Book I Got Thunder Nina Simone

NY Diary (19-10): I Got Thunder, Nina Simone

While researching an article, I came across this 2007 book and got it from the library. Author LaShonda Barnett teaches at Sarah Lawrence College, but she is better known as a Black Music expert, who once even had her own jazz show on WBAI. Her c.v. is impressive.

As the title says, the book has 20 interviews with black women songwriters, with one exception (Dionne Warwick, who never wrote any). I know Abbey Lincoln, Angelique Kidjo, Chaka Khan, Dianne Reeves, Dionne Warwick, Joan Armatrading, Miriam Makeba and Nina Simone but not the rest.

Most of the interviews are quite inspiring. Several themes are recurrent. One is hard work and preparation. Another is resentment towards being pigeonholed: Nina Simone hated being called a jazz artist (as did Ellington); Dionne Warwick hated being classified as adult contemporary music. And then, all the artists were asked how they feel about hip-hop; while they offer limited support, all of them hated the dirty and insulting lyrics.

If you are into black female vocalists, you will like this book.

Nina Simone
Of course, I was most interested in Nina Simone. In the book, she mentioned that she is known everywhere, and that her song To be Young, Gifted and Black has been translated and performed in Chinese! Now, if anyone knows more about that, please let me know! Now, in HK, audiophiles think of her as a jazz singer, something she would not be happy about.

Like many black artists who could not stomach the racism in America, she chose to live abroad, finally settling in France, which was where she died. Many people do not know Nina Simone was a piano prodigy in classical music who wanted to be a classical pianist but was denied entrance into Curtis, for which she remained resentful all her live. Most regard that as racist on the part of Curtis, but there is also evidence to the contrary (here). Nina Simone is known to mix some classical bits into her concerts.

While I was writing, I played my ragged copy of her Nina Simone at Town Hall (Colpix). The concert opened with Black is The Color of My True Love's Hair, and the song opened with a Bach theme (see youtube below). Even more amazing was the lengthier bit of Bach in the middle of the song Love Me or Leave Me embedded by Norman Lebrecht in one of his posts on Simone (here).

The entire Montreux 1976 concert is on youtube. This one moves me to tears.

Audiophile LPs and the Dollar Bin

pic. Worth anything to you? Johnny Hodges needs no introduction. The incomparable Hollywood String Quartet and Edwin Fischer are also in mono. Stoika Milanova is an underated Bulgarian virtuoso and pedagogue and this is a beautiful disc.

NY Diary (19-9): Wanderlust
Talk Vinyl: Audiophile LPs and The Dollar Bin, Triumph and Disappointment

Here we are not talking about the audiophile's well known lust for gears - we are talking about the lust for desirable software. But then, what exactly is desirable? Most of this article shall be on vinyl, but the psychology can be equally applied to digital physical media (CD/SACD, etc).

Audiophile Certified
HP's Super LP List Harry Pearson was the first to compile a so-called super list. This is highly unfortunate, as it became Bible and almost every audiophile (particularly in the East) is looking for the same thing. The worst aspect of this is that in not a few the music-making itself is not particularly inspiring. Examples: 1) Beethoven/Enescu (Wilson), this LP commands a hefty sum, but the music is better done by numerous others. I don't even find the recording particularly outstanding but I have been made to hear it many times in HK; 2) HiFi a la Espanola (Mercury) - downright dull musically! 3) Sheffield Records direct-to-disc - unexceptional musically and even sonically; 4) La Fille Mal Gardee (Decca), not even close to top flight ballet music. Not too Serious, please! Perusal of the list show the selection is lopsided - mostly for the sonic aspects, not for more. In classical, they are mostly from the romantic and post-romantic era, i.e. employing large orchestras. Theatrical music (the Chabrier mentioned below is a good example) greatly outnumber "simpler" or grimmer stuff. Unthinkably, much music of the greatest beauty, Bach and Mozart in particular, are conspicuous for their absence, surely because the music is more sparsely scored. Mahler 1 and 3 made the list, but his more churning stuff (like 5, 6, 9) did not. For someone like me, nothing elevates me more than Bruckner, and he is absent, undoubtedly because his music requires patience and a spiritual bend to get through, yet no music, not even Mahler and Shostakovich, better showcase orchestral opulence, indeed transcendence (think No. 8).

