' is an amazingly compact folded expo­ overdrive or hangover. nential horn with a 20 cycle taper rate and a 202-inch Mon coeur from Saint Sa ens' Samson and Your listening is not long air column. Picks up bass notes as low as 20 cycles. Delilah (sung here in Italian) and Voi complete until you Response is conservatively rated 30 to 17,000 cycles. che sapete from Mozart's The Marriage hear the Frazier. Reproduces low notes from 16 foot organ pipes to high­ of Figaro, Bas ti anini's Nemico della pa­ est overtones of flutes and tympani with life-like real­ tria from Giordano's Andl'ea Chenier, ism. Crosses over at 800 cycles, using 12 DB per octave. 48" x 26" x 16Y2". Mahogany, Ebony, Blonde Korina, or Walnut. Complete with speakers. Net, $475 Basic Utility Model F-202, less outer cabinet, $375

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Tebaldi's L'Altra notte from Boito's Me­ fistofele, and the Simionato-Tebaldi duet FAMousfoz;/{ HI-FI BLACK BOX L'Amo come il fulgor del creato from This popular F -B-3X gives you a direct radiator type Ponchielli's La Gioconda. Tebaldi is also tuned box, modified H emholtz loudspeaker system for heard in a perfonnance (in Italian) of walls, closets, or any other location. Provides an 8-in. Tatiana's Letter Scene from Tchaikov­ driver, high-pass filter, and cone-type tweeter, in a sky's Eugen Onegin but she doesn't have specially designed enclosure for pure, wide-range repro­ duction from 40 to 15,000 cycles. Size: 23 Ye " x 19" x quite the youthful impetuosity required. llYe". Complete with speakers. Net, $57 Throughout the record Solti and the or­ chestra provide expert accompaniments J . and the sound itself is first-rate. 25 years in electro-acoustics The Streich disc marks the debut reci­ Many Other Hi-Fi Models tal by a young soprano who previously Available at Frazier Dealers to Meet Your Space and has been very impressive in several com­ Budget Requirements plete opera recordings, notably Angel's Ariadne auf Naxos and Decca's The Magic Flute. The disc proves to be a dis­ Send for Informative appointment, however. Here is a small, Bulletin No. F100-H International Electronics Corporation well-controlled voice, but lacking in color 2649 BRENNER DRIVE, DALLAS 20, TEXAS APRIL 1958 71 and personality. The best things are the yields one of the most treasurable of styles of those two composers. The rec­ Gualtier Malde from Verdi's Rigoletto recent vocal discs. ord reviewed here was issued by Urania and Zefiretti lusinghieri from Mozart's M.B. to commemorate the 250tll anniversary Idomeneo. She may be cute as a button of the composer's death, in 1707. to look at, but she presents a pale tem­ Baroque Sunshine- The Cantata Singers perform with fine perament and an uninteresting counte­ North & South style, and are fully equal to the demands nance in these sonic portraits. of the music. In fact, from the tonal M.B. standpoint, they sound better on this disc HANDEL: 12 Concerti Grossi, Op. 6. tllan I have heard them sound in pre­ Pro M usi ca Orchestra of Munich, Kurt Redel vious performances. They are obviously Two Great Ladies of Song condo Vox PL 10043 3 12". led by a knowing hand. In 1739, in his 55th year and at the The acoustics of the recording are ex­ THE LADY FROM PHILADELPHIA fea­ cellent for the sound of tlle chorus and turing MARIAN ANDERSON. height of his popularity, George Fred­ Original Sound Track of CBS·TV See It Now erick Handel composed the twelve con­ the accompanying strings. presentation. RCA Victor LM 2212. certi grossi of his Opus 6 which consti­ tute the summit of his instrumental out­ From 10 to 11 PM EST on the eve­ put. They cover a wide range of emo­ ning of December 30, 1957, CBS-TV tions, from the deep melancholy of the presented one of the season's most sixth to the sparkling good humor of its memorable television programs-a See It neighbor, the seventh. They are scored Now filmed report of Marian Anderson's for seven-part string orchestra-three recent tour of the Far East for the State parts for the solo group, or concertino, Department. On this disc we are given and four for the larger group, or ripieno. the sound track of that film. While one As Hans Redlich points out in the notes misses the radiant visage of Miss Ander­ accompanying this new Vox release, son's face as seen on the TV screen, her Handel's Concerti Grossi are the culmi­ essential spirituality is successfully com­ nation of the Baroque concerto grosso municated through the sound alone. tradition which reached its highest flow­ Among the many highlights which this ering in 17th and 18 century Italy. reviewer will long remember are the sus­ The pioneer recording of I-Iandel's tained intensity of Miss Anderson's sing­ Opus 6 was made for English Decca - ing of He's Got the Whole World in His more than two decades ago by the Boyd Hands, as acknowledgment of an hon­ Neel String Orchestra, and then shortly orary degree from a women's university after the end of World War II Columbia Unfortunately, the same cannot be in Korea; a group of Siamese children issued them &s performed by the Busch said for the acoustical setting of the solo­ greeting her at the Saigon airport in Chamber Players. In addition to the ists. This is all the more tlle pity, be­ Vietnam and singing Getting to Know new release the current LP catalogue cause, from my previous knowledge oE You from The King and I; and her in­ lists three recordings of the complete their work, I know them to be excellent. terview at a radio station in New Delhi set : a re-recording by Boyd Neel and in which she defines the strong role reli­ They are Helen Boatwright and Janet his String Orchestra for London, a per­ Wheeler, sopranos: Russell Oberlin, gious belief has played in her life. formance conducted for Decca by the counter-tenor: Charles Bressler, tenor: Edward R. Murrow's narration is taste­ late Fritz Lehmann, and an inspired and Paul Mattllen, Bass. They are all so fully done and the entire enterprise has study of the works by Hermann Scher­ about it an aura of dignity which is all far from the microphone, and surround­ chen for Westminster. In general, the ed by so much echo tllat it is difficult too rare in such ventures. The sound is new edition by Redel, a thirty-nine-year­ to hear them, especially when tlley sing not the last word in hi fi, but it's per­ old German musician who seems to be as a group. fectly satisfactory. m aking a specialty of Baroque music, This criticism does not apply to the M.B. resembles the Neel performances in its one solo cantata, in which Miss Boat­ vigor and extroverted bounce. I still pre­ wright is properly balanced against the BRAHMS: 4 Serious Songs, Op. 121; Treue fer Scherchen's more searching treatnlent strings. She sings with tlle sensitivity Liebe, Op. 7, No.1; Am Sonntag Morgen, Op. of these marvelous works despite the and stylistic insight that we have come 49, No.1; Auf dem Kirchhofe, Op. 105, No.4; brighter sonics of the new Vox set, for it to expect from her. John Sh'auss is the Wie Me/odien ziehl es mir, Op. 105 , No.1; is Scherchen who illuminates the music capable organist. A/te Liebe, Op. 72, No.1; Bei dir sind mein' with the force of his own great powers GedanKen, Op. 95, No. 2; Wir wande/ten, Op. D.R. 96, No. 2; Dein b/aues Auge, Op. 59, No.8. of intellectual insight more consistently than any of his competitors. Kirsten Flagstad (soprano) with Edwin VIVALDI: Gloria; Sfabat Mater; Motteto a M.B. McArthur (piano). London 5319. canto. Fri ed e rike Sailer (soprano ), Ma rga rete The record books say she's in her 63rd BUXTEHUDE: Cantatas-Alles was Ihr Thut; Bence (contralto ) with the Pro Musi ca C hoi r Was mich auf dieser Welt betriibt; Missa Bre­ year, but you'd never believe it from and Orchest ra of St uttgart, Marcel C o uraud vis; Magnificat in D Maior. condo Vox PL 10390. the opulent sound of Kirsten Flagstad's The Cantata Singe rs with Sol oist s, String voice on this disc. This is effortless, se­ Orchest ra , a nd Organ, Alfred Mann condo cure singing the like of which is more Urania UR 8018. From a musicological standpoint one commonly associated with a time gone by of the most important results of the LP rather than with our own. Although Diderik Buxtehude is not as er.a of recording has been the continuing The major repertoire on this record is well known to the general listener as he research into the output of Antonio Vi­ Brahm's penultimate work, tlle Four Se­ might be, the fact remains that he was valdi. There is poetic justice at work rious Songs, Opus 121, to which Flag­ highly respected by such discriminating in the present release for it was this stad brings an autumnal dedication. On musicians as Handel and Bach. It was same Gloria, released by Vox nearly ten the reverse side of the disc we hear a Bach who, at the age of twenty, made years ago, which, along with the pioneer selection of eight other Braluns songs a pilgrimage to Liibeck, where Buxte­ recording of The Four Seasons by Con­ composed at various stages of his career. hude held forth, and was so interes ted in cert Hall Society, unleashed tile flood­ Flagstad never was a very successful tile older master's music that he over­ gates of Vivaldi on discs. So here we Lieder singer when she was actively con­ stayed his leave of absence, thereby have the Glo'ria again, this time with an certizing, but now she seems to have risking his position as organist at Arn­ up-to-the-minute sound, along with two gained an insight into that art which she stadt. otIler perfectly gorgeous though un­ fomleriy lacked. Add to all this a more Born in 1637, forty-eight years before known works by this fantastically proli­ secure collaborative effort from Mc­ H andel and Bach, Buxtehude exerted fic Italian composer who was ten years Arthur than as of yore and the sum total considerable influence on tile musical Bach's senior. 72 HIFI & MUSIC REVIEW With two first-class vocal soloists this disc would have been a winner on all THORENS lO-YEAR HI-FI CONTEST ! counts. As it is, however, both Miss Sailer and Miss Bence sound like con­ servatory students who try hard but just HI-FI FANS: ENTER NOW mll .YOU CAN cannot cope with Vivaldi's florid vocal line. The direction of Couraud is alert and energetic, and the chorus and or­ chestra hold up their end well. But now, having discovered the Stabat Mater and Motet, we shall have to wait for yet an­ other recording to allow us to enjoy the fu ll beauty of the music without having to tolerate second-rate solo singers. M.B. Souvenir de Puerto Rico, 1957

CASALS FESTIVAL OF PUERTO RICO 1957-Bach: Suife No.1 in C Maior. Casa ls Fest iva l Orchestra of Pu erto Rico, Al exa nde r Schne ider co ndo Schuberf: Symphony No. 8 in B Minor-Re­ hearsal of 1sf mvf. TEN NEW THORENS HI·FI COMPONENTS C asals Fest iva l Orchestra of Pue rto Rico, Pablo Casals condo Bach: Capriccio on fhe Deparfure of His Be­ loved Brofher. CHOOSE ONE EACH YEAR FOR 10 YEARS Rudo lph Se rki n (piano). • Mozarf: Piano Quarfef No. 2 in E-flaf (K.493 J• Eugene Istomin, Isaac Ste rn , Milton Kati ms, The hottest turntable on Mischa Schn eide r. Schubert: Violin Sonafina in A Minor, Op. 137, No. 2. the market today, the Alex ande r Schneider a nd Mi eczysla w Ho r­ szowski at t he piano. Columbia ML 5236/37 Thorens TD-124 will be 2 12" (available separately) . first year's prize By setting up their microphones at $99.75 the Casals Festival in Puerto Ri co, Co­ lumbia has effectively documented some of the musical events that took place That adds up to about $1000.00 worth of Thorens Hi-Fi Components to the happy there during the Spring of 1957. winner. The first disc contains a variety of What you have t o do is name your favorite Hi-Fi salesman-and write a 50·word iteins- most notably a rehearsal of the statement (or less) saying why he's your favorite. This information will help us an d first movement of Schubert's Unfinished our dealers do a better job of serving you. Mail statement together with your officia l Symphony, conducted by Casals prior to registration form (at bott om - more at your dealers) on or before May 15th. the heart attack which made it necessary Winning statement will be selected by a panel of editors of leading Hi-Fi pUblICa­ for Alexander Schneider to take over tions; the winner will be announced in June. If you win, simply pick up your TD-124 active leadership of the Casals Festival (above) at your dealers. He and his salesman both win prizes too, by the way. (If las t year. you've already bought a TD·124 you get your choice of another Thorens component for 1958.) Then ea ch year for 9 more years you'll go back to him, and pick out your Thorens component for that year. a.s

~ ------=~ ------. M48 I Official Registration Form Name______I Ten-year Hi-Fi contest Address ______Official Rules 1. Contest ope n to all except employee s of Street ______Th orens or their ad age ncy. 2. Only one.entry per person. 3. Regis tration form mu st be Dealer's Name______legi bly and com pletely f illed in . 4. Ma il you r entry to Th ore ns, address below, postmarked Add res s.______not later t han 12 p.m. May I S, 1958. 5 . Oeci· sion 'of the judges will be f inal. 6. l egib le Street ______statement saying why sa lesman named is L your favo ri te in 50 words or less must ac· co mpa ny registration form. Salesman's Name______Interestingly, Casals reveals himself as th e "inspirational" type of conductor, Duplicate prizes in c ase of tie. who exhorts the musicians to play more This contest does not apply i n localities beautifully. In place of technical sug­ where stat e or local r egulations f or bid. gestions, he constantly sings, sometimes repeating the same passage a number of SWISS MADE PRODUCTS times, as if he were fascinated by the HI · FI CO M PONENT S · LIGHTER S so und of his own voice. S PRING -P O W ERED S HAV ERS The second disc is somewhat more ORJE N MUS I C BO X ES ...... 5-... NEW HYDE PARK, NEW YORK unified as to content, being devo ted to chamber music of Mozart and Schubert. ~------APRIL 1958 73 These are ~ ll recordings of actual per- . "The work is to be dedicated to no­ Maior, Op. 53 ("W a/dstein" ). formances, to judge by the occasional body save those who find pleasure in it. Louis Kentner. Capitol PAO 8409. coughs that are heard. The results speak That is the most worthwhile dedica­ well for the calibre of the musicianship. tion." This is Schubert's own answer to Piano playing of tIle first rank-no ASide from a few rather raucous violin the publisher who asked the name of question. The stellar opinion one gained attacks at the opening of the Schubert the person to whom the second of these from Kentner's Chopin-Liszt recording sonata, the performances are admirable. trios was to be dedicated. We are for.­ (see last issue) is largely confirmed here. The same sonata suffers from a some­ tunate to have been left these two works, In particular, the "Waldstein" is won­ what high level of tape hiss; otherwise which are among the acknowledged dedully done; individual it is, but per­ the recordings are good, especially con­ glories of the trio literature. Ironically, haps the individuality is Beethoven's as sidering the fact that they were made Schubert himself was less fortunate; much as the pianist's. The second and under actual concert conditions, rather barely two months after his death, the third movements of tIle "Appassionata" than in a studio. E-Bat trio was played at a memorial are admirably projected, though the lat­ D.R. concert to raise money for his tom b­ ter seems a bit heavy. The crucial first stone. movement, however, strikes these spoiled Russian & Hungarian It is a pleasure to be able to report ears not as favorably as had been hoped. that the disc is excellent in every way. It's hard to tell what the trouble is­ Teamwork The three artists give a first class per­ a certain lack of subtlety, perhaps, a formance. The playing is sensitive, won­ curious need for grandiosity and impact BACH: Concerfo in D Minor for 2 Violins; derfully secure, and tonally satisfying. beyond the call of duty. Or maybe, it's VIVALDI: Concerto Grosso in A Minor, Op. just that after so many hearings of the 3, No.8; TARTINI: Trio Sonata in F Maior; The recording presents tIle sounds nat­ BACH: Trio Sonata in C Maior. urally, without excessive echo, and at work from so many different performers David and Igor Oistrakh with the Leipzig the same time, avoids any suggestion of of stature, Kentner's version does not Gewandhaus Orchestra, Franz Konwitschny a "boxed-in" quality. There is a nice match tlle "composite ideal" one had condo and Hans Pischner (harpsichord). balance among the tIlree instruments. built up for it. The recording is general­ Decca DL 9950. The record is indeed an excellent buy, ly excellent, but when the music is 101'­ since it presents two works that are ti~simo tlle sound is not always pleasing It is a pleasure to be able to recom­ ordinarily issued separately. Each is in its closeness. mend a recording without a single reser­ considerably over thirty minutes long. K.G. R. vation. Tllis is as fine a performance of D. R. the Bach Double Concerto as I can re­ SCHUMANN: Symphonic Etudes, Op. 13; call ever having heard. Father and son Kreis/eriana, Op. 16. make a beautiful team, leaving nothing Wilhelm Kempff {piano}. Decca DL 9948. to be desired in the way of blend, tone, technique and style. The beauty of their Whatever Kempff attempts, he accom­ tone is a joy to hear, yet it never be­ plishes with a rare blend of virtuosity comes saccharine. I could go on, discuss­ and scholarship, of brilliance and fastid­ ing their playing in each of the composi­ iousness. There is a distinct personal­ tions on the disc, but I would only take ity that seems to emerge from his play­ up your time with a list of superlatives. ing of any compose r' ~ work, in addition Your time would be better spent in lis­ to his stylistic riglltness. His reading of tening to the record. the SymphoniC Etudes is splendid in its D. R. searching (and finding) approach. The Kl'eisleria.na. is no less effective a per­ BEETHOVEN: Violin Sonata No.7 in C Mi­ formance, and what a delightful piece nor, Op. 30, No. 2; MOZART: Violin Sonata that is! in F Maior (K.376). The word complete appears in the Leonid Kogan, and Andrei Mitnik and Schwann catalog only after the listing Gregory Ginsburg at the piano. Monitor of Kempff's performances of these two MC 2011. BEETHOVEN: Trio No.7 in B-flat, Op. 87 works. Whether this means tllat every­ ("Archduke" J. one else makes cuts, I do not know; but A thoroughly delightful disc! It con­ Emil Gilels (piano ) , Leonid Kogan (piano), tains two beautiful works, performed it appears that Kempff's are indeed com­ Mstislav Rostropovich ('cello). Monitor MC plete, both as to notes and meaning. with complete technical address and in­ 2010. terpretative insight. A special word Fine unstrained recording. might be said for the sensitive playing This is a fine-grained performance of K. G.R. of both pianists, who are not as well one of tIle most famous works in tIle known in this country as is the violinist. repertoire for the combination of piano, LlSZT: 6 Paganini Etudes; Spanish Rhapsody; There is txcellent balance between violin and 'cello. Each of the players is Feux Follets. Ruth Slenczynska (piano). Decca DL 9949. violin ~nd piano throughout, and the a master of his instrument; the perform­ tone of both instruments emerges with ance is technically secure and tonally There is no doubt tllat thi; young a refreshing naturalness. ingratiating. Yet, never is tIle power woman is a fabulous vi1tuosa. Redeem­ Just to demonstrate how picayune I sacrified. ing the promise of her days as a prodigy could be, I might take issue with the At no point in my listening to the per­ younger than 10, she has now become an violinst's style in one single phrase of the formance was I aware of the recording artist of consequence. As a total effort, Mozart work, and I might remark about as such. Tllis is perhaps the highest this is an admirable recording;, Liszt­ one slight change in perspective resulting complinlent that can be paid to it. The playing worthy of the grand tradition. from a tape splice during the slow move­ instruments simply "are tIlere"; one is One hates to complain about pianism ment of the Beethoven sonata. But these not impelled to place them in a hall, of such incredible skill, but there is an slight faults are mentioned only in order or a room, or a studio. In other words, element of hardness in her approach to point up the general excellence of no visual image intruded on the per­ which at times robs this Ha~hy music of both the performance and the recording; formance. Isn't this what a recording its glitter. As she often demonstrates, I can find nothing else to cavil about! ultimately should be? she can play sensitively enough; but Monitor can be justly proud of this disc. D. R. again and again she will choose to pound D. R. where understatement would be ten 1 Two Piano Greats & times more effective. SCHUBERT: Trios-No. 1 in B-flat, Op. 99; A Comer Compare her Spanish Rhapsody, for No.2 in E-flaf, Op. 100. instance, to Geyorgy Cziffra's on Angel; Istvan Nadas (piano) . Felix Galimir (violin), BEETHOVEN: Piano Sonafas-No. 23 in F there you have not only fantastic dex­ La sz lo Varga (cello ). Period SPL 735. Minor, Op. 57 ("Appassionata" ); No. 21 in C terity, but a sense of magic. Further- 74 HIFI & MUSIC REVIEW more, the Decca engineers have recorded Miss Slenczynska too close-up, which only intensifies the metallic tone she produces. Favor tile bass, or your ears LISTEN TO JansZen .. will hurt for hours. And the music? As ~ Shakespeare exclaimed, "Liszt, Liszt, 0 Liszt! " (II amlet, I /V /22. ) HEAR THE SPEAKER WITHOUT A "VOICE" K.G. R. The JansZen Electrostatic has no voice of its own . It does not add to the Bach's Final Testament music . . . exaggerate the instruments . . . distort the sound . Instead , it reproduces music with a clarity that borders on the superb. The JansZen Electrostatic , combined with the new JansZen Dynamic . .. a widely BACH: The Art of Fugue. Helmut Walcha (organ). Decca Archive acclaimed, low frequency counterpart ... gives you a complete, high ARC 3082/83 2 12". quality loudspeaker that produces the musical realism you've always wanted but could never obtain . We have had the Art of Fugue re­ Listen to JansZen *. Write for literature and th e name of your nearest corded by two pianos, on the harpsi­ dealer. chord, by a string quartet, and orches­ trally; now comes the version which may be the soundest of all historically- on the organ. This summit of polyphonic The Model 130 Electrostatic Tweeter ... the most nearly craft and art sounds marvelous from any perfect loudspeaker. combination of instruments, so substan­ $184 in mahogany. tial is the music; but the resources of the organ are so limitless that the needed element of variety can best come to tlle The Z-200 ... a combination of the 130 Electrostatic and 250 Dynamic . The woofer and tweeter are so fore. Walch a is a magnificent performer­ smoothly matched and blended that nearly perfect scholar; mastery of this work is an ad­ realism results. $329 in mahogany. mirable achievement for anyone, and for a blind man it is a staggering one. He plays with keenest attention to detail, Hear the Music, Not the Speaker as well as with great technical skill and ·Designed by Arthur A. Jonszen imaginative registration. The organ is the large instrument at the Church of St. Laurens, Alkmaar, the complete disposi­ tion of which is given in the notes. Products of NESHAMINY ELECTRONIC CORP., Neshominy, Po. It is typical of the musicological hon­ esty of this Archive production ("Re­ Export Division: 25 Warren Street, N. Y. C. 7 • Cable Simonlrice, N. Y. search Period IX, Series M") that the annotator can take sharp issue with the t ';3 • Q ']$ editor of the recording about fine points ------in ilie order of the individual fugues and I '1 Truiy amazing sound~ canons! The organist himself also con­ i tributes a fine set of notes. .. to stimulate and I have only one serious objection, but it is one which will not be easily ap­ ~1 rejuvenate jaded peased. Bach's original manuscript sim­ ply thins out and breaks off in the '!i! audio tastes . The middle of a line, where (in the words " k'f"1~ music of the Orient. .. of his son Carl Philipp Emanuel) "the performed on native composer laid down his pen." Walcha , completes the line and the phrase; not instruments, ' recorded with only is tlle cadence made still quite ab­ rupt and structurally unsatisfactory, but ,it; astonishing ciarity. · the enormously affecting emotional as­ pect of a close in mid-music is totally lost. Either really complete the final I fugue with four subjects (the last of which is B.A.C.H.), as Tovey and others have done, or leave it alone. That matter notwithstanding-a superb release, done with typical German thor­ i/eJ oonorsn ~lDJ~ . oughness yet full of imagination and life. I . In Ihe' sound UU U 6lJUD 0 K.G.R. of the year . J.S.B. & Modern Youth

BACH: Solo Violin Sonata No.1 in G Minor; Solo Violin Part ita No. 2 in D Minor. Ruggie ro Ricci. London LL 1706.

