March 2005

AudioEnz
New Zealand’s most read hi-fi magazine
www.audioenz.co.nz
March 2005
Web page printouts from
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AudioEnz editor: Michael Jones ph 09-478 1301
Yamaha RX-V1500
One nerd I don't mind having around!
By Jamie Gemming
March 2005 issue
Yamaha RX-V1500 AV receiver. $1999
When I was growing up, no matter what subject, there were always these study-hard geeks who sat
at the front of the class. At this stage I feel I must apologize to you if I caused you any grief when I was
young and immature. I found out that the Yamaha RX-V1500 is a bit like some of my geeky former
classmates; it's smart as hell and doesn't mind telling you when you are wrong.
Yamaha's YPAO automated set up is a wonderful thing. Just plug in the supplied microphone, set it
off and you're done. When I got this receiver home, like any normal kiwi male, the first thing I did was
place the instruction booklet safely to one side and then proceeded to connect all my speakers and
component cables from my projector into the receiver. Then I plugged in the calibration mike and
followed the simple on-screen menus for auto set-up.
After a couple of minutes it informed me that my surround-back-left was connected in the wrong
polarity. Disbelieving, I checked the connections and then re-ran the set-up assuming it was some sort
of brand new receiver glitch. Again, the machine told me that I could not tell the difference between
black and red. I swore at the machine, not for a second believing I could be wrong. At this point my
partner told me to stop having a "bloke's look".
Well, what did you know - my surround-back-left speaker was in fact plugged in wrong. While some
may argue that they can improve the sound quality by doing it manually, I thought the Yamaha auto setup was brilliantly clever, not to mention a time-saving device. One thing I would advise, other than of
course connecting things properly, is that you follow the owner's manual instructions and turn the sub
volume down. Way down!
Vital statistics
Now if you are a stats man then you would be pretty impressed with this machine. It has 7x120 Watts
with all the decoding options under the sun, including the newish Pro Logic IIx. Unlike previous
Yamaha ranges, the RX-V1500 includes THX Select certification. The receiver itself is a pretty decent
size, it is certainly taller than most receivers and at 15.5kg it's certainly heavy enough to suggest some
grunty internals.
The receiver could never be
recognized as anything other than a
Yamaha product with its big volume knob
on the right hand side flanking the amber
lit display. The front panel features a
large door which tidily hides a lot of
messy buttons and inputs which scar the
face of many receivers. Where the front is good-looking the rear panel is entirely covered with inputs
and outputs. The guts of the spec sheet reads as follows: seven A/V inputs, two A/V outputs, two
component inputs, one HDTV component output, component video up-conversion, eight digital audio
inputs, 7.1 audio inputs for DVD-Audio and SACD and pre-outs for a 2 nd and 3 rd zone.
Going both ways
Late last year I reviewed the RX-V750, the model which sits directly below this one and was thoroughly
impressed with its performance. The RX-V1500 easily surpasses its little brother, my B&W 603's have
never been driven so well. The RX-V1500 will rough you up when the director intended, such as when
the two Terminators are battling with the crane in T3. I was impressed with the detailed sounds on the
forest moon of Endor in Return of the Jedi, though Imperial Speeder Bikes and blaster fire often shatter
the tranquility. And one of my favourites, Saving Private Ryan, was more harrowing than ever.
What surprised me was how fantastic the RX-V1500 sounds with music. Like a lot of guys, my
partner has not yet unlocked the funds to have a hi-fi system separate from my theatre system, so it's
important to me that my receiver sounds great with music well as movies. When listening to music, the
"Pure Direct" mode should be employed to get the most out of the receiver. Pure Direct bypasses all of
the receiver's decoders and processors to reduce any factors that may interfere and reduce the quality
and it actually makes a real audible difference. The most memorable performance was listening to Neil
Finn and friends playing live at the St James, with the receiver delivering nice warm vocals, excellent
definition and clear separation of instruments.
All in all the RX-V1500 is a superb piece of kit. It's big, chunky and good looking. Sounds great with
movies and music and at $1999 I can't think of a better specified receiver for the money.
For your nearest Yamaha dealer
Unico P integrated amplifier
Light bulbs and semiconductors
By Brent Burmester
March 2005
Unico P integrated amplifier. $2500
You may not find it easy to get
excited about yet another sub100W integrated amplifier they're hardly a dying breed. If
you've got this far, however, rest
assured it's worth reading on, for
Unison Research's Unico P is not
your common-or-garden stereo
intergrated.
For a start, the Unico P, little brother to the much admired Unico, wasn't designed in Japan or
thrown-together in China, but conceived and constructed to a very high standard in Italy. More
intriguingly, it integrates not just pre- and power amplifier stages, but both valve and solid-state
technologies. These elements should add up to a scary price tag but, while famous for design flair,
Italians have yet to get the hang of accountancy, so the Unico P is a steal at $2500.
