IN A 2014 PROFILE IN THE NEW YORKER, PAUL ELIE, AUTHOR OF THE BOOK REINVENTING BACH, WROTE, “THERE IT WAS AGAIN: THE STINGING TREBLE, THE SPOOKY OVERTONES, THE STRINGS SNAPPING AND BOOMING UNDER HIS HANDS—THE SOUND OF A TELE BEING PLAYED AS SKILLFULLY AND EXUBERANTLY AS IT CAN BE PLAYED.”
The musician in question was Jim Campilongo, lead guitarist for the Little Willies—the alt-country band that features Norah Jones on piano and vocals—and a player’s player whose trio has enjoyed residencies at New York’s The Knitting Factory, The Living Room, and Rockwood Music Hall. Indeed, on his 2018 album Live at the Rockwood Music Hall NYC, Campilongo can be heard bending, swinging, shaking, and caressing the strings of his 1959 Fender Telecaster to produce his distinctively rootsy, atmospheric style.
A native of San Francisco, Campilongo picked up the guitar when he was 9 and set about honing his craft, working mostly on the West Coast. (Not long after the release of his first album, Campilongo performed solo at Stereophile’s Hi-Fi ’97 show, at San Francisco’s St, Francis Hotel, sponsored by loudspeaker manufacturer NHT.) In 2001, he booked a tour that happened to kick off in New York City: “I played the Knitting Factory on September 10th, 2001. The next day was September 11. All the shows were canceled. I was stranded. I just wanted to get the hell outta here. I was probably one of the first people in America to fly after that. I went back to San Francisco and, as soon as my feet hit the ground, I knew it. I wanted to go back to New York. Six months later, I brought my Princeton amp and ’59 Telecaster, a suitcase, a laptop, and started from scratch.”
هذه القصة مأخوذة من طبعة May 2020 من Stereophile.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة May 2020 من Stereophile.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
German kitchens, Japanese amps, and Afropop gems
BRILLIANT CORNERS - I have a day job at a museum. One of my favorite things about working there is taking the elevator from my office down to one of the floors open to the public; I walk into the galleries through a discreet panel in the wall. This makes me feel like I'm in one of those horror-movie manors with a tunnel concealed behind a bookshelf. Sometimes I startle people, which I kind of enjoy.
EDITOR'S PICK - RECORDING OF THE MONTH
The record business was awash in money and power. Vinyl LPs were still five bucks, and while the pressings could be suspect, the music-buying public still snapped them up en masse.
The Butthole Surfers wipe out
REVINYLIZATION - Music's lunatic fringe drifts further out every hour. As it should. In this century, with computers playing an ever-larger role, music continues to fragment and become infinitely more varied. This splintering is either the essence of what keeps it relevant as an art form or something profoundly disturbing, to be hated and feared.
You're only lonely
AURAL ROBERT - The least surprising story in music today is the inevitable passing of irreplaceable talent. Tenor saxophonist Benny Golson died at age 95 the day I finished this salute to another fallen star, Southern California singer/songwriter John David \"JD\" Souther.
PS Audio Aspen FR5 - LOUDSPEAKER
I remember the first PS Audio product: a simple phono stage. It was so simple - a passive RIAA eq filter flanked by a pair of primitive op-amps - that when the schematic was made public, I built one myself; I was in the midst of my DIY years. I thought it was, to use a word from that time, nifty.
TEAC UD-701N - STREAMING PREAMP, D/A CONVERTER
In Gramophone Dreams #88, I described the sound of TEAC's VRDS-701T CD transport as \"dense and precise in a way I had never previously heard from digital.\" I went on to explain, \"by dense, I mean there was a tangible corporeality effected by seemingly infinite quantities of small, tightly packed molecules of musical information.\"
Sonus faber Sonetto V G2 - LOUDSPEAKER
Here's a hard truth: A written review of a full-sized speaker any speaker, really-is, at best, semi-useful. We all listen differently, we have different musical tastes, our system electronics are different, and our listening rooms vary a lot. You will gain a general picture of a speaker's capabilities and foibles from John Atkinson's measurements, and I can tell you how the speakers sound to me, in my room. But that's it. You need to hear them for yourself before making a buying decision. The best I can do is tell you how my music brain felt when the speakers were in my house and making music.
STEREOPHILE'S 33RD ANNUAL - PRODUCT OF THE YEAR AWARD 2024
When Stereophile's Product of the Year Awards were first published, in 1992, we decided that unlike some other publications and their awards schemes, we would keep the number of categories to a minimum. That way, we would avoid what the late Art Dudley once described as the \"every child in the class gets a prize\" syndrome.
Moon 861 - POWER AMPLIFIER
It is unusual to begin a review with a detailed discussion of setup. But setup protocol for the Moon 861 power amplifier ($22,000 each), the top-level amplifier in the North Collection from Moon, which I reviewed bridged in mono, proved crucial to its sound.
Mobile Fidelity, PrimaLuna, and First Watt redux
GRAMOPHONE DREAMS - It's important for readers to remember that I've spent my adult life as an artist and mechanic. Making things. Working as a tradesperson during the day then at an easel or workbench at night.
