Margaret Graham

Stravinsky: Petrouchka, Circus Polka
Los Angeles Philharmonic, Zubin Mehta, cond.
London CS 6554 (LP/tape).

This is all the proof one could want that London's big, fat sound is more the result of their recording philosophy than of the halls they record in. One of the first London recordings ever made in the US, this has the now-familiar London sound all down the line: The big, fat low end, the richness, the superb balance, and the razor-sharp detail without zizz or zip. As usual, the result is not terribly real, but it certainly is exciting as well as being musically satisfying.

Jim Hall: Jim Hall Live!
Jim Hall, guitar, Don Thompson, double bass, Terry Clarke, drums.
Horizon Records: A&M SP-705 (LP), reissued on CD as Horizon SP-705. John Snyder, prod., Don Thompson, eng. TT: 41:29.

These performances were taped by the double-bass player, Don Thompson, during a week's stand in June 1975 at Bourbon Street, Toronto, Canada. They are very closely miked, yet audience noises are audible although they seem to enhance rather than detract from the music. The balances are fascinating.

Bill Berry and His Ellington All-Stars: For Duke
Works by Duke Ellington
Bill Berry, cornet; Ray Brown, bass; Frankie Capp, drums; Scott Hamilton, tenor sax; Nat Pierce, piano; Marshal Royal, alto sax; Britt Woodman, trombone.
M&K Real-Time RT-101 (direct-to-disc LP).

This is to-date the best direct-to-disc recording I have heard. For once I can't complain about the high end being shrill or hard. The balances are excellent and the performances superior, with each member of the group getting his chance to show off. Marshal Royal's saxophone solos must be heard to be believed, Everyone present is obviously having a good time making music, which is the way it always ought to be but often isn't.

Tchaikovsky: 1812 Overture (Op.49), Capriccio Italien (Op.45 ), "Cossack Dance" from Mazeppa (LP), plus Marche slav, Op.31, Polonaise and Waltz from Eugene Onegin , Op.24, Festival Coronation March (CD).
Cincinnati Pops Orchestra, Kiev Symphony Chorus; Children's Choir of Greater Cincinnati, Erich Kunzel cond.
Telarc Digital DG-10041 (LP, CD-80041 (CD). 1979 (LP), 1984 (CD). Edited at Soundstream, Inc. Robert Woods, prod.; Jack Renner, eng. DAA (LP), DDD (CD). TT: 35:19 (LP), 60:23 (CD).

I must say I'm getting a bit bored with the 1812 Overture, but as long as there are audiophiles, it will be recorded due to the stringent demands it can make upon one's playback system. This version produced by Telarc is going to be hard to beat. The cannon fire is unbelievable.

Lincoln Hayorga and Amanda McBroom: Growing Up In Hollywood Town
Lincoln Hayorga and Amanda McBroom
Sheffield LAB-13 (LP).

This is a gorgeous recording. And would you believe, it's multi-miked? Sheffield's first since 1975, according to the notes. Ms. McBroom has that purity of intonation that once distinguished Julie Andrews' voice. This, plus a predominantly-string backup orchestra delivers a rich, warm sound. Each of the songs here is a gem in its own right, and the collaboration of McBroom and Mayorga creates moments here that are magical. My favorite is the song entitled "Amanda," with its frontier flavor and unadorned lyrics, followed by Mayorga's'waltz, "Wistful Lady."

Paul Winter: Callings
The Paul Winter Consort: Paul Winter, soprano sax, E-flat contrabass sarrusophone, conch shell; Nancy Rumbel, oboe, English horn, C contrabass sarrusophone, double ocarina; Eugene Friesen, cello; Jim Scott, classical and 12-string guitars; Ted Moore, timpani, surdos, berimbau, caixixi, pao de chuva, ganza, gongs, cymbals, triangles, handbells, whistles; Paul Halley, pipe organ, harpsichord, piano.
Recorded with the 3M Digital System in the Cathedral of St. John the Divine, New York City. Paul Winter, prod., Dixon Van Winkle, Chris Brown, engs. Additional recording by Richard Blakin and Mickey Houlihan. CD mastered by Clete Baker.
Living Music Records LMR-1 (LP). DAA. Living Music Records LD0001 (10488 00012-6) (CD). DAD. TT: 49:42.

It is hard for me to be objective about a record such as this. My very being responds to it, not only to the music but to the ideas and feelings behind it. Fortunately for me, this happens to be an excellent recording, with some extraordinary low end on it, so I need not compromise either my critical faculties or my sentiments.

Prokofiev: Piano Sonata No.6 Op.82
James Boyk, piano
Performance Recordings PR-3 (LP). James Boyk, prod., Michael Fraser, eng., Doug Sax, mastering eng.

James Boyk has become something of a phenomenon. Not only is he a Professor of Music (at Cal Tech) who teaches how to listen to reproduced sound and writes articles about sound reproduction (for New West magazine), he is also a virtuosic pianist who produces perfectionist-caliber recordings of his own recitals. This recording, Mr. Boyk's third LP (footnote 1), is of one of Prokofiev's later works, and is a magnificent piano recording. Much credit must be given to both Mr. Boyk and his recording engineer, Michael Fraser. The instrument seems to be right in front of one, with as accurate a sound as any piano reproduction I have heard. It is interesting to note that the recording was made with ribbon mikes (the legendary Coles 4038s, perhaps?) and all-tube electronics "from mike to grooves."