Beautiful skin
The physical format is familiar - a box of standard width and typical height, deep enough to fill a
support-stand's shelf. Boring black is reserved for the top, back, and sides, while the fascia is a thick
aluminum plate, sandblasted to achieve a satin finish and adorned with the manufacturer's wooden logo.
The control knobs for source-select and volume are big handfuls of sculpted dial, the latter being
remotely activated from a lovely handset of aluminium and mahogany which also controls the matching
Unico CD player. Unlike the handset which comes with the more powerful Unico, which uses a radio
frequency to talk to the amp, the P's handset is a standard infra-red implementation, but it will still exert
control from the most remote corners of your listening space.
Not just skin-deep
The nominally 50W Unico is equipped with four line-level inputs, one tape loop, dual speaker terminals,
and a phono stage. It's a mark of quality that the input selector switch is right at the back of the circuit
board, as close as possible to the RCA inputs to minimise signal-path length. The switch is driven by a
long shaft from the rear of the control knob on the fascia. The mains transformer is handmade by
Unison Research to an original design, and makes a notable contribution to the weight of the amp.
The input stage is a pure triode design, featuring a single tried-and-true 12AU7/ ECC82 valve,
whereas two are deployed in the Unico. The output stage is based on MOSFETs operating in Class A.
These are attached to big chunky heatsinks together weighing over a kilo! W ith a stated frequency
response of 2-100kHz, the Unico has no fear of new wide-bandwidth formats like SACD and DVD-A.
The internal phono board accomodates both MC (40-50dB) and MM (50-60dB) cartridges - gain
and impedance are trimmed by positioning jumper links on the board inside the amp.
The sound of hybridisation
The idea here is to marry the power of transistors with the lucidity of valves. A hybrid of this kind is
either going to sound great or absolutely dire, depending on whether the strengths or weaknesses of
these two devices are combined. The verdict in this case is 'great'. Transistor-like weight combined with
the light and grace of well-applied valves.
The Unico P knocks out the low stuff with vigor and precision, without exhibiting the obesity of
certain tranny amps currently on the market. A touch more extension would not go amiss, but if you're
not auditioning the P straight after a pair of Krell monoblocs you may never notice.
In terms of detail with freedom from grain or hardness, you'll not find another amp in this price
range that approaches the Unico P. Some fancy all-valve amps would certainly have an advantage in
these areas, but if you can afford one of them you're probably not reading this anyway.
What really surprised me were the rhythmic abilities of this amp - it immediately makes sense of
whatever a CD or record is feeding it. From the very first, the Unico P distinguishes itself as a machine
that understands music - it's a reviewer's finest cop-out, but nothing better describes the attributes of
this amp than the adjective 'musical'. Sweet, warm, accurate and insightful - the Unico is all these
things, but in short always unfailingly enjoyable to hear at its work.
No shortcomings at all? Well, apart from the slight shyness in the bass, the treble seemed ever-soslightly rolled off, and there was an occasional emphasis of nasality in male voices. Then again, if I
weren't employed to seek these flaws out, I wouldn't bother mentioning them.
Verdict
If you're considering a new integrated amp, I heartily recommend you have a listen the Unico P. Not the
perfect amplifier, but the blend of virtues on offer here makes this a serious contender for best buy of
the year. Quite a prediction given it's only the March issue.
For your nearest Unico dealer
Denon AVR-3805
A powerful and refined AV receiver
By Tony Davey
March 2005
Denon AVR-3805. $3600
There is something about the new range of AV receivers hitting the market today, they just seemed to
have stepped it up a notch in performance and are forever pushing the "bang for the buck" boundary.
Denon's latest high-mid priced offering (is that an oxymoron?) is a stunner. Feature packed, great
sounding and a great looking piece of gear to go with it.
The AVR 3805 comes equipped with 120 watts of amplification for all seven channels, the usual
array of home theatre and musical "surround sound" modes plus the 3805 incorporates Dolby Pro Logic
IIx. This is similar to DPLII, however DPLIIx offers support for full 7.1 analogue surround over the 5.1
from DPLII. The 3805 also includes video up-conversion, allowing a composite or s-video signal to be
passed via the component leads.
In addition to the thousand or so video and audio inputs is "Denon Link". This allows you to
connect Denon's universal DVD players digitally to the amp and pass a digital signal for high-resolution
audio (DVD Audio and SACD). This is a bit of a coup for Denon as both high-res camps are very nervous
about the signal being passed digitally.
Whiz-bang set-up
As is becoming the trend lately, the 3805 incorporates a microphone and a plethora of set-up whiz-bang
gadgetry to get the optimum settings for your room and your equipment. Although the set up procedure
may appear less detailed than one from Yamaha (running a single pink noise tone through each channel
rather than a variety of sounds), the result is similar and once underway there is little for the user to do
other than to sit back and relax while the 3805 auto-calibrates.
One nice inclusion with the 3805 is Denon's latest back-light remote. This is a
piece of genius, fully learning, touch panel with the ability to have various macro's
and other user programmed features all at your finger tips. Whilst it does take some
pre-reading of the manual to fully understand its intricacies, it really can be "the
ultimate control" for all your home theatre gear.
Super surrounded
Having not ever utilized more than 5.1 channels of surround, I was anxious to see
how the 3805 would sound in 7.1.
Stunning, simply stunning. The response was akin to a well tuned V6 engine.
Like the V6, the power of the 3805 can surprise you, with the ability to switch quickly
and effortlessly from mild to wild and back to mild in a heartbeat but it is never
obtrusive and not fatiguing during extended listening.
As mentioned above, this was my first 7.1 experience and adjusting to the
additional surround information took some getting used to, but I am pleased I took
the plunge. Whether it's in 5.1 or 7.1 configuration, the 3805 creates a wonderful
atmosphere to the sound field. This is easily demonstrated in the DVD The Day
After Tomorrow with excellent weather effects coming through the surround channels, enveloping the
listener into the frozen world.
Bang, crash, boom, rumble and thump. These are but some of the sounds the average (okay, not so
average) home theatre nut strives to maximize. The 3805 has power to burn when it comes to aggressive
sound tracks with excellent dynamic range.
Musically, the 3805 has what I would describe
as a familiar Denon sound for CD listening, very
well balanced. Right across the sound spectrum,
the 3805 faithfully reproduced each CD with nice
weight to the sound. Highs and mids were well
integrated with the volume knob easily being able
to be turned a few more turns than it should
without sending you running from the room. I
found I could easily switch off my sub when
listening to CD playback and not feel myself
pining for more bass.
If I had to sum up the sound in a word, it
would be refined. Not overly aggressive yet
powerful enough to cope with all the peaks and
troughs of modern soundtracks. For an AV receiver, the 3805 is extremely musical with no noticeable
musical bias.
I was originally apprehensive about letting my old AVC-A1 go, it had served me well for so many
years, but even after the first few weeks of the 3805 in the house, the A1 won't be missed.
Quad 99/11L system
The return of Quad
By Michael Wong
March 2005
Quad 99/11L system, $5700. Quad 99 CD-P $2800, 99 amplifier
$1800, 11L loudspeakers $1100.
Quad has long been a cornerstone of the British Hi-fi
industry. Founded in 1936 by Peter Walker, they started
off making public address equipment. Historical
highlights were the first commercially available full
range electrostatic loudspeaker and receipt of the
Queen's Award for Technological Achievement for the
405 amplifier - the only time the award has been given
to a hi-fi company.
Like many companies in the hi-fi field, Quad met
with difficult times in the mid 90s. Eventually Quad
came under the control of the Hong Kong based
International Audio Group, complete with new
manufacturing facilities in China.
Quad loyalists need have no fear of overseas production diluting precious traditional brand values.
The samples provided for review were of superb build quality, especially the speakers, built to a much
higher standard than any British made Quad pieces I've experienced.
Wisely, the local importers waited until the dust had settled and the revitalized Quad had proven
itself internationally before resuming its importation.
Quadrasonics
Supplied was a complete Quad system featuring:
The new 99 CD-P CD player with 24bit/192kHz upsampling D/A convertor, 6 digital
inputs and analogue output level control,
99 series stereo amplifier, a 90wpc design,
11L two-way bookshelf speakers.
The CD-P has a refreshingly simple look, no fancy stuff here, just a very legible green LED panel
displaying track and time information and four wonderfully tactile, rubberised buttons handling basic
operations. Back panel has a IEC mains socket, main power switch, two sets of RCA outputs (fixed and
variable), Quad system socketry (which allows for simplified one cable hookup between compatible Quad
components), and six digital inputs (three coaxial, three optical). A generic looking remote handset
provides full control from one's favourite armchair.
The amplifier is even simpler with only a power light adorning its fascia. IEC mains socket and
mains switch are on the back, along with a pair of Quad system sockets and speaker connection posts
stuffed with those stupid little plastic lugs to stop people using 4mm banana plugs.
The highlight of the system are the little 11L speakers. These are finished in a gorgeous piano gloss
lacquer that elicited gasps from all who saw the speakers, amazed at the high build quality and modest
price. Underneath the stunning finish is a conventional two-way monitor style speaker with dual rear
ports and bi-wire capable speaker posts.
Still the closest approach to the original sound?
The CD-P is extremely easy to use and efficient with
rapid disc loading and near instantaneous track access.
Unlike some high end CD players, the Quad is almost
entirely quirk free. It was troubled playing a couple of my
test CD's. Sometimes the player would mistrack through
a song and occasionally play would come to a complete
halt.
With this system Quad have taken to heart the
phrase that first impressions count, on first listen the 99
system is nothing less than breathtaking in the sheer
beauty of the sound that issues forth.
Music plays with a consummate ease and sweetness
that seduces and entrances the listener. It is laidback but reasonably detailed, clear, open, smooth,
tactile and coherent, with the ability to make any CD played through it musically enjoyable. Even a
fingernails-on-blackboard voice like Kasey Chambers was reproduced with warmth and smoothness that
made her eminently listenable.
The soundstage was wide and deep, missing just a bit of height, with good tonality and an
impressive amount of low down power and weightiness coming from the small speakers. A sound totally
free of the usual hi-fi artifacts.
There are no rough edges that emerge from the 99 components and escape from the 11L's drivers.
Rough edges are often the essence of some musical forms like jazz, rock and even large scale orchestral.
This weakness in making everything sound "nice" is likely to be the major determinant in a buying
decision on this system.
Individually, the CD-P and the 11L speakers were the stars, each capable of punching beyond their
weight. The (relatively) weak link, and source of the excess "niceness" was the 99 amplifier. But together
the ensemble forms a system greater than the sum of it's parts and offers very good performance straight
out of the box.
Flawed but full of charm
However flawed I found the Quad 99 system, I also found it a guilty pleasure. This is a highly refined
system that seduces and encapsulates the listener in a luxurious wash of beautiful sound. It is expensive,
at nearly $6000 before speaker cables or speaker stands (essential) but for all but the most persnickety
of listeners (or reviewers), this could be all the system you ever need.
Archive: McLaren A150B
amplifier
The "little Mac"
By Charles Thomson
March 2005 (originally appeared October 1990)
McLaren A150B. $1599 in 1990
The original McLaren A150 integrated amplifier has been on the market now for nearly four years. In
that time it has earned an enviable reputation for both performance and reliability.
When announcing a new product McLaren usually opt for a completely different model number,
which certainly avoids confusion in a prospective purchasers mind. He/she knows that the new model
will offer definite design and sound quality improvements over its predecessor.
What then should be expected of this "b" version of the A150? Minor cosmetic or circuit alterations,
or a completely new product?
Unpacking the A150B immediately showed that the styling changes were not in the minor league.
Wider, sleeker and to me, more elegant. The lack of any visible heatsinks also suggested that the
amplifiers innards must have been reworked.
Measuring 432mm wide (an increase of 13mm) means that the A150B is now the same width as
most other full size components and reduces the somewhat squat appearance of the previous model.
While a reduction in size of the gold plated cap screws on the black front panel from 1/4" to 3/16" may
seem small, it alters the visual look of the amplifier considerably for the better.
Other changes on the front panel include a two-colour LED power indicator (red while circuits are
stabilizing after switch-on, yellow when operational) and repositioning of the rotary controls.
Ergonomically this is an improvement for right-handed users, as the volume control, which is the most
used control, is now located on the right hand side of the amplifier. Other rotary knobs are provided for
balance, input and record selection. A headphone socket plus on/off switch complete the front panel.
So far my only negative reaction was that the silver colour of the headphone socket seemed out of
place when surrounded by the gold McLaren logo, gold cap screws and gold lettering.
At first glance the rear panel seems fairly standard: two switches to select cartridge loading values
of 47k ohms or 100 ohms and either moving coil or moving magnet cartridge. Eight pairs of gold plated
phono sockets provide connections for phono, CD, tuner, aux, tape 1 and 2 - both play and record. Three
pairs of binding posts allow speaker cables to be connected so that ones speakers are either switched off
when a headphone jack is inserted in the front panel or not.
A delightful feature of the rear panel is that all labeling of switches and sockets are printed both the
right way up and upside down. This means that when making connections to the amplifier while peering
over the top it is easy to identify the correct socket etc. Conversely is one is able to get behind the amp,
the second set of labeling is the right way up to be read.
Removing the top cover which is held in place
by four machine thread hex bolts that locate into
dunk nuts (no self-tappers to strip threads here),
reveals typical McLaren attention to detail. There
is one earth wire from this cover necessary
because the bolts which fasten it pass through
substantial grommet type washers which isolate
the cover both mechanically and electrically.
The internal layout is very neat, superb PC
board and quality components almost create a
picture that makes one reluctant to replace the
cover. Attention to detail is obvious with some
features surprising to find in an amplifier at its
asking price of $1599, such as separate earths for
each channel of the phono inputs. Power
transistors and their heat sink are tucked away at
the bottom of the amplifier with cooling being
effected in a novel manner. A tunnel formed in the
chassis underneath allows cool air to be drawn
over the heatsinks and the warm air to be
dissipated through a concealed gap between the
top cover and the rear panel. No mass of holes to spoil the appearance of this amplifier.
The power supply has not been neglected in the new design with the most obvious change being a
slightly bigger toroidal transformer which has a higher VA rating. To quote designer Bruce Crothers,
"From a technical point of view, everything is better - THD, slew rate and noise. All the things that you
see on the test bench have improved."
Involving and dynamic sound
Initially the A150B was connected to a pair of Tannoy E11 loudspeakers and immediately from switch-on
produced an involving, dynamic sound. This amplifier, brand new and straight from the box, proved to
require no running-in period. After approximately 30minutes of use the treble appeared to "sweeten"
ever so slightly. This was not a dramatic improvement, quite subtle in fact. The same thing happened
each time the amplifier was used from cold.
All this was a pleasant change from some amplifiers which require to be left on for several days to
start producing of their best and even then requiring an hour or so to warm up after each switch on
before serious listening can commence. Personally I would leave the A150B switched on all the time, but
for those who prefer to turn their equipment off, they would not be bothered by sound quality that is not
up to this amplifiers potential during a warm-up period.
During the first listening session I had the feeling that I had heard this amplifier before. Not that it
sounded like the original A150, but the feeling persisted. There was something about the tonal balance
that was familiar.
Going back over my notes of previous reviews and listening sessions suggested to me that1 was
listening to a McLaren 03 series sound. Direct comparison with a McLaren 603 pre and 903 monoblock
power amps showed that this was indeed the case.
Similar tight, rhythmic bass, well defined midrange, no excessive sibilance, good portrayal of solo
voices and small groups, slight blurring of detail on massed choirs, well controlled and detailed treble
etc.
The 603/903 combination certainly had advantages over the A150B particularly in areas of
soundstaging width and depth, the sense of "air" around instruments, greater sense of presence and
more effortless sound when coupled to more demanding speakers. All the things one would expect from
separate pre/power components, separate power supplies and three times the price.
Compared to the original
Compared to the original A150, the "b" proved itself able to handle a wide range of speakers. While the
quoted output is similar in both models (75 watts) the "b" seems more powerful. In fact it was much
more at home with the JBL L80T than its predecessor, which struggled to reproduce a kick-drum or go
particularly loud when coupled to this speaker.
Driving my own Magneplanar MG3 speakers was well within the capabilities of the A150B. Maybe
not as transparent and spacious as I am used to with my Audio Research, but certainly involving. The
original A150 struggled with the MG3's.
Using speakers more in keeping with its price range, such as Epos and Rogers LS4a's allowed the
"b" to perform up to its potential. It didn't matter what kind of music was being played, rock, jazz or
classical, solo performers or symphony orchestra. It was a musical experience.
Worthy of special mention is the phono input on the A150B. It would rank among the best I have
heard from an integrated amplifier. Some may argue in favour of the Naim Nait or Creek 4140, and
personal preference may lean towards the transparency and sense of rhythm these amplifiers can
display. However the McLaren is a worthy competitor in these areas and its extra power and a greater
sense of authority will make it the choice of many.
Using the A150B is a pleasure. All controls have a positive quality feel about them. Switching is
provided for just about every possible user requirement and adequate inputs allow for connection of
most likely components to be found in a home system.
Some readers may feel disappointed that lengthy details about the sound quality of various aspects
of the audio spectrum as heard on certain recordings are not reported in this review. I feel that the
A150b does just about everything right when compared to its price tag, and my advice would be to go to
ones audio dealer armed with favourite music and have a listen. If the McLaren is not for you, rest
assured that you would be paying considerably more for an amplifier that is.
Bruce Crothers discusses the A150B
What was your design aim with the A150B?
Generally you could summarise it as a general
improvement in both sonics and in technical qualities of
the amplifier. Particularly the sonic area, as we had some
complaints from customers in Europe about the sound
quality of the A150. Fairly vague and general complaints
such as "it doesn't sound any good", which doesn't tell you
a lot. But it certainly gave us a prompt. It told us that we
had to do something about the amplifier. Also, the sales
were falling away for the A150.
We sat down and thought about it and decided that we
had circuits available to do much better sonically and
technically. And that it was worthwhile implementing
them.
Is a phono stage important today in an integrated
amplifier in general, and specifically with the A150B?
I feel that its importance is reduced in general terms. On the other hand there are still people who are
quite keen to run high quality phono setups, and I still see it as being important. It definitely has been
considered in the deign of the A150B.
There was a reduction I manufacturing costs required in the phono stage, but we've made no
compromise in terms of sonics or performance. In fact we've made considerable improvements in that
area.
Most of the improvement in the phono performance has come from a very major improvement in
the line level performance of the amplifier. Everything that comes out of the phono stage of the
amplifier then has to be processed by the line stage. Any improvement there will also improve the quality
of the phono stage.
The original A150 had line inputs going directly into a high gain power amplifier stage,
which used an IC (integrated circuit) as a major part of its circuit. What has changed
with the B and why?
We moved away from the IC because we wanted to implement the 03 circuitry into the power amp stage
because the sonic performance is far superior. It's been a bit of a juggling act in terms of costs, in that
we have shifted the emphasis in cost terms from the phono stage to the power/line stage.
The philosophy of the first A150 has been kept in that it is still a high gain power stage and all of
your high level inputs run directly into that stage without a specific line stage before it. I think that it's
an exciting high level stage in that there are virtually no compromises made in its design. It's definitely a
very high quality power amp and it has the huge advantage of not having a line stage, sonically it's of
very high quality.
The power supply is very important to any amplifier. Normally there are a couple of
large power supply capacitors bolted to the chassis and wired into the circuit board.
Your design uses ten smaller capacitors directly on the board. Why did you use this
approach?
It's a follow on from the A150, where that technique was used successfully. The technical and cost
analysis that I did for the A150 still holds. Ten smaller capacitors gives you a slightly higher performance
capacitor and a somewhat reduced cost, particularly in terms of installation. Bolting down capacitors and
wiring to them is quite an expensive exercise. Being able to drop them straight into the board saves quit
a lot of money.
The major advantage of using multiple smaller capacitors is lower series resistance. That means
that there is a slight reduction in power supply noise and a slight increase in the amount of current
throughput that the power supply can handle. The overall result is an improvement in the sonics of the
amplifier.
I'd also like to mention the power supply stages for the lower voltage stages of the phono input and
power line stage. The predriver stages of the power amp and the phono stages are both on regulated
power supplies - that's pretty normal these days.
Preceding that, another regulated power supply gives you mostly noise isolation from the main
unsmoothed supply which runs the output devices. That has a very significant impact on the sonic
qualities of the amplifier.
March music reviews
Craig Chaquico: Midnight Noon
EMI
There is a definite new age feel to Craig Chaquico's album
Midnight Noon . Perhaps it has something to do with the trite
comments on the case about his music taking you to a higher state
of consciousness or the happy up-beat tracks that are adrenaline for
the soul. This CD would be easy to discard, but for one thing,
Craig's guitar playing is magnificent.
Craig Chaquico is best known as the guitarist and songwriter
for Jefferson Airplane/Starship. In the early 90s he reinvented
himself as a virtuoso guitar jazz instrumentalist and has made eight
solo albums to date. On Midnight Noon Craig tells us that it is
about "the apparent paradoxes in our lives... that may not seem to make sense but, in the end, make you
see the ordinary, in a new light." (There's that new age thing again) El Gato starts with a classical
Spanish guitar and progresses to acoustic steel string and finally a scorching electric guitar reminiscent
of Santana. It is this development that makes the track noteworthy, that he can mix three distinct styles
into a song and have them make sense. The Latin rhythms swing along in a bubbly way that is sure to
put a smile on your face. This is not high jazz; this is high quality easy listening. Richard Nelson
Chemical Brothers: Push the Button
EMI
Push the Button is a rather obvious name for techno squeaks
and knob twiddlers. The album's first chart topping track Galvanize,
complete with Middle Eastern sample, attempts to take flight. The
track features the ranting of Hip Hop artist Q-Tip and while there
are definite progressive developments, it just never really gets off
the ground. There is a feeling right from the start that these boys
are pushing the envelope.
Dance fans do not despair, track three Believe delivers the fullon dance package of hypnotic beat, thundering bass, overlaid with
electronic punctuation quickly dispelling the myth that dance music
is dead. What did my dance instructor say, "Feel the music in your pelvis, and then you'll start to move"
so Come Inside is followed by The Big Jump; makes sense to me. Hold Tight London is an atmospheric
ballad that pushes the boundaries as to what dance/house/techno should be and Jean Michel Jarre
would be proud. Other influences that rise are New Order and did I hear some Kraftwork.
Being the group's fifth album, there is a definite shift to explore new territory that might disappoint
dance fans looking for traditional heavy beats, but ultimately, there is something to push everybody's
button. Richard Nelson
The Dixie Hummingbirds: Diamond Jubilation
Rounder
Here's one for those who liked Ben Harper and Blind Boys Of
Alabama's recent album There Will Be A Light. Believe it or not The
Dixie Hummingbirds pre-date the Blind Boys by 10 years or so.
Only one current member, Ira Tucker Jnr, can claim links to the
foundation years having joined the band in 1938 as a 13 year old
baritone (!!).