That this is superlative fiddling, as fiddling, is a certainty. Ricci's tone is clean and accurate, his bow arm and left hand under perfect control. His technique allows him to minimize the often awkward roll-effect of three- or four­ NUCLEAR PRODUCTS CO. IN AN ORIENTAL GARDEN 10173 E. RUSH ST • EL MONTE, 13 , CALIf. string arpeggiation in the polyphonic ~- APRIL 1958 !-... ..75 passages, and he lets us hear clearly Choral Colors­ what we need to hear. To these very demanding and very Slavic & Tropic stimulating works, he brings strength SONGS OF THE DON COSSACKS. and spirit. The disc, excellently pro­ First Psalm of David; Down the Petrograd duced sonically, would be keen compe­ Road; Legend of the 12 Robbers ; Excerpts titi on to those of Milstein, Heifetz, from Glinka 's A Li fe for the Czar; Even ing Oistrakh, Olevsky, and others, were it Bells, etc. Original Don C ossack C hoir, Serge not for at least one serious Baw: Hicci Jaroff condo Decca DL 9947. seems to be playing almost everything at the same level of loudness. He does SONGS OF LATlN·AMERICA. hardly any "terracing" of dynamics; La Cumparsita ; Ma lgueiia; Estrellita; Ay­ everything is direct and even with respect Ay-Ay; Siboney, etc. Roger Wagner C horale. Capitol PAO 8408. to intensity. This becomes tiring to the REGINA RESNIK ear, and in the Chaconne it robs the music of emotional variety. That fantas­ tapes ~ o""n tic piece, moreover, I have heard much recordings on more impressively paced. K.G. R.

BACH: Keyboard Partitas-No. 5 in G Ma­ jor, No.6 in E Minor; 2 Fugues from the WeI/­ Tempered Clavier, Book I/-F-sharp Minor, E Major . Glenn G o uld (piano). Columbia ML 5186. So far, Glenn Gould ("the young That alone is not pianist who made the Goldberg Varia­ the reason ""hy tions a bestseller") has shot across the musical firmament like a meteor. What ~ should use we want to see in him is the sustained luminosity of a fixed star. This pianist is clearly touched with genius, but the present LP is too full of eccenb'icities Despite certain musical Raws, I sus­ to provide a complete artistic experi­ pect that both these records will be high­ ence. ly successful. When a tempo is fas t, he will play it One cannot argue, of course, with the fas ter than necessary-clearly enough, style of the singing by the Don Cos­ but not always meaningfully. The end­ sacks; neither would one wish to. We can ing of the Fifth Partita, for instance, he only be gratehll for their magnificent Here"s ""hy simply throws away by excessive haste. basses, and for the high, Boating tenors. you should use How sensitively he can play the slower We can be just a little less grateful for movements, and how lovely (and well the occasionally forced sound of a tenor recorded!) is his tonel Then why spoil solo, but we can justify it on the grounds everything with continuous humming­ of tradition. Where we must take issue, a practice human and understandable, however, is with the somewhat too-fre­ but one that improved not even Tosca­ quent instances of faulty pitch. Never­ nini's recordings. It is pl ain wrong, theless, I feel that the devotees of this structurall y wrong, not to take any re­ school will overlook these faults, in view peats of sections; instead of adeling two of the general spirit and verve of the fugues from the Well-Tempered Clavier performances. It's the best-engineered tape in the world on the same side as Partita No.5, tlle re­ Quite the opposite criticism must be ... gives you better highs ... better lows ... peats could easily have been fitted in. To levelled at tlle other elisc. It would be better sound all around! Saves your tape close, since we began with a simile­ elifficult to £nd anything wrong with the recorder, too - because the irish FERRO­ the fruits on Glenn Gould's musical tree perfomlances or the recording. They SHEEN process results in smoother tape are sure to be of extraordinary savor; but are smooth, completely professional ... tape that can't sand down your mag­ it is possible that they are not yet ripe readings. B'ut-one must report that netic heads or shed oxide powder into your for harvest. (The notes by Alvin Bau­ these are far from authentic versions of mac4ine. Price'? Same as ordinary tape! mann, incidentally, will be of much value the Latin American songs. They are to tlle student and scholar, and just "Hollywoodized," slick arrangements. about useless to the layman.) Moreover, the tone quality of the sing­ K.G. R. ing is that of a professional American chorus, far more suggestive of a Broad­ way musical than of Latin American. There is also a completely haunting Brazilian lullaby called Ttl.tu Mamrnba that has been exqui sitely arranged by a lady named Salli Terri. In its simplicity and tastefulness, it mi ght easily bring tears to your eyes. Yet, it contains a solo sung by the same Salli Terri, in a voice that suggests a smart lew York night club, rather than a Brazilian folk style. The chorus sings beautifully. So, if you want a "commercial type" version of some L atin American songs, be sure to get this record. From that stand­ Available wherever quality tape is sold. ORRadio Industries, Inc., Opelika, Alabama point, the performances are magnificent. EXlJOrt: Morhan E XlJOrtiny COrlJ., New York,N. Y. If you want authenticity, this will not be Canada: Atlas Radio COrlJ., Ltd., 1'oronto, Ontario "your cup of tequila." D. R. 76 HIFI & MUSIC REVIEW TH E STEREO REEL THE STEREO REEL -r ... E STEIaEO laEEL

Reviewed By BERT WHYTE

BEETHOVEN: Leonore Overture No.3; Co­ oneself the pleasure of a most excellent rio/an Overture. performance, but how much more vital Boston Symphony O rchestra, C ha rles Munch and expressive this could have been! condo RCA Victor BCS-48, $8.95.

HAYDN: Symphony No. 103 in E-Flaf ("Drum Charles Munch and Beethoven are Roll" ). supposed to be a fairly immiscible com­ Vienna State Opera Orchestra, Mogens bination, in the opinion of some critics. W iildike con do Vanguard VRT 3010, $11.95. While there is some justification in this attitude, it is a rare dog indeed, that does Vanguard has issued a series of superb not have "his day," and with these two Haydn stereo recordings under the baton overtures Munch delivers a striking re­ of renowned Haydn-scholar and conduc­ buttal to the critics. His handling of tor Mogens Wbldike. Other tapings in­ these highly charged works is deft and clude the M'ilita1'Y Symphony, the assured and is free from most of the "Clock," the "London" and the Sym­ Stereo Starter Set mannerisms that invite the wrath of the phony No. 99. This "Orum Roll," like critics. Above all, he gets magnificent the other issues is an outstanding ex­ Today's Top Stereo Value! playing from his men. The LP of this ample of how Haydn should be con­ Classics! Jazz! Pops! music was well recorded, but how insub­ ducted. Wbldike neither chooses to make stantial it is compared with the stereo his Haydn "sensational" as do many This handsome boxed set of four tape! Here we have sound heroi cally other conductors nor to succumb to 5/1 stereo tape recordings (inline) proportioned, wholly befitting the music. "stuffy" pedantry. His readings are au­ The recording mikes were positioned thentic to the last degree, and they are is an excellent basic library for moderately close to the orchestra and also unfailingly entertaining in the bes t the beginner, a valued addition to balanced with hall reverberation not of taste. In maaers of sound Vanguard any stereo collection! These are quite as spacious as is usual with Boston has steadfastly refused to "trick-up" its Symphony Hall. This treatment pro­ stereo tapes with such things as exag­ Concertapes'Sound in the Round' duces highly detailed sonic tex ture to­ gerated directionality and reverberation. recordings-superbly recorded, gether with reasonable "liveness." The The recorded sound is moderately close flawlessly performed by first-rank directional features of stereo were quite up but with spacious acoustic, with both good, and can be especially well noted detail and "liveness" well projected. In­ artists! Only CONCERTAPES near the finale of the "Leonom" in a strumental separation is excellent and offers so much for so little. wonderful ascending and descending aural positioning easily accomplished. string and woodwind figure which first is Nicely balanced sound is apparent Vol. 1 S ILK , SAT I NAN D heard on the left and then the right with throughout with dynamics equal to the STRINGS, The Sorkin much interplay. The instrumental sepa­ demands of the score. Tape hiss is mod­ Strings ration is very good , and the center erate and the only unhappy note to Jalousie, Sleepy Lagoon, "ghost" channel audibly apparent. The sound about this otherwise estimable Hol'iday for Strings, others overall sound is well-balanced, although tape, is the "sput-pop-pop" resulting Vol. 2 BIG BEAT WITH MIKE, the bass seems rather heavily accented from d.c. nodule noise in the duplication at times. The strings are very bright and Mike Simpson and his Big process which is intermittently annoying, Band clean. The wide dynamic range has but may not be in all copies of the tape. Take the "A" Tmin, Lover, brought with it a moderate amount of Che1'O kee, others tape hiss. In sum, a most worthwhile addition to the Beethoven stereo library. RUFFLES AND FLOURISHES-Music: for Vol. 3 LIGHTING THE TORCH, Field Trumpets and Drums. Jay Norman Quintet, Vo­ Members of the Eastma n Sympho nic Wind calist Nancy vVrigbt BEETHOVEN: Piano Concerto No.5 in E­ Ensemble, Frederick Fennell condo Mercury Moonlight in Vel'1nont, Flat, Op. 73 ("Emperor"). MS5-13, $8.95. Thou Swell, others Artu r Rubinstein, with the Symphony of the Vol. 4 SYMPHONY OF DANCE, Air, J osef Krips condo RCA Victor FCS-bl, The only apt and descriptive word for $lb.95. Musical Arts Symphony, this tape is "awesome." This is certainly L eonard Sorkin conducting one of the most overwhelming stereo Rimsky Korsakov, Sibelius, In this recording the piano seems tapes yet. Essentially, this is a compen­ Bizet, Gliere, Glinka somewhat closer than in the same artists' dium of fi eld music used by the Armed taping of the Beethoven Fourth Con­ Forces of the United States, some of it ALL FOUR TAPES, JUST $19.95. certo reviewed here last month. Greater dating back to the Revolution. Here we A Genuine $32.00 Value! detail is the res ult but this only serves have ceremonial marches, inspection to heighten the earlier impression that pieces, and bugle calls, all coming under Ask to !t ear the CONCERTA PES Co.talog R eel the orchestra was recorded at too great the general classification of "ruffles and at your D ealer's. Write jar current catalog. a distance and in too large an acoustic flouri shes." Old service men may wince framework. This lack of balanced pro­ when they hear the miserable summons ~ COf\!.E~~r ~;R~~~' INC. jecti on is not serious enough to deny of Reveille, or nos talgically recall the ~ P.O. BOX 88, WILMETTE, ILLINOIS APRIL 1958 77 promise of 'Mess Call, and Mail Call and Pay Call . . . and who can forget the haunting melancholy of Tap s? In a brighter vein can be heard the inevitable You're in the Army Now, A-Huntin.g We Will Go, Holy Joe, and others. The entire instrumentati on on this tape is massed trumpets, fi eld drums, bass drum, and cymbals. When all of them are used together as in many of the marches, the effect is almost hair raising. Here is where owners of massive speakers and high-wattage amplifiers can achieve the ultimate thrill. Tile tnunpets sound out with the most brazen blare you've ever heard; the rapping, snapping, snarly transients of the field drums, punctuate the tremendous WI-lUMP of the bass drum, while the crash of the cymbals sends a m illion scintillant splinters of sound racing through your hi-fi system. There is no mistaking the stereo set-up on this tape-the fi eld drums, bass drum and cymbals are heard on the left and the trumpets on the right. The record­ ing is close-up but offers ample room lOIi STEIN tone. There is a massive forward pro­ SOL Y~GED jection of tone that affords an almost un­ broken sonic front and consequently out­ COZY COLE standing realism.

Over 20 minutes of GREAT SOUNDS ••• GREAT ARTISTS .•• teamed exclusively by Sound­ DEBUSSY: La Mer. craft for this bonus recording .. . yours for only 75¢ posta ge and Boston Symphony Orchestra, Charles Mu nch handling, when you buy Soundcraft Tape. Ask for it at your dealer! condo Victor CCS-56, $10.95. NOT ONLY THE SOUNDS OF JAZZ . •• BUT THE SOUNDS OF ALL MUSIC ... SOUND BETTER ON SOUNOCRAFT TAPES I DEBUSSY: La Mer; RAVEL: Daphnis and REEVES CORP. Chloe Suite No.2. SOUNDCRAFT Los Angeles Phi lharmon ic O rch estra, Erich 10 E. 5 2 nd ST. , NEW Y ORK 2 2 , N. Y .• WEST COAST : 342 N. L a B REA , LOS AN GE L E S 3 6 Leinsdorf condo Capitol ZF-25, $12.95. AT LAST! A prac:tic:al answer to your c:ost prob­ .The professional's lem. The World's Largest Tape Rec:order Outlet and Ser vic:e Lab now brings you a money As noted last month, even at tIlis early choice saving • • • stage of stereo, duplication of repertoire is beginning to assume Significant propor­ tions. H ere we have two versions of De­ STEREO EXCHANGE bussy's impressionist masterpiece, La We believe these benefits will astound and delight you: Mer, with the Capitol tape offering by way of bonus the first stereo recording EXCHANGE $50 WORTH OF STEREO of the Dophn.is and Chloe Suite No.2. TAPE FOR ONLY $1.35 PER REEL ;;''1';;lv~~ choose the spectacular new releases of Cnpitol , Mercury, Here are two orches tras separated by the RCA and o ver 30 companies. Yet you've g iven up nothing. s ince the s lereo r eels you send in excha n ge are the ones whole expanse of the United States and you no longer want. two conductors, one an Austrian and the RENT STEREO TAPES FOR ONLY $1.45 other French. This sounds like quite a EACH ~ji~n~~~r ~~u~t f~~~ ~~~t1in a:h~ nJ :r~. ¢ &~~v d;J'ti series of opposites, but in the music of may try them. enjoy them. w ithout buying. And if you do purch ase. the rental charge is cancelled. L a Mer, not really such a big gulf is FREE! A TERRIFIC $9.95 PARTY TAPE evident in the fin al analysis. It is also a TIlts s pecial 1200' "sing -a-long" t:lpe does somethin g new mistake to assume that because Munch is f acoustic spaciousness. Thus there is fair­ .. I 0 Send literature and prices on stereo r ecorders. I I ly good orchestral detail, but with slight­ ERCONA CORPORATION I NAME • . .. •••••••••••..••.••••••••••••• • • •. I ly blunted edges. Directionali ty is dis­ (Electronic Div is ion) cernible although not especially pro­ '551 Fifth Ave .. Dept. 47. N ew York 17, N. Y. : ADDRESS ••••••. • . • . ••. .. • .•.•.• • • .•. • ••• •• : In Canada: ABt -ra1 Electric Co. Ltd. nounced. However, the central "ghost ~~ Danforth R oad, T oronto 18 ~c.::y....:.:..:.: ~ ' '':''::'':': ~ .~ ~~ .:..:. ,'::~E..:...: ~' ':':' :...... ! channel" is well fi lled and some lovely 78 HIFI & MUSIC R EVIEW flute and horn sounds emanate there­ from. The recording offers an effective illusion of depth, with nice string tone here and fine clean trumpet sound. Tape hiss is barely noticeable even with the tape played at a good room-filling level. The Victor tape is made with a moder­ ate close mike pickup, and with a mod­ erate amount of hall reverberation. Good directional effect and fine brass and woodwind "fill" in the "ghost channel" were noted. There is strong, clean per­ cussion and contrabass in evidence and a very distinctive struck cymbal. The second strings and 'celli produce some gor­ geous sounds, and the woodwind are particularly fluent. The Boston sound is more solidly projected than the Capitol and is more closely knit. Dynamic range is audibly greater on the Victor tape and there is even less tape hiss. While both tapes are excellent, the Victor holds somewhat of an edge in overall realism. The Daphnis and Chloe Suite No. 2 on the Capitol tape receives a straight­ forward, no nonsense performance under Leinsdorf. There isn't much warmth in his reading, but he certainly generates excitement in the finale. This has excel­ lent sound, more massive than La Mer, and features good direction and separa­ tion. The first strings are beautifully re­ produced and the woodwinds are exceptionally clean and pure in tone. Occasionally, rather heavy 'celli and con­ trabass will obscure some woodwind de­ tail, and the less spacious acoustics diminish apparent depth perception but this is minor in the general excellence of the sound. Tape hiss is at a reason­ able level but that old debbil, duplica­ tion noise, can be heard "sput-phutting" away during the quieter passages. As a straight choice I would give the nod to the Victor La Mer, keeping in mind that the Capitol is a close runner­ Designed for the highest of reproduc­ up with the not inconsiderable attrac­ tion standards ... Scandinavia Styled tion of the first stereo recording of the from fine grain mahogany. Ravel "Daphnis" music if it is worth the extra few dollars to you. STEREO 3-Speed Tape Phonograph and Tape Recorder - Tandberg Model 3- Stereo-for at home listening pleasure THE NEW GLENN MILLER ORCHESTRA ... or conven iently portable in luxury­ IN H.·F. directed by Ray McKinley. styled luggage type carrying case for Victor CPS-82, $10.95. traveling enjoyment. stereo-trio For the finest in sound reproduction, a complete home music system­ This stereo tape, despite its apparent two extremely well-balanced power perfectly matched promise, is generally disappointing. Oh, playback amplifiers are built-In with friend McKinley does all right, and the The Tandberg stereo-trio including model such efficiency of design that the dis­ personnel that makes up the band are 3-Stereo recorder/reproducer and two per­ good well-chosen side men. It's just that tortion of each amplifier is under 1%. fectly matched 266 speaker systems fur­ the name of Glenn Miller has become A specially manufactured in-line stereo niture styled by Scandinavian craftsman in associated with certain numbers over the head, unique in design and construc­ the same fine grain mahogany as the model years and the sound of his original or­ tion, prov ides a clarity of reproduction 3-Stereo cabinet. Comparable to the finest chestra playing these numbers is still and a range of response here t.ofore - at almost half the price. $469.95. fresh in the ears of many people. Here unattainable. 3-Speed Versatility - Records half track '. _ • with few exceptions, is music not readily plays back half-track, full track and stereo­ identifiable with Miller; and all the imi­ The model 3-Stereo weighs 27 pounds, phonic tapes. Frequency response at 7'/2 I.p.s. tative Miller sounds in the world, won't and is priced at $369.50. Complete with is within ± 2 DB from 30 to 17,000 cycles make it sound any more familiar. Why microphone and carrying case. (± DB from 50 to 10,000 cycles). didn't the producers of this tape utilize things like Moonlight Serenade, Tuxedo Hear and See the Tandberg Stereo·Trio Junction, Chattanooga Chao Chao, Deep or write for full information to: Purple, Along the Sante Fe Trail, String of Pearls, or any of dozens more? The opening number Don't Be That Way, was more of a Goodman specialty, but was frequently played by Glenn as well, iandbeJ'fI 10 E. 52nd 5t. and this is closer to the McCoy than New York 22, N. Y. APRIL 1958 79 anything else on the tape. Soundwise this is typical "big band" stuff, picked up tluough three groups of microphones. W'ould that the original Miller band could have been afforded sound of such quality and "liveness"! As is usual with this type of music di­ rectionality and reverberation are on the contrived side, but this is quite a legiti­ mate means of enhancement. For the most part the instruments are crisply and cleanly reproduced, but occasionally the sound level gets high enough to saturate tbe tape and cause overload distortion. A good tape of its type, but let us hope that if a second volume is forthcoming, the repertoire will be more carefully chosen.

VIVALDI: The Four S eas on s-4 Concerti Grossi, Op. 8. I Solisti d i Zagreb, A ntonio J a nig ro condo Vanguard VRT-4002, $17.95.

There are a number of very good recordings of this lovely Vivaldi score on LP, but none of them can approach this stereo tape for excellence of performance ALL PLAYER - All player, not a tape recorder, and splendor of sound. The Solisti di the EMC is designed to give you maximum Zagreb are a truly virtuoso group whose playback quality at minimum price. affinity for Vivaldi is by now legendary. GROWS WITH YOUR SOUND SYSTEM - You can start enjoying stereo right The attacks and ritards of this group now, by simply using your EMC Player as one speaker a~d a ra~io or TV set are executed with almost micrometric as the other. With the same player, you can step up to hIgh-fidelIty stereo by precision, and the exa ctitude of the en­ adding high-fidelity components. The better the components, the better the semble is breathtaking. The solo work is sound. You never outgrow your EMC! of the highest order and Vanguard has Ask your high-fidelity dealer lor an audition taken the trouble to have an authority like TAPE DECK: Same tape mechanism as EMC Stereophonic Tope Ployer, minus the electronics • . . only $89.95 Anton Heiller p1ay the l1arpsichord con­ lei •• i c: I RECORDINGS CORPORATION. 806 E. Seventh Street. St. Paul 6, Minn. tinuo. The sound is nothing short of su­ perb. The recording is very bright witb close miking, but free from dryness. Di­ rectionality is readily apparent ll ere, but it is of the "natural" tamper-free type favored by Vanguard. As with most Vivaldi works, there is a great amount of antiphonal interplay between solo and main string bodies and their aural positioning is easily apparent. Except for occasional masking of the harpsichord, sonic and musical balance is good. The instrumental separation and articulation are outstanding throughout. The sound has a good forward projec­ tion which enhances the iUusion of depth. All in all, I would say that this music has never been heard to better advantage in recorded form. The only fault I find is a very odd low frequency noise that appears intermittently and there is some "pre-echo" evident in high level passages.