Wilkinson Quite a few of the Decca LPs on the list were recorded by Kenneth Wilkinson, but this great engineer recorded so many others of equally good sound (including those for Reader's Digest) that singling a few out is absurd. As an example, Ansermet (of whom I am a fan) recorded a ton of ballet music, all more complete and sonically resplendent, so why pay an arm and a leg for the Ansermet/Royal Ballet (RCA), an album of short excerpts? Ansermet's Chabrier LP sells for good money in Taiwan because it is on a list there, but I just recently found one in a dollar bin here. Rudy Van Gelder ditto for him, singling any album out for best sound is just pure hype. Most of them, and that means most of the classic jazz catalogue, are excellent.

HP's Offsprings Judging by the price of LPs, the influence of HP's list is vast, but it stopped there. TAS has for a long time added items to the list, but most of the post-HP additions did not perform well (testament to the lackluster personalities of the current staff, be it JV or RH). HP's list spawned many others, including Stereophile's "Records to Die For", which is just as unsuccessful (though that magazine's music section is always more interesting). Chinese Descendants The Chinese hi-end was, and is, a lot more successful in creating their own lists (which include Chinese albums). How could it not be, given its huge base of musical novices, whether in HK, Taiwan or PRC, non-fluent in English ! Many recordings skyrocketed in value because of this (like the Rossini mentioned below). Given the Chinese penchant for smaller scaled music, these lists include a lot more smaller scaled music. And "sparser" music, like Dire Straits.

Home Visits When you make home visits, audiophiles want to show you their "best", so in HK I was frequently "treated to" things like the aforementioned "Royal Ballet", or things like Rossini's "Sonata a Quattro" (Accardo et al, Philips, oop, very expensive). I have even met audiophiles who know little about music but have everything on HP's list, that is how influential it is. This is understandable, as they also want to play you something that you have heard - this way we audiophiles listen again and again to unworthy things (like Gary Karr, what a bore!) I don't do this to my visitors. Yes, I have played that Prokofiev Scythian Suite, but that is before I knew it is on the list and mine is a Philips Import, not original Mercury. Yes, that is great stuff, but I have never encountered another audiophile who played some Prokofiev, except Andy.

The Dollar Bin
No matter where I go, I always go through the dollar bins. Unfortunately, there are less dollar bins (many start at 2-3 dollars) these days and the pickings are much slimmer compared to many years ago. In the past I'd look at the regularly priced stuff too, but these days I have gotten cheaper - almost exclusively dollar bins. The reason is, I already have too many LPs and there is nothing I must have.

Superdiscs Mind you, I have a few of the albums that are on HP's List, and some of those were acquired long before I knew of the list (like the Prokofiev/Maazel). And I also own some in the form of later re-issues. London and Living Stereo I have long been a fan of London (Decca) recordings, both for the sound and the artists (like Ansermet). I have a lot more budget STS than London's simply because they are cheaper and frequently found in dollar bins. ditto I have a lot more Victrola's than Living Stereo's as the price difference if too huge. Current Re-issues I don't buy them. Aside from a couple of companies, most are awful and likely pressed from digital masters. Many sound bad. And then there is the price. The most extreme is The Electric Recording Company, whose offerings of Kogan were immediately sold out (most of it probably went to Asia). I got to hear the Tchaikovsky in HK and was not particularly impressed. At GBP 500 each disc, I was expecting to be dazzled, my heart fluttering and my mouth drooling, but it did not happen. Not sour grape, but I will stick with my Seraphim equivalents from the dollar bin.