Not many groups get around to celebrating a diamond jubilee
(75 years) no matter how many members they go through. This
indicates that The Dixie Hummingbirds have been doing something
right and listening to this cd confirms it. Ira can still belt out a tune
laden with emotion and as you'd expect from a gospel quintet the harmonies are tight and powerful. The
eleven tracks are a mixture of traditionals, a few covers (Dylan, Julie and Buddy Miller for example), and
some originals. The highlights for me would be Dylan's City Of Gold and the traditional I Bid You
Goodnight , both showing off what the group does best.
I'm not a church going man but for 43 minutes I get me some got ol' time religion via Diamond
Jubilation. The songs are sung with great feeling and enthusiasm and it's impossible for me not to get
caught up in the momentum. Now brothers and sisters, hear me if you will as I'm going to give you the
good word. If you want an antidote to the worries of the world, if you want something uplifting and
joyous, get thee to a store and pick up a copy of this album. Do I hear an Amen? Craig Fenemor
Alison Krauss & Union Station: Lonely Runs Both Ways
Rounder
If you haven't been caught up in the magic that is this very
special bluegrass combination of Alison Krauss and the star filled
Union Station, then this release is as good as any to take the
plunge. But there's the rub - a magic formulae it may well be but as
all the best music writing books will tell you, to repeat it once is
fine, do it again and you risk being boring.
While boring is far too harsh a word for this combination, the
sugar jar is getting a little too full and something more savoury
(adventurous) is starting to be screamed out for. Krauss' vocals
remain a wonder, Jerry Douglas is a supreme slippery dobro player
and Dan Tyminski can pick better than anyone on the planet. What's needed now is some fresh ideas,
maybe a guest or two - Bill Frisell for example?
While a compulsory purchase for so many of us, and there are tracks that will end up on a 'best-of'
one day - A Living Prayer and Goodbye , I sadly found myself yearning for much more this time. Allan
McFarlane
Ladysmith Black Mambazo: No Boundaries
Heads Up/Telarc
As the cliché goes, this CD has been on repeat since I received
it a few days ago. What a charming recording- so warm, so
enthusiastic. In a world full of cynicism these guys have hope and
an unabashed faith that they are so happy to share with us all. Yeah
brother and praise the Lord. This album will enliven the most jaded
palette.
What a wonderful idea-to combine these fine African singers
with the English Chamber Orchestra. The sound is lush and at least
for the singing gives a strong sense of presence.
There are a couple of weaknesses. The orchestra is not
recorded with the kind of clarity we have come to expect from alternative inexpensive labels such as
Naxos. Over the years I don't think the singer's English diction has improved much either.
Hey, I am just being nit picking. Listen to this album with your heart and with your feet. You will
soon find yourself smiling and your feet tapping. If music was like this when I went to church-maybe I
would still be there? Warmly recommended. John Groom
David Russell: Spanish Legends
Telarc
There are times when I tire of digitally recorded music and
need a tonic to remind me of why we pursue this hobby. This
recording is just the ticket. David Russell has a beautifully subtle
and slightly understated touch but still projects well, which is so
important with Spanish music. Billboard described Russell as
'coaxes a magnificent range of colours from his instrument' and the
album as 'charming' and 'definitely a keeper'. I agree heartily with
all of those sentiments. We are talking a world master here who is a
Fellow of the Royal Academy of Music and who has recorded
extensively for Telarc. While ever David Russell still plays it is as
though the great Segovia is still with us. The pieces chosen are varied enough to warrant our undivided
attention and most are less than three minutes in length. This is not just background music for dinner
parties. As you would expect of Telarc this is a beautifully clean and 'present' recording that will impress
your most discerning audiophile friends. John Groom
Ali Farka Toure: Red&Green
World Circuit/Elite
Mali guitarist and singer Ali Farka Toure regards himself as a
farmer first and a musician second. His informal recording sessions
are frequently interrupted to enable him to tend to his cattle or to
irrigate his parched farmlands. These albums, recorded in 1979 and
1988 respectively, have been unavailable for more than a decade;
now, thanks to remastering from the original tapes, they can take
their place in his back catalogue alongside Radio Mali, Niafunke
and, perhaps best known of all, Talking Timbuktu, his Grammy
Award-winning collaboration with Ry Cooder.
Red comprises eight tracks, performed in several Malian
tongues, with just Ali on guitar and vocals with Hammer Sankare on calabash. Heard superficially, the
repeated motifs and drone - reminiscent of John Lee Hooker - and modal scale used, may make them
"all sound the same" and perhaps even monotonous. But a repeat listen reveals that there's more
diversity and colour here than is first apparent. Just as his homeland is seemingly an unchanging desert
until you look closer.
Hammer joins Ali for the first half of Green , thereafter Boubacar Farana is added to the line-up on
the ngoni, a traditional four-string guitar, broadening the palette.
