Features

Compare an original forty three year old UK "pink rim" Island pressing of "Baby's On Fire" from "Here Come the Warm Jets" (ILPS 9268), Brian Eno's debut solo album, with the 2004 DSD remaster using the original tape played back on an Ampex ATR deck with custom ARIA electronics.

In a July 2nd story, we announced four new costly arms from SAT(Swedish Analog Technologies): two models each available in 9" and 12" versions. The least expensive of the four, the LM-09 was reviewed in the just shipped October, 2018 Stereophile.

Here's 100 recommended all-analog LP reissues worth owning. The video runs two hours so unless you are masochistic, you might want to watch in shorter segments but covering 100 LPs took time! Plus there are the usual fun stories interspersed throughout. Okay, I got wrong the The Who's "Tommy"'s original issue date (I said November '68, was May '69) otherwise all of the information should be correct. Yes, too many superlatives, but that’s video!

Analogue Productions recently announced the reissue of 25 titles from the musically rich and superbly recorded Contemporary Jazz catalogue.

Last Sunday while back on the east coast AnalogPlanet’s Malachi Lui paid a visit. We hadn’t seen each other since late July so it was great catching up in person. We spent much of the time together comparing multiple copies of Axis: Bold As Love including a preliminary pressing of the upcoming Analogue Productions UHQR 200 gram vinyl edition in both mono and stereo mixes housed in a not quite finalized version of the exquisite packaging. I shot an impromptu video of the opinionated Mr. Lui fully expressing his opinion to AP’s Chad Kassem. When I suggested that we post the video on AnalogPlanet both Kassem and Lui said “OK” so please watch it below. Lui insisted on writing an intro to the Experience experience, which you’ll find directly below this.—Ed.

While visiting Audio Research in Minneapolis prepping for an upcoming Stereophile review my hosts took me to Mill City Records in nearby Hopkins. Wow!

In January 1961, Riverside Records sent the great, but sadly uncelebrated recording engineer, David Jones (also known as Dave Jones and David B. Jones) to New Orleans to record Black traditional jazz musicians for a projected series of albums to be called “New Orleans—The Living Legends”. Jones is little remembered today and remains a shadowy figure, despite recording five months later, also for Riverside, the all-time audiophile classic Bill Evans LPs, Sunday At The Vanguard and Waltz For Debby. Jones did not follow the career path that made other recording engineers who were his contemporaries, latter day icons. He never recorded rock or pop music, limiting himself to on-location recordings for small independent labels of ethnic and classical music, and occasionally jazz. The personal recording style that he created and mastered strove to capture the natural sound of instruments in a room from a slightly distant, contemplative perspective and eschewed whizzbangery and artificial flash. It’s a subtle style that does not immediately impress and one that has undoubtedly limited his reputation.