![]() But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. Tonal neutrality and presence are important to me but small deviations are not disqualifying. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. In terms of music reproduction, I find myself listening more than ever for the “little” things. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. I was introduced to Harry Pearson in the early 70s by a mutual friend. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I’ve co-written bunches of songs, some published, some recorded. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. ![]() It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). My love of music largely predates my enthusiasm for audio. You’ve never heard Café Blue like this before. Pressed at RTI, the 45rpm double LP is exquisitely slipcase-packaged and annotated. The sheer lack of veiling or groove noise testifies to the use of Neotech’s vinyl formulation, VR900 Supreme. Cymbals flare outward into the widest expanses of the soundstage. Tracks like “What a Shame” and Too Rich for My Blood” shine with finely wrought transients, shudder with deep-water bass extension, expressive percussion, and full bloom piano harmonics. A showcase for Barber’s crack trio of players, Barber’s distinctive voicings play unselfishly within the groove of the band. With Kevin Gray handling the 1Step mastering chores, Barber’s interpretations spring from the grooves with discrete imaging, electric immediacy, and immersive ambience. Sourcing Premonition Records’ 2011 remix, Impex employed the costly 1Step process, which bypasses the father/mother stages. Pinning down the definitive vinyl edition can be daunting, but Impex Records has met the challenge. Fueled with supersonic DNA, this 1994 audiophile chestnut has often been reissued. A lot of ink has been spilled pondering Patricia Barber’s offbeat, moody, and meandering pop/jazz classic Café Blue.
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