LATEST ADDITIONS

I have seen few turntables, no <I>any</I> mechanical devices more likely to induce flat-out gadget lust than the $150,000 Transrotor Artus. It has a magnetically coupled drive assembly, which means no points of contact between motor and platter. It's machined from solid billets of high-grade aluminum, finished to an impeccable sheen. Its deck is gimbal-mounted to freakishly huge counterweights for absolute level and stability (think gyroscope here). Its power supply uses something called "Konstant M3," which I gather is pretty special, but my limited German and the Transrotor rep's far less limited English prevented me from determining in what way.

I don’t know what Paul Motian’s doing, I don’t understand how he’s doing it, all I know is that it’s wonderful. I’ve just returned from seeing the Motian 3 at the Village Vanguard, a high-powered trio that consists of Motian, Jason Moran, and Chris Potter (and no bassist to hold the anchor). Moran, just shy of 33, is, as I’ve written many times, the most extraordinary jazz pianist around. Potter, 37, as I’ve noted a couple times, is a tenor saxophonist with a galvanic tone and fleet agility. But Motian, at 76 (older than both of his trio mates combined, playing topnotch jazz since his days with the Bill Evans trio a half-century ago, and more combustive now than ever), is the heart-racer.

Dudes! We're in Las Vegas. This town is bananas, all sex and smoke and blurry light, gambling and booze and deep fried foods.

Imani Coppola's <i>The Black & White Album</i> was playing strong in the Music Hall suite. Imani sings:

Bellari's pretty little boxes remind me of my guitar effects pedals. And maybe that's why I find them so attractive.

The Shanling STP-10, with the lights on. This hefty little toy is built like a tank, and made to make your iPod smile.

It was midday at the Venetian and show traffic was intense when I squeezed into the Hansen Audio suite. Despite noise from the outer hall and chatter in the back of the room, the several listeners seemed swept away by Natalie Merchant's voice. Her warm wishes were followed by Aaron Neville's "Goodnight," a blanket of voices with impressive clarity seeming to wrap around the entire room.