First Pressings It is a fact first pressings sound better, but they are more expensive. I have collected almost all of the Ansermet recordings, but that was because most of it is on STS (still English pressing) and from the dollar bin. Do you know there is a parallel trend in used CDs? There is a thriving market in HK and China for the equivalent of 1s/1s LP's - CD first pressings, can you imagine? Certain pressing plants, like German Sonopress, JVC and Nimbus are particularly prized.

Others Regardless of what they sound like or are worth, I love finding recordings that I like in the dollar bin. Bruckner of course! These days, increasingly, I dig mono recordings by lesser known artists, such as many found in early Westminster. I do not exclude an LP because it doesn't sound good, but a friend does; he only likes London and shaded dog, no later RCA's, Angels and Columbia's for this man - imagine how many artists he excludes!

Adrenalin Rush Ultimately, buying too many from the dollar bin is not sensible, but sense is not something audiophiles are famous for (see my article on music lover vs audiophile). Perhaps it is better to buy exactly what you want and not what are bargains, but then you will not get the adrenalin rush as when you pull out a prized item out of a dollar bin. I am still waiting for the moment I pull out the Royal Ballet or Casino Royale (Aside from The Look of Love, does anyone play the rest of the music?). Dream on...

Wandering from Dollar Bin to Dollar Bin, one gets tired bending down. Most of the time, you score nothing much, so you owe it to yourself to have a pint at a local bar after you wash the dirt off your hands. Ah, that Hootie ain't bad, especially when it is nearly 100 degrees outside.

VAS Ebony 103, Hana SL, Denon DL-103 Fosgate Signature Phonoamp

Top, the Hana SL on my Technics SL-1200 Mk II turntable. Coin used to add mass. Pics below show installation and sounding on Andy's Garrard turntable. Click pics to enlarge.

Revised 7/21/19 and 7/22/19.

Three Cartridges: VAS Ebony 103, Hana SL and Denon DL-103

Prelude For the past two months, thanks to Steve of VAS, I got to play with his new cartridge offering, the excellent VAS Ebony 103. Prior to that, I had been evaluating my own Hana SL on and off for several months. I have delayed this for far too long, but this report also benefits from the extra time, as the comparisons are interesting. I shall start with Hana SL.

Hana SL
In a short time, Hana, Japanese OEM cartridge manufacturer Excel's own brand, has garnered rave reviews everywhere and gained a wide following. When it comes to the ridiculous pricing of MC cartridges, $750 for the Shibata models and $475 for the Elliptical ones, all with alnico magnets, seem great bargains by current standards. I got curious and bought one second-hand from a nice fellow in HK but has delayed its installation for the better part of a year due to my move back to NYC.

Backgrounds I have no need to give backgrounds as reviews are plentiful. Perhaps start with Michael Fremer in analogplanet and Herb Reichert in Stereophile (the SL mono also reviewed), but savor the very good TNT report as possibly the "last word", should you be looking for that kind of thing. There are numerous others which I shall not mention.

First Hearing My second-hand sample was presumably already run-in. I installed it in the Technics SL-1200 MkII in my System II (see sidebar). Right from the start, the sound was excellent. Most LPs played in a no-nonsense, straightforward way with good detail and color. Yet, music seemed to be a tad overly controlled and, at least with the solid state LCR Aurorasound Vida (here), with certain records, there was clearly a little brightness in the low-treble region. With big orchestral works, my usual staple, the mild hardening was clearly audible. This improved quite a bit with further run-in, but a trace of that still remained. I tried both the Low and High Impedance and could not decide which was better.

Working around the Phonoamp A more forgiving interconnect to the preamp (like the 47 Labs) smoothed out things a bit, but at the expense of detail and speed. Using a SUT Fidelity Research FRT-3G (here) made a more substantial improvement. This SUT also has both low impedance and high impedance settings. Suffice to say, again I couldn't decide which was better.

Tubed Phonoamp I then turned to my trusty Fosgate Signature (v1) (here), and that solved everything for me. I started with 100 ohms, and the result was excellent, but moving to 300/500 ohms was even better - what little edginess went completely away. The Respighi/LSO/Kertesz (London) album sounded resplendent. It should be noted that the official spec's say >400 ohms for loading, which may be on the ball. Nonetheless, fly in the ointment, even with tonality evened out, the restraining manner of the cartridge never went completely away.

Earlier I also took the cartridge to Andy's to try out on his Garrard 401, which has a proper SME 3012. I heard much the same characteristics.

VAS Ebony 103
Thanks to Steve of VAS I received a brand new loaner of their new offering, the Ebony 103. If you look at the official link, you'll see there are other variations. Aside from the wood housing, the VAS 103 series is obviously based on modification of the venerable Denon DL-103.

Extensive Modification If you look at the spec's. you shall see that although the performance spec's nominally mirror that of the original DL-103, structurally the changes are drastic. The main differences are: 1) Cantilever, much shorter (though not as short as Dynavector) and said to be "Ruby" on my sample; 2) Stylus a hyperelliptical instead of conical; 3) Body now solid wood, making the cartridge much heavier than the original. Also, in a private conversation, I learnt that Steve has also tinkered with the coil and magnet. Details about this kind of thing is usually trade secret so I never pursued it further.

vs other Denon DL-103 cottage industries Attesting to its basic worthiness, the legendary Denon DL-103 has spawned a HUGE number of cottage industries. Most of these are body replacements of wood or aluminum, even gemstone. The Zu DL-103 is an example, a formal offering by a loudspeaker company of a DL-103 in an aluminum body. More extreme is MusiKraft, which takes it further by offering various aluminum shells (outrageously, more expensive than the cartridge) and wood inserts. NONE of these involve changing the cantilever or stylus, not to mention the motor. The VAS Ebony 103 is FAR beyond any of those - it is a rebuild from the ground up. Cartridge Repair VAS could do this because they have long have the skill of cartridge repair (here, and they are on Ebay too), which has a good reputation of being expedient and reasonable in cost.

SONICS Right off the bat, the VAS Ebony 103 startled. The superb transient and phenomenal bass were undeniably exciting. There was a touch of leanness in the treble, which took over 50 hours of run-in to largely ameliorate. During this period, like with the Hana SL, I made adjustments with cables and switched phonoamps. By the time my friend shidi from HK came to visit me, sound had smoothed out mostly. He is a jazz connoisseur as well as a Wagner and Mahler addict. I played him Ellington's immortal Indigo and he was delighted. Ditto the opening of Solti's Die Walkure and Horenstein's Mahler 3rd (still the best recorded sound imho). The Ebony 103 gave a vivid portrait of each of these works: whether it was Ray Nance's sinuous violin line in Autumn Leaves (my favorite cut), or the menacing atmosphere in Wagner, or the brass fanfare in Mahler, the drama was brought out in full measure. 

Not surprising for a drama queen, the VAS Ebony 103 played mono LPs with total command! The first recording of Prokofiev Piano Concerto No.2 (Jorge Bolet/Cincinnati SO/Thor Johnson, Remington) was stunningly full bodied.

The take-no-prisoner aspect of the Ebony 103 has its flip side. When the recording or pressing is not the best, in large scaled orchestral works the string tutti can be a little hard. That is, somewhat unforgiving. But I should not exaggerate this as I lived with this cartridge for 2 months and was mostly satisfied.

Denon DL-103
I have never written formally on this most famous of cartridges - there is no need, as there is info galore on the internet (a good one here). Suffice to say: 1) there has never been a time when I don't have at least one playing in my systems; 2) aside from the brief period on my Thomas Schick 12" arm, I have been using it on much lighter arms, such as Rega RB300 in the past and currently my Thorens TD-309; 3) despite this, I have never heard the fabled negative effects nor mis-tracking; 4) no matter what I use, and what system it is in, I always hear the highly communicative and emotive midrange, good presence and drama.

I have also experienced the effect of an aluminum body in the form of daiwok's Midas (he of lencoheaven fame)(chronicled here and here). As mentioned, these bodies usually improve resolution and bandwidth but can take away a variable amount of midrange magic.

