Welcome to Copper #35!
Lately, I’ve been blathering a lot about aging, even right here in this space last issue. I’m afraid that Dan Schwartz‘s piece in this issue about Harry Pearson has further fueled that whole looking back/looking inward thing. Shall we call it “retro-introspection”? Sounds awkward enough and pretentious enough to be the title of a NYT bestseller.
But let’s look at the here and now—or even the hear and now. Let’s extract ossicles from assicles (!) and move forward.
Our columnists this issue cover such a wide range of topics and music, that I can’t help but smile. Typing the names of some of these artists is challenging enough—-please don’t ask me to pronounce them!
Larry Schenbeck leads off the issue with a survey of the works of 20th-century (and 21st!) minimalist composer György Kurtág (!); Dan’s previously-mentioned piece on Harry Pearson is next; Richard Murison offers some fascinating perspective on Moore’s Law; Jay Jay French continues his story about THAT CUSTOMER on Lawn Guyland; Duncan Taylor introduces us to versatile musician Seth Glier; Anne E. Johnson looks at the work of unique/unspellable/unpronounceable Icelandic artist Jófríður Ákadóttir (!!), who is mercifully also known as JFDR; Woody Woodward takes an affectionate and retro-intospective (!!!) look at Southern rock and the late Gregg Allman; Anne is back again with reviews of a number of lute recordings; and Industry News looks at changes at Bang & Olufsen. I write about what we do to save audio (no pressure there!), and continue our historical look at horn loudspeakers.
We wrap with a beautiful Parting Shot from Paul McGowan.
I hope you’ll enjoy this issue. Until next time!