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by Anthony Kershaw

Let’s get my associated prejudice out of the way. I don’t like subwoofers in high end, two channel systems. The philosophy, the design, and, most of all, the sound. Rarely, have I heard them sound totally integrated, especially when trying to super size the bass of a good, two way speaker. Due to the sheer size of all bass ‘instruments’, they tend to lag behind the beat, whether in live music or in the electronic domain. As conductors, we are forever ‘moving on’ the basses.

Where my bent is straightened somewhat is with personal and computer audio. My expectation for fidelity is a little lower. In these settings, I’ve often heard smaller, high quality subwoofers add much to the overall sound especially in appropriate repertoire. Once in a while, large, two channel setups get it right. There was that one time at the Montreal Show where the Sumiko rep had the Rel down so low just for ‘atmosphere’ with Vienna Acoustic’s speakers. I liked that sound. Kind of.

Joey Roth, designer extraordinary, decided to enhance the sound of his already excellent Ceramic Speakers with a subwoofer. Typical of Roth, not only has he succeeded on an aesthetic level, he has managed to elevate his Ceramic Speakers into a true high end computer/personal solution. We awarded the Ceramic Speakers an Audiophilia Star Component Award for the unique design, value and excellent sound. Roth is the Jonny Ive of functional, unique home stereo design.

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by Anthony Kershaw

Any new Doug MacLeod release is a cause for celebration. That we have him recorded by the benchmark for audiophiles, Reference Recordings, is a double celebration.

This audiophile has very high expectations from both artist and engineer. They were matched easily. Engineer Keith Johnson has the aural skill and technical know how to capture the spirit of any artist in any acoustic. Within the confines of Skywalker Sound in California, producer Jan Mancuso and her star engineer recorded MacLeod and his drummer and bassist live with no overdubs. Yes, mistakes and all. It’s magical and the antithesis of 99% of today’s studio recordings.

All the songs are from MacLeod’s pen. They feature his unique style and hit right to the heart and soul. The songs are born of an abusive childhood and a vivid life lived. MacLeod adds performing/instrument details to all songs in the notes. Blues connoisseurs, take note. But, even if you are new to the Blues, you will enjoy and learn so much from this master. His subtle guitar work, the way he perfects the collaborative trio, the aforementioned soul. He’s lived the words of these songs and it shows.

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by Anthony Kershaw

Hyperion has been sending some gems lately, the ‘Handel: Finest Arias For Base Voice’ (Christopher Purves/ Arcangelo/ Jonathan Cohen) (Hyperion: CDA67842), chief among them. So, it came as a surprise that this new 2013 release cannot be counted as a success.

The stars seemed aligned. Principal flutist of the vastly improved Santa Cecilia Orchestra of Rome, Andrea Oliva and the darling of the Bach set, Angela Hewitt on piano. Obviously, both are fine and cultured musicians.

On this set of six Bach Flute Sonatas with continuo or obbligato harpsichord, we have a mismatch of styles. Most flutists use harpsichord as accompaniment, whether playing a wooden baroque flute or as here on a modern instrument. Oliva has the Bach specialist, Canadian Angela Hewitt on piano.

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by Anthony Kershaw

I discovered this talented Duo via its flutist on Twitter. Emily Andrews did what young people now do in place of a ‘cold call’ — she messaged me on Twitter to see if Audiophilia was interested in reviewing the duo’s debut CD. We like to promote talented youngsters in this new world of self promotion and imploding record companies.

I was under a misapprehension about the CD. For various reasons, I did not follow my mantra: ‘Must read notes before CD arrives’. Repeat! I assumed, as recent graduates of London’s prestigious Royal Academy of Music, we’d be receiving a very proper classical CD of flute/guitar with original or adapted repertoire. Wrong, and as it turns out, a very happy mistake on my part.

From the Roots is a CD of adapted folk music lovingly played and arranged by flutist Andrews and David Massey, guitarist. Improvisation and musical memory make up the framework for the arrangements. British folksongs like Early One Morning, Bold Grenadier, Molly Malone and Loch Lomond are included among others.

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by Anthony Kershaw

Some long time Audiophilia readers may think this will be a negative review because of the singer/repertoire match. Many classical singers have done the opposite and came a cropper attempting popular song (Kiri Te Kanawa and Fredericka Von Stade, among them), producing dreadful, cloying, mismatched recordings. Download Kiri singing ‘I Feel Pretty’ if you want a flawless example. Not many popular singers have attempted what Streisand did in 1973 (the CD was originally released in 1976, and this review is of the remastered 2013 release).

I remember this CD’s initial release very clearly as it caused some ructions in our household. My father was anti Barbra from way back and my identical twin was observing the second coming. I was in my ‘I’m a classical flutist and conductor only’ stage, so my snobby teenage view was even more ridiculously exaggerated.

Funny how the years change opinions. This CD is a real beauty. Beauty of sound, of heart, and of inspiration. Backed by the Columbia Symphony Orchestra and with Sinatra’s main guy, the great Claus Ogerman providing the ‘arrangements’, Streisand imbues her unique sound upon each track while maintaining a vivid personality. Unlike the other route with Kiri, et al, trying to swing, rein in the vibrato, or trying a head tone for once, Streisand can sustain a line, uses delicate vibrato, and can support and hold a phrase longer than any popular singer. Most importantly, she loves the music, and it shows.

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