STRAVINSKY S'MARVELOUS featuring RAY CONNIFF and his Orchestra. Columbia GCB-14, $1 1.95. 5TH SYMPHONY BEETHOVEN GU NTER WAND Conductor Here is a Columbia stereo tape for STD 13 (SPECIAL) $5.95 which I predict a very brisk sale! Of its type this is one of the most outstanding SYMPHONIE FANTASTlIlUE tapes in th e catalog. Take a very good BERLIOZ LOUIS FOURESTIER Conductor band, spice it liberall y with a clever vocal ST 3013 $14.95 group which chants or croons wordlessly with the band, add the expert direction Ask your dealer for the finest of Ray Conniff and then lavish on it tlle quality stereo tape recording bes t in ultra wide range stereo sound. The program is well chosen, consisting of mega'ape old favorites like The Way Y 0 1~ Look O HOLLYWOOD Tonight, They Can't Take That Away Fl'Om Me, As Time Goes By, I've Told 80 HIFI & MUSIC REVIEW Every Little Star and others. The ar­ rangements are clever and cute and seem to take advantage of the possibilities of the stereo medium. The tape is record­ BESTSELLEBS ed at a very high level and is one of those very close-up multi-mike pickups. inSTEBEO! There is the usual exaggerated direction­ ality coupled with big spacious delib­ OUTSTANDING PHONOTAPES erately overdone liveness. The instru­ mental detail is ultra-sharp with great separation. The balance between band and voices Whal's Ihe difference is. good slightly favoring the band. The sounds that sound has great forward projection and limns every note of the music. Some bel ween "wow" changed the fabulous effects here, such as the weighty trombone chorus of the opening number, world! the sharp high percussives and the snare and "fluller?" versus big gutty trombones in the third number, the ultra-realism of piano, U.S. AIR FORCE (A Portrait in Sound) snares, and plucked string bass at the be­ Narrated by Arthur Godfrey ginning of the fourth number. There is History-making sounds of your Air Force in act ion an occasional overload in some of the - hrenking the sound harrier, the son ic boom. rockets, missiles. A proud recording achievement! crescendi, but otherwise the recording is 5·906 $14.95 sonically pristine. Have you ever heard a phonograph ELGAR: Enigma Variafions. record with an off-center hole ? The Halle Orchestra, Sir J o hn Barbirolli condo GEORGE FEVER and constant rising and falling in the his orche5tra. MUSIC Mercury MCS 5-12, $11.95. OF JEROME KERN • pitch certainly grates on the nerves. • Smoke Gets in Your Sir Edward Elgar may be more This is very appropriately called Eyes, Bill, Can 't Help Lovin' Oat Man , Last familiar to the general public through "wow.", In a tape recorder, wow is Time I Saw Paris , his Pomp and Circumstance marches, Who, T~ey Didn't Be· caused by variations in the speed of but the Enigma Variations ranks as his Ueve Me, etc. the tape across the heads. If tape 5·901 $14.95 undoubted masterwork. Consisting of 14 variations on a distinctive and lyrical speed is absolutely constant (a very theme, they run the full gamut of orches­ difficult condition to achieve) there is tral expression, and as such furnish a no wow. GEORGE FEYER and stellar opportunity to exploit the re­ his orchestra. MUSIC sources of stereo recording. Mercury's If this same rising and falling in OF COLE PORTER. Begin the Beguine, ' engineers have taken full advantage of pitch takes place too rapidly for the Night and Day, So in this and there are some astounding ear to detect the individual fluctua­ Love, I Get a Kick Out of You, Wunder· sounds on this tape. The Variations are tions, it is called " flutter." bar, You Do Some­ full of contrast, ranging from the most thing to Me, Any­ Wow is always due to mechanical thing Goes, etc• . delicate and su btIe orchestral traceries with melodies of exquisite beauty to mas­ imperfections in the tape recorder. 5·906 $14.95 sive dynamic declamations for full or­ Flutter, however, can be reduced­ chestra and organ. The sound through­ by using tape which moves over the out is lJotable for its clarity, excellent DVORAK : Symphony directionality, and spatial separation. heads with minimum friction. Any No . 5 in E Minor, remaining flutter is caused by the re­ " New World' :. Bam · The close-up, highly detailed recording berg Sym ., Heinrich is enrobed in spacious acoustics together corder. Hollreiser. conductor. with full dynamic compass. The result Obviously one of the best ways to is a recording outstanding for its feeling Th e only stereo reo keep your recorder as free from flut­ cording of this popu ­ of depth and "presence." In tenns of lar fo vori te. performance, Sir John's is as close to ter as possible is to use the best tape 5·902 $14.95 definitive as we are likely to get. He has you can buy. This is Audiotape. had a long association with this work, Available in eight different types and and his handling of tempi, phrasing and a complete range of r eel sizes, Audio­ dynamic expression is nothing but ex­ emplary. This tape deserves a place in tape answers every recording need. everyone's stereo library. And regardless of which type you choose, you know you're getting the TCHAIKOVSKY: The Nufcracker-Ballef very finest tape that can be produced. (complefe recording J. Phi lharmonic Symphony of Lo ndon, Artu r For information on which type of Rodzins ki condo Sonotape SWB 9003/04, 2 Audiotape is best suited to your re­ reels, $31.90. cording needs, write for Bulletin 250. Write Dept. AR, Audio Devices, Inc., TCHAIKOVSKY: The Nufcracker Suife. Frankfurt Opera O rchestra, Walter Goehr 444 Madison Avenue, New York 22, co ndo N.Y. Brilliant all-new Vox recordings SIBELlUS: Finlandi;,. Utrecht Symphony Orchestra, Paul Hupperts Write for complete stereo catalogue, condo Concert Hall CHT /BN IS, $11.95. Dept. R3 Comparing these two recordings isn't PHONOTAPES INC. really quite fair. The Sonotape is the 248 West 49th St. New York 19, N.Y. first stereo recording of tile complete • one of a series APRIL 1958 81 Nutcracker Ballet, while the other is the Charles Bressler (tenor), Paul Matthen (bass), shame for such fine repertoire making its familiar Suite derived from the ballet. the Cantata Singers with String Orchestra first appearance in stereo format. As you can imagine, there is a great deal and Organ, Alfred Mann condo Urania UST of music in the complete score that will 902 $8.95. sound new to ears long accustomed to MILITARY MARCHES-Vo/s. 1 ~ 2. Vienna , the Suite. To those thus indoctrinated, BUXTEHUDE: Missa Brevis; Cantata-Alles Army Battalion Banel. was ihr thut. Gustav Gaigg condo Omegatape ST 2006, I feel certain that they will be wholly ST 2009 $11.95 each. captivated by the many sections of beau­ Same artists. Urania UST 1210 $11.95 (avail­ able on disc 8018). Deutchmeister March; Hurra Heidechburg; tiful music not incorporated in the short Radetzky March; Andreas Hofer March; version. Rodzinski is at the top of his Schoenfeld March; Seiferditz March; Kaiser· form in this recording and his polished Having experienced some disappoint­ jaeger March; Bosniaks Come; Austria Is spirited performance genuinely enhance~ ment on hearing the disc release of this Rich with Honor; Flyer March; Old Com­ the new sonic impressions afforded by splendid music by Bach's Danish-born rades; 84th Regiment March; 0 You, My the complete score. The Sonotape en­ musical forebear, Diderik Buxtehude Austria • .gineers have furnished a superb stereo (1637-1707), we were hoping to find our recording, which delineates every note in misgivings .groundless upon hearing the We received for review, Vol. I, which the work with bright clean sound. steraD .tapes:.Sonically the tapes do repre­ oHers the first seven numbers noted above. r As to the Concert Hall recording of sent aconsideraWe impr.o.v.ement over the Presumably, Vol. II emanates from the the Suite, it cannot stand comparison disc, if- ·only .because .•so-.much music of same recording session. with either the Victor or Concertape the baroque period . demands stereophonic Big, almost cavernous sound character­ versions, being full of excessive noise reproduction in order·ta:bring.to.full real­ izes the sonics of Vol. J, but the rniking and tape hiSS, as well as being ham­ ization the directionaleHects .called far affords excellent presence and generally mered by a slow paced and generally un­ in the double chorus writing character­ clean sound. The reverberation in this distinguished performance. Finlandia, istic of that style. That this emerges from instance affords very eHective "fusion" used as a filler on the same tape, fares these tapes in terms of both soloists and and illusion of depth for purposes of this better. The reading is solid and vital, chorus is all to the good. ultra-.gemiitlich marching fare. One has a and the sound has considerable depth On the debit side, we find the per­ hard time believing that the martial ele­ along with all the other virtues of stereo. formances rather lacking in spirit, convey­ ment here counts for much beyond For most people, the Nutcracker Suite ing such delightful things as the Was pageantry! will suffice, but for those to whom the mich auf dieser Welt and the Magnificat The Vienna Battalion BaHd may lack music holds a special fascination the precious little of the essentially sunny and some of the playing finesse of Sonotape's complete recording on Sonotape is well lilting melodiousness of Buxtehude's mus­ well-known Deutschmeister Band, two of ical language. Everything is just too, too worth the admittedly stratospheric price. whose stereo tapes are presentlya,,~able; careful and scholarly on the conducting but there is plenty of spirit here---anollie" * * * * * * * * * * * * * * * * side. Also there is something peculiar music is just perfect early morning stuH B UXT E H U DE: Magnificat; Cantata-Was about the acoustics of the recording room to blow the cobwebs out of the brain. mich auf elieser Welf betriibt. that attenuates the tone color of both Helen Boatwright & Janet Wheeler (so. chorus and strings to an uncomfortable pranos). RusseJi Oberlin (counter.tenor), degree. Everything "sounds gray"-a great ELLlN,GTON OR.IGINALS-Way I1ack Blues; Where s the MUSIC; Rubber Bottom~- Play the Blues anel Go. Pentape RTS 800 $5.95.

LATEST RELEASES The band personnel is unspecified on this tape, but the playing style is a re­ FROM THE LIVINGSTON LIBRARY OF markable facSimile of the grearDi.i'ke Ellington himself. The miking job is ab­ STEREOPHONIC TAPES: . solutely first-rate both as to balance and directionality. The players have plenty MESSIAH EXCERPTS. VOL. II-HANDEL of spirit and color, and really do swing. __-- ~ second ,',:olume of. highlights from the famous' Boston recording, follow­ Ing the critical acclaIm earned by Vol. I-"one of the 10 best tapes of 1957." At the price, count this as a best-buy in jazz tape. JAZZ. IMP~ESSIONS OF PAL JOEY BO 10 F RhythmIC developments in jazz tempo from one of America's best known shows, performed by the Kenny Drew Trio. RT 21 F TCHAIKOYSKY: Symphony No.2 in C Mi· TWO FOR THE SHOW nor. Op, 17 ("LiHle Russian"), . A collection of popular show tunes by Tom and Jerry at the piano and Vienna Philharmusica Symphony Orchestra, Hammond Organ. 1101 F Hans Swarowsky condo Urania UST 1205 MUSIC FOR AN EVENING MOOD $11.95. Sparkling rhythms, captivating melody to match the magic moods of an evening's romance. ·1102 F 7" rt'f!l - 1200' - Stacked or Stagge,ed --"-b1ST: 51:".95 Enthusiastic reaction to Urania UST 1801 (Tchaikovsky First Symphony) .•. and in the popularly priced "LIVINGSTONElTE" ·Sories: . roused us to great expectations for this tape of the colorful Little Russian Sym­ BARBER'S HOLIDAY A collector's item!-your favorite songs in wonderful barbershop harmony. phony by the same artists. We were pleased with the performance, which had DINNER IN ACAPULCO 2010C all the necessary get-up-and-go and feel­ Gay, lilting Mexican dinner music in the sparkling sound of the Quintet. 2011 C ing for the young Tchaikovsky's mastery 5" reel- 600' - Stacked or Staggered - L.tST 56.95 of orchestral color; but we were unhappy about the tonal balance of the recording -heavy and over-reverberant in bass and rather buzzy on E-string violin passages. There is a. Livingston distributor near you. For hIS name and address write to: The stereo as such is OK-good separation of orchestral choir and generally effective LIVINGSTON AUDIO PRODUCTS CORP. presence. A certain lack of "fusion" leads BOX 202 CALDWELL, NEW .JERSEY us to believe that the tape original is 2-track rather than the 3-track type to be preferred under home listening conditions to stereo tape. 82 HIFI & MUSIC REVIEW ENTERTAINMENT MOOD (Continued from page 14)

not waste space to romanticize about the bordello life of Storyville, but instead devotes most of his writing to a detailed your and balanced analysis of Morton's mu­ sical achievement with apt references to later or parallel developments along Morton's lines in jazz history. Each set can be purchased separately. Volume 1: Boyhood Memol'ies is the wisest choice with which to begin the collection. Next in order might be Vol­ umes 2 (The Animule Farm, New Or­ leans Funerals, etc.), Volwne 4 Creepy Feeling and material on Spanish influ­ ences ); Volume 8 (The Murder Ballad and various blues ) ; and Volume 12 (The Sto"ryville Story). Once you start, I ex­ pect you'll eventually collect all twelve, because the series is not only an inim­ ONLY FULLY itable historical document (despite Jelly Roll's occasional tendency toward hyper­ bole) but is also an absorbing portrait STEREOPHONIC of a striking early jazzman of pride and adventurousness. He was also a less RECORDING AND schooled Peter Ustinov of his time with regard to his ability as a richly percep­ PLAYBACK SYSTEM .•• tive raconteur. A valuable book about Jelly Roll and his era is Mister Jelly Roll by Alan Lomax, a Grove Press Ever­ AT AN AMAZING green paperback at $1.45. N.H. LOW PRICE! Bennett Belts It Out The Beat of My Heart featuring Tony Bennett, with Chico Hamilton, Jo Jones, Billy Exiner, Art Blakey, Candido, Sabu, and others. THE QUALITY Lullaby Of Broadway; Love For Sale; So Beats My Heart For You; Lazy Afternoon; RECORDING TAPE IN Just One Of Th ose Things & seven other se­ lections. THE NEW PERMANENT Columbia CL 1079. Tony Bennett is an increasingly pros­ PLASTIC CONTAINER perous belter of songs in the nation's plusher night clubs. He is also a fairly Here is an extraordinary new product consistent scorer of pop hits among teen­ designed to protect, preserve and facili­ age record buyers. Bennett's musical tate storage of your Sonoramic Wide Latitude Recording Tape. It's the exclu­ sive NEW Sonoramic permanent plastic Now, you can actually container, complete with free pressure­ record-as well as sensitive labels for quick, easy indexing. playback-stereophonic Sonoramic's superb quality 'recording sound. The new tape (available in Standard Play, 1Y2 STERECORDER mil acetate, 1200 feet; Long Play, 1 mil captures all the realism Mylar*, 1800 feet; ~ mil Mylar, 2400 of the original performance feet and Tensilized Double Play Mylar, •.. then reproduces this 2400 feet) PLUS the new container makes this your best buy in magnetic exciting "living sound" recording tape. Ask for it at your with full dimensional dealer's today. depth and direction. *A DuPont trade mark STERECORDER goes beyond high fidelity and FREE: USEFUL Tape-Time Ruler and colorful brochure on Sonoramic. Write "half-way" stereo units Dept M-104, The Ferrodynamics Cor­ with only monaural poration, Lodi, New Jersey. ambitions, however, extend beyond the recording. Hear a Copacabana and the "top ten." Unlike demonstration today! SONORAMIC IS A PR"ODUCT OF THE most other pop singers, Tony experi­ ments when he makes albums. Cloud 7 Front the famous name in motion pictures: (Columbia CL 621) was a quasi-jazz Superscope Inc., Audio Electronics Division, 1~ CORPORATION 780 Gower St., Hollywood, Calif. L 0 D I, NEW JE I S E Y set, and jazz figures again in this volume. Drummers Chico Hamilton, Art APRIL 1958 83 Blakey, Jo Jones and Candido (with Rhonda featuring Rhonda Fleming with Sabu) accompany Bennett for two to Orchestra. Frank Comstock condo i------1 four songs apiece, Hamilton works with Do n't Ta ke Your Love From Me; Arou nd The just rhythm section. Jones' colleagues World In 80 Days ; Love Me Or Leave Me; I I I I've Got You Und er My Skin; They Can't I new re eases I include trombonist Kai Winding, vibist Take That Away From Me & others. Eddie Costa and others. Candido's con­ Columbia CL 1080. ! from I COOK II tingent has fiv e flutes. Blakey works with tenor Al Cohn and trumpeter Nat The Body Sings featuring Marie McDon­ I - Adderley. Bennett's singing, while not ald with Orchestra. I jazz, is intense and virile; the choice of Embraceable You ; How Deep Is The Ocean; I repertory is dramatically sound; and the Yo u' ll Never Kn ow ; I Got It Bad; Bill ; Para­ I di se ; These Foolish Things & others, variegated accompaniments certainly RCA Victor LPM 1585. ,I~-""'-"""'" make the album more stimulating than most pop sets, Down through the years the record I N.H. I companies have periodically made a bid I for quick sales by releasing single records or albums which were curiously like I Hi-Fi Memories of Lunceford I kites tied to the comet of some popular I success in other entertainment media. I Jimmie Lunceford in Hi-Fi featuring Sy Once there was a disc which featured I BEAUTY and the BRUTE FORCEt Oliver & his Orchestra. Jane Russell's heartbeat; again we had a For Da ncers On ly; Organ G rin der' s Swing; Marilyn Monroe record. Last year Decca I If you haven't heard real steel you haven't My Blu e Hea ve n; By The Ri ve r Sainte Marie lived, and the Brute Force band is one of iss ued an LP called This Is Kim, on I & ei ght other se lections. the greatest ever assembled from oil drums which Miss Novak was not heard to I and native genius. Led in style by amazin~ Decca DL 8636. I "Slow" Howell. and mOre than complt­ murmur one solitary sensual syllable, but menced b y call, dark, and gorgeous D ot I Evans. tOrrid thrush from Trinidad and Jimmie Lunceford in Hi-Fi featuring the cover was adorned wi til numerous I poims south. who must be heard to be Billy May and his Orchestra. pictures of her, in a variety of poses. believed. This is for you whether your I blood is fatigued or francie. Ain 't She Sweet; Margie; Blues In The Nigh t; Now and then, such a V,I.P. policy For Da ncers O nly & eleven others. of recording has res ulted in sales. Jeff 12" lP 1049 $4.98 Capitol TAO 0924. Chandler, who looks more like jazz pianist Lou Levy til an either of them Neither of these albums is close to a probably likes, made a brief flurry as a ECUADOR substitute for the two avail able collec­ tions of the original Lunceford band vocalist some time back. More recently Voices and guitars combined in love songs Sal Mineo, who is a sort of success sym­ and folk songs with great charm and (Music f01' Dancing, Decca 8050 and 1 lilt. bol for motorcycle riders, bas had sev­ A lovely record that captures the moods Lunceford SpeCial, Columbia CL 634 ). an d fla vor of equatorial Quico in the h igh eral hit records and on the basis of this Andes_ If, however, you also want a hi-fi Lunce­ Epic has released an LP of his songs, ford revival meeting, both sets have sec­ 12" LP 1120 $4.98 They vary in mood from Too Young, tions of excitement. On both, a basic contingent of studiomen is augmented by sung in an echo chamber sl owly and ratller moodily (at 45 rpm it sounds like authentic Lunceford alumni. The Dec­ Eartha Kitt ) to Not Tomorrow but To­ ca album has the more accurate rhytlU1l night, delivered in a style the trade pa­ section because of Crawford and Duvi­ pers refer to as "belting out a song," vier. Capitol has the infectiously cheer­ Despite his limitations, Mr. Mineo as a ful vocals of Trummie Young and vocal vocalist carries a mild Elvis Presley im­ quartet in addition to the instmmental pact and is thus intriguing for those contributions of Young, Joe Thomas, students of our popular culture who have ' iVillie Smith, etc. Decca has high-note the strength to endll1'e the sound. marksman Paul ' iVebster and the vital T aft Jordan, although Taft is not an UN TI BO' de la MARTINIQUEt alumnus. This iJ Marcinique. and Martinique is Paris Sy Oliver (who has been with Lunce­ cum West Indies cum T abasco. Where does carnival last from Christmas 'til Ash ford from 1933-39) arranged almost all Wednesday with tbe belp of Po"m Poum of tile D ecca set and sings nearl y all the Tra·La-La? Whac nacive song will baunt you forever ? You'll find oue! "Un ti bo" vocals while Lunceford fan Billy May will make you a Marciniquan! charted the Capitol session from old 12" lP 1021 $4.98 Lunceford records. It seems to me that the performers are occasionally rather All the above recorded 0 1Z the spot self-conscious in their zeal to be true to witb special stereo equipment. the Lunceford spirit as well as letter, t also a'vailable on stereo tape and there's a resultant strain in places. By and large, however, both sets do give At YQur dealer, or use coupon some idea of the collecti ve zest ( partic­ ularly the Decca ) and wit ( particularly the Capitol ) and pride of professional­ COOK Labs, 101 Second St., Stamford, Conn. ism of the Lunceford band. The Capitol Dear Emory: Please send me the diskJ is better packaged. Of th e dozen num­ checked belo'tv, and also put me on 70111' bers on the Decca, only two are not also 1l1ailing lisl, contained on the Capitol. On the other hand, botll the Columbia o BEAUTY AND THE BRUTE FORCE N,H. LP of Hhonda Fleming and the RCA o ECUADOR Victor LP of Mari e McDonald are pred­ o UN TI BO DE LA MARTINIQUE icated on the assumption that sex will o I enclose $ 0 Bill me later. sell phonograph recordings. There is a Film Pros-Disc AInateurs glamour girl impact when faced with the Name ______cover. However, with tile cover modest­ Sal featuring Sal Mineo with Orchestra. ly covered with a de-magnetizing cloth, I Street ______Mark Jeffrey condo I Too Young ; My Bride; Not Tomorrow But the small voices p ossessed by both of I City Stote__ _ Tonig ht; The Words That I Wh is per; Baby these girls do not manage to transmit IL ______JI Face & othe rs. . anything particularly sexy through the Epic LN 3405. normal loudspeaker. However well re- 84 HIFI & MUSIC REVIEW corded the)! may be, their most attrac­ tive blues interpolator, Brubeck's best tive points remain visual. moments are lyric. Here, released from R.J.G. tlle structure of his small group in which he is a soloist only occasionally and more Documenting Glenn Miller often is either an accompanist to an alto player or a participant with the latter in in N. Y. intricate dual improvisation, Brubeck emerges as a surprisingly warm and The Glenn Miller Carnegie Hall Concert pleasant player of short, lilting, some­ -1939 featuring the Glenn Miller Or­ times sprightly and always lyrical songs. chestra with Ray Eberle and Marion Whether in his own compositions or in Hutton (vocals). the popular' songs he has chosen, Bru­ Sunrise Serenade ; One O 'Clock Jump; Lon­ beck is neither particularly distinguished donderry Air; Hold Tight; In The Mood & as a technician nor as an improvisor; but nine other selections. in a rather simple, straightforward way, NEW RECORD CHANGER RCA Victor LPM 1506. he evokes pleasant sensations and pro­ ACHIEVES HIGH FIDELITY The occasion for this October 6, 1939 vides non-disturbing music. This is the appearance of the Glenn Miller band at great fault: it is never arresting. TURNTABLE PERFORMANCE Carnegie H all was a F estival of Amer­ Biey, on the other hand, plays here ican Music sponsored by ASCAP. The with a group and so does not carry the GLASER··STEERS program ranges through a characteristic entire load of tlle album himself. He is round of ballads, novelties and rather aided by a good vibraphone player self-conscious jazz. There is the custom­ (Dave Pike ) and a good drummer (Len­ GS9~9ebe1l ary polished professionalism that the nie McBrowne ), but in his own solos he exacting Miller demanded, but there is displays the same basic communication oHers fully automatic operation little of the continually unexpected in­ of mood, rather than explicit idea, that and added record and stylus protedion ventiveness and emotional urgency that Brubeck does. At last, the quality performance of a make 1939 recordings of bands like El­ Clark, who takes even fewer solos on turntable has been combined with flawless lington, Basie and Lunceford still stim­ his LP than Bley does on his, has in record handling convenience. The result is - ulating. Miller, however, never claimed actuality a small band accompanying the new Glaser-Stebrs GS Seventy Seven. to head anything but a slick dance band him: trumpet, tenor sax, trombone and Wow and flutter are virtually non-existent. Rumble, for all practical purposes, has been that could also play stage shows, and rhythm. As a small combo disc, it is quite good, with exciting solos from the eliminated, and automatic features such as even the best of such bands are transi­ the amazing 'SPEED MINDER' mark the GS-77 tory in terms of durable musical values. sidemen (especially Art Farmer, a c1ean­ as the most advanced record changer of our Recommended only for those possessed sounding, reRective trumpeter and Curtis time. by insatiable nostalgia for tlle Miller Fuller, a trombonist with a penetrating, 'SPEED MINDER' does your thinking­ band. rumbling tone ), and a consistent group prevents you from using the wrong stylus N.H. swing. Moreover, in his solo passages he with your records; selects the correct turn­ displays that fundamental affiliation with table speed ... and intermixes and plays 33 and 45 rpm records automatically, without Intellect vs. Impulse in Jazz the mainstream of blues-both in feeling and conception-which is the caste mark regard to size or sequence. Another important GS-77 feature is Dave Brubeck Plays. of the true jazz musician. that the turntable pauses during change Sweet Cleo Brown; I'm Old Fashioned; Love It seems almost impossible for a jazz cycles and doesn't resume motion until next Is H e re To Stay; Indian Summer; In Search pianist to get a truly authentic jazz sound record has come into play position and stylus Of A Th eme; You'd Be So Nice To Come without this blues orientation, though is in lead-in groove. This eliminates record Home To; I See Your Face Before Me; They they are frequently successful in an en­ surface wear caused by grinding action of Say It's Wonderful; Imagination. tirely different way-as Bley and Bru­ record dropping on moving disc - a common Fantasy 3259. beck, for instance-by a lyric feeling or drawback in other changers. a harnlonic conception that is unusual. Other GS-77 features include­ Solemn Meditation featuring the Paul CHANGE CYCLE - only 5 seconds - fastest Bley Quartet. R.J.G. in the field. MOTOR - 4-pole induction; dy­ Birk 's Works; 0 Plus I; Porgy; Solemn Medi­ namically balanced, hum shielded and shock! tatio n; I Remember Harlem; Drum Two; Ev­ suspended. ARM - acoustically isolated; has erywhere; Beau Diddley; Pe rsian Village. Pop Singers in 4's & 5's vernier adjustment for stylus pressure, and Gene Norman Presents GNP 31. convenient finger lift for manual play, as well as indicator to facilitate location of Dial "s" for Sonny featuring Sonny Ridin' on the Moon featuring the Sky­ Clark. stylus on groove; variation in stylus pressure larks with Orchestra, Buddy Bregman between first and tenth record is less than Dial S Fo r Sonny; Bootin' It; It Could Hap­ condo pen To You; So nny's Mood; Shoutin' On A 1 gram. MUTING SWITCH & R I C NET­ We Just C ouldn't Say Good-bye; You Make WORK - maintains silence except when rec­ Riff; Love Walked In. Me Feel So Young; I'm Beginn ing To See The Blue Note 1570. ord is being played. IDLER - automatically Light & others, disengages in 'off' position to prevent flat Verve MGV 2077. There is an interesting contrast offered spots. PRE-WIRED for easy installa tion, replaces most other changers. in these three LPs between tlle two most The Versa tones. The new GS-77 is absolutely jam­ diametrically opposed schools of jazz Bikin i Baby; Rock And Roll My Blues Away; proof. A single knob controls all automatic playing which exist today: musicians Wagon Wheels & others. and manual speed operations. who have had formal, classical musical RCA Victor LPM 1538. $59.50 less cartridge and base training and those whose basic training (base illustrated, $9.60) has been brief and possibly informal, The Skylarks, a spirited singing See and hear the new GS-77 at your local Witll the rest auto-didactic. quintet which has been performing for high fidelity dealer, or write for information.

