• SoundStage! Shorts -- Anthem's STR Integrated Amplifier (May 2017)
  • SoundStage! Shorts -- Paradigm's Perforated Phase Alignment (PPA) Lenses (March 2017)
  • SoundStage! InSight -- Paradigm's Persona 9H Loudspeaker (March 2017)
  • SoundStage! InSight -- Contrasts: Dynaudio's Contour and Focus XD Speaker Lines (February 2017)
  • SoundStage! Shorts - New Technologies in MartinLogan's Masterpiece Series
  • SoundStage! Shorts - Dynaudio/Volkswagen Car Audio (December 2016)
  • SoundStage! InSight - Gryphon Philosophy and the Kodo and Mojo S Speakers (January 2017)
  • SoundStage! Shorts -- What's a Tonmeister? (November 2016)
  • SoundStage! InSight - AxiomAir N3 Wireless Speaker System (December 2016)
  • SoundStage! InSight - Bang & Olufsen BeoLab 90 (November 2016)
  • SoundStage! Shorts - Gryphon Diablo 120 Integrated Amplifier (October 2016)
  • SoundStage! InSight - Dynaudio History and Driver Technology (October 2016)
  • SoundStage! Shorts - The Story How Gryphon Began (September 2016)
  • SoundStage! InSight - Devialet History, ADH Technology, and Expert 1000 Pro (September 2016)
  • SoundStage! Shorts - Devialet's Phantom Loudspeakers (August 2016)
  • SoundStage! InSight - McIntosh Home Theater and Streaming Audio (July 2016)

Café BluePremonition Records 90760-1
Format: LP (reissue)

Musical Performance ****1/2
Sound Quality *****
Overall Enjoyment *****


Patricia Barber’s third release, Café Blue, was her 1994 breakthrough, a critics’ favorite that helped the singer/pianist develop a strong following. This vinyl reissue is, by my count, the third appearance of Café Blue on disc. Jim Anderson, the original engineer, remixed this two-LP/33 1/3rpm set at Capitol Studios in Hollywood; Bob Ludwig remastered it; and Doug Sax cut the lacquers for pressing by RTI. Anderson had already taken great care with the recording, but he was eager to use Capitol’s tools, both old and new, to tweak it. I compared this pressing with the MFSL Hybrid SACD, and the difference on "What a Shame" was immediate and dramatic. The heavy reverb that surrounds Barber’s voice and, to some extent, the other instruments on the earlier disc is much reduced on this LP. Her voice now has just a hint of reverb and sounds more natural, which gives the other instruments more space to breathe. At first I thought I preferred the older mix on "The Thrill Is Gone," but after a few listens I liked the new version much more. It pulls the bass back just enough to let it flow better with the music and gives Barber’s voice more focus. Fans may go back and forth between their earlier CD/SACD or LP and this new one, especially since the songs are in a different sequence, but they won’t want to miss this reissue.

. . . Joseph Taylor