I don't remember whether I have used it on my Technics turntable before, but for the sake of comparison, after I returned the Ebony 103 to Steve, I swapped in the DL-103. Was I shocked! Right away, the leading edge felt slow and the bass woolly. Images were not as etched as the Ebony 103 and there was some loss of detail. But after a period of acclimatization, I realized that the liveliness, presence and midrange magic I so loved about this cartridge were all there as before, just not as upfront as the VAS, but with the D-103 I could play more records with good results - it is more forgiving.

It should be noted in passing that the DL-103, like the Hana SL, also has an alnico motor. I cannot say for sure for the VAS.

Assessment

• My Setup A word has to be said about my choice of turntable. Basically I am lazy, and would avoid mounting and dismounting cartridges as much as I can. For comparison I always use the Technics SL-1200 with its removable headshell. The tonearm is classifiable as medium-weight, which is more disadvantageous to the low-compliance Denon and VAS. In addition, the Hana was mounted on the original Technics headshell, which is of better quality than the generic plastic headshells I used for both Denon and VAS (these also further lighten the effective mass of the arm). All that said, I am confident that the setup (turntable and system) reveals most of what I should know, as it has before with many other cartridges, in particular the magnificent Decca ffss (here). The Technics SL-1200 may be humble, but its virtues far outweigh its perceived faults and I highly esteem it (for details see my Direct Drive Overview). One thing of note, the Technics can sometimes be a tad dry, or have just a little grain in the treble, and you can factor that into your reading.

• Hana SL Of the three cartridges here, for reasons mentioned above, Hana is the one I am sure I have done the most for. However, to my annoyance, it is my least favorite, for 3 reasons: 1) most importantly, even on the pacey Technics, compared to the lively Denon and VAS, the over-controlled demeanor robs the music of some sparkle, and I am a horn user! 2) although there is good soundstage and imaging, I find there is a curious lack of air around the instruments; 3) perhaps because of this, I feel it does not have the best resolution of harmonics so important in classical music (Denon and VAS are better). In the end, my opinion is: the Hana SL is a very good MC cartridge, but it is not the giant killer that the Denon DL-103 most certainly is. I also suspect the Hana SL is more suited to solid state setups, an aspect that I may investigate in the future.

• VAS Ebony 103 I always thought of the Denon DL-103 as drama queen, but it is just a runner-up in this department compared to the VAS. Probably due to its short cantilever, there is kind of a Dynavector sound to the VAS (with its associated pro's and con's). In fact, I don't hear it as an upgraded Denon but rather as something its own. In terms of high fidelity, it scores high on multiple parameters: high resolution (highest of the three), fast transient, tight and walking bass. In terms of values I hold dear, PRaT and Presence, it is even better. Steve himself described it as best for jazz and pop, and I agree. Make no mistake, it plays classical's reasonably well too, just not so forgiving with music on a large scale or bad recordings. It is a good effort and I'd think many audiophiles would not mind having one in his stable for the fun ride. Highly recommended.

• Denon DL-103 You ask, after the fun ride (roller coaster would be an exaggeration) on the VAS, did I become unsettled after my return to the Denon original? The answer is: initially, absolutely; but after a while, the even handedness of the original and its ability to play most LPs well was reassuring, even necessary for someone like me. This quality is not to be confused with "forgiving", for the Denon is not that. It does not sound like the usual spherical stylus seen on many older cartridges and SPUs. Its resolution is actually quite good and under-appreciated - in this outing, for me it betters the Hana SL and is close to that of the VAS. When things are not all right, the DL-103 can be a little grainy too, which is actually the case when it is on the Technics. After this outing, I rearranged my systems a bit and moved my Thorens TD-309 into the system. It sports a DL-A100, which is sonically alike. The Thorens does a better job than the Technics, smoother and an even more seductive midrange. I thought, maybe the VAS would have sounded even better too?

• Fosgate Signature Phonoamp I have never really written a formal review for the Fosgate, but it was in my Best of 2011 article. It has been one of my mainstays and here I have to sing its praise again. Its superb design allows pure tube MC amplification without the use of SUTs, a feat rarely accomplished (this also meant tube rectification for lower noise). A bargain and Wonder, but one that is little appreciated. The world is not fair, right?

• Compare Notes By now you know my findings with the Hana SL are substantially at odds with all of the other reviews, and that is a great number. A couple of reviewers mentioned the "easy" quality of the SL, and what is "easy" to one can be "lack of dynamics" to another (me). Quite a few reviewers used heavier and well regarded modern arms, which would smooth out things. As for their modern turntables, I am sure all are competent but many of those I have no great feeling for and subjectively I think few can better my Technics. In terms of amplification, I also doubt, be it phonoamps or preamps or amps, their equipment are better musically than mine. As for loudspeakers, there is no way I'd trade my YL horn system and 15" woofers for any of them. In the end, I think the difference lies in musical values and beliefs. I am a high efficiency horn user, and I treasure timing, presence and the equipment must deliver good transients and dynamic performances. I can only conclude that many of these reviewers do not listen to music the way I do. I also wonder, by my standards, if their setups have enough resolution, in details, in harmonics, not to mention in dynamics. Aside from Hana, another example is my Aurorasound Vida, which is regarded as warm by most reviewers. Not in my setup! So take my findings with a grain of salt, as YMMV. But there may be another factor: if Hana does not have the muscular and influential Musicalsurroundings behind it, I wonder if it would have so many good reviews so fast. Corollary, I'd like to see at least some reviews of VAS 103 series products from these reviewers.

Decca Super Gold Infinity RS1-B Nottingham Space 294

Click pics to enlarge. Top, Decca Super Gold. Note the unused blue wire (-ve) as the Decca only has three pins (common ground).

NY Diary (19-8) Days of Wine and Roses
Decca Super Gold Cartridge
Infinity RS-1B

The gang was rolling yesterday! It's been a while since we were invited to R's for lunch and we were eager.

Women's Soccer I was picked up just before 11 am, which unfortunately made me miss most of the first half of the USA vs Netherlands Women's World Cup Final. Compared to, say, 10 to 20 years ago, the overall standard and environment of women's soccer have improved significantly and this series has been a huge crowd pleaser. In my opinion, many teams (not just the USA) play with passion, hunger for success and grace, which are frequently missing in bigger-money men's soccer. Salut!

It was only during intermission that I rejoined the gang in audio listening. I watched a bit of the second-half, up to the controversial penalty kick before adjourning for lunch. I forgot to take a good pic of the seafood stew, only what's left! For dessert we brought a pecan pie and Chinese Egg custard tarts, enjoyed with aged pu-er tea and, later, coffee.

The new Turntable, Nottingham Space 294 Turntable with Ace-Space 294 Tonearm. Below, R's dynamite wine cellar.

Decca London Super Gold Cartridge
R's living room system has not changed much (see here, for pics too), but the recent addition proves to be a game-changer!

At first Stan Getz (Verve) was playing. I am not a great fan of Getz but it sounded pretty good, better than last time. Then R played a thrice familiar LP, Miles Davis' Sketches of Spain, and, even though it is a mono copy, I was floored. Although Miles' tone in my opinion was a little on the white side, the castanets just jumped out at me; more notably, the brass chorales were uncommonly lucid, as I have never heard before. The way you can separate every player but still hear them harmonize perfectly was just mesmerizing. It left me dizzied and surely I gained new respect for Gil Evans' arrangements.

No need to hear more, as I have long been a Decca/London fan ever since my experience with the ffss MkIII (here). So I attributed most of the sonic characters to the venerable Decca/London Super Gold cartridge, still in current production (see review here), though the one we heard is an old one Andy sold to R. This is a moving-iron cartridge with a healthy 5 mV output, so only an MM phonostage is needed. Of course, the Nottingham Space 294 Turntable/Ace-Space 294 arm (TAS review) surely has contributed a stable platform for the Decca/London to shine. Although in HK I had heard many Spacedeck's some years ago, I'll admit I am not a fan of Nottingham (don't like their looks), but Andy, who knows everything about Decca/London cartridges, had always been on the search for the perfect turntable/arm for his many Decca cartridges. Some time ago he found out that the late Tom Fletcher was a Decca/London fan, and reasoned that his designs must be friendly to the cartridge. Based upon his reasoning, he urged it upon Mark, who bought a 294 and sold his Spacedeck to Andy. Judging from this outing, it is an excellent match indeed, and R has already stopped listening to his Rockport Sirius/Jan Allaerts (we didn't find it special either; this cartridge did not sound anything special on at least 3 turntables).

We left a little early to avoid the heavy traffic returning to the city at the end of the July 4th weekend. When we left, Miki, R's wife, gave several of us some flowers from their magnificent garden. We then went to Kevin's place.

Look carefully and you shall see the top of the bass columns behind the Altec A7.

Infinity RS-1B
Wow, this man is gun-ho! Not long after Kevin got the B&W 801 (here) he heard Mark's IRS Beta (here). After the sudden recent demise of Andy's friend Mr Ma, several of the gang went to sort out things for his son, and Kevin bought his Altec 604G, which came with this pair of Infinity RS-1B stored in the garage. It was in challenged cosmetic condition but Kevin just restored it beautifully.

The RS-1B is a lot smaller than the IRS Beta and much more suitable for most people (read this 1985 Stereophile Review).

Driven by the Conrad Johnson Premier 8 borrowed from R, the sound was promising though the you-can-touch soundstage of Mark's IRS Beta was missing in this smaller room. But you shall be hearing more about this I am sure.

Click pics to enlarge. Grab this LP if you see it.

NY Diary (19-7): Memories Rekindled (A Day in the Life of a Wayfarer).

The title is an exaggeration. What I'd not give to be a wayfarer in Manhattan everyday! The most walkable city in the world! But yesterday I did get to spend half a day in the city.

First I went to the Chatham Square branch of the NYPL to return borrowed CDs. Then I went to the Department of Health nearby. Afterwards, I was free and went LP shopping, during which I walked from Chinatown to Chelsea.

Gaby Casadesus My score of the day was a very old (Polydor) Vox mono LP of Mozart Concerto No. 25, played by Gaby Casadesus, who is better known as the wife and duo partner of Robert Casadesus, who is much better known to Americans as he recorded extensively as a soloist for Columbia (the complete recordings is available in a 65 CD Sony box). For her biography, read this obituary (also this)

In contrast, Gaby Casadesus did not record as soloist in the US, but she did make a few for French Polydor, such as this Mozart concerto. The playing, needless to say, is pristine, even more graceful than her husband's for Columbia (I also prefer the Lamoreux/Bigot to Columbia SO/Szell). Unjustly little known.

Gaby did record some of the piano duo repertoire with Robert, among which the Mozart and Bach concerti were best known. But my absolute favorite is the Schubert Fantasie in F minor, D940 contained in the album pictured above, which for years was unavailable (now one track in a 65 CD box!). This performance of the late Schubert masterpiece has never been equalled, and is one of my desert island discs. Please listen to the youtube inset below and look at those angelic faces! That would be 15 minutes well spent.

Falafel, In Memoriam Ali Baba For lunch, I had a falafel sandwich at Mamoun's (MacDougal St), but despite its fame (several NYC stores, plus branches in Texas coming) to me it is not nearly as good as the old Ali Baba across the street, which since my student days had been my falafel go-to place, but unfortunately they closed several years ago. Compared to Mamoun's the Ali Baba version was less deeply fried but more spiced and flavorful; the hot sauce and yougurt had more nuance too. Sometimes after eating one I cooled down by having a lager in the downstairs bar next door, which is still there.

Although I am not crazy about Mamoun's, I show you this pic because it includes my favorite cafe in NYC, Cafe Reggio, which I always take visitors to.