Bobby Hutcherson - Mirage (Landmark, 1991)

Bobby Hutcherson, vibes & marimba

Tommy Flanagan, piano
Peter Washington, bass
Billy Drummond, drums

Recorded February 15 & 18, 1991

BMG Recording Studio, NYC

Engineer: Paul Goodman

I have always been attracted to mallet instruments, mostly vibes and marimbas, and to the intrepid artists who commit to mastering such unwieldy devices. Gary Burton, Joe Locke, and Bobby Hutcherson are my favorites, despite their stylistic differences. Over his career, Hutcherson has embraced a variety of jazz styles including avant garde, fusion, Latin, and straight ahead. Whatever style he chooses, he puts his personal signature on the music.

Mirage teams Hutcherson with Tommy Flanagan, who was brought on board in part because they had never previously played together. Producer Orrin Keepnews was eager to add Flanagan as a special guest on Hutcherson's sixth (and last) album on the Landmark label. 

Mirage is a joyful album, kicked off by Barry Harris' "Nascimento," named for Brazilian singer and guitarist Milton Nascimento. Hutcherson employs marimba on the bossa-tinged samba. His original "Mirage" is taken next, followed by Flanagan's "Beyond the Bluebird," the title track to the pianist's album reviewed earlier in this blog. 

Hutcherson and Flanagan engage in two duets: Monk's "Pannonica" and the standard "Love Letters." "Pannonica," the longest tune on the album, stands out not only for its tasteful solos but also for the spontaneous exchange of song fragments near the end. "Love Letters," the shortest track on the album, is an unusual piano-marimba duet.

On "Zingaro," Hutcherson's solo is playful, as he explores the entire range of the marimba. Flanagan's solo is more elegant, providing an informative contrast between the two players' interpretations of Jobim's classic piece.

Billy Drummond's work at the drum kit is noteworthy because he varies his sound from track to track. When granted solo space on "Groundwork," he delivers an unusual yet highly musical solo. 

Most of the world will only know the digital format of Mirage. Most 1990s recordings were digitally recorded, playable as CD, Internet download, or streaming. 

A vinyl version of Mirage does exist, released in South Korea in 1994. I have never seen or heard it and don't wish to pay the asking price of about $90+ to buy it. I'll stay with my CD, which still plays as good as the day I bought it 35 years ago.

For my reviews of two Hutcherson albums from the 1980s, go to:

Post: Edit Cruisin' the Bird

Post: Edit Four Seasons

Geri Allen - Live at the Village Vanguard (DIW, 1990)

 

Geri Allen, piano

Charlie Haden, bass

Paul Motian, drums

Recorded December 21 & 22, 1990

The Village Vanguard

Engineer: Jim Anderson

Oh, to have seen this remarkable group perform live! The trio of Geri Allen, Paul Motian, and Charlie Haden was one of the best groups of the 1980s. A "leaderless" group, Allen and Haden swapped top billing across at least four albums. 

Allen's lovely "A Prayer for Peace" leads things off, followed by her "Obtuse Angles," which begins chaotically, with Motian taking a fiery solo after a brief piano intro. As the song continues, it becomes more conventional and actually ends up swinging. Nice!

Of the three Motian tunes on the date, I am most intrigued by "In the Year of the Dragon," which conjures mysterious images through its twists and turns. Haden's contributions include a blues, a one-minute tribute to Alice Coltrane ("For Turiya"), and the closing "Song for the Whales" with its uncanny mimicry of whale speech.

The live recording puts you close to the stage in the Vanguard. All instruments are captured faithfully, and the audience's reactions are enthusiastic yet respectful. Kudos to engineer Jim Anderson for getting it right every time out. Put this one with your demo disks for intimate live recordings.

For my reviews of three of the trio's recordings from the 1980s, go to:

Post: Edit In the Year of the Dragon

Post: Edit Etudes

Post: Edit Segments

John Scofield - Meant to Be (Blue Note, 1990)

 

John Scofield, guitar
Joe Lovano, tenor sax, alto clarinet
Marc Johnson, bass
Bill Stewart, drums

Recorded December 1990

Power Station, NYC
Engineer: James Farber

Meant to Be is the second album by John Scofield's quartet with Joe Lovano, following Time on My Hands by one year. For Meant to Be, Marc Johnson and Bill Stewart replace Charlie Haden and Jack DeJohnette. 

If anything, the new quartet improves on the initial outing. To my ears, the secret ingredient in the new quartet's success is Stewart. A longtime member of bands led by Peter Bernstein and Larry Goldings, Stewart brings funky groove, stylish accents, and thunder at just the right moments.  

For his part, Lovano revels in the modern funkiness of most of Scofield's tunes. His use of the rare alto clarinet on "Lost in Space" is noteworthy for its distinctive tonality. Lovano seems to have no problems negotiating the instrument's features and fitting them into the setting.

Aside from my interest in the supporting players, it is Scofield whose compositions and playing make Meant to Be a particular favorite. All of the tunes are originals, given clever titles by Scofield's wife Susan. It's hard to single out favorites because all of the pieces are cleverly composed and skillfully played. With engineer James Farber at the controls of the Power Station studio, and Bob Ludwig handling the post-session mastering, Meant to Be excels both musically and sonically.

Vinyl lovers should know that Meant to Be is scheduled for release on March 20, 2026. It will be a 2-record set in Blue Note's Classic Vinyl series.

To read my review of Scofield's first Blue Note release, go to:

Post: Edit Time on My Hands.

Jimmy Raney - But Beautiful (Criss Cross, 1990)

Jimmy Raney, guitar
George Mraz, bass
Lewis Nash, drums

Recorded: December 5, 1990
Manhattan Recording Studio
Engineer: Max Bolleman

Jimmy Raney rose to prominence in the jazz world in the mid 1950s, cutting sides for Vogue, Prestige and ABC Paramount. Like most artists with a lengthy playing career, he experienced the ebbs and flows of the jazz business. That qualified him to make several "comebacks" that had nothing to do with regaining his chops (which he never lost). Gaps in discographies are inevitable; when recording opportunities return, both the artist and the audience are rewarded.

Raney's comeback in the 1970s included important recordings for MPS and Xanadu, but the 1980s comeback was even more fertile, with numerous albums recorded for SteepleChase and Criss Cross. These European labels afforded Raney (and his son Doug, also a guitarist) the finest studios and production resources. Jimmy Raney's trio and quartet albums for Criss Cross are perhaps the best of his career.

But Beautiful is outstanding. Track by track, Raney and his mates lay down articulate lines on mostly standard fare. It's not easy to single out particular tracks because the level of excellence is consistent throughout the 68 minutes of playing time. Even the inclusion of a second take of "Long Ago and Far Away" is justified, especially since take 2 sits at track position 9 (of 10) while take 1 opens the album. 

I am always amazed by Raney's speed, articulation, tone, and the ideas that his marvelous technique allows him to express. Anyone coming to Raney's Criss Cross and SteepleChase albums for the first time has a treat in store. 

But Beautiful also benefits from the artistry of bassist George Mraz. My collection of jazz recordings finds his name appearing on dozens of my favorite albums. In the trio format, his role is easy to appreciate. Likewise, Lewis Nash is the perfect drummer for a guitar trio. 

I can't say enough about the quality of this and Raney's other albums. Listen for yourself, especially if you fancy yourself as a guitarist. 

My reviews of two of Raney's 1980s Criss Cross albums can be found at:

Post: Edit Wistaria

Post: Edit The Master

Ralph Peterson, Jr. - Ornettology (Blue Note, 1990)

 

Ralph Peterson, Jr., drums, trumpet

Don Byron, clarinet, bass clarinet
Bryan Carrott, vibes
Melissa Slocum, bass

Recorded August 7-9, 1990

Clinton Studio B, NYC

Engineer: Jim Anderson

Ralph Peterson's Fo'tet was one of the more remarkable units to emerge in the late 1980s during Blue Note Records' resurgence. The frequent comparison of the Fo'tet with Art Blakey's Jazz Messengers is only superficially meaningful. Both Blakey and Peterson were powerful drummers who excelled at "leading from behind" on the drum stool, but the groups they led were vastly different. Blakey hired the best young talent to fill the Messengers line up, and he encouraged their departures to lead their own groups. 

Peterson, by contrast, crafted a unique style for the period, eschewing the quintet/sextet format. He used Bryan Carrott's vibes instead of piano and Don Byron's clarinets as the only horns. This format opened up creative space in the group and allowed Peterson to become a more lyrical drummer. 

"Ornettology" is one of six compositions by Peterson, and the album is fleshed out with a Monk tune ("I Mean You"), one by Wayne Shorter ("Iris"), and one by Ornette Coleman ("Congeniality"). A standard ("No Greater Love") is a 1:48 minute recital by Peterson playing cornet accompanied by bass only.

The title tune sets the stage for the album. Peterson's composition is reminiscent of Ornette Coleman' writing since it offers little harmonic development or chord changes yet allows soaring flights by the soloists. Peterson's own solo is taken on brushes. The other tunes with direct Coleman influences are "Status Flux," which is based on a single chord, and "Congeniality," which was penned by Coleman. 

The Coleman influence is less pronounced in the rest of the program. Carrott's contribution, "The Substance of Things Hoped For," is a conventional tune of great beauty. Byron and Carrott find many angles to pursue in their solos. The extended range and timbre of Byron's bass clarinet add a strong emotional boost. 

Shorter's "Iris" is a change of pace, as Byron summons a lovely tone from the bass clarinet, and Carrott decorates the melody on vibes. The performance gives the impression that playing jazz like this is easy, but bass clarinet and vibes are surely among the most challenging instruments to master. 

Everyone relaxes and plays rousing solos on Monk's "I Mean You." I love Carrott's Monk-like fills behind Byron's clarinet. The vibist is a brilliant performer who should be more highly regarded in the jazz world. 

For my review of the Fo'tet's debut album, go to:

Post: Edit Ralph Peterson Presents the Fo'tet

Abdullah Ibrahim - No Fear, No Die (S'en Fout La Mort) (Tiptoe/Enja, 1990)

 

Abdullah Ibrahim, piano

Horace Alexander Young III, alto & soprano sax

Jimmy Cozier, baritone sax, clarinet

Ricky Ford, tenor sax

Frank Lacy, trombone

Buster Williams, bass

Ben Riley, drums

Recorded July 18, 1990

Van Gelder Studio

Engineer: Rudy Van Gelder

French film noire frequently uses original jazz compositions and performances in soundtracks. There are few better examples of this genre of jazz than Abdullah Ibrahim's soundtrack for Claire Denis' film No Fear, No Die. The South African pianist and composer assembled one of his American jazz lineups to record the album in the Van Gelder Studios. The group embraces the compositions, and Rudy Van Gelder nails the digital recording. 

The listener is immediately attracted to the deep sound of Buster Williams' bass behind the harmonies of the horns. The halting first track, "Calypso Minor," which also ends the album in a major key ("Calypso Major"), conveys an eerie foreboding of things to come. The Caribbean setting of the film is echoed in the calypsos but is less obvious in the remaining compositions. 

Clearly, the musicians worked from Ibrahim's arrangements for the filmmaker's dark conceptions, in contrast to Miles Davis's largely improvised soundtrack to another French film - Ascenseur Pour L'Échafaud - recorded 33 years earlier.

Key soloists in the ensemble are Ricky Ford, Frank Lacy, and Jimmy Cozier. Ford is perfectly cast as an edgy soloist matching the disturbing themes of the film. Ibrahim keeps mostly out of the solo spotlight, remaining content with poignant fills as on "Meditation i and ii" and playing simple melodies, as on "Nisa." 

Overall, the magic of No Fear, No Die lies in the horn arrangements and their execution. Ibrahim's arrangements always reveal his love for the music of Duke Ellington, as interpreted through his South African roots.

To read my review of two Ibrahim albums from the 1980s, go to:

Post: Edit Water from an Ancient Well

Post: Edit Ekaya

Andrew Hill - But Not Farewell (Blue Note, 1990)

 

Andrew Hill, piano

Greg Osby, alto & soprano sax

Robin Eubanks, trombone
Lonnie Plaxico, bass
Cecil Brooks III, drums

Recorded July 12 & 13 and September 16, 1990

Clinton Recording Studio, NYC

Engineers: Jim Anderson & Gene Curtis

Andrew Hill's Eternal Spirit was his 1989 "comeback" album on Blue Note. The following July, Hill entered the Clinton Recording Studio and laid down five tracks over a 2-day period using quintet and quartet formats. Two months later he returned to add two more tracks. The result was issued as But Not Farewell. 

My search for photos of Hill in 1990 was futile, except for the album cover that shows a smiling face. Photographically, Hill was often portrayed as a serious iconoclast composing inscrutable pieces that sometimes baffled his bandmates. To the contrary, I find Hill's music to be joyful and rich in ideas as well as emotionally complex. 

The horns of Greg Osby and Robin Eubanks are perfectly paired for Hill's new music. I am especially intrigued by Hill's employment of trombone in his complex arrangements. Almost all of Hill's compositions can be considered "loose," and Eubanks along with Osby and drummer Cecil Brooks III generate a feeling of controlled chaos. For example, "Nicodemus" (my favorite tune on the album) skitters and veers while maintaining a logical structure that is Hill's unique signature.

 

"Georgia Ham," the fourth song on the album, is a marathon lasting over 17 minutes and might have gone further if not faded out. It's mainly a jam but a very good jam. My attention is drawn to Brooks, whose rhythmic shifts keep "Georgia Ham" compelling.

"Friends," "Sunnyside" and "Gone" are the last three songs on But Not Farewell, and they feature smaller combinations of the larger group. "Friends" pairs Osby with Hill in a friendly, tempo-free conversation. It was recorded the day after the four tracks with the full ensemble. 

The last two tracks are solo performances by Hill, an artist who recorded numerous solo albums in his long career. Gene Curtis, the engineer for the solo pieces, gets a spacious natural sound from Hill's piano. "Sunnyside" is brief at 3:41 minutes; "Gone" is expansive at 13:30. 

For my review of Hill's preceding recording, go to: 

Post: Edit Eternal Spirit

Paul Motian - Bill Evans (JMT, 1990)

 

Paul Motian, drums
Bill Frisell, guitar
Joe Lovano, tenor saxophone
Marc Johnson, bass

Recorded May 1990

Sorcerer Sound, NYC
Engineer: Joe Ferla

Pianist Bill Evans was Paul Motian's first employer, and the drummer participated in Evans' legendary trio that played the Village Vanguard in 1961. The two albums from that engagement are among the most cherished jazz recordings ever made. Bill Evans, Motian's tribute album, includes regular trio members Bill Frisell and Joe Lovano, and Marc Johnson, who also played with Evans. The plan was simple: record nine of Evans' compositions without piano. The result is a heartfelt interpretation of the artistry of Bill Evans, the composer, and the prominent influence on the last 65 years of jazz piano.

The first two songs on Bill Evans, "Show Type Tune" and "Turn Out the Stars," offer no radical interpretations but rather a straightforward reading of the songs. The third track, "Re: Person I Knew," is one of Evans' most mesmerizing compositions. It begins with what seems like a prelude, but one that never gets to a main theme. The ambiguity fits the quirky predisposition of the band.

"Time Remembered," one of Evans' most familiar and oft-covered ballads, proceeds in an elastic largo tempo. Johnson holds everything together by managing the slow yet shifting pulse. His solo is full of emotion, evocative of his own remembrance of playing with Evans. It helps that the recording captures every nuance of Johnson's dark, woody bass. 

I am fortunate to have bought a German vinyl reissue of Bill Evans, released in 2015 with different cover art. This "Music Edition" is all analogue (AAA) and sounds spectacular. I owned a CD copy earlier, which was also good sonically, but the vinyl delivers the artistic and emotional impact better. I have not compared the reissued vinyl with the original vinyl. 

My previous posts for two albums by Paul Motian's trio are at:

Post: Edit On Broadway, Vol. 1

Post: Edit Monk in Motian

Tommy Flanagan - Beyond the Blue Bird (Timeless, 1990)

 

Tommy Flanagan, piano
Kenny Burrell, guitar
George Mraz, bass
Lewis Nash, drums

Recorded April 28 & 30, 1990

Studio 44, Monster, NL

Engineer: Max Bolleman

In my not-so-humble opinion, Tommy Flanagan is one of the most important pianists in the history of jazz. He belongs in a select group of players that includes George Cables, John Hicks, Don Friedman, Kenny Barron, Enrico Pieranunzi, Harold Danko, and a few others. I call this group the "no wrong notes" club for somewhat obvious reasons. Listening to them in solo spots and in accompaniment to other artists, you can never predict what's coming next from the keyboard, but it's always a coherent choice. Flanagan distinguishes himself by not playing dissonantly (like Cecil Taylor, Andrew Hill, or Monk) or effusively (like Brubeck or Oscar Peterson). His style is elegant and totally absorbing despite his embrace of convention. 

Beyond the Blue Bird features the legendary Kenny Burrell and the top rhythm team of George Mraz and Lewis Nash. Mraz always elevates the sessions he plays in. As a result, he was constantly in the recording studio making many of the best albums of the 80s and 90s as well as touring with different groups. He was a superb accompanist and an inventive soloist. 

Flanagan and Burrell are almost telepathic sharing the front line of the quartet on Beyond the Blue Bird. Two chordal instruments can easily get in each other's way, but the best guitar-piano units exhibit a complementary relationship. Here, Flanagan and Burrell often play chords behind each other's solos. 

My favorite track is the venerable "Yesterdays," which Flanagan and Burrell transform into something magnificent, using introductory tempo-free solos followed by an up-tempo round of solos that culminates in fascinating countermelodies. Another highlight is Flanagan's "Something Borrowed, Something Blue," an extraordinary ballad given tender treatment by the whole band. 

Beyond the Blue Bird an album that is both approachable and varied, despite the dominance of blues. Multiple composers are featured: Charlie Parker, Dizzy Reece, Benny Carter, Barry Harris, Jerome Kern, and Thad Jones in addition to Flanagan and Burrell.

Beyond the Bluebird was recorded in 1990 and issued originally in Japan by Alfa. The Dutch release on the Timeless label did not occur until 1999, which seems strange given that it was recorded in Holland and produced by Timeless' founder Wim Wigt. 

For my reviews of two other Tommy Flanagan albums, go to:

Post: Edit Jazz Poet

Post: Edit Giant Steps

Charlie Haden - First Song (Soul Note, 1990)

 

Charlie Haden, bass

Billy Higgins, drums
Enrico Pieranunzi, piano

Recorded April 26, 1990

Barigozzi Studio, Milano

Engineer: Giancarlo Barigozzi

Although bassist Charlie Haden's name receives first billing, First Song is a co-equal, cooperative venture that doesn't require a leader. If anything, Enrico Pieranunzi commands the most attention as one might expect in a piano trio. Although he had begun recording in Italy 15 years earlier, Pieranunzi's reputation was not firmly established outside of Europe in 1990 when this album was recorded. That was soon to change. 

The title track begins the album and is one of Haden's most familiar compositions. The simple melody is introduced by Pieranunzi, and Haden joins in on the second verse as Billy Higgins accompanies on brushes. Pieranunzi then embellishes the tune for its final four minutes, winding down to a satisfying end.

The rest of the album is quite varied. Two ballads are handled quite differently. "Polka Dots and Moonbeams" begins with a re-imagined melody that serves as solo opportunities for Pieranunzi and Haden. Not until the last 30 seconds of the tune does the actual melody appear. By contrast, "All the Way" is given a lush, romantic treatment that remains true to the original version sung by Frank Sinatra in 1957. I've known this song since slow dancing to it in my teens. The trio's version prompts the lyrics to form in my head and kindles my sentimental attachment to the song.

The album continues with radical transformations of two bebop compositions: Lennie Tristano's "Lennie's Pennies" and Charlie Parker's "Si Si." Pieranunzi's solo on "Pennies" includes intriguing variations that grow in intensity - not what I would expect on a Tristano number. "Si Si" is even more adventurous as the pianist rips through the changes of Parker's reimagined version of "Honeysuckle Rose." Billy Higgins finally gets solo space by trading fours with the piano before Pieranunzi returns to the main theme.

The album ends with two shorter numbers. "For Turiya" is Haden's short, solemn tribute to Alice Coltrane. Like most of Haden's music, it is simple in construction yet profound in its impact. Pieranunzi's "In the Moment" is a feature for Billy Higgins. 

First Song is the earliest recorded album in this blog. Although recorded in 1990, it was not released by Soul Note until 1992. The sequence will continue in order of recording dates, not the release dates. 

For my reviews on four other Charlie Haden albums, go to:

Post: Edit The Montreal Tapes

Post: Edit Etudes

Post: Edit Quartet West

Post: Edit The Ballad of the Fallen

Introduction to the Blog

More Favorites: Jazz in the 1990s

Dan Robey 

Who Am I?

I'm a retired college professor who has been listening to jazz for over 70 years. At about age 10, I heard my oldest brother's record albums played on an inexpensive turntable in his bedroom. He brought the turntable and his albums along for our summer holidays. With no TV or radio in the cottage, he played jazz records by the likes of the Modern Jazz Quartet, Gerry Mulligan, Lennie Niehaus, and others. 

My brother also gave me my first jazz album - Ray Charles at Newport - in about 1958; another brother gave me John Coltrane's My Favorite Things in about 1960. I owned Miles Davis's Kind of Blue in high school and bought a number of Art Blakey albums in the 1960s. This was a great time for jazz, and I never stopped listening. 

Blogging Experience

Six years ago, I discovered Scott Mortensen's blog about jazz in the 1970s. PLAYING FAVORITES: Reflections on Jazz in the 1970s (jazzinthe70s.blogspot.com). I was intrigued by Scott's selections and commentaries and contributed numerous comments to his posts. When he finished, I proposed that we co-author a new blog about jazz in the 1980s. That blog reviewed about 300 albums and was completed in early 2023 MORE FAVORITES: Reflections on Jazz in the 1980s (jazzinthe80s.blogspot.com). I then created a blog about progressive rock with my son and completed it in late 2023 Discovering Prog: From Father to Son and Back Around (discoveringprogfatherandson.blogspot.com).

All of these blogs were enjoyable to work on, so I decided to blog about the next decade of jazz in the sequence - the 1990s. You are reading that blog now.

Why the 1990s?

Aside from simply being the next decade in the procession, the 1990s are distinguished in three related ways. 

First, digital recording was thoroughly ensconced in the music business during the 1990s. Almost all new records were released on CD, and new LPs were scarce. Most new music of the decade never made it to vinyl. Jazz lovers therefore added CD racks to their music collections, sometimes trading in LPs as titles came out on CD. 

Second, jazz had become postmodern and international, as Scott and I document in our 1980s blog. In the 1990s, European labels recorded new jazz in a variety of styles. SteepleChase, ECM, Criss Cross, Black Saint, and Soul Note would yearly release dozens of new jazz albums on CD, allowing collectors to expand their libraries to include American and European artists. 

Third, the first edition of The Penguin Guide to Jazz (1992) surveyed hundreds of artists and thousands of albums. Based in the UK, authors Richard Cook and Brian Morton issued 10 editions published between 1992 and 2010. Their astonishing insights across jazz's complete history guided my collecting during the 1990s and beyond.

Blog Objective 

Today, much of the great music recorded in the 90s is ripe for rediscovery. While current vinyl reissue programs favor material from the 1950s and 1960s on LPs, physical CDs are now either rare or cheap depending on where you look. I see used CDs listed on Amazon priced at $100 or more, while my local used record shops can hardly find room for their CD surplus priced under $10. 

In this blog, I present detailed posts on 104 of my favorite jazz albums of the 1990s. The albums are selected from my own music library and include CDs, digital downloads, and vinyl. Fortunately, music of all genres and vintages is available on streaming and download services such as Qobuz, Tidal, Spotify, iTunes, and Amazon Music, among others. Although resolution, subscription rates and availability vary across these services, they are convenient ways to sample and acquire digital music. 

Schedule

I plan to post reviews of two albums per week on each Saturday in 2026. Set your calendars to read my new posts every Saturday beginning January 3, 2026.  

In addition to personal commentary, my posts include photos of album covers and artists, recording dates and venues, and recording engineers. The format is text and photos but not links to YouTube versions. Since most albums in this review are available for streaming or download, curious readers can cut and paste song titles or album names into their favorite streaming services' search windows. 

My Biases

Favorites are subjective, and mine are biased toward my 70+ years (roughly 1955-2025) of listening. During this span, jazz exhibits a lot of diversity, so my favorites are also diverse.

My other bias is toward music that sounds good, regardless of format. I love vinyl, but I am not a vinyl snob. I also prefer to collect and possess rather than stream, although I do not begrudge anyone's format or listening preferences.

My Hi-Fi System

For those who care, I list my Hi-Fi equipment below:

Loudspeakers	Vandersteen Kēnto Carbon
Crossover	Vandersteen M5-HP Balanced
Stereo Power Amplifier	Ayre VX-R TWENTY
Preamplifier	Ayre KX-R TWENTY
Phono Equalizer (preamp)	DS Audio DS-W3
Stylus Cleaner	DS Audio ST-50
DAC	Ayre QX-5 Digital Hub TWENTY (upgraded)
Digital Music Server	Aurender N100H
CD Player	Ayre C5xe MP
Turntable	Brinkman Audio Bardo
Turntable Power Supply	Brinkmann Audio RoNt Tube
Tone Arm	Brinkman Audio 12.1"
Cartridge	DS Audio DS-W3 optical cartridge
Turntable Clamp	HMS Analog Disk Heavy
Plasma Display System	Pioneer Elite PRO-1150HD
AC Power Conditioner	Audioquest Niagara 7000
Speaker Cables	Audioquest Gibraltar s/s 8'
Interconnect Cables	Audioquest Sky 1m XLR
Interconnect Cables	Audioquest Colorado .5m XLR
Interconnect Cables	Audioquest Colorado 1m XLR
Interconnect Cables	JPS Super FX 1m XLR
AES/EBU Cable	Audioquest Diamond 1m
USB Cable	Audioquest Diamond 3m
Furniture	Bush
Isolation Base	HRS M3X
Stand	Premier
Cones	Goldmund
Wood Blocks	Ayre Acoustics Myrtle Wood Blocks (3)
Wall Power Outlet	Maestro
AC Power Cord	Audioquest Hurricane 1m
AC Power Cord	Audioquest Thunder 2m
AC Power Cord	Audioquest Tornado 2m
AC Power Cord	Audioquest Tornado 2m
AC Power Cord	Audioquest Monsoon 3m
AC Power Cord	JPS Digital AC
Mobile Player	Pono
Media Software	JRiver MC 32