Indholdsfortegnelse for Sep-12 i Stereophile

Skin deep In the old days, when audio-show reports routinely appeared in the print edition of Stereophile, life was easier. I spent my show days visiting exhibitors and listening to new gear, but I decorated those days with record shopping, dining out, and staying up late to visit with friends in the industry. And because hard-copy deadlines always seemed to be at least a few days away, I would wait until I’d returned home before doing any actual writing. The new way is better—expecting excitement from a show report in a print magazine is like expecting carbonation from an open beer you’ve found behind the couch the day after a party—but it’s considerably more work. Most of the writing and photo editing must be done before leaving for home, which…

ATTENTION ALL AUDIO SOCIETIES: We have a page on the Stereophile website devoted to you: www.stereophile.com/audiophile-societies. If you’d like to have your audio-society information posted on the site, e-mail Chris Vogel at info@vcable.us. Please note that it is inappropriate for a retailer to promote a new product line in “Calendar” unless this is associated with a seminar or similar event. ARIZONA Wednesday, September 26, 7–9pm: The Arizona Audio Video Club will hold a meeting at Esoteric Audio (17442 N. 28th Street, Phoenix), where Esoteric’s Gary Hjerpe will demonstrate gear from Simaudio’s Moon series. The meeting is open to all members and guests, and anyone interested in audio. Snacks and beverages will be served; parking is limited but free. For more info, visit www.azavclub.org. Nonmembers should RSVP to wootsmusic@live.com CALIFORNIA Sunday,…

THIS ISSUE: Art Dudley admires the vintage DNA of two contemporary loudspeakers—the OMA Mini and Line Magnetic 755 I. Everything new is old again When I was seven years old, my father brought home an air-conditioner: a flimsy, hulking thing that sat in an open window just as a frame of X-ray film sits in an open mouth. It worked by consuming a steady diet of ice cubes and water, then blowing a fan across the slurry and into our grateful living room. It was loud and it stank and it wasn’t very cold at all. Air-conditioners have improved since 1962. So have automobiles and contact lenses and light bulbs and copiers and television sets. So have lots of other consumer goods. It’s reasonable for the average person to assume…

“We tried to do some work between the legs of . . . “Ummmm . . . that sounds weird.” Rock musicians—do they ever think about anything but sex? Rush guitarist Alex Lifeson chuckles. He explains that what he meant to say was that he, singer-bassist Geddy Lee, and the exalted, formerly mustachioed object of Planet Earth’s most fervent drummer cult, Neil Peart, were trying to write songs during a break in a recent tour. Easily one of the music world’s most polarizing acts, the objects of equal amounts of swooning and derision, Rush has become a rock institution. Those who love and hate the band inevitably cite the same factors: Lee’s unforgettably high voice, Peart’s grandiose fantasy/sci-fi Dungeons & Dragons lyrics, and the long, multi-part rock suites that appear…

I measured the Classé CP-800 with Stereophile’s loan sample of the top-of-the-line Audio Precision SYS2722 system (see www.ap.com and the January 2008 “As We See It,” http://tinyurl.com/4ffpve4); for some tests, I also used my vintage Audio Precision System One Dual Domain. Looking first at the CP-800’s performance via its digital inputs, with the volume control locked to unity analog gain or “0.0” with the Input Passthrough setting and in Analog Bypass mode, the AES/EBU and S/PDIF inputs successfully locked to data with sample rates ranging from 32 to 192kHz. However, as can be seen in fig.1, the frequency response with 192kHz data was no wider than with 96kHz data, both being down by 6dB at 42kHz. With lower sample rates there was a fraction-of-a-dB rolloff at the top of the…

Description Three-way, reflex-loaded, floorstanding loudspeaker. Drive-units: 1" ceramic-diaphragm tweeter, 6" ceramic-diaphragm midrange unit, three 8" aluminum-cone woofers. Crossover: second-order, 250Hz & 3kHz. Frequency response: 26Hz–30kHz, ±3dB. Sensitivity: 89dB/2.83V/m. Impedance: 6 ohms nominal, 4 ohms minimum. Power rating: 250W. Terminals: single-wired, WBT. Internal wiring: Jorma Design. Supplied accessories: anodized aluminum outriggers with Marten cones. Dimensions 49.2" (1250mm) H by 10.6" (270mm) W by 19.7" (500mm) D. Weight: 104 lbs (47kg). Finishes Silver Grey, Piano Black. Serial Numbers of Units Reviewed S-11112201-H & V. Price $15,000/pair. Approximate number of dealers: 8. Manufacturer Marten, Chalmersgatan 24, 411 35 Gothenburg, Sweden. Tel: (46) 31-20-72-00. Fax: (46) 31-20-72-70. www.marten.se. US distributor: E.A.R. USA, 1087 E. Ridgewood Street, Long Beach, CA 90807. Tel: (562) 422-4747. www.ear-usa.com.…

LOUDSPEAKER When a reviewer specializes in seeking out innovation and value in affordable loudspeakers, certain manufacturers warrant revisiting again and again—companies that consistently deliver high-value products, but also steadily revamp their lines to trickle down design innovations to ever more affordable models. Polk Audio is such a company. During my years at Stereophile I’ve covered their RT25i (September 2001), which I bought and still own; the LS I 7 (March 2003); and the RT I A1 (September 2008). Each model, when reviewed, exemplified great value and competed well with all other designs at or near its price. As it’s now exactly four years since I last covered a Polk speaker, I felt it was time to revisit the company to see and hear what they’ve been up to. Although Polk…

Analog Sources VPI TNT IV, Rega Research Planar 3 turntables; Immedia, Syrinx PU-3 tonearms; Koetsu Urushi, Clearaudio Virtuoso Wood cartridges. Digital Sources Lector CDP-7T, Creek Destiny CD players. Preamplification Vendetta Research SCP-2D, Creek Destiny phono stages; Audio Valve Eclipse line stage. Power Amplifier Audio Research Reference 110. Integrated Amplifier Creek Destiny. Loudspeakers Dynaudio Excite X12, