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why this is such a rich. rare listening ex-perience.

Harry: a priceless rhmestone

J. Gei/s: we U worth the lic ket

Jarrett: blue-chip digital

Ronstadt: a unique conte.M

Moth and the Flame,” he plays solo piano. The recording is all-digital; the musie is blue-chip Jarrett and worthy of far morę space than Tm givcn. Simplc, con-sonant melodies—bcxh pretty and brood-ing—grow in rhythmic and harmonie tension, become complex. As described in W hen Things Are Heard. the Robet Bly poem reprinted on the album sleeve, the musie on this two-disc set does in-deed penetrate “the ear in the chest.” It is musie that constantly refers back to it-self. that questions and probes all of its own elements. The instruments breathe freely; the digital recording clarifies the performer/composer’s intentions. The pipę organ sound, for example, is enormous, and just part of the reason

Don Menza and His ’80s Big Band: Bumin’

Ralph Jungheim, producer Figi taiły recorded Realtime Records RT 301 (10391 Jefferson Blvd.,

Culver City, Calif. 90230)

Don Menza, a steamrolling tenor saxo-phone player, is a veteran of Stan Kenton’s orchestra, the L A. studio scene, and the Supersax section. On “3umin\” his lush, strapping arrange-ments are played by a big band that in-cludes a hard-swinging rhythm section and up to seventeen horns, which some-how never overbear. The band blends beautifully on the Ellington-Gordon composition Don’t You Know I Care (or Don't You Care to Know)\ bopping reed solos on the title track and Dizzyland are similarly breathtaking.

Elvis Presley:

From Elvis in Memphis

Half-speed remastered MFSL 1-059

This is Elvis in the late ’60s. when he was knee-deep in Memphis pop/soul and recording tunes like Mac Davis’ In the Ghetto and Gamble and Huffs Only the Strong Survive. Of course, by today^łs standards the production on “From Elvis in Memphis” is outdated-heavy reverb was in vogue for backup vocals and, oc-casionally, leads. But Presley fans will undoubtedly appreciate the remaster’s greater definition in the instrumental tracks and, most importantly. in the singer's rich voice.

Linda Ronstadt: Simple Dreams

Peter Asher, producer Half-speed remastered Nautilus NR 26

If any albums are suited for half-speed remastering, Linda Ronstadt’s long string of soft-rock platinum sellers are. Producer Peter Asher and engineer Val Garay have created a unique context for her voice, achieved in part by empha-sizing the high end of the midrange instruments. which lends a delicate reso-nance to the guitars and keyboards. This remaster boosts the midrange fre-quencies even further, clarifying the band’s spare, precise sound and framing each player’s instrument exquisitely. And Ronstadfs full-throated voice has never sounded better. especially on the morę emotional cuts like Blue Bayou and Carmelita.

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DECEMBER 198!