These are stark, primitive recordings - not "easy listening". Several have been re-recorded on
subsequent albums: here we have the unadorned originals.
In 2003 a film crew and blues musician Corey Harris visited Ali on his farm in order for him to
appear in the first episode of the seven-part Martin Scorsese Presents The Blues in which the trajectory
of the blues is traced from the banks of the Niger to the Mississippi Delta. That the blues originated in
north Africa is demonstrated in this TV series as well as these recordings of which fROOTS editor Ian
Anderson has commented: "Two iconic albums that changed many lives, combined in an exemplary
reissue". The journalists at fROOTS voted this set as the best roots reissue of 2004. Fred Muller
Tomasz Stanko Quartet: Suspended Night
ECM
Once again I'm reminded that some of the freshest jazz around
is coming from Europe, in this case Poland. This same quartet
released the well-received album Soul Of Things in 2001. Having
enjoyed that, I was interested in seeing what would be different this
time round and in a word that difference is confidence. It's a delight
to see how the three youngsters, all still in their 20's, have grown
and matured under the guidance of the master in the past three
years. On the first album Stanko was the man, the one who really
held you attention. If he wasn't in the mix you were waiting for him
to return. But here all four members are playing with equal
confidence and great understanding.
Marcin Wasilewski on piano shares the main focus with ease, producing wonderful melodic and
harmonic touches. Listening to Slawomir Kurkiewicz's constantly changing bass figures on the 5 th
variation (like Soul Of Things this album features 10 variations around a central theme plus one other
track) is a joy, as is his work on the rest of the album. Michal Miskiewicz on drums glues them together,
adding subtle colour here, running more standard cymbal figures there, or adding dynamic punch right
where it's needed. Then there's Tomasz Stanko. The dark, frail tone that I commented on in an earlier
review of From The Green Hill is still there, but just underneath the surface I sense a mellowness in his
playing that I haven't heard before. Certainly there's still moments where he cuts the air in his distinctive
way, but other times (the 6 th variation for instance) there's an almost reflective warmth coming
through.
If you're a jazz fan and you haven't heard Tomasz Stanko then this is a great place to start. There's a
sense of swing happening through a lot of the album that is unusual for Stanko but which makes
Suspended Variation more instantly accessible than some of his earlier work. If you're already a fan
then this will show yet another facet of one of modern jazz's diamonds. Simply put, this is an excellent
album. Craig Fenemor
U2: How to Dismantle an Atomic Bomb
Island Records
U2 have been saving the world for a long time now and what
better way to save the world than to dismantle an atomic bomb.
The album's pretentious name has political overtones. The song,
Love and Peace or Else , has a clear message, "Lay down your guns
all daughters of Zion, all Abraham sons." Thankfully we are spared
further insights into the world's problems.
The first track on the album is the racy single Vertigo. The
most up-beat track on the album and, I thought, a promise of better
things to come. But the next two songs are schmaltzy ballads that
fail to excite. The City of Blinding Lights is a return to the city
where the streets have no name, but it doesn't really fire. The occasional song rocks, like All Because of
You , but I've heard it all before. U2 have tried new directions with the interesting Zooropa and the
questionable Pop , but for whatever reason they have decided to court their loyal fans by returning to the
"classic" formula. What we end up with is a facsimile of earlier U2.
The problem with dismantling bombs is that they can blow up in your face... BANG. Richard
Nelson
Mozart: Piano Concertos 9 & 18
EMI Classics
Leif Ove Andsnes (piano); Norwegian Chamber Orchestra
With so much dross being dredged up and 'discovered' by
classical labels, it is important that some one can still recognise
major talent and record them in repertoire that requires that level
of talent to make it's mark in a very crowded and competitive
catalogue. This is one such release.
The career of Norwegian pianist Leif Ove Andsnes has attracted
considerable interest and excitement since his international debut
in the early 1990s. He is now firmly established as one of the most
compelling artists on the international concert circuit. The release
of the Grieg and Schumann Piano Concerti with the Berlin
Philharmonic and Mariss Jansons created an immense buzz in 2004, culminating in the Gramophone
Magazine Concerto Award.
Of Mozart's early piano concertos Number 9 has long been a stand out, receiving constant
performance and numerous highly praised recordings. Number 18 enjoys an even greater popularity.
Here both concertos receive highly detailed and well-thought and rehearsed performances. The
orchestra and the voicing of the modern piano show a clear understanding of period style and while
some will find the decision to emphasise every dynamic nuance a degree unsettling, there can be no
dispute with the impeccably prepared performances themselves. Captured in a vibrant and ideally
balanced recording this is a definite 'classic-to-be'. Hear it now, and treat yourself to decades of
enjoyment. Allan McFarlane