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.
Our friend B. Jan Montana tells us what he saw and heard at the LA Audio Show, and Jim Smith looks at the most important component in your audio system—and no, it’s not your wallet!
We wrap with a beautiful Parting Shot from Paul McGowan.
I hope you’ll enjoy this issue. Until next time!