Brubeck is the personification of tlle more than a decade, are at last featured HFM-4 conservatory-trained jazz man. His on an LP. I can't imagine what has GLASER-STEERS CORP. studies with Darius Milhaud have pro­ taken the record companies so long, for 20 Main Street, Belleville 9, N. J. fotmdly affected his musical develop­ this is certainly one of the most enter­ ment. Bley, though not as well-known taining groups around. Their program Please send me complete information on the GS-77. as a musician, has had similar training. on tlle Verve disc is performed in the Clark, with the exception of some early manner of a night club act, with a NAME ______studies, is basically a self-taught pianist. clever opening describing last minute ADDRESS, ______Brubeck's most appealing qualities as preparations that leads right into the first a soloist are present in this album. Never song, the pulsating Riclin' On the Moon CITY ______ZONE __STATE ___ a hard swinger nor a particularly effec- by H arold Arlen and Johnny Mercer. ~ ...... -... -----.--.-...... APRIL 1958 85

~~~~~~ .~.~-=_~u=..~oo ~.,...,~~ u~ " -----~------APRIL 1958 87 just looking I{ LIPSCH rides again, but thataway, Chemical Corporation's record cleaning For over thirty years Bakers have which accounts for tlle new Model H kit is a handy item for wiping a micro­ Speaker, the only non-corner sys tem made groove record clean. Lektrostat is an anti­ heen making quality speakers for by Klipsch and Associates. Familiarly re­ static detergent that does not become the discriminating British audio­ ferred to as Klipsch's Heresy, whence the phile. These speakers are so out­ H is derived, tllis is a small speaker de­ standingly superior that they have signed for use in the second or tllird long been known as "the best of channel of a stereo system. It is composed the British speakers." of midrange and tweeter drivers in an

Mister, you're lucky •.• for the new Bakers Ultra 12, full­ frequency range. 12" speaker is now available in America for the gummy. The soft bristles of tlle velvet applicator penetrate the record grooves, first time. moistening them with Lektrostat and pushing out the dirt. The treabnent lasts for many plays and may be renewed in A londs).e akcr e'lllnot be any better th'lll part with the applicator dry. The kit, con­ what is lint Into It. The Bakers Ultra 12 is sisting of a 1 ~ fl. oz. Polyethylene bottle the best, not bcc:ltlse of clninls, but lu~­ of Lektrostat and the applicator in a c :ulSe tlesig'll, [)tn"ts, IU:lterials, :uHI C:l re in plastic pouch, sells for $2.00. eonstruction make it so. S o look at the "SIJCCS." F l'Cf)Uellcy rnllge .•• 20 to 2U,OOO eycles. F lux (Ienslty ••• 18 ,000 g auss ; 11)0,- A SPARKLING midrange and clear 000 na:l.x,vells. Big'" conll»liunt, )JI:lstiC highs are the province of the Iso­ 1"0:1111, COlle sust. ension. NOIl- reson:nlt. enclosure, with sound bright and clear in phon Tweeter Combination, Model DHB c ast, OJ)CU, :liunlillllill f runtc. Ligh t , sen­ tlle middle and upper regions and the 6/2-10. It takes two dynamic tweeters, s itive :lhllnhlll1n voice coil :uul f orlner. bass end deliberately limited to about 100 critically mounted for the distribu tion of F lIJly tl"o,)ic:llized. 1-1:111(1 nssclllbletl. Extr:l cycles. H speakers are priced from $165 highs at the wide angle of 110°, plus a IJon'erful AlcOlllUX III cnc:lsc(l ill red cel­ to $202, depending on the size of the mid­ folded horn compression speaker, to lulose. D u st, I"lIst, :lIul clanl" tn·ooref). Ex­ range driver and the finish of tlle enclo­ achieve a smooth 1,000 to 16,000 cycle I)QUentinl, bakelizcd nl'ex, con e. I>o,ver ••• sure. Details on how to obtain 3-channel 20 'V:ltts (thIs. Voice coiJ itn[tctlnnce • . • 15 range. Put the unit into an enclosure with o h m s . A i u II sl.re:ul of 20 to 2::>,000 eyeles stereo from 2-track source material are a woofer that will plumb tlle depths and ",vithollt distortion:11 crossover net",vorks. part of the deal. a three-way speaker of distinction be­ Ingeniolls tlesig:n antI t ile uSe of ne'v 11:1:1- comes a reality. The Isophon Tweeter terinls, IJ rOCeSses, :lIul techniques llO",V IT LOOKS like Milady's powderpuff, but Combination is imported from Western Jtulke crossovers uJlnccess:lry. Acoustic, when it is moistened with a few drops Germany by Arnhold Ceramics, Inc., and hUI.eduncc :111(1 cflicicncy lllisul:ltch; "(lis­ of Lektrostat, the applicator in Dexter Sterling Europa, Inc., and sells for $59.95. cllibotlictl lllg h s"; :ulII other untlesirnble c ll:lracteristics of crossovers, nre thus HI·FI MARKET PLACE c lhlliuute(l. UNHAPPY 'l'his eombination of feutures, which can­ WITH not be found in any other speaker, Ill:tkes the B:tkcrs Ultra 12, unquestionably, the "HI" finest rel.rodoeer today. And the priee HI-FI • •• a mere $85.00 ••• for the best. PRICES? If you ,",'nnt u sl.enke1· tlUlt is fur SlIlterior Write 1IS Y01lr hi·fi ll eeds to :lIlything IJO",V :lv:lilnbJe, insist on n -YOll'll be glad YO II did. de:IJer dCJllonstrntion. You ",vill be HIIl:IZetl KEY elECTRONICS CO . at its s Jllootbness, tlefiJlitioll, eleulllless, 120 liberty St . lluturulllCss ••• a ccrt:lill "soJllct h ing" N.Y. 6, N.Y. th:lt you huYe Ilever Jlenrtl l)efore. Lueky SINGLE EVergreen 4·6071 owners sny, UMister, litis is it." The $6 95 T~~~M $7 95 POINT "SlteCS" tell yon ",v h y. YEAR UNCONDITIONAL WRITTEN GUARANTEE Write for literature Give mlrs name & No. on ca rtridge. HI FI & MUSIC REVIEW and become sound happy. Add 50c for P.P. & H. INFORMATION SERVICE Long Player Catalog & BRADFORD AUDIO CORP. FR E E Lowest Discount Prices is at your service For additional free information concerning the Sole distributors for the United States CHAMBERS RECORD CORP. fine products advertised in this issue of HI FI 27 East 38th Street & MUSIC REVIEW use the handy coupon on 91 Chambers St •• Dept. DN2. N. Y, 1, N. Y. page 97. New York City 16, N. Y. OX 7-0523 90 HIFI & MUSIC REVIEW corded they may be, their most attrac­ tive blues interpolator, Brubeck's best tive points remain visual. moments are lyric. Here, released from R.J.G. the structure of his small group in which ., he is a soloist only occasionally and more Documenting Glenn Miller often is either an accompanist to an alto player or a participant with tile latter in in N. Y. intricate dual improvisation, Brubeck emerges as a surprisingly warm and The Glenn Mi"er Carnegie Ha" Concert pleasant player of short, lilting, some­ -1939 featuring the Glenn Miller Or­ times sprightly and always lyrical songs. chestra with Ray Eberle and Marion Whether in his own compositions or in Hutton {vocals>. the popular ' songs he has chosen, Bru­ Sunrise Serenade; One O'Clock Jump; Lon ­ beck is neither particularly distinguished don derry Air; Hol d Tight; In The Mood & nine other selections. as a technician nor as an inlprovisor; but RCA Victor LPM 1506. in a rather simple, straightforward way, NEW RECORD CHANGER he evokes pleasant sensations and pro­ The occasion for this October 6, 1939 vides non-disturbing music. This is the ACHIEVES HIGH FIDELITY appearance of the Glenn Miller band at great fault: it is never arresting. TURNTABLE PERFORMANCE Carnegie Hall was a F estival of Amer­ Bley, on the other hand, plays here ican Music sponsored by ASCAP. The Witll a group and so does not carry the GLASER-STEERS program ranges through a characteristic entire load of the album himself. H e is round of ballads, novelties and rather aided by a good vibraphone player self-conscious jazz. There is the custom­ (Dave Pike) and a good drummer (Len­ GS~9etJt11 ary polished professionalism that the nie McBrowne), but in his own solos he exacting Miller demanded, but there is displays the same basic communication offers fully automatic operation little of tile continually unexpected in­ of mood, rather than explicit idea, that and added record and stylus protection ventiveness and emotional urgency that Brubeck does. At last, the quality performance of a make 1939 recordings of bands like El­ Clark, who takes even fewer solos on turntable has been combined with flawless lington, Basie and Lunceford still stim­ his LP than Bley does on his, has in record handling convenience. The result is - ulating. Miller, however, never claimed actuality a small band accompanying the new Glaser-Steers GS Seventy Seven. to head anything but a slick dance band him: trumpet, tenor sax, trombone and Wow and flutter are virtually non-existent. Rumble, for all practical purposes, has been that could also play stage shows, and rhythm. As a small combo disc, it is quite good, with exciting solos from the eliminated, and automatic features such as even the best of such bands are transi­ the amazing 'SPEEDMINDER' mark the GS-77 tory in terms of durable musical values. sidemen ( especially Art Farmer, a clean­ as the most advanced record changer of our Recommended only for tllOse possessed sounding, reRective trumpeter and Curtis time. by insatiable nostalgia for the Miller Fuller, a trombonist with a penetrating, 'SPEED MINDER' does your thinking­ b and. rumbling tone), and a consistent group prevents you from using the wrong stylus N.H. swing. Moreover, in his solo passages he with your records; selects the correct turn­ displays that fundamental affiliation with table speed ... and intermixes and plays 33 and 45 rpm records automatically, without Intellect vs. Impulse in Jazz the mainstream of blues-both in feeling and conception-which is tile caste mark regard to size or sequence. Another important GS-77 feature is Dave Brubeck Plays. of the true jazz musician. that the turntable pauses during change Sweet Cleo Brown; I'm Old Fa shioned; Love It seems almost impossible for a jazz cycles and doesn't resume motion until next Is Here To Stay; Indi an Summe r; In Search pianist to get a truly authentic jazz sound record has come into play position and stylus Of A Theme; You'd Be So Nice To Come without this blues orientation, though is in lead-in groove. This eliminates record Home To; I See Your Face Before Me; Th ey they are frequently successful in an en­ surface wear caused by grinding action of Say It's Wonderful; Ima gination. tirely different way- as Bley and Bru­ record dropping on moving disc - a common Fantasy 3259. beck, for instance-by a lyric feeling or drawback in other changers. a hamlonic conception that is unusual. Other GS-77 fea tures include­ Solemn Meditation featuring the Paul CHANGE CYCLE - only 5 seconds - fastest Bley Quartet. R.J .G. in the field. MOTOR - 4-pole induction; dy­ Birk's Works; 0 Plus I; Porgy; Sole mn Medi­ namically balanced, hum shielded and shock I tation; I Rem ember Harlem; Drum Two; Ev­ suspended. ARM - acoustically isolated; has erywhe re; Beau Diddley; Persian Village. Pop Singers in 4's & 5's vernier adjustment for stylus pressure, and Gene Norman Presents GNP 31. convenient finger lift for manual play, as Dial for Sonny featuring Sonny well as indicator to facilitate location of "s" Ridin' on the Moon featuring the Sky­ stylUS on groove; variation in stylus pressure Clark. larks with Orchestra. Buddy Bregman Dia l S For Sonny; Bootin' It; It Coul d Hap­ between first and tenth record is less than condo 1 gram. MlITING SWITCH & R I C NET­ pen To You; Sonny's Mood ; Shouti n' On A We Just Coul dn' t Say Good-bye ; You Make WORK - maintains silence except when rec­ Riff; Love Walked In. Me Feel So Young; I'm Beginning To See The Blue Note 1570. ord is being played. IDLER - automa tically Light & others. disengages in 'off' position to prevent flat Verve MGV 2077. There is an interesting contrast offered spots. PRE-WIRED for easy installation, replaces most other changers. in these three LPs between the two most The Versatones. The new GS-77 is absolutely jam­ diametrically opposed schools of jazz Bik ini Baby; Rock And Ro ll My Blues Away; proof. A single knob controls all automatic playing which exist today: musicians Wagon Wheels & others. and manual speed operations. who have had formal, classical musical RCA Victor LPM 1538. $59.50 less cartridge and base training and those whose b asic training (base illustrated, $9.60) has been brief and possibly infonnal, The Skylarks, a spirited singing See and hear the new GS-77 at your local high fidelity dealer, or write for information. with the rest auto-didactic. quintet which has been performing for ...... -... -...... --_.,. Brubeck is the personification of the more than a decade, are at last featured HFM-4 conservatory-trained jazz man. His on an LP. I can't imagine what has GLASER-STEERS CORP. studies with Darius Milhaud have pro­ taken the record companies so long, for 20 Main Street, Belleville 9, N. J. foundly affected his musical develop­ this is certainly one of the most enter­ Please send me complete information on the ment. Bley, though not as well-known taining groups around. Their program GS-77. as a musician, has had similar training. on the Verve disc is performed in the NAME ______Clark, with the exception of some early manner of a night club act, with a studies, is baSically a self-taught pianist. clever opening describing last minute AD ORES 5______Brubeck's most appealing qualities as preparations that leads right into the first a soloist are present in this album. Never song, the pulsating Ridin' On the Moon CITY _____ZONE __sTATE ___ a hard swinger nor a particularly effec- by Harold Arlen and Johnny Mercer. & •••• _------_. __ •••••••••••••• APRIL 1958 85 All the numbers are standards, and acceptably on such tunes as tlle Arlen­ at throughout the collection the singers are Koehler ballad Let's Fall In Love, Jolm­ abetted by Buddy Bregman's arrange­ ny Green's and E. Y. Harburg's I'm ments, with a special nod to the brass Yours, and Frank Sinatra's old favorite last ... and bongo backgrounds he has provided A Lovely Way to Spend an Even'ing by for the title song, ' Old Man River and Jimmy McHugh and Harold Adamson. Too Darn Hot. Larry Kert is currently seen embroiled clean The quartet known as the Versatones in the problems of gang warfare in the is a newer group, having left the DePaur Broadway success West Side Story, but record Infantry Chorus in 1956. It is quite the Caribbean folk songs he sings on the possible that all the talk ' about the de­ Epic record have taken him far from the moralizing influence of rock-and-roll mugging crowd. Some of Harry Bela­ grooves .. would not have gained much headway fonte's rough-edged style has rubbed off if more people had had the chance to on Mr. Kert, which may well have been hear these boys who combine a compel­ due to the fact that all the arrange­ no ling rhythmic beat with stirring voices ments have been written by William and a commendable lack of vocal exag­ Attaway, a gentleman who has per­ geration. Although not all the tracks are formed similar chores for Mr. Belafonte. devoted to music of this genre I do wish Nevertheless, there are effective inter­ their material had been chosen with pretations of such pieces as the sinister more care. For when the Versatones The Trial, the exciting Have You Heard? tackle a spiritual-inspired piece such as and the lilting Sweet Chacoun. Billy Hill's Wagon Wheels, the results S. G. indicate that their truest form of expres­ sion may well lie in the realm of folk Good Modern-Genteel R & R songs and spirituals. S. G. A Jazz Band Ball-Stu Williamson & Bob Enevoldsen (valve trombones), J ack Sheldon Easy Eddy-Tense Larry & Don Fagerquist (trumpets), Marty Paich (piano ) , Buddy Clark (bass), Mel Lewis My Darling. My Darling featuring Eddy (d rums ). Blue Lo u; Dinah; Jumpin' At The Arnold with Orchestra. Charles Grean. Woodsi de; Ida; Yardbird Suite & 5 others. LEKTROSI Mode MOD-LP 110. A Lovely Way To Spend An Evening ; You're t RECORD My Eve ryth ing; Two Sl eepy People; Let's Fall In Love; I'm Yours & others. This might be termed a "sleeper" of a CLEANING KIT RCA Victor LPM 1575. record. Nobody receives leader's credit. Larry Kerf Sings with various orchestas. Marty Paich's arrangements are unclut­ The only record cleaning kit A Band Of Birds; Fisherman's Song; Sweet tered, modern-mainstream (Basie-Her­ engineered to clean record Chacoun; Lovely Cricket; The Search; Th e man) with breathing space for the solo­ grooves! Contains the first Tri a l; Have You Heard & 5 others . ists. All tlle horns are brass and all play Epic LN 3409. with more relaxation and attendant indi­ functionally-designed groove­ viduality than allowed on several of their The clown yearns to ·play Hamlet, the cleaning applicator and a otller record dates. The crisp, unerring tragedian delights in acting the fool, and rhythm section is particularly lifted and recognized anti-static detergen cowboy singer Eddy Arnold cuts a record sustained by drummer Lewis. Of this A few drops of Lektrostat and a of show tunes and standards, while new W est Coast label's first ten albums, Broadway actor Larry Kert makes his few strokes of. the special this promisC3 to be the most durable. disc debut with folk songs of the West groove-cleaning applicator N. H. eliminates static ... thoroughly Indies. Arnold's results are only now and then cleans not only the surface but successful. Although the liner notes in­ Teen Rock featuring Boyd Raeburn and the grooves. form us that the songs he has selected his Orchestra with Ginnie Powell (vo­ are those that are sung "to that single, cals), Yesterdays; Beachcombe r; There's A Small 00 Hotel; Teen Rock & eight other selections. $2 for complete kit Columbia CL 1073.

From 1944-47 Boyd Raeburn headed one of the more challengingly experi­ mental big bands in jazz history, He featured ambitious-and occasionally suc­ cessful-scores by George Handy, Ed Finckel, Johnny Richards and others. Raeburn recently returned to bandlead­ ing after several years of retirement, but now has become a subdued conformist. anti-stat ic groove-Cleaning plastic He plays conventional arrangements, detergent applicator pouch mostly of standards and current pops, and has now even succumbed to rock 'n' roll. AT YOUR DEALER OR WRITE: Stanley Baum's arrangements are described in the liner as "fastidious" with special love," his twangy voice and the "shading and taste" and "a wedding of dexte r ~~~:Ical loping rhythm he frequently employs new ideas with old forms." TJle result consumer products division make it sound as if he were singing to nonetheless is the same monotonously 845 Edgewater Rd .• New York 59 his horse. But in spite of this, and an limited rock 'n' roll. Raeburn's approach unswerving determination to sing the to it is less raucous and somewhat more world's foremost chemical anti-static title song as "My darlin', my darlin'," subtle than Bill Haley's, but the album research organization. 05 Arnold's easy-going style cbmes through is quite expendable as music. For the 86 HIFI & MUSIC REVIEW adventurous Raeburn of the forties, try Savoy reissue LPs 12025, 12040. Who'll want to reissue this album? N.H. NOREl CO· '"" 1'0(;111 _110". 1lU.1I1111C, ""II 'us OItCOIUru· presents the world's '%4i.),I.' finest*1 pickup artridge

Every Dog House Has Its Day

You Get More Bounce with Curtis Counce featuring the Curtis Counce Group. Complete; How Deep Is Th e Ocean; Too ADVANCE NOTICE: This new 1958 Edition Cl ose For Comfort; Mea n To Me; Stranger o/the Electronic Experimenter's Handbook In Paradise; Counceltation; Big Foot. Contemporary C 3539. will go on sale March 27 . .If yo~' like to build useful, profitable electronic devices, Presenting Red Mitchell featuring the Red Mitchell Cj)uartet. reserve your copy of the new Handbook now. Scrapple From Th e Apple; Rainy Night; I Th ought Of You; Out Of Th e Blue; Paul's *The world's finest pickup cartridge is care· 60 Devices ••• Nearly 200 pages Pa l; Sandu; Cheek To Cheek. fully guarded at the great Philips audio • • • a Practical "File" of Electronics Contemporary C 3538 . research center in Eindhoven, the Nether­ lands. It is the laboratory prototype of the Ideas and Information 'East Coasting featuring Charlie Mingus new NORELCO "Magneto·Dynamic" pickup FOR YOUR HI-FI_ Presence control. Hi-fi crossover. with Jimmy Knepper (trombone), Bill cartridges-a special pilot model hand·builtto Filter. Electrostatic speaker system. Mixer equalizer. Evans (piano) and others. zero tolerances by Europe's most renowned Spare amplifier. $5 coax. 3-way speaker system . Junior electro·acoustic research team. This refer· hi-fi . Crossover with brilliance. Memories Of You ; Ea st Coasti ng; West Coast Ghost; Celia; Conversation; 51 st ence standard must, of necessity, be a shade RECEIVERS. Shirt pocket transistor superhet. Vokar Street BIues. superior to the production models, which receiver. Superegen unit. Miniature VHF ear. Junkbox are constantly quality·controlled against it. Bethlehem BCP 6019. Be receiver. Etched circuit two-tuber. It is an indispensable laboratory tool that FOR YOUR HOME_ Invisible light door opener. obviously cannot be sold. But the world's Electronic brain to control house lights. DC supply for Playing the string bass in a jazz group second finest pickup cartridge- meaning AC/DC motors. Power transistor for pocket radios. .has been, traditionally, a most unreward­ any and every NORELCO production model­ Light-operated relay·. Transistorized intercom. Radio intercom . Electronic Christmas bells. ing artistic occupation. It was not until can be and is sold Ijy ' leading hi-fi outlets the advent of Jimmy Blanton, a superior everywhere, for tie as!onishing price of FOR YOUR DARKROOM_ Audio photometer. Tran­ $29.95, with diamond stylus. sistor slave flash unit. "Vari strobe." Light distributor performer on this instrument, who Darkroom timer. Enlarger exposure meter. played with the Duke Ellington band in FOR YOUR HAM SHACK. Simple shortwave receiver. the years just b efore World War II, that VHF explorer's receiver. 70-watt transmitter. Double any b ass player achieved any p articular you r Heathkit AT-I output. Code practice set. Antenna tuner. Transistor IO-meter receiver. measure of renown as a soloist. FOR YOUR WORKSHOP_ Economy . tube tester. Since that time, the bass has steadily Heat-controlled solder stand. Economy signal generator. moved up front in the solo line, with a Simple oscillosco'pe calibrator. $ 14 signal tracer. Tran­ number of extraordinarily gifted players sistor checker. Capaci meter. Low-cost multi-tester. Transistorized signal tracer. devoting their talents to it. However, the basic problem remains the same; the FOR THE KIDS. IQ tester. Electronic worm digger. Model spaceship. Game computer. Transistorized pho. sound of the plucked or bowed bass, nograph amplifier. while it can be ampli.6ed on a record­ THE ·MAGNETO·DYNAMIC RINCIPLE - Armature SPECIAL PROJECTS. Solar battery experiments. ing, does not cut through a group's M, made of high-coercivity ferrite, is mag· Electronic anemometer. Picture tube reju venator. sound in p erson to reach the ear of the Detectorscope. Simplified etched circuits. Geiger gun. netized perpendicularlyto its axis (s- n) and Frost sentinel. Vibrato for an electric guitar. listener with the definiteness he has been is rotated about the axis by the transverse led to expect from the brass and reed vibrations of stylus bar L, which is driven by solo horns. Oscar Pettiford, the next the l·mil diamond stylus N. This rotation great soloist after Blanton, in point of induces a varying flux in the core J, which results in the development of a correspond­ COMING SOON­ fact made his impression on the public ing AC voltage in the coil S. Advantages of as a soloist with the 'cello, not the con­ the system include very high compliance trabass, b ecause the 'cello's lighter tone (more than 5 x 10'· cm/dyne), very low Only $1 cut through the jazz ensemble and was dynamic mass (2.8 milligrams), high output easily audible to the listener. (35 millivolts at 10 em/sec), low stylus force Reserve Your Copy Today at Your Today, due to the high fidelity record, (5 grams). and vanishingly low distortion. Newsstand or Radio Parts Store Frequency response is flat within :1. db from a greater number of bass players have 10 to 20,000 cps. become recognized than ever before in I": ZIFF-DAVIS PUBLISHING CO. , jazz. They are able to perform on rec­ NORTH AMERICAN PHILIPS CO., INC. , ;I.,[ .' <:.:.co·> 64 East Lake St., Chicago 1, III. ords in a manner that firmly establishes High Fidelity Products Division, Dept.M R'C the b ass as a solo instrument, even if 230 Duffy Avenue, Hicksville, l. I., N. Y. APRIL 1958 87 this is not yet as true as an in-person derfully rich and full-bodied tone. Ac­ PUT THE HIGH IN performance. Three of the best bass tually, the program is something of a players in jazz are represented on these bouillabaisse, one side consisting of pop­ three LPs and it is interesting to observe ular American songs (Mimi, April In HIGH FIDELITY! how they have approached the problem Paris) and French (Mademoiselle de t of the bass. Paris, Trenet's La Mer), and the other Whether you specialize In high fidelity service, custom devoted to concert and opera fare (De­ building or simply want to Curtis Counce, who· has played with bussy's Reverie, Depuis le iour from build a top-notch outfit for yourself, this big 512-page Stan Kenton, Shorty Rogers and others, Charpentier's L01tise). However, tJle ar­ book will guide you every has given weight to the compOSitional rangements are always interesting (with step of the way. the omnipresent accordion weaving in Helps you get better results type of jazz. His LP consists of a series at less cost. Shows what to of well worked out scores in which the and out of the popular numbers) and do . . . what mistakes to the sound couldn't be more spacious. avoid. Gives you a full un­ bass, as well as the other four instru­ derstanding of the many dif­ ments (drums, trumpet, tenor, piano) S. G. ferent methods. circuits, de­ signs, equipment, compon­ are given closely defin ed assignments. ents and other subjects that The value of the album rests jointly on are debated whenever hi-fi the shoulders of all performers and the The Boys in Blue-1861-65 fans get together. arrangers and not alone on the leader. A COMPLETE GUIDE It is a very good example of the use of Richard Bales: The Union. National Gal­ lery Orchestra, Lutheran Church of the by John H. Newill Written by one of the na­ careful planning in jazz. Counce takes tion's leading experts, High conSistently good solos, his sidemen are Reformation Cantata Choir, Peggy Za­ The book that Fidelity Techniques is com­ bawa (soprano), Jule Zabawa (bari­ says goodbye to plete, authentic and easy to all capable jazz men (the trumpeter, Duesswork i n choos~ tone); Raymond Massey (speaker!. ing, building and understand. ' From beginning Jack Sheldon, surprises most listeners servicing hi·f\ to end, it is chock full of Columbia DL 244, 12" with Deluxe Book. equipment. how-to-do-it-tips, s e r V Ice with his original sound and conception) 512 pages hints, custom-building ideas and the combination of jazz tunes and and data, charts and dia­ 203 pictures grams of the most helpful popular ballads they have chosen to play In common with its companion can­ Price $7.50 sort. is handled very well. tata, The Confederacy (Columbia DL- 10-DAY FREE EXAMINATION! 220), released in 1953, this work is The Red Mitchell LP gives tlle leader presented in a handsome package. The clotll cover of the album displays the I Dept. MR·48, RINEHART & CO., INC. I several opportunities to display his un­ ~------~I 232 Madison Ave., New York 16, N. Y. I usual talent for long, lyriC solo lines American fl ag of 1861 surrounded by raised gold figures of Union solcliers and I ~'i\'UIEGXHA~I~~~11~.TEI~HINIIft.~Ego:~~ \O'~r'1 I which are utterly entrancing. There is then promptly send $7.50 (plus a few cents post. some excellent flute and tenor playing a 11ead of Lincoln on a dark blue back­ I age) in full payment. Otherwise, I will return I ground. There is a 60-page booklet I book post~ajd and owe you nothing! I by a young Los Angeleno, James Clay, printed on heavily coated stock (about Nam e .....•. 0 ••• 0 •• •••• • • •••• •••••• • •• 0 • ••••••• and a few brief appearances by a girl twice tlle number of pages found in The I Address...... I pianist whose playing is distinctly un­ Confede1'Ocy package), including a pull­ I City. Zon e. State...... I ladylike. I ~l~~~J~~c~ ' fi~;;~;t[:c:e~~~e~ ~~~ow~~~so. rdeT only. I out double-page drawing of General Meade at Gettysburg. The text includes The Mingus LP is anotller matter al­ illuminating articles by such students ------together. He is tlle most technically and historians of the Civil War as God­ gifted of all modern bassists and in ad­ dard Lieberson, who produced tJle al­ dition has lately developed the ability bum, Bruce Catton, Clifford Dowdey, floating ... to utilize his rather frightening digital Allan levins, and Richard Bales, the dexterity and still maintain the essential composer and conductor of the work. pulse. Even though Mingus is accom­ The hundred-odd photographs and draw­ panied here by several other soloists, ings have been chosen with care-a including a very good trombonist named particularly haunting picture being the Jimmy Knepper, and a brilliant young one of a youthful recruit staring glassy­ pianist, Bill Evans, he dominates, as al­ eyed into the camera. ways, the group. Whether playing blues In such a release (list price: $10), it or ballads, it is the rough hewn, icono­ is obvious that the recording itself is but clastic voice of Mingus which is mem­ a part of the overall appeal. orable. He communicates more directly Of course, this has obviously been a his emotion of the moment than any bass labor of love for all concerned, and in­ player I know of and with his rapid vites only admiration for the diligence and continuing growth towards maturity of the research that went into its prepa­ during the past few years, he has consis­ ration. Assessing the purely aural values The only term that describes the tently produced albums tllat bear playing NEW BELT DRIVEN COMPONENTS of The Union, I find it most affecting in again and again. The liner notes to these the eloquent orchestral piece Ab'l'Oham PROFESSIONAL Turntable. tluee LPs, all written by Nat Hentoff, This fully shock mounted 25 lb. turntable Dincoln's Ftme'l'Ol March and the plain­ operates precisely at 4 speeds - make as fine a history of the bass in tive The Vacant Chair, movingly sung more than 70 db. below average noise jazz as you would want. by Peggy Zabawa. It also achieves a level. The operational excellence of this R. J. G. turntable is attributed to its direct belt rousing finale in a medley of exultant drive - no idlers - which virtually marches that make up the parade of the eliminates "wow" and "flutter." Rumble Lushly Continental G'I'Ofid Review of the Union Armies. is pass~ in the Professional as the whole There are, however, times when the mechanism operates "as if floated on air." The Lure of France featuring Andre work has a tendency toward heavy­ 4 speed. model PBT4-3Udiophile net Drily $109.00 Kostelanetz and His Orchestra. handedness. Jule Zabawa is an impres­ 3 speed model PBT-$99.50 Mademoiselle de Paris; Under Paris Skies; Hear this wonderful turntable at your dealer sive baritone, but his voice would be Bonjour Paris ; My Prayer ; Mimi; La Mer; more at home with a Bach cantata than now or write for more details to: Dept. E Autumn Le'aves; April In Paris; Clair de lune; Depuis Ie jour; Reverie; The Girl With Witll the raffish Invalid Corps or the The Flaxen Ha ir; Pizzicato Polka; C an Can. maudlin sentiment of ju,st BelOTe the COMPONENTS Columbia CL 1054. Battle, Mother. Among the songs of the CORPORATION period that have been included is Attra Those Kostelanetz strings! As heard Lea, more familiarly known to West Point ---D-E-N-V-I-l-lE----~r--N-E-W--J-E-R-SE-Y--- in his new assorbnent of French and cadets as A1'my Bltte and to tlle Presley French-type music, they're not only lush, cult as Love Me Tender. The sound is The turntable with the PERFORMANCE GUARANTEE tlley're positively lustrous, with a won- adequate. S. G. 88 HIFI & MUSIC REVIEW HIFI-NDINGS drop-off of intensity had been no­ ticed at the extreme ends of these (Cont'inued f!"Om page 46) test tones. It continued to assert its claim .as Its frequency response is stated a "perfection" instrument with the by the manufachuer to extend far three variable test tones encompass­ beyond the upper limits of human ing the range of 15,000 through 30 hearing. and to give a smooth re­ cycles in a descending sweep. No­ sponse with no sudden peak intensi­ where did our ears catch an audible ties or drop outs at any frequency p eak of dip in the rcsponse. In the throughout the audible sound range. same test, two slightly noticeable One major advancement of the peaks were evident when the Con­ C-60 over the Concert Series car­ cert Series was used-both occur­ tridge is rugged design-making it ring in the range above the middle suitable for use in record changers. frequencies. The Concert Series design was frag­ The C-60 kept up its outstanding ile and limited it for use preferably performance with the other tests on with professional-type tone .arms TRC-definitely outdistancing the with very low stylus pressure. The earlier cartridge. Thus far the min­ slightly heavier weight of the C-60 imum vertical stylus force recom­ was noticeable to us as we installed mended by the manufacturer for the it in the shell of a Rek-O-Kut Model C-60 (2 grams) had been used with A-160 tone arm. Apparently this is both cartridges. As we commenced due to the increased ruggedness. listening to recorded music, inter­ But what does all this mean when mittent groove contact was heard • translated into terms of aural dis­ with both cartridges. To eliminate cernment? To find out, we took the this trouble, we boosted the weight WALCO C-60 cartridge and ran a series of up for the two cartridges-but still well within safe limits. Sound wise, familiar records (old STATI-CLEAN friends) never sounded better than Anti·Static when the C-60 played them. The RECORD SPRAY overall tone is more mellow than that obtained from the Concert Series. Yet the musical texture is ~NPARAllELED PRAISE ROM HIGH FIDELITY , not thickened or muddied, for the AUDIO SATUR ' AMERICAN RE~~RYDREVIEW, . instruments are clearly delineated GUIDE: -their lines contrasting one against ", •. deserves it 1" " ,. of . S me reputation ,, _ II • C.O~slderab/e help " . • • the other with no blurring. • • . nullIfIes static v . .. And with the C-60 there was a " ... best defense ery effectively • •• " against dust . .. " much closer approximation of the string tone heard in live perform­ ance-that elusive silky-soft (never, Leading manufacturers, critics and hi-fi never hard) but penetrating quality fans agree - STATI·CLEAN is the -than that reproduced by the Con­ best defense against dust, the major cause 0/ record and needle weaL cert Series. No other cleaner stops dust·attracting W e did like: The increased elec­ static electricity as effectively ... and comparison tests between it and the trical output of the C-60-at least as safely. Don't take chance s on sub­ stitutes that might gum up records and Concert Series cartridge. All re­ five times greater than the Concert distort sound. STATI-CLEAN is proved marks here pertain to the 33-45 Series-making the use of a special 100% safe -' 100% effective .. . one spray lasts through dozens of plays and stylus model. coupling transformer unnecessary. keeps records clean and static-free for We chose the W estminster TRC The entire performance of the C-60 months. Can't be picked up by needle . .. test record as the ideal starting can be summed up in one word­ non-radioactive ... no residual deposits. Add years to your record life with no point. The improvement of the C-60 smooth. • loss of brilliance or presence. over the Concert Series cartridge For the longest play from your long was immediately apparent. The 15,- play reco rds, ask your dealer for STA TI-CLEAN! 000 cycle test-tone sounded forth In The Next Issue: with clarity and strength-vastly im­ A feature article on preamplifier proved over the Concert Series car­ and amplifier controls. In other tridge. words, what are all those knobs on Made by Electrovox Co. - origin­ ators of the modern jewel-tip And so it went with the remain­ the control panel and what purpose needle and world's largest manu­ facturer of phonograph needles. der of the test tones-in fact, never do they serve? For a step-by-step has that 30 cycle tone purred forth answer (complete with photos) read with such self-confidence. With the the May issue out on the stands 60-M Franklin Street East Orange, N. J. Concert Series cartridge, a slight April 22. APRIL 1958 89 l

just looking 7 LIPSCH rides again, but thataway, Chemical Corporation's record cleaning 1~ which accounts for the new Model H kit is a handy item for wiping a micro­ For over thirty years Bakers have Speaker, the only non-corner system made groove record clean. Lektrostat is an anti­ been making quality speakers for by Klipsch and Associates. Familiarly re­ static detergent that does not become the discriminating British audio­ ferred to as Klipseh's He1'esy, whence the phile. These speakers are so out­ H is derived, this is a small speaker de­ standingly superior that they have signed for use in the second or third long been known as "the best of channel of a stereo system. It is composed the British speakers." of midrange and tweeter drivers in an

Mister, you're lucky _ •• for the new Bakers Ultra 12, fnll­ frequency range. 12" speaker is now available in gummy. The soft bristles of the velvet America for the applicator penetrate the record grooves, first time. moistening them with Lektrostat and pushing out the dirt. The treatment lasts for many plays and may be renewed in A louds peake r cannot b e auy better t)UID part with the applicator dry. The kit, con­ what is put into it. The Bakers Ultra 12 is sisting of a 1 ~ H. oz. Polyethylene bottle tIle best, not because o f chlhns, but b~­ of Lektrostat and the applicator in a cause design, 1)81'ts, uluterials, antI care in plastic pouch, sells for $2.00. c onstruction make it so. So look nt the "S[Jccs ." Frequency runge ••. 20 to 2U,OOO A SPARKLING midrange and clear cyclcs. Flux ,lensity ••• 18.000 g nuss; 190.- highs are the province of the Iso­ 000 nUL"\:wells. High cOJul,linnt, 1)i;lstic fO:llU, COliC suspens ion. N on-resonullt. enclosure, with sound bright and clear in phon Tweeter Combination, Model DHB c ast, ol,cn, :dUJllinuUl fraJne. Light, sen­ the middle and upper regions and the 6/2-10. It takes two dynamic tweeters, s itive ::tllllnillulll voice coil und forlner. bass end deliberately limited to about 100 critically mounted for the distribution of Ful1y trOIJic:llized. Hnnel :lssenlblecl. Extrn cycles. H speakers are priced from $165 highs at the wide angle of 110°, plus a I.owerful Alcoma." III encase,l in red ccl­ to $202, depending on the size of the mid­ folded horn compression speaker, to ·lulosc. Dust, l"lISt, :1Ilfl d:unp In."oofed. Ex­ range driver and the finish of the enclo­ achieve a smooth 1,000 to 16,000 cycle I)Onentin), bnkelizetl a1)eX, cone. Power ••• sure. Details on how to obtain 3-channel range. Put the unit into an enclosure with 20 wutts IJIus. V oice coil itnpednnce ••• 15 ohms. A fun sl.re",) of 20 to 2:>.000 cycles stereo from 2-track source material are a woofer that will plumb the depths and ,"vithout (listortion:ll crossover networks. part of the deal. a three-way speaker of distinction be­ Ingenious clesign ='lJld the uSe of nc'W" 1118- comes a reality. The Isophon Tweeter terinls, l,rocesses, ='Ind techniques now IT LOOKS like Milady's powderpuff, but Combination is imported from Western IU:lke crossovers UIlJlecessnry. Acoustic, when it is moistened with a few drops Germany by Arnhold Ceramics, Inc., and iInpe(lnnce :lnd efficiency luis JlUltcll; "dis­ of Lektrostat, the applicator in Dexter Sterling Europa, Inc., and sells for $59.95. elnbodie«l lligbs"; Dnd otlter undesiruble clUlrneteristics of crossovers, nre tllus HI-FI MARKET PLACE elimlnate'l. UNHAPPY This combination of fcaturcs. which can­ WITH not be iound in any other speaker, makes "HI" tloe Bukers Ultru 12. unquestionably, the finest rel.roducer today. And the price HI-FI • • • a Dlere $85.00 • • • for tile best. PRICES? If you ""lilt a sl.eukcr til at is far supcrior Write us you, hi-fi " eeds to ullytlliJlg' now nvni1:lble, insist on a -you'll be glad you did. denIer delll.onstrution. You will be uuulzed kEY ELECTRONICS CO. at its Slllootllness, definition, cleanness, 120 Liberty St. Jl:ltllralness .•• a cert:lin "soJlletblng" N.Y. 6, N.Y. EVergreen 4-6071 thut you have never Io ear,) l.efore. Lucky SINGLE owners suy, ti'Mister, this is it." Tlte $695 T~~~~M $7 95 POINT "sllees" tell you n 'IIY. YEAR UNCONDITIONAL WRITTEN GUARANTEE Write for literature Give mfrs name & No. on ca rtridge. HI FI & MUSIC REVIEW and become sound happy. Add SOc for P.P. & H. INFORMATION SERVICE Long Player Catalog & FREE Lowest Discount Prices ••• is at your service BRADFORD AUDIO CORP, For additional free information concerning the Sole distributors for the United States CHAMBERS RECORD CORP. fine products advertised in this issue of HI FI & MUSIC REVIEW use the handy coupon an 27 East 38th Street 97 Chambers St •• Dept. DN2, N. Y. 7, N. Y. page 97. New York City 16. N. Y. OX 7-0523 90 HIFI & MUSIC REVIEW THEY ALSO RAN

( Continued from page 65)

those days no composer wrote without "an assignment" from his patron. This made the whole process of musical creation less anxiety-ridden and less self-conscio:us than it is today. The "retained" composer had no worry about "recog­ nition." H e knew he would be played and paid. In accepting an assignment, he had little thought of "writing for himself" or "for posterity." The composer's main reward was money and his patron's pleasure, the knowledge of a job well done and praise well earned. Beyond that, most composers cared little whether their work "survived." This cheerfully casual approach toward musical creation was drastically changed by the industrial revo­ lution. Machine-born industry spurred the growth of large cities and enlarged the new bourgeois class at the ex­ pense of the hereditary nobility. Music migrated from the private palace to the public concert hall, and the traveling virtuoso replaced the court musician or tal­ ented amatelll:. The specially commissioned work gave way to the emergent standard "repertory" and thus marked the beginnings of music publishing in the modern sense. The new economics of music publishing and per­ formance gave rise to the concept of the "star com­ poser," much as the "best-selling author" emerged from the exingencies of modern book publishing. This shift in values was not purely economic. A change in basic philosophy came with it. In the old aristocratic order, a human being was thought of as a vassal to his prince or church. But the new age saw him as a unique individual with an inherent meaning and importance of his own. In short, the romantic concept of man. ~ This totally changed the status of musicians. For­ merly, performer and composer both were little more than servants- though often highly favored servants. But with the coming of the 19th century, the musician be­ =.... came a "free artist"-a symbol of individual creativity and self-fulfillment. H e lived (often none too well) by his wits rather than by his patron's support. =: Haydn experienced the whole change in his own career. Most of his life he spent as music master "Hof­ Kapellmeister" (Court Composer) on the estate of the = Count Esterhazy, far off in the Eastern provinces of Austria. For all his genius, he might have remained relatively obscure if the Count hadn't fired his orches­ tra and pensioned off Haydn in the course of a ducal ==>- economy drive. Haydn was then free to travel to such U musical centers as Vienna, Paris and London to be­ Z come the leading musical figure of his day. The force UJ of historic evolution had turned Haydn from a private, (!J provincial retainer into a public figure of international UJ scope. 0:: A generation later, the new concept of the musician's role in society found its perfect expression in Bee­ ~ thoven, unbridled and proud, the celebrant of indi­ 0 vidual dignity and courage- tlle friend of heroic re­ 0:: bellion. u.. APRIL 1958 91 THEY ALSO RAN like hearing Brahms, reach for Reger for a change. Instead of BUILDING (Continued from page 91) Monteverdi, try Gesualdo or Ga­ brieli. Or, if you are in the mood A HI-FI The romantic concept of the com­ for 20th cenhuy music, try Leos poser not only gave him greater Janacek or Carl Nielsen. Both these SYSTEM? creative scope, it also made an idol composers lived and worked apart of his personality in the public from the musical mainstream of our PARTIAL LIST mind. Hero worship of the "star age, Janacek in Brno, the provincial Send Us OF BRANDS IN STOCK composer" deafened the public to capital of Moravia, and Nielsen in Altec lansing all others. Copenhagen. WIllie their relative Your Electrovoice This cult of the master and the isolation had denied these men a Je nsen University masterpiece, this romantic insist­ £lying start on the international mu­ list Of AR • GE • VM Janszen ence on the ultimate, does not, as sic scene, it gave the opportunity to Wharfedale Components Viking might be hoped, enhance our musi­ develop highly individual styles of Concertone Bell • l ee cal life. On the conh'ary, its conse­ great personal conviction and com­ Crown Prince quence is a kind of stagnation. The municative power. For A Harman-Korda" Ei co • Pilol channels of casual musical enjoy­ Also-rans of such calibre missed Sherwood Package Acrosound ment are plugged by listeners who winning the race by barely a nose. Fisher Bogen . take themselves and music too seri­ Parts of their work rank in quality Quotation Dynakit ously and develop a pseudo-reli­ of inspiration with the best that H. H. ScalI WE WON'T BE Pentron gious attitude toward it. A musical music has to offer. Acquaintance Ampro UNDERSOLD! Rev ere diet of unvaried profundity leaves with such music is rewarding in it­ All merchandise is Wollensack our receptive faculties fatally con­ self. Beyond that, it often deepens brand new. factory Garrard fresh & guaran teed. Miracord stipated. the listener's respopse to the music 20 % depos i 1. is re­ We bsler Quire d. Ba l a nc e Must our justified admiration of he already knows. COD. Collaro Thorens Beethoven close our ears to his As a proving ground for compos­ Rek-O-Kul Norelco lesser contemporaries-the also-rans ers, hi-fi now creates a change in AIREX Fairchild Pickering of his time? What .about Cherubini. the whole musical picture. The con­ Full Line of whom Beethoven himself deeply re­ ditions that created the stultifying RADIO Cabinets spected, or Spohr and Hummel, phenomenon of the "star composer" CORPORATION 64 Cortlandt St., N. Y. 7, CO 7-2137 who shared with him the musical and the restricted repertory of the world of Vienna? concert hall are now challenged by Time as wen as chance weaves the phonograph. The expansion of musical fate. In every age of music, the audible repertory through LP, there were worthwhile composers, gives more composers a chance to RAT E : S5t per word. Mini mu m 10 wo r ds. July Issue some now obscure simply for being be heard by audiences far greater closes May 2nd. Send order a nd remittance to : HI F I MUSIC REVI EW, 366 Madiso n Ave., New Yor k 17, N. Y. born at the wrong time. Their mis­ than any hall could hold. Their fate fortune was being contemporary no longer hin ges solely on a "big" T APE & T AP E RECORDERS with an all-time champ who is made publisher. Enterprising record com­ to hog the rustoric stage all to him­ panies have shown themselves will­ RECORD ERS, HI-F I , Tapes. Wholesale Prices. Vree Ca talogue. Carston , 215-W E . 88 St., N.Y.C. self. But acquaintance with some ing to take a chance on promising 28. of the better also-rans can be tre­ unknowns. With their help, the TAPE I'ecorders, hi-fi components, tapes. Unusua l mendously rewarding to the lis­ contemporary composer can obtain values. F ree Catalog. Dressner, 69-02HF 174 Street, Flushing 65, New York. tener. It brings a sense of propor­ the wide hearing by which present tion to his musical understanding; and future time may fairly peg him HIGH FIDELITY it fills in the background. as a winner- or an also-ran. Also-ran music is rarely heard - END DISGUSTE D Of " HI" HI-FI P rices? Unusua l "live." Our concerts are too often Discounts On Your High l!' idelity Req uirements. Write ],ey Electroni cs, 120 Li berty St., New York "museums of great music" in which 6, N. Y. EVergreen 4-6071. the accepted repertory is duly put HI-FI Haven, New Jersey's Newest and fi nest MOUVEMENTS sound center. Write for Information On unique on exhibit every season. This mu­ mail ol'der plan that offers Professiona l advice and seum cult, in due time, will hlrn low prices. 28 Easton A ve nue, New BrunswiCk, PERPETUELS New Jersey. even masterpieces musty- but un­ less there is standard fare on the MISCELLANEOUS program, the manager can't fill the hall or pay the bill. FREE Monthly Hi F i Magazine Wr ite for quotation on a ny components Sound Reproduction Inc., 34 The hi-fi age with its wealth of New St. , Newark, N. J. Mitchell 2-6816. recorded material has gone a long ATTENTIO N Earth People . . . 1st edition h i-fi way toward solving this problem. C.Jl . reco l'd ing u l'l'i p to t he 1\1oon " F ull na rra tion a nd sound effects. Orbit-Box 4432, Mi ami Beach We can always trot out the also­ 41, Flori da. . rans on the phonograph. Here we BECO ME a songwriter, or professional P ia nist. can "fi x" the race to give the also­ Complete Home Study Courses; Songwriti ng, Mod­ ern P iano, and Personal Success. Rapid, Unbe­ rans their chance. li m'able. Bookl et free. Weidne r, 423 E . Seven th Street, Boston 27, Mass. For instance, next time you feel 92 HIFI & MUSI C REVIEW .. BUY IT HERE

Your guide to high fidelity dealers in your city who carry many of the .fine products advertised in HI FI Be MUSIC REVIEW.

THESE ADVERTISERS' CODE NUMBERS PERMIT YOU TO LOCATE DEALERS CARRYING THEIR BRAND.

1. ACOUSTIC RESEARCH 14. GLASER-STEERS 40. REK-O-KUT 2. ALTEC LANSING 15. INTERNATIONAL ELECTRONICS 29. H. H. SCOTT 42. AMERICAN ELECTRONICS 17. INTERSEARCH 30. SHERWOOD ELECTRONIC LABS 4. ARGOS PRODUCTS 19. KLiPSCH & ASSOCIATES 31. SHURE BROTHERS 5. AUDIO DEVICES 20. JAMES B. LANSING SOUND 32. SCHWANN CATALOGUE 18. AUDIOGERSH 21. LIVINGSTON AUDIO PRODUCTS 33. SUPERSCOPE 6. BELL SOUND 39, NORTH AMERICAN PHILIPS 44. TANDBERG 7. DAVID BOGEN 16. OMEGA TAPES 43. THORENS 23. PENTRON 8. BOZAK SALES CO. 34. UNIVERSITY LOUDSPEAKERS 9. BRITISH INDUSTRIES 24. PHONOTAPES 35. UTAH RADIO PRODUCTS 10. EICO 25. PICKERING 36. VIKING OF MINNEAPOLIS 11. ELECTRO-VOICE 26. PILOT RADIO 41. EMC RECORDINGS CORP. 27. PRECISION ELECTRONICS 37. WALCO PRODUCTS 13. FISHER RADIO 28. REGENCY 38, WELLCOR

KlerultT Sound Corp.. ... 2, 4, 5, 7, 9, 10, 11, 13, 16, Listening Post . ... 1. 4, 5. 6. 7. 9. 13, 17, IS, 20, 21, ALABAMA 18, 20, 21, 23, 25, 26, 27, 29, 30, 31, 34, 35, 23,25.26,27, 2S, 29, 30, 34, 36, 37, 40,43 BIRMINGHAM 36, 37, 40, 43 Market Radio Supply C o ...... 4,6.7.9, 10. 16. IS. Ack Radio Supply Co ..... 2, 5. 6, 7, 9,10,11,18,21, Los Angeles Portable Recording Enterprises .... 5, 9, 21,23,25,26.27.29,31,34,36,37.40 25, 27, 28, 29, 31, 34, 35, 37, 39,40 11, 13, 14, 16, 17, 18, 20, 21, 23, 25, 27. 31. 33, Music & Sound ...... 1, 5. 6, 7, 9, 13, 17. 19. 20. 21. James W. Clary Co ..... 2.5.6,7,8.9.10,11.13,14, 36, 37, 40. 42, 43 26. 27. 29. 34, 36. 37 17,18, 19,21,23,25,27,29,31,35,36,37,39.40, Midway Electronic Supply . . .. 7,9, 10. 11, 13. 16, Pacific Wholesale Co ..... 4. 5. 6, 7, 9, 10. 13, I S, 20. 42.43 18,20,21,23,25,26,27,29,31,34,35, 36,37,40, 21, 25. 27, 29, 31, 34, 35, 37 Forbes Dlst. Co .... .4, 5, 7, 9, 10, 11,21,23,25.27, 42,43 Sa n Francisco R a dio . .. . 1, 2.4.5,6.7,9. 10. 13. 14, 29, 31, 32, 34, 35, 37, 40 Radio P roducts Sales. Inc... .. 2, 4,5,7,9,10,11,13, 15, 17. IS, 20, 21, 23, 25, 27. 29. 30,31,34, 35. 14, 17, 18, 20, 21, 23, 25, 27, 28, 29, 31, 34. 35, 36, 37, 40, 41 . 43. 44 ARKANSAS 36, 37, 40, 42, 43 Television-Radio Supply Co .. . . . 2. 4, 5. 6. 7, 9, 10. FORT SMITH Shelley Radio Co ..... 4,5,9,10,20,21,23,25, 27, 13,17, IS, 20. 21. 23, 25, 27. 30. 34. 35, 3;9.310 Wise Radio Supply .. .. 4, 5, 6, 7, 8, 9, 10, 11.13, 18, 29, 31, 34, 35, 36, 37, 40 LITTLE Ro6k 25, 26, 27, 31, 34, 35. 36. 37. 38. 40 Universal Radio Supply Co . .. .. 2, 4, 7 . 9. 10, II, 13, Wholesale Radio & E lectric Supply Co . .... 4, 5, 6,7. 18,20,21,23,25,26,27,29,31,34,35, 36, 37, 9, 13, IS. 20, 21. 23. 25, 27. 29, 34. 35, 36. 37. Moses Melody Shop .. . . 1, 6, 7, 11, 13, 16, 18, 19,21, 38, 40, 43 39, 40, 43 23, 25, 26, 27, 29, 32, 34, 36, 37,39,40 LA JOLLA Zack Radio Supply Co ..... 4.5,6.7.9. 10, 13, 16. Audio Workshop . .. . . 1,2,5,8,9,10.. 13,14.16, 17, IS, 20, 21, 23, 25, 26, 27, 29, 31, 34, 35, 36, 37, ARIZONA 18,19.20,25,26,27,29,30,31,36.39,40,41, 43 40,43 PHOENIX MENLO PARK SAN JOSE Audio Specialists .. . . 1, 7, 9, 10. 11, 13, 14, 16, 18, HI Fidelity. Unltd..... 1,2,4,6,7,8, 9,17,21,25, Allied Radio .. . . 1. 2. 4. 5. 6. 7, 9.13, 15. IS. 20, 21. 20,21,23, 25, 27, 28, 29, 30, 31,32, 34, 36, 37, 26, 27, 29, 31, 34, 36, 37, 40, 43 24,25, 26, 27, 2S, 29, 30, 31, 34, 35, 36, 37. 40. 40,42 MONTEREY 42,43,44 Hi-FI House .... 1,5,6,7,8,9,11,16,18.20,26,31,37 Wholesale Electro nics . . . . 4, 5, 6, 7, 9,10,13,14.15, Peninsuia TV & Radio Supply . .. . 4.5. 6.7.9,10,13. HI Fldellty Sound Systems .... 5. 7. 8. 9. 10, 11. 13. 20. 21, 23, 25, 26, 27, 29, 31, 34, 35, 36, 37, 40 18, 20, 21, 23. 25, 27, 31, 34, 35, 36. 37, 40, 43 14,20, 21,23,25,26,27, 31,34,36,37,40,4l OAKLAND SAN LUIS OBISPO Southwest Wholesale Radlo . . . .4, 5, 9, 10, 11. 13, Elmar Elect .... .4, 5, 6, 7, 9, 10, 13, 20, 21, 23, 25, Allen's Sight & Sound . . .. 5.7.9.10. II. 13. 16. 18, 20,21,23, 24, 25, 27, 28, 31, 34, 35, 36, 37, 40 27,29,31.34,36,37, 40 20,21,25,27,29,32,34,36,37,40.43 TUCSON Olln S. Grove ... . 1. 2, 4, 5, 6, 7, 8, 9, 13,14,17.18, SAN RAFAEL Standard Radio Parts . ... 4,5,7,9, 10, 11, 21, 24, 25. 20, 21, 25, 26, 27, 29, 30, 34, 36, 37, 39, 40, 43 Catania Sounds .. .. 4, 5, 6, 7, 9, 17. 21, 23. 25, 26. 27, 28, 31, 34, 35. 37. 38, 40 27.29.32.34.36.37.39.40 ONTARIO 1 CALIFORNIA Rudl Pock .. .. 2,5,7,9,13,14,16.20,21.25,26,27, D 'Errico Fid elitll~j'~,I'!z(;, 'iJ: lei, lli, If6. fi. l1ei. 223 36, 37,40,42, 43 BAKERSFIELD SOUTH GATE Bakersfield Audio and Alarm . . . . 5, 7. 9, 11, 13, 14, PASADENA Mac's Radio C o .. .. .4,7,9,10, II, 13. IS, 21, 23. 25, 16, 17, 18, 19, 20, 21, 23, 25, 26, 27, 29, 32, 34, Audio Associa tes .... 5. 7. 9, 10. 11, 13, 16. 18, 20, 27,31.34,36,37,40 21,24,25,27,29,30,31,34,36,37,40,42,43 36,37,40,42,43 STOCKTON BERKELEY Dow Radio Suppiy Co ... .. 2, 4. 7, 9, 10. II. 13. 18. Dunlap Who!. Radio Co .... . 2, 4 . 5, 6. 7, 9, 10. 21, Berkeley Custom Elec.... . 2, 5, 6, 7, 9, 13, 18, 19, 20, 23, 25, 26, 28, 29, 31, 34, 35, 37, 38,40, 42 23,25,27,31.34,35. 36,37.40 20,21,23,25,26,27,30,34,36,37,39,40,43,44 Empire Eiectronic Dist .. ... 4, 5, 7, 9, 10, 13, 18,21, VAN NUYS Thomas W. Tenney ... . 1, 2. 5, 6, 7, 9,13. IS, 17, 18, 23,25,27,31,34,35,37,40 HOlL'e 01 Sight & Sound .... 2. 5, 7, 8. 9, 11, 13, 16, Hi Fidellty House .. 1, 2, 5. 7, 8, 9. 11, 13. 14, 16. 18, BURBANK 20, 21, 25, 27, 32, 34, 36, 37, 39, 40, 43 ~ , ~.D,~,2~.,2~~,U,g.M,M.", 20,21,25,26,27,29,30,34,36, 37,40,42,43 40,42. 43 Valley Electronic Supply Co .. . . . 4, 7, 9, 10, 11, 13, REDONDA BEACH Thrifty TV Supply C o .... .4. 7. 9, 10, 16, IS. 20. 21, 16, 18, 20, 21, 23, 25, 26, 27, 28, 30, 31, 34, 35, Bay E lectronics . . .. 2,4.5,6.7,9,10,13,18, 20.21, 23.25,26.27.28,30.31,34,37, 39 23,27,30,34,36,37, 3S, 40 1 1 1 CULVER CITY • 36,37,40,43 RIVERSIDE V~~~Yl~ I ~~~r~r~c2~~~~~~~ (h : 34~3Z: li. 2ei. ii. ll, Bar-Shel TV SUpply .. . . 1, 2, 5, 7, 9, 13, 18, 20, 21, Custom Music . . .. 7,9, 11,13,14, 16, 17,20, 21,25, WHITTIER EL MONTE 25, 27, 31, 34, 36, 37,40, 43 27, 29, 31, 32, 34, 36, 37, 3S, 39, 40, 42 Hi-Fi Haven .. . . 1, 2. 7,9.11.13,14.16, 17. IS. 20, SACRAMENTO 21.25,27.29,30,32,34,36,37,40,43 Kimball & Stark .. . .4, 7, 9,10,11,21,23,26,27.31, Hi Fi Sound Sboppe .. 1,4,6,7, S, 9, 15, 17. IS. 21, 26. 27. 2S, 29. 30, 34. 36. 37. 39. 40, 43 FRESNO 34, 35, 36, 37 COLORADO Sacramento 24°3 COLORADO SPRINGS Audio Sales Company .... 4, 5, 6, 7, 8, 9, 13, 17, 20. Ele~tS~J',P\fi,' 29~'36i,73:: l~: ~~: Delts Bros .. . . . 6. 7. 9, 10.11.13,16,19,21,23,25, 21, 23, 25, 27, 28, 29, 31, 34, 36, 37,38, 40, 44 SAN BERNARD[NO 26, 27, 36, 37. 3S. 40, 43 HOLLYWOOD Hollywood Hi Fl Shop ... . 2, 4, 5,',8, 9,10,11,13. DENVER Pacific HI FI House .. . . 7,10,11,13, 16, 18, 20, 21, 14. 15, 16, 20, 21, 23, 27, 29. 31, 32, 34, 36, 37, Allegro Music Sho p .... 1. 7. 9.10.11.13, 16, IS, 20, 40,43 21 . 23. 25. 26. 27, 29. 32. 34, 36,37,40,43 Hollywood Radr;'S~~p?;' . 29. '4~'s. 37~' 1~~' 1~~' I\~' 1\~ SAN D[EGO Denver Electro niC Suppiy ... . 2.4. 5.7.9.10,11,13. INGLE~~Jb' 23, 25, 27, 28, 31, 34, 35, 36, 37, 40, 43 Breier Sound C enter .. . . 1.2,7, 8.9,10,11, 15,16, IS, 20. 21, 23, 25, 27. 29. 31, 37, 40, 42 IS, 20, 21,23,25,26,27,29, 31, 34, 36, 37. 40, The Electric Accessories Co .. ... 2. 5. 7, 9, 10, 13, 20, Inglewood ElectroniCS Supply .... 9, 10, 11 , 13, 14, 42,43 21.24,25,27. 2S, 31. 34. 35. 36, 37, 3S. 40, 42 17,18,20,21,23,25,26,27,34,36,37,39,40,43 High Fidelity House .. 1, 2. 5. 7, S. 9 . 11. 13,14, 16.1S, Inter State Radio & Supply C o ... .. 4, 5. 6. 7, 9.10. Newark Electric ... . 1, 2, 4, 5, 7, 9, 10, 11, 13, 16, 18, 20,21,25,26.27.29,30. 34.36,37.40,42,43 11. 20, 21. 24, 25, 27, 29, 31. 35, 37. 39, 40 20, 21, 23, 25, 26, 27, 29, 30, 31, 34, 35, 36, 37, Radio P a rts Co .. . .. 4. 5, 7, 9.10.11.16. I S, 20, 21, Radio Products Sales Co .... . 1, 4 . 6. 7. 9.10,11. 13, 39, 40, 43 23.24,25.26,27,31.35,36.37,40,43 IS, 20. 21. 23. 24. 25. 27. 2S. 31 , 34. 35, 36. 37, 40 LONG BEACH Western Radio Supply Co .. ... 4. 9. 10. 13. 20. 21, 1 Custom Sound . . .. 2.7. S, 9. 13. 14, 15, 16. 17. IS. 25. 27,29,30,31.34,36.37.40 L. B. walk e rll}.ar~~ rl?"2t"i3. i4~·A. \'t3~·. \Oi. 1ei 20, 21. 24. 25, 27. 29. 31. 34, 36, 37. 40, 43 Wrigbts H ouse 01 Hi Fi. ... 2, 4, 7. 8, 9, 10, 11, 13, Cha.. E. Welis Music Co .. ... 6. 9. 11, 13. 15, IS, 20. , 21, 25, 26, 27, 29. 30. 32. 36, 37. 40 Scott Radio Supply . . .. 4 . 7. 9. 10. II, 13. 17, 18. 20, 14. 15. 16, IS, 20.21, 25, 26, 27. 29. 30. 31. 34, 21, 23, 26, 27, 29, 30, 31, 33, 34, 35, 36. 37, 40, 36, 37, 40, 42, 43 PUEBLO 42. 32 SAN FRANCISCO L. B. Walker R adio Co .. .. . 2, 5. 6. 7, 9.10,11,13, IS. 21,23,24.25.27,34,35,37,40 L~~c~~~~~~n~cs. Inc .... . 1, 2, 7, 10. 11, 13. 16. [S, COIUfj~i~4:vri!;S.i~f.°i7; ·i9~·it.63tk 1336.1Ji,240i ,2i3 20. 21, 23, 25, 27, 31, 34, 36, 37, 40. 43 Hal C ox C usto m Sound . ... 1. 2, 4, 6. 7, 9. 13. 17. IS. CONNECTICUT Crens haw Hi Fi Center ... . 2.5. 7. S, 9. 10, 13. 16, 20.21.25, 26,27, 2S, 29. 30, 32, 34. 36, 37. 43 HARTFORD IS, 20, 21, 25, 26. 27, 31, 34. 36. 37, to. 42. 43 Eber Electro niC Supply .... 1. 2, 4, 5, 6, 7. 9. 13, 16, Belmont Record Sbop .... 7,8.9, 10, II, 13, 14. 18, 20, D, 23. 24, 25. 26. 27, 29, 30. 32, 34, 36. 37, 40 Fe~'lf.ai~?:l;~';Cj:~~~si7~'~9; 31~2:il3~: ~6"~7 . lklto 17,18.20,21,23,25, 26'fl: i~: i:: ~~'. ~10',3li,313 Hatry of Hartford .. . . 4.5.6,7,9, 10, 11. 13, IS, Figart's Radio Suppiy Co .. ... 4. 7, 9,10.11.13. 15, HiFI Shop 4,5, S, 9, 13, 17, 18, 20. 21, 23. 24, 25, 21,25,27.31,34.35,36,37,39,40 16, IS, 20, 21. 25. 27. 29, 31, 34, 35, 36, 37, 40, 43 26, 27, 2S. 29, 31. 32, 34, 36. 37, 39, 40, 43 NEW HAVEN 8 HenrY ' h~f,o i6; ii, \'9~'3t ~~', ~k ~~'. 13i, 24°0, 21i Kop[ so~'lt~ ~r.p~j~ 25. 26,22t: i9,63/:l6. Vi. 1/0, 14S3 Hatry 01 N ew H ave2ni .lfJ': 27, ':4,535~'li, 1:9, lio, 113 NOTE: This is a limited list and does not include all dealers who handle these advertisers' products. APRIL 1958 93 HiFi BUY IT HERE THESE ADVERTISERS' CODE NUMBERS PERMIT YOU TO LOCATE DEALERS CARRYING THEIR BRAND. SEE PAGE 93 FOR CODE.

C HIC AGO Radio Trade Supply Co . ... .4, 6. 7. 9, 10. 11.21,23. 25, 27. 31 , 34, 36, 37, 38, 40 NEW HAVEN (Continued) Alil2? &~'!ig, q~~P23 ; 'il: ~5.5i;" ~9.s3l: If: U: U: DUBUQUE Radio Sh ack Corp . .... 1. 2. 5. 6. 7. 8. 9. 10. 11. 13. 37, 38, 40, 42, 43 Boe Dis tributing Co .. . 'it: 15,6 7.' ii,114 , 116, 1:7,2Jo 14.18.20.21.23.24.26, 27,29,30, 31,34.35,36. Arplo ... . 2, 4, 5, 7, 9, 10, 11. 13. 20, 21, 23. 25, 26. i 37,38,39,40, 42,43 27.30.31.35,37,40 SIOUX CITY l 2 2 B urghardl Radio S '!8~1 ~5; 27~'351', 6-j{is, Ilc;, 117,2l David Dean I~~~t~, ~~~ ':i3 ; ii', ~'7 ~iJ: 1i,lf6Si. to J. G. Bowman & Co .... i~: ~5:2~ : \~'. ~II', 1l5. fi. Jo o NEW LONDON De Haan HI-Fi. ... 5, 6, 7, 11 , 13, 16, IS. 19, 20. 21. WATERLOO Aikins Electronic Supply Inc..... 4. 6. 7, 10. 11. 13. 24, 25. 27, 29, 30, 31, 32. 36. 37. 40, 43 Farnsworth Radio & T elevision . . .. 4,5,6.7,9.10. 21, 25, 26, 27, 31, 34, 37, 40, 43 E lectronic Expcditors .... 2, 4, 5. 6, 7, 9, 10, II, 13, II, 13, 16, 20. 21, 23, 25, 27, 29, 31, 36, 37, 40 WATERBURY IS, I S, 20. 21, 23. 25, 27, 29, 30,31,32,34. 36. Bond Radio Supply . .. . 1, 2, 4, 5, 6. 7. 8, 9,10. 11 . 37, 38, 40, 42. 43 KANSAS 13,21, 23, 27, 31, 34, 37, 40 Lukko Sales Corp... .. 4, 5, 6. 7, 9. 10, 13, 20, 21, 25. LAWRENCE WEST HARTFORD 27,31,34.35,37, 3S. 40 Fred E . Sutton & Co ..... 2. 4, 5. 6, 7, 10. 11, 13.21. Audio Workshop. Inc .. . .. 7,8, 10. 11 , 13,18,20,21. Muslcrart. Inc. . .. . 2.4.5,7.9.10.11.13,16.17, IS. 25,27,34,35,37,40.42 25,26, 27, 29, 30, 32, 34, 36, 37, 38, 40, 42, 43, 44 20.21, 23. 24, 25, 26. 27, 29, 30, 31, 36. 37. 38, WICHITA 40, 42, 43 DELAWARE E xcel Distributors .... ~7~ '3i: ~4.1 gs,. h ,2h,2k210 WILMINGTON Ari~~~ 5~~& ~ e:i.f,nicj : ·3 0 ·. I:it~,~: ~6,lg7.119,11o.11i.2t:i McClelland Sound Equipment Co ... .. 2, 6. II, 21, Alma Radio Co ..... 4, 5, 7, 9, 10, 11. 21. 27, 29. 3 1. NewMk Electric . . . . 1.4.5.6. 7,9. 10.11,13,18, 19. 25.27,34,35, 37, 40 34, 35.37,40, 43 20. 21, 23, 25, 27, 29, 30, 31, 34, 36, 37. 38. 39. RadJo Suppiy Co ..... 5, 6, 7, 9, 10, 11, 16, 20, 21. 23, Radio E lectriC Service Co . . ... 1,4, 5, 6, 7, 9,10, 11 , 40, 42, 43 25, 27, 29, 31, 34, 37, 40 13,16,17,18.20,21,25, 26,27,29.30, 31,35.36. DECATUR 37. 38, 39, 40. 43. 44 York Radio Supply Co ..... 4, 5. 6. 7, 9. 10. 11. 20, KENTUCKY 21,23.25,27,31. 37. 44 LEXINGTON W~f.ilii~oln7~i~~ · ~f.e~~1 ~5~~6, Ir{ 'i9, ~2 ,83Z: B: JACKSONVILLE Radio Equipment Co .... ?i9~'3i'. ~~, V5,2ii,21o 39, 40 Baptist Radio Laboratories .... 4,5.6.7.9. 10, II , A, 13, 2 1, 23, 26, 27, 31, 34, 35. 37, 38 LOUISVILLE DISTRICT OF COLU~IBI.o\. MATTOON WASHINGTON Mattoon Radio & TV Supply .... 4.6,7,9. 10. 11. T ile., ?f~?et9 ~~~ ; 'il:i5~' ;6,7i7~' 10~ ' N: 11: It: 1~ : E lectronic W holesalers, Inc..... 1, 2.4,5,6,',9, 10, 21,23,27,31,34,35,37,3S 40, 43 11. 13, 17, 18, 21, 23, 25, 27, 28, 29, 31, 34, 35, 36, MOLINE U niversal Radio Supply Co . .. . .4, 6, 7, 9,10,11,21. 37,38, 39, 40, 42, 43 Lolgren Dlatr. Co .. ... 4, 5, 6,7,9,10,11,13.18,19, 23,25,27,29,31,34,35,37,39,40 2 20, 21, 25, 27, 28, 31, 34, 35, 36, 37, 39. 40 PADUCAH Hi-Fidelity ~~~~~~~:~~~~·ci: 34~'3i: 17,lk to, 2J:i OAK PARK Warren RadJo Co ... .. 5, 6, 7, 1:4, 115 ,217 ,2:S ,210 Kitt Music Co ..... 1. 6, 7, 8, 9, 13, 16, 20, 21. 24, 25. ii, 26, 27, 29, 30, 32, 34, 36, 37, 40, 42 Melvin E l ectro ~i~25 ·. ' ~7,5:iI~'3~: j5 , 1~7S8, I:O .2J:i Shrader Sou nd Inc . .. .. 1. 2.6, 7. 8, 9, 11. 13, 14. 16, PEORIA LOUISIANA 18,20. 21 ,25 , 26,27,29,30,34,36,37, 40, 43,44 Klaus Radio & E lectric .... 2. 4. 5, 6, 7, 9, 10, II, 20. BATON ROUGE 21 , 25,27,28.29,31,34,36,37, 3S, 40, 42 Louis iana Radio & Television . ... . 4, 5, 6 , 7, 9. 10. S Uflt~~l~!Sir~b2'}.t,o~~, ~~"3o, 3~ : 15~3l: 17,lfs.IJo QUINCY 13, 17, 21, 23, 25, 27, 31, 34, 37, 40, 42 GatcsRadlo Co ... . . 2,4. 5. 6. 7. 9, 17, 20, 21, 23, 25, LAFAYETTE FLORIDA 27, 31 , 34, 36, 37. 39, 40, 42 Ralph's Radio E lectronic Supply .... 4, 5, 6, 7, 9.10. CORAL GABLES RIVERDALE 11,21,25,27,31,34,37 The Concerto Room. Inc ..... 2, 5, 7, 8, 9, 11. 13. 15, A udio Distributors ... . 1. 2. 4 , 5.7, S, 10, II. 13,20 . LAKE CHARLES 17, 18, 20, 21 , 26, 27,29, 34,36,37,40,44 21,23.25,27,31, 34,36,37.40,42 FT. LAUDERDALE ROCKFORD Wholesalc R~to2¥~ff.·i7: 3t ~·t3:', ~~', V,;,11.; , 110 Vance Baldwin Inc . ... . 4, 5, 7, 9, 10. 11, 13. 16, 18, J & M Radio & TV Supplies . . .. 4 . 6, 7, 9,10.11,21. NEW ORLEANS 21. 23. 25, 27, 31. 34, 36, 37, 39. 40 25, 27, 31, 34, 36, 37. 38, (0 Certified E lect. Dlst .lnc..... 2, 4, 6, 11, 13, 15, 18, Mid- West Associat ed .... 4.5, 7, 9. 10, 11. 21S 23. C res ~'i~t II},a ~lf, ~3~u~J',I Y:i7~n~ii, ' 34~' ls, 6:i':' is', Ito 21, 25, 26, 27, 31 , 34, 36, 37, 38, 40 ROC K ISLAND 25, 27. 31, 34, 37, 3 , 40 Custom E lectronics Inc ..... 1, 8. 9.11,13, 14, 17, IS. JACKSONVILLE 19,20,21,25,26,27,29,30,36,37,40,43 Peard E lectron ic Supply Co ... . . 5, 7, 10, 11, 18. 20, Trl C ity Rad io .... 4 , 6, 7, 9, 10, 20. 21, 245 25. 27, E lectronic Parts Corp ... . . 2, 4 . 5, 6, 7. 9, 10 , ll. 17. 21, 23, 25, 27. 29. 31, 34. 37 SPRINGFIELD 29,31,34,3 ,37,40 20,21, 23, 25, 26, 27, 30, 31, 34, 35, 37, 3: ,312 Southeast Audio Co ..... 4, 5, 6, 7,10,11,17,18,20. 0 21, 23, 25, 27, 29, 30, 31, 34, 36, 37, 40, 42 Haroid Bruce Co ..... 4, 5, 9, 10,11,21,23.27,29, Radio Parts Inc . .. . . 4 , 5.6, 7.9. 10. 11 , 13, 21, 25. MELBOURNE 31,34,37,38.40 26, 27. 28, 29, 31, 34, 35, 37, 40 McHoseElectronics .... 5, 7. 9, II, 13, 18, 20, 21 . 23, 27,29,30,31,32,34,36,37, 40,43, 44 INDIANA Souther ~J: aftl ? 2~~p2~1; 27, 31', ~4~3i: ls, Il;, 110, Iii MIAMI ANGOLA SHREVEPORT East Coast Radio & TV ... . 4, 5, 6, 7, 9, 10, 11, 13, Lakela nd Radio Supply .... 4, 6, 7, 9, 10, 11 , 21. 25, Interstate Electric Co ...... 4. 5, 6, 9. 16, 17,18,21, 23.25,26,27,29,31. 34, 35.36, 27, 29, 31, 35, 37, 3S, 40 10. 11 . 21, 25, 26. 27. 31 , 34, 37, 38, 40 37, 40, 42, 43 BLOOMINGTON I{oelemay Sales Co ..... 1. 2, 4, 5, 7, 8, 9,10, II, 13, E lectronic Suppiy Co ..... 1, 4, 5, 6, 7, 9, 10, 11, 13, Stansller Radio Co ... . . 4, 6, 7. 9, 10, 11. 13. 21, 23, 14, 17, 18, 19,20,21,23,25,26,27, 29,30,33,34. 14.17,18,20, 21,23, 24, 25,26, 27, 30, 31,34,35. 25,27,31,34,37.40 36. 37,40, 43 36, 37, 38, 39. 40, 42 EVANSVILLE Lavender Radio &TV Supply . ... 4. 5. 6. 7, 9, 10, I S. Flagler Radio Co .. Inc ..... 2.4. 6, 8, 9,11,13, 17,18, I 21, 23, 25, 27, 31, 34, 35, 37, 38, 40, 43 20, 21, 23, 25, 26, 27, 29, 31, 32, 35, 37. 39, 40. Ohio Valley So ur5~ ' i7 : ~9~3;: ii,lfs,lk 17,219,210 43,44 Wesco Radio Parts .... 4 , 6, 7, 9. 10. II, 13. 21. 23. MAINE Herman Radio Supply Co .... . 4. 6, 9 , 10, 11,21. 23. 25,27. 31,34,35,36,37.39,40 AUGUSTA 25, 27, 29. 31, 34, 35, 37 FT. WAYNE The Corner Music & Book Shop . .. . 1, 2, 6 . 7, 9.10. Hi F idelity Associat es . . .. 1,2.6, 7. S. 9, 10, 11, 13, Brown E lectroniCS Inc ..... 1,4. 5.6.7,10,11 , 13, 21,25,26,27,29,32,34, 36,37,40 14. 18, 20, 21, 23, 24, 25, 26, 27, 29, 34, 36, 37, 18,20,21,23. 24, 25, 26, 27, 28, 31, 34. 35. 36. PORTLAND 40,44 37, 40, 42 1 Bartlett Radio Co .. .. . 1, 4 l: 17, 1~;S4:;", 217,210 Thurow Dlsta?~~~~,/~~': 29 ; ~'1~3I: 1s. 37,lls, 110 Pembleton Labs ... .4, 5, 6 , 7, 10, lli,21.;/1s.2ii,210 i ;S,7 Warren RadJo Co ..... 5, 6 , 9, 10, II, callfield2y~ eil~~~~ e2:.gi¥:k 36 ,\lf: 4l: If: U Wtl~ e[3~t~,1~ 6~ tl.~IJ~~~~ f3~"24; it', ~6,6:i7.'2~', ~~: 215.217.318,310 Maine Electronic Supply Co ... . . 4,6.7,9,10,11, 21. ORLANDO 34, 35, 37, 40 GARY 25, 26, 27, 31, 34, 37, 40 Cosmopolitan Radio Co ..... 4 , 6 . 7, 9,10,11,13,20. Hammond E1ect ron i~,~t:i5J7~3l: 1i,lfs, IIi, 110 21, 23, 25, 26, 27, 31, 34, 35, 36, 37 MARYLAND INDIANAPOLIS BALTIMORE PENSACOLA Graham E lectroniC Supply. Inc . . . . . 1, 2, 4. 5, 6, 7, G rice Radio Elcctronlc Supplies .. . . 2,4,5,6, 7, 9, S, 9, 10, 11, 13, 17, IS, 20,21,23, 25,26,27,28, 29. C ustom N~~~, ~~~t~w. ·3 0:~4.531: li,1ft! , 110 , Il:i, 2t.j 10.11,13,14,15, IS. 20, 21, 23, 25. 27, 29, 31, 34, 31. 34, 35, 36,37, 40, 42 High F idelity House .... 6, 7. 8. 9, 10, 11, 13, 14, 16. 36, 37, 40, 42, 43 Radio Dlst. Co .. .. . 4.5,6, 7,9.10,11,13,18,20,21, 21, 24, 25, 27, 29, 30, 31, 33, 34, 35, 36. 37, 39. ST. PETERSBURG 25.26.27,30.31,34,35,36. 37, 3S. 40 40, 41 , 42, 43 Welch Radio Supply ... .4, 6, 9, 10, 13, 14, 21 , 23, PERU Radio E lectric Service Co ..... 4,5. 6,7,9,10, 11,13, SARASOTA 25, 27, 31, 34, 37, 40 C llngamen Round Equlpmcnt Co . .... 4, 6, 7, 10. 11. 16, 17, IS. 21 , 24, 25, 27, 2S, 29, 31 , 34, 37, 39, 18, 21, 23, 25,27,31, 34, 35, 36, 37, 38 4 0,43 Radio Accessories Company .... 4, 5,',9. 10,11. 14. RICHMOND 21, 23, 26, 27, 31, 34, 37 Fox E lectronics Co .. Inc . . ... 4.6.7, 9. 10. 11 , 13. Slrkls MUSICii; A, ~9~~o,lli,Ih,I~7,lis,lr9,I1ci,2ti TAMPA 21 , 23, 25,27,31,34,35,36,37, 3S, 39, 40 HAGERSTOWN Radio Accessories Co ..... 4 , 5, 6, 7. 9 , 10,11,21,23. SOUTH BEND Zimmerman Wholesalers .... 4, 6. 7. 9.10, 11,13, 21. 27,31,34,35,37 Radio Distributing Co ..... 4, 5. 6, 7, 10, 11. 14, 21, 27, 29,31,34,37,38,40, 42 Thurow Distributors. Inc... .. 4.5,6,7,9,10,11,13, 25,27,29.30,31, 34,35,36,37,40,42 SILVER SPRINGS 16, IS, 20, 21 , 25, 27, 29, 31, 34, 37, 40, 43 AI Smiths Hi F i Studio .... 5, 7. 9. II, 13, 16, 20, 21, Davis-Carmack Associates . ... 1,2,4,7,8.9,13,14. WEST PALM BEACH 25,27,30,32,34,35,36,37,38,39,40 15,17, 20,21,23,24,25,27,29,30,34.36,37,3S, Goddard Distributors. Inc. .... 4 , 5, 6, 7, 9, 10, 11, TERRE H AUTE 39,40 13, 16, IS, 21, 23, 25, 27, 29, 31, 34, 37, 38, 40, C . T. Evlnger Co . .... 4, 5, 6, 7, 10, II. 21. 23. 27. 31, 42,43 34,36,37, 3S, 39, 40 MASSACHUSETTS GEORGIA ATLANTA IOWA B~~rg~ Electron ics Inc..... 4, 6, 7, 9, 10, 11, 13, 21, Baker Fidelity Corp . .... 2, 6, 7, 9,10,13,14,15.18, BURLINGTON 23,25,26.27,31,34.35.36.37.40 20,21,25,26,27,29,31,32,34,36,37,40,43.44 U nion Supply Co .. Inc...• .4, 5, 6, 7, 9.10, II , 21, 23, De Mambro Radio Supply Co ..... 1,2,4.5, 6 , 7, S, H!f~, 1k~e~~: ~4~'~5 ; "i6,52;: ~9,S3:" It: ll: U: 1;: CEDAR RAPIDS 25,27,31,37,38 9, 10, 11 , 13, 17, IS, i~ : ~~: ~~'. ~~, ~~'. ~~', ~o,3f:i 40, 43 Gifford-B rown. Ino... . .4, 5, 6, 7. 9. 10. 11. 13. 16, The Listening Post Inc. ... . 1,4, 6.7. 8, 9 , 10, 13,14. Southeastern Radio Parts Co .... . 2. 4, 5, 6, 7, 9 , 10. 11 . 13, I S, 21, 27, 31, 34, 35, 37, 38, 40. 43, 44 COUNCIL BLUFFS 21,25,27,31,35,37,40 IS, 20, 21, 23, 24, 25, 26'fi:fl: ::: !~: n: ~~', 3l.j Specialty Distributing Co .. Inc ..... 4,5.6.7,9. 10, World Radio Laboratories .... 4. 5, 6, 7, 9,10, 11,13, A. W. :vrayer Co . . . 4,5,6.7.9,11,21,25,27,34,37 C OLUMBUS 11,13,21,25,27,31. 34.35,37,39, 40 15,16, 21, 23,24,25,27,29,30, 31,35.36.37, Radio Sh ack Corp ..... 1, 2, 5,6.7.8,9, 10,11,13, DAVENPORT 39, 40, 42 14.16, 18,20, 21 , 23,24,25, 3l ,31:i Radio Sales & Service .. . . 5, 6, 7. 9.10, II. 20, 21 . 23, it iZ: ~~: ~k. o 27,29,31, 34,36,37,38,39,40 TCR Distributor .... 2, 4 , 5, 6, 7, 10,11,17,20.21. Radio Wire T V Inc. .. .. 1. 2, 5 , 6. 7, 9. 10, 13,14, I S. ILLINOIS DES MOINES 25,27,28,31.34,35,36,37,40 20, 21,23,24,25.26, 27,29, 31 ,32, 34, ~~,.346o,31:i A'iII}3,.l\tecord Sho p . . .. 4 , 9, 11, 13, 14, 19, 20, 21, 24, Gifford-B rown. Inc .... ·tS.5i.7~'299.13°1'S5/f6 , I:i,2Jo Sager E lectrical Supply Co ... 'i1: is, ItiS.j!fi, 2Jo CHAMPAIGN 25,26,27,30,32, 34,36,37.39,40 Iowa RadJo Corp . . 2"6·,12t.'~9.737: ~~: U: ~~', 218,210 C'k"t~i~.?t,(;E .. 1 , 2, 4 , 5,6, 7, S, 9, 10, 11, 13, 14, 18. Radio Doctors . 25:4i6:'2~', \~', \11', Ik 1:6, 2:i ,219 ,210 Mid-States ~~~~~~~Ij'.g2~~2i,3t: is,63l: 17,13s,IJo 19, 20, 21, 24, 25, 27, 29, 30. ~\', ~~ . 34;,31-j. 314 NOTE: This is a limited list and does not include all dealers who handle these advertisers' products. 94 HIFI & MUSIC REVIEW FRAMINGHAM Interstate Supply Co .... . 4. 5. 7. 9. 10, 11. 13, 18. Arrow Electronics. Inc..... 1. 2. 4, 5, 7, 9, 10, 11, 13. HI 1' 1 Studio .... 1, 2, 4, 7, 9. 10. 13, 18, 20. 21. 25. 21, 23. 25, 26, 27. 29, 31. 33. 34. 35. 37. 40, 44 15. 18,23. 25. 29. 31. 34. 35, 38, 39. 40 27, 29. 34, 36. 37, 40, 41 Van Sickle Radio Co ..... 4. 5, 6. 7. 9.10.11. 13. 15. 18. 19. 20. 21, 25. 27. 29. 31,34.36,37,40. 42 Brycfl ~r~ 02t.p~~ ~a21c,ei 7; iri. ~'I~'3~: 1;"I~8,I19,Ilo SPRINGFIELD Harry Reed Radio & Supply Co .... .4, 5, 6, 7, 8. 9, Ccnter El ee tro~ic.si3: i~; ?;,,5:i7~'l9. ~'I~~4,I~7 .IkI1ci 10, II , 13. 20, 21, 23, 25. 27, 29, 35. 36. 37. 44 6 cw.o ~r.a~~~ ~t,ct1~,S~~~s2~~W: :d: 15. 37: ls,Ilrlses . . .. 1. 4. 8. 10. 11 . 13. 16. 18. 20. Best Electronics ... 4.5.6. 10. 11 . 14. 15. 20. 21. Srellco. Inc .. ... 4 . 5. 6. 7, 9. 10. 11 . 13. 20. 21. 23. 21. 23. 25. 27. 29. 32. 33, 34. 35. 36. 37, 38. 39. 40 27,31. 34. 35.36.37. 39.40 27. 28. 31, 34. 35, 36. 37, 40, 43 SCRANTON WICHITA FALLS St otts-Friedman Co .. ... 4. 5. 6. 7 . 9. 10. 11 . 13. 16. Fred P. Pursell ...... 4 , 5. 7. 9.10.11 . 21 , 23. 25.27, Mooney Radio S upply Co ... .. 5. 6. 7, 10.11. 15. 20. 21.23,25,27.31.35. 37.39,40 29. 34. 35. 37, 40 21,23, 27.31.34. 37.40 LIMA STATE COLLEGE Warren Radio Co .. ... 5,6,7. 9. 10. 11 . 21.23.27. A lvo E lectronics Dlst.. Inc . .. . . 4,5.6.7, 9. 10. 11 , UT!\II 31. 34. 35. 37. 38 WILKES_h3,;,Jiiil, 23. 26, 27, 29. 31. 34, 35, 37, 40 SALT LAKE CITY LORAIN O'Laughlln's Radio Supply ... . 1,4.5,6,9. 10. II. Ploncer E lectronic Supply Co .. ... 5. 6. 7, 9. 10. 13. General Radio & E lectronlcs Co .. .. .4,6. 7.9.10.11. I~ 18. 21, 2~ 27. 29. 31. 3~ 3~ 36, 3~ 40 16.21.23.25.27,31.34,35.36.37. 38 13. 16.21.25,27,29.31. 34. 35. 37. 38, 40 MANSFIELD G co. B. J o nes . . .. 1.6,7,9,11, 13.21. 25. 27. 29. VIRGINIA Who lesaling. Inc .. . . . 5. 6. 7, 9.10. 11 . 21.23. 25.27. 30, 34, 37, 40, 44 ALEXANDRIA 34. 35. 37. 38, 39 Certified R a dio Supply. . 4,5.7.9.10. 11. 2 1.23. RIIODE ISLAND 25. 27. 31. 34. 35. 37 SPRI NGFIELD PROVIDENCE Standard RadIo of S pringfield . . .. 5. 6. 7.9. 11 . 16. BRISTOL 20.21,23. 27.28. 31,34,35.37,38. 40 AUdi~~.I1'I ~~ ~·2~~ 1r"{4?a:i4.3i.~3~: kl~o.lli.I13 B rl s~0f.1~~?1~5~Wlr9 ~~O::i1,53l: 16, Il7•I ls. 11o ,2tly .. .. 2.4.5.6.7.9. 10. 11. 13. Carlson Hatton & Hay .... 4. 5. 6. 9. 10. 11.20. 21. 20, 21, 23. 25, 27, 31, 34, 35. 36, 37, 40 I~ 20. 21, 25, 2~ 2~ 31, 34. 35, 36. 37. 38. 40. 23.27.29. 31.34.35.36.37, 40 42. 43, 44 MEDFORD TENNESSEE SPOKANE Vcr I G. Walker Co .. ... 4. 5. 6. 7. 9. 10. 11. 20. 21. KNOXVILLE 20th Century Sales Inc . .... 5 . 6. 7. 9.10.11.13.14. 23, 27.29,31, 34.37. 40 McClung Appllances .... 5, 7, 8. 9. 10, 11. 13, IS. 16. 20. 21. 23, 25. 26, 27. 29. 30. 31. 32. 33. 36. PORTLAND 17, 18.20,21,23,25,26,27, 29.31, 34,35.36,37, 37,40,44 Appliance Wholesalers ... 4.6.7.9. II . 2t. 23. 25. MEMPHIS 39, 40, 43, 44 TACOMA 27.29. 31. 34,35.37.40 C & G Radio Supp!, Co .. ... 2.~ . 5 . 6 . ' . 10. 11 . H . Centra! Distributors .. .. 4, 6 . 7. 9. 10. 11. 21. 23. 25. Glenn A ll cn Com pany . . . . 5, 6, 9, 10,21,23.27.31. 20.21 . 23.25. 27. 29. 31.34.36.37,38.40. 42. 44 27.29.31.34. 35. 37. 40 34, 37. 38 WALLA WALLA Lou Johnson Co .. Inc .. ... 4 . 5. 6. 9 . 10. 11. 21 . 23. Blurr City Distributing Co .. ... 4.5. 6, 7, 9, 10.11. liar Radio & E lectric C o .... 5.6. 7. 9.11.14.21. 25.27,29. 31.34.35, 37. 40 13. 19, 21, 2~ 25, 2~ 29, 31 , 34, 3~ 36, 37, 38. 25.27.29. 31.34.37. 40 Portland Radio Supply Co .. ... 4.5.6. 7. 9. 10. 21. 39. 40, 42, 43 YAKIMA 25.27, 29.31 . 34. 35. 38.40 Lavender Radio SUpply. Inc .. ... 4, 5, 6. 7. 10. 11 , Lay & Nord ... . 6, 7. 9. 10, 11, 21. 23. 25. 27. 29. United R adio Supply. Inc.. ... 5.6.7. 9. 10. 11. 13. NASHVILLE 18.21,25,27,31,34,35,37,38. 40,43 31 . 34. 35. 37. 40 SALEM 21 . 23, 25.27. 29, 31 . 34, 35, 37. 40 D & N Distributing Co .. . . . 4,5,7.8.9,10,11,13. WEST VIRGINIA Cecil Fa rnes Co .. ... 5. 6. 7. 10. 13. 16. 18. 19. 21. 15, 18, 21 . 23, 25, 27. 29, 30. 31, 34, 36, 37, 38. CHARLESTON 23. 25. 27. 29, 3 0. 31. 34, 36. 37. 40. 44 40, 44 C lt emclty Radio & E lec. Co ..... 4. 6. 7. 9.10.11 . 16. L o u J o hnson Co., Inc . ... .4. 5, 6, 9 , 10. 11 . 21. 25. Electra Dlstr. Co .. ... 4, 5, 6, 7. 9. 10. 11 . 13, 18, HUNTINGTON 21. 23. 25, 26. 27. 31, 35. 36. 37, 40 27.29. 31,34.37. 40 20. 21 , 25,26.27.29, 31 , 34,35. 36,37, 40, 42, 44 ot~n~1Ig~t Rice .... 6, 10, 11 ,21, 27, 31, 34, 37 Singer E lectronics. Inc. .... 5. 6, 7. 9.13.14. 16.17 . • -ENNSYLVANIA 18.20.21. 25. 26, 27. 30. 31. 32. 34. 36. 37. 38. 40 ALLENTOWN The Music Box .... 2,5,6,7,8.10. II. 13. 15. 17, Federated P urchaser . Inc.... .4, 5, 7, 9, 10. 11 . 13. 20,21.25.26. 27, 29,31.32. 34. 36.37. 40 'VIS{;ONSlN 18.21, 23.25.27,29,31. 34.35.37. 40 TEX,\S APPLETON A . A . Peters . . .. 4, 6. 7. 9, 10. 11. 16. 21. 23. 25. 26. Va lley Radio Distributo rs .. .. 2.4.5. 7.9. 10. 11. AUSTI N 13. 18. 20. 21. 2~ 2~ 2~ 31, 34. 36. 3~ 40 ALTOONA 2~ 3~ 3~ 38, 40, 42 Tbe Hargis-Austin Co .. . . . 4.5.6, 9. 10. 11 , 13. 21. FOND DU LAC Hollenback'S R a dio S upply ... . 4.5.6,7, 9.10. 11 , HI h Fld I' I I 5 2 27. 30. 31, 34,37.40 H a rris Rndlo Corp .. ... 4 , 5, 6. 7. 9. 10. 11 .21. 25. Z' 27.31.34.37.38, 40 BETHLEHEM 20.21, 23,25,27,31,34,35,37,40 r8. 20Slt;i3~k · :i6. i7:29 , 734~'15S6Si , ll8 . 110 GREEN BAY A udio Laboratories .. .. 1. 2. 4.7.8.9.11,14,20.21. Standard Radio Supply .... 4, 5, 7, 9,10. 11,21. 23. Neslo E lectronic D lst .. . . . 5. 6. 9 . 10. 15. 16. 2 1. 23. 23, 25. 27, 36, 37, 40, 44 CORPUS CHRISTI 27, 31 , 34, 35, 37, 38, 39, 40 25.27. 31,34.36.37.38 MADISON Buss R a dio ~~,P ~lf. f7~'29: lo,531~ '3~', \~', \Ii, Ilo,2li E lectronic E quip. & Eng. CO .. ... 1. 4 . 7. 9.10.11, Sl'Ltterfie ld E lectronics. Inc . .... 2. 4. 6. 7. 9. 10. 1 t. ERIE 15. 21 .23, 25.27.31,34.36, 37. 4 0 15. 18. 20. 21. 25. 27. 3 1. 36. 37. 40 Warren Radio Co .. ... 4. 5. 7, 9. 10. 11 . 16. 21 . 23. Wicks Radio E quipment .. 2 .4'37, ; . IgsII. 2 1. 23. MILWAUKEE 25.27,31.34.36,37,39.40 DALLAS 7. I . 4. . 36.37. 40 The HI-FI Center .... I , 2. 4. 5. 6. 7. 8. 9. 11 . 13. 14 . HARRISBURG Crabtree's \Vbolesa leRadio .... 4. 5. 6, 9.10. 11.13. 17. 18.20. 21. 23. 24. 25. 27. 29. 30. ~~: ~k~~.34\ Radio Dlst . Co .. .. 2~·. 5i9~·3~ ·. \t \~', 1356, 2li,2lo.~i 20, 21.25.26, 27. 31 ,34.35.36,37, 40.43 HI-FI House. Inc .. ... 5 . 6. 7. 9. 12.13,15. 16.17. 23. MB~:;:,~l~~~TCo . . . .. 5. 6. 7. 9, 10. 11, 13. 20. 21. 23. ~r£:T;t~~ir!2]'.aili';' ~\~~.J4~~~J7 ·~iI1.~~<{3 Mars h RMio S ~~pI~'C~' 3 1 ~ l25 .3 ~: ~~'I~~'I~~'I~: McKeesport E lectronics. r1:': 2.7}1i,.3;'·ll·13{ I~~ Wh o l ";~i;~~ e!~~:ic 3J~;~iy33 •. 3~ : ~\~~', ~~ ' I~~ ' I~~ Olsou Rnd f~\JI~s/l: .2i; ?: 9 .2i~/lli.~~~.~!i . lt>}: MERIAN 21.23.25,27,31,34, 35.37.40 W ilkinson Bros.. 21.25.27.31. 34. 35. 37, 40 Photo-Art Vlsunl Ser vlcc .... 1. 2. 4. 7. 9. II. 13. Hi-Fidelity Electronics .... 2. 6. 9, 10, 13. 2 1. 24.25. . . . 4. 5. 6. 9.10,11. 21.23. 25,27. 17.18.20.21.24.25.27,29 ,34,36.37.40.43 PHILADELPHIA 26, 27.29, 31 , 34.37, 38. 40 D~~~s~~Rad io S u pply .... 4 , 6. 7. ::'I:\:~ ' I:\:~ R ~:~~f.a~~~ ~g."2~~lCi8;~'c/ 3i: j4 . lkI~ i.. 1 ~7 . 1:9 . IJo A. C2 1~"2~I.o2~~~~I.Y2¥.0 'i9·.. :d: f4.631: Ii. Ils. If9. 110 EL PASo21 • 25, 27. 29, 30, 31, 34. 35, 37. 39, 40. 42 B adger E lectronic P a rts Co ... .. 4. 7. 9.10. II . 13. Air-To ne Sound & Recording Co .. ... 5. 9. 11. 21. 23. M'dl d S . It C l ' 5 7 9 10 II 13 15, 20. 21.25.27.30.31. 34. 35. 36. 37. 38 5 I an pecta y o...... ~. • , • • .• WYO~DNG Almo Radio Co ..... 2. 4 . l6.2l.·I~~'/t-I~~·I~~·I~~ FORT WORTH 18.20. 21 . 24.25,27,31 . 35, 37. 40 CHEYENNE 18.20. 21 . 23. 25, 26. 27. 29. 3037: '40~~i.3ii, 3;3 AudiO Associat es . 6·Is.8il:H : ~~: ~t \~'. Ili. 2lo H ouge Radio & S UPfl: 24: ·i5.6i7~'i9 . I~i . lkl:7. I:O NOTE: This is a limited list and does not include all dealers who handle these advertisers' products. 96 HIFI & MUSIC REVIEW Hifi & Music Review -. Advertisers Index

APRIL 1958 ISSUE HiFi& MUSIC REVIEW

Code No. Advertiser Page INFORMATION 59 ABC Paramount ...... 75 69 Airex Radio Corporation ...... _ 92 3 Allied Radio Corp...... 46 SERVICE 70 American Electronics Inc...... 58 5 Audio Devices Inc...... _ 81 Here's how you can get additional informa­ 7 Bogen, Inc., David ...... Fourth Cover tion, prOlnptly and at no charge, concerning 8 Bozak Sales Co., R. T...... _. . .. 45 the products advertised in this issue of HI 22 Bradford Audio Corp...... 90 9 British Industries Corp. (Garrard).. 4 FI & MUSIC REVIEW. This free informa­ tion will add to your understanding of high 71 Chambers Record Corp...... 90 fidelity and the equipment, records and tape 29 Columbia L.P. Record Club ...... 13 72 Components Corp...... 88 necessary for its fuUest enjoyment. 73 Concertapes ...... 77 74 Cook Laboratories ...... 8, 9, 84 Print or type your name and address on 75 Dexter Chem. Corp ...... 86 1 the coupon below. 10 EICO ...... 18 Electronic Experimenters Handbook .. 87 11 Electro-Voice, Inc .... . 2nd & 3rd Covers Check in the alphabetical advertising index, 58 EMC Recordings Corporation ...... 80 62 Ercona Corporation ...... 78 2 left, for the names of the advertisers in whose products you are interested. 40 Ferrodynamics Corp ...... •... 83 76 Ferrograph ...... 78 13 Fisher Radio Corp...... 43 In front of each advertiser's name is .a 14 Glaser-Steers Corp ...... 85 code number. Circle the appropriate num­ 3 ber on the coupon behw. You may circle 41 Heath Co...... 52 , 53 , 54, 55 as many numbers as you wish. 15 International Electronics Corp. (Frazier) ...... 71 Add up the number of requests you have 63 Key Electronics Co ...... 90 19 Klipsch & Associates ...... 6 4 made and write the total in the total box. 20 Lansing Sound, Inc., James B...... 57 21 Livingston Audio Products Corp. .. . 82 5 Cut out the coupon and mail it to: 48 Magnetic Recording Co ...... 78 50 Minnesota Mining & Mfg. Co . .... 16, 17 49 Mcintosh Laboratories, Inc ...... 11, 15 HI Fl & _MUSIC REVIEW 77 Neshaminy Elec. Corp...... 75 P.O. Box 1778 78 Newark Electric Company ...... 80 65 North American Philips Co . Inc. CHURCH STREET STATION (NORELCO) ...... 10, 87 New York 8, New York 52 Nuclear Products Co...... 75 16 Omegatape ...... 80 53 Orradio Industries, Inc...... 76 HI FI & MUSIC REVIEW 24 Phonotapes, Inc ...... 81 Box 177a TOTAL NUMBER ~ 25 Pickering & Co. , Inc...... 40 CHURCH STREET STATION OF REQUESTS L-.J New York a, New York 54 R.C.A. Victor Records ...... 66 Please send me additional information concerning the products of the advertisers 79 Reeves Soundcraft Corporation ... . 78 whose code-numbers I have circled. 28 Regency Div., I.D.E.A ...... 91 66 Rek-O-Kut ...... 3 2 3 4 5 6 7 8 9 10 11 12 80 Rinehart & Co ., Inc ...... •... . 88 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 31 29 Scott, Inc ., H. H...... 7 30 32 33 34 35 36 30 Sherwood Electronics Labs ...... 39 37 38 39 40 41 42 43 44 45 46 47 48 Stereo Tape Exchange ...... 78 49 50 51 52 53 54 55 56 57 58 59 60 33 Superscope Inc ...... 83 61 62 63 64 65 66 67 68 69 70 71 72 81 Tandberg ...... 79 73 74 75 76 77 78 79 80 81 82 82 Thorens ...... 73 NAME 34 University Loudspeakers Inc ...... 61 ADDRESS

37 Waleo Products, Inc ...... 89 CITY ZONE __STATE 68 Westminster Records 69 APRIL 1958 97 By Oliver P. Ferrell, Editor

A t hird method of stereo disc LP reproduction was demonstrated in early February. It was developed by Jerry B. Minter of the Components Corporation with the assistance of Electro-Sonic Laboratories. Unlike the London method (vertical and horizontal grooving on the disc) and the Westrex (45 0 grooving), the Minter Stereo Disc has the second channel hidden in the primary monaural groove through a system of supersonic frequency modulation. I

Minter's system requires a special preamplifier containing two or three tubes to sort out second channel from first channel monaural recording. However. Minter's system has two-way compatibility. The Minter stereo disc when played back on monaural equipment wi ll reproduce both channels--provided a very good grade cartridge is used. The West rex system (now winning favor) will only reproduce one channel unless special electronic switching arrangements are employed.

Opinions by hi-fi experts on the Minter system are at variance. Fidelity could be greater and channel-to-channel separation better than possible on Westrex (or London) system. However, need for a special preamplifier might make an outfit costly and/or difficult to maintain.

American interests are about ready to give up on the production of a full range electrostatic speaker, i . e. , one capable of reproducing from 30 to 16,000 cycles. Although two manufacturers are still trying, several prematurely announced "full-range electrostatic speakers" never appeared in the stores. British hopes center around the Quad electrostatic speaker (claimed as full range) now available in England in limited quantities , but not exported to the States . A report on electrostatic speakers is scheduled for the May issue of HiFi & MUSIC REVIEW.

Electrostatic speakers are however rapidly winning additional favor as tweeters or even mid-range (above 750 cycles) units. Modern day speaker designs produce better bass in less space and need complementing through adequate tweeter capabilities. If the problem of the high polarizing voltage which is necessary for its functioning but unnecessary in cone-type speakers can be resolved, the electrostatic tweeter could probably replace cone and horn-type tweeters almost overnight.

Tape manufacturers visualize the recently announced Shure "head" permitting four separate channels to be picked off standard til wide tape as saving the tape stereo market. The unpriced Shure development doubles the capacity and playing time of all stereo tapes. Unlike the present-day tape "head" arrangements which play an upper and then a lower track, or both tracks (channels) simultaneously for stereo, the Shure "head" divides it up into four parts rather than two. Thus a 32 minute playing time tape could run 64 minutes. This would put the price of stereo discs and stereo tapes in the same category. PRINTED IN U.S.A. 98 HIFI & MUSIC REVIEW EXIS~ING EQUIPMENT? graph cartridge. Good speaker systems continue A rl"sing an Electro-Voice Stereo Cartridge, to be a requirement for good music reproduction; which is constructed so that its output is already amplifiers and preamplifiers continue to be part corretted to the RIAA curve, you will not require of the system. Transcription players, tone arms, the equalization of the second amplifier. Insert­ record changers are all completely compatible ing the cartridge is simple. It will fit virtually with stereo when using the new Electro-Voice Stereo Cartridge. any ~tandard tone or transcription arm. The addition of a second amplifier and speaker is Q WHAT IF YOU DON'T HAVE A HI-FI SYS­ not complicated. TEM NOW ... SHOULD YOU WAIT?

Q IS E-V's STEREO CARTRIDGE AVAILABLE A You will make no mistake proceeding exactly AS A CONVENTIONAL TURNOVER OR AS A as before with one exception. You should use SINGLE NEEDLE CARTRIDGE ONLY? a stereo phonograph cartridge initially. Your speaker system choice can be made on the basis A The Electro-Voice Stereo Cartridge is avail­ of monaural equipment and when you are ready able in either form. for stereo, you need add only a second speaker and amplifier. Q WHAT ABOUT RECORD AVAILABILITY? Q HOW DO YOU GO ABOUT GETTING YOUR A Major record manufacturers have announced ELECTRO-VOICE STEREO CARTRIDGE? the coming availability of stereo records. Librar­ ies will be available in mid-1958. A Visit your dealer. If you don't know the name of your nearest dealer, please write Elec­ Q WHAT EFFECT WILL STEREOPHONIC tro-Voice. Ask for E-V Stereo Model 21D with CARTRIDGES AND RECORDS HAVE ON YOUR .7 mil diamond stylus or E-V Stereo Model 26 PRESENT EQUIPMENT? DST Turnover with .7 mil diamond Stereo tip and 3 mil sapphire tip for monaural 78 rpm A Obsolescence is limited only to your phono- records ($22.50).

IS HERE! STER _REO don't buy an obsolete cartridge . .. replace with the compatible Electro-Voice stereo cartridge

ELECTRO-VOICE, INC. ® BUCHANAN, MICHIGAN CANADA: E -V of Canada Ltd., 1908 Avenue Road, Toronto, Ontario EXPORT: 13 East 40th Street, New York 16, U.S.A., Cables: ARLAB l¥orld's leading manufacturer of Microphones, Cartridges, High Fidelity Speahers and Enclosures, Professional Electronic Instruments and Public Address Speahers. 10.

f •• "':'lp M IN MA ~

TURNOVER -VOLUME

You are looking at an instrument so flawless and versatile that it is far ahead of its time. SPECIFICATIO NS: Respon se: 10 to 100,000 cycles ::!: 0.5 db . Front Panel Controls: High·Frequency Rol l-Off (6 positions); Low­ It incorporates every feature you will ever need . . .. now or in the future. For instance, FreQuency Turn-Over (6 positions); Phono Selector (2 positions); the PRIOOA has eight inputs and two cathode-follower outputs. Ganged volume controls Bass; Treble ; Low Filter (5 positions); High Filter (5 posi tions); Volume; Loudness Contour Selector (5 positio ns); Input Selector simultaneously regulate two channels so that you can add "stereo" whenever you wish. . (6 push-button switches): Off, Monitor, Phono, Rad io, Tape, Aux . Push-button switches permit the instantaneous selection and level adjustment of all pro­ Chassis Controls: Level Adjust for Phono , Tape , Tuner, and Aux­ gram sources. Distortion? Virtually unmeasurable. Frequency response? Beyond anything iliary Inputs. Unique Tape Monitor operates while recording. Write for complete catalog and / or send 25c for 56-page book , you could ever use. Chassis: $119.50. Blonde or mahogany-finished enclosure: $7.50. "Understanding High Fidelity" to Dept. W4.

David Bogen Co., Paramus, N. J . • A Division of The Siegler Corporation.

. . . becau se it sounds bette?'

MANUFACTURERS OF HIGH FIDELITY COMPONENT'S . PUBLIC ADDRESS EQUIPMENT AND INTERCOMMUNICATION SYSTEMS