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AUDIO MART ADVERTISE IN STEREOPHILE • IT’S EASY! We can design your ad. • IT’S EFFECTIVE! You will reach enthusiasts who actively look to our magazine for product purchase decisions. LINE RATES $35.00 per line. There are approximately 45 characters in a line (including letters, spaces, and punctuation). 5 line minimum. DISPLAY RATES call (505) 474-4156 PAYMENT All classified ads must be prepaid with order by check or credit card: MasterCard, Visa, or American Express FAX or E-MAIL AD TO (505) 473-1641 Helene.Stoner@primedia.com or hmstoner@msn.com DEADLINE Ads are due on the first working day of the month, two months in advance of the issue in which your ad will appear. For example, if you want your ad to run in the July 2007 issue, you must submit it by May 1, 2007. No refunds. NORTHEAST OHIO — Airtight, Ambience, Arcam, Accuphase, Analysis Plus, Audio Research, Basis, Dali, DCS, DeVore Fidelity, EMT, Exposure, Dynavector, Quicksilver, Leben, Living Voice, Lyra, Nagra, Nirvana, Nottingham, Nordost, Rega, Silversmith, Shelter, Shindo Labs, Sumiko, Verity, Wavelength. Don Better Audio. (216) 375-1393, www.Donbetteraudio.com. FLORIDA!— In the Tampa Bay Area, the choice is St. Cecilia Sound Gallery for the very finest in audio and home theater — affordable excellence to stateof-the-art. Specializing in tube and analog gear, we are friendly, knowledgeable and helpful. Come in or call for a uniquely satisfying purchasing experience. (727) 726-7575, www.scsoundgallery.com. AUDIOCLASSICS.COM Buys-Sells-Trades- Repairs New, Pre-owned & Vintage McIntosh, B&W, Marantz, Klipsch, Conrad-Johnson & other US made Stereo Equipment, 3501 Old Vestal Road, Vestal, NY, (800) 321-2834. SALT LAKE CITY AREA—Anthem, Arcam, Audioquest, Audio Research, B&K, Clearaudio, Dali, Esoteric, McCormack, Plinius, Rega, Theta, Totem, Vandersteen, Wilson Benesch, and more! (801) 272-1690, www.arisaudio.com. LISTEN-UP! For Audio Cables, Headphone Amps, Accessories, and even parts for Vintage McIntosh, PreludeAudio.com is the place. Check out our website and find what value is all about! EXCLUSIVE West Coast Shindo Laboratory Dealer. Pitch Perfect Audio also represents 47 Labs, Auditorium 23, DeVore Fidelity, EMT, Euphya, Leben HiFi, LignoLab, Living Voice, Miyabi and more. (415) 244-9310, www.pitchperfectaudio.com. CHICAGO’S FINEST MUSIC SYSTEMS Sound Lab, Atma-Sphere, Parasound Halo, Acapella, Einstein, Kuzma, Lector, Isoclean, Shelter, Harmonix, Reimyo, TG Audio, Creative Cable Concepts and more in a relaxed home environment. www.essentialaudio.com, (847) 382-8433, (877) 846-8805 toll free. For information about advertising in Stereophile Classified, please contact Helene Stoner at: (505) 474-4156 Fax (505) 473-1641 e-mail: Helene.Stoner@primedia.com The deadline for the July 2007 issue is May 1, 2007. On Sale: June 19, 2007 Stereophile Editor’s Choice: Sampler & Test CD You’ve got a Class A audio system — here are some Class A recordings to show it off at its best Retail Price: $9.97 ° Stereophile’s John Atkinson selects the best of his recordings from the past 10 years – from solo violin to jazz. ° 23 tracks of Stereophile’s audiophile-approved recordings, every one recorded, edited, and mixed by the editor of Stereophile: – 2 system diagnostic tracks – 14 music tracks – 7 test signal tracks ° Allows you to set up your system and speakers without test gear ° Hear recorded music as it was meant to sound, with natural dynamics and hi-rez sound quality Order online at www.stereophile.com www.Stereophile.com, May 2007 137
Branford Marsalis understands why the nation has made rebuilding New Orleans a second or even third priority. “I kind of understand it on one hand. Not only the administration, but all the people in Congress who signed off on this war, this is the legacy that will define them, regardless of what happens in New Orleans. They realize that, ultimately, when the history books are written, there might be a book on how Congress and the administration let down the Gulf Coast—maybe one. There’ll be 25 books on Iraq and the ramifications of all the disastrous foreign-policy mistakes. Before [Bush] leaves, I think he has a vested interest in righting the ship, which is why all of a sudden there is detente with North Korea, talking to Iran, adult-type things that didn’t happen in the first six years. And New Orleans is just not a priority in the face of that, which is a disaster of his own making.” But this New Orleans native knows his hometown well enough to know that it’s not just Bush and Congress that are to blame for the fact that the city continues to teeter on the edge of social and economic collapse. “It’s a pile of things, man, that makes New Orleans special. One of them is that when you go there, you are literally thrown back in time. People love that, but there’s also a mentality that goes with that. In order for things to be a throwback in time, people have to be in the stone age—they have to be—otherwise it’s not. “New Orleans doesn’t give a shit about itself. We call it ‘the city that care forgot.’ That’s what we call it. I mean we don’t care. The rampant amounts of corruption that occurred…New Orleans has corruption that is, in a lot of respects, with the exception of maybe the murder of politicians, right up there with Tammany Hall. And the United States and, ultimately, New Yorkers were tired of that shit, and they ran Boss Tweed out of town. “There were people, in NOLA, who thought corruption was endearing, and now they see the stepchild of all of that stuff, and now it’s not so funny. Now the catastrophe has kind of opened the curtain to all the unsavory stuff that goes on in the city. But that doesn’t mean that all of the people who have considerably benefited from the high levels of corruption are just AURAL ROBERT Robert Baird A Change is Gonna Come? going to lie down.” Marsalis is doing his part to rebuild NOLA, first as a spokesman and fundraiser (along with Harry Connick, Jr.) for homebuilders, Habitat for Humanity, and the Musicians Village Project, which is building housing for musicians made homeless by Hurricane Katrina. His label, Marsalis Music, has just released new records by two veteran New Orleans players who’ve remained in the city, clarinetist Alvin Batiste and drummer Bob French. The first record, Marsalis Music Honors Alvin Batiste, Batiste’s first record in a decade, is solidly modern jazz—a postbop album from one of the few NOLA musicians to have ever made a living playing something other than Preservation Hall-styled New Orleans trad music, its low-brow, mostly white offspring, Dixieland, or, worst of all, the pop/jazz garbage you hear today booming out of the bars on Bourbon Street. A composer as well as player, Batiste jammed with Ornette Coleman in L.A. in the 1950s, and played gigs with Guitar Slim back in New Orleans. The band on MMH Alvin Batiste is a mix of younger, lesser-known Louisiana players, such as pianist Lawrence Field, bassist Ricardo Rodriguez, and two former students of Batiste, who’s taught music at Southern University since 1969: drummer Herlin Riley, and Marsalis himself on soprano saxophone. “Bat chased me out of Louisiana and sent me to Boston because he realized very early on that I didn’t need much encouragement to become not serious,” Marsalis says in a tired croak. He’s in Amsterdam, nearing the end of a string of European one-nighters. “At a school like Southern University, if you can play Grover Washington’s solo on ‘Mr. Magic,’ you’re like a star. That was never very difficult for me to do that. So I eschewed the more difficult tasks assigned to me because the honeys liked Grover. “Bat said, ‘Man, you gotta go.’ He called my father [Ellis Marsalis] and said, ‘If I see him here next year, I’m flunking him.’ Staying there would have been a dead end for me. He was right.” Also selftitled, Marsalis Music Honors Bob French is an easygoing runthrough of New Orleans trad music, and includes such stone Crescent City classics as “Basin Street Blues,” “Way Down Yonder in New Orleans,” “When It’s Sleepy Time Down South,” and “Do You Know What It Means to Miss New Orleans.” The track list’s Pops slant is deliberate: French’s great-uncle Maurice played trombone in Armstrong’s band. French’s own band is another mix of younger NOLA players— trumpeter Leon “Kid Chocolate” Brown and Troy “Trombone Shorty” Andrews— and veterans like Branford and fellow New Orleanian Connick, Jr. French began his career in a high school band that included piano great James Booker, Art and Charles Neville of the Neville Brothers, and Alvin Batiste. Ellis Marsalis played traditional music in French’s band for years when Branford and his brother Wynton were kids. One night, the Marsalis brothers were invited onstage. “Yeah, but I sucked; I was just playing to play. When you’re eight or nine years old, you get a free pass. And then, by the time you’re 15, all the New Orleans guys are like, ‘Don’t come on this stage bullshittin’.” Both albums feature a careful approach to sound that Branford, who by now is anxious to wrap up and crawl into bed for a pre-show nap, rallies to explain. “One thing that we do that separates us from other jazz labels is that we focus our money on making the records completely representative of how musicians actually sound at a given point in time. If you listen to a lot of acoustic records, they tend to be very thin, they use a lot of compression, and the musicians record in very small rooms—which works in electric music, but it’s death in acoustic music. We spare no expense to make the sound quality great.” ■■ 138 www.Stereophile.com, May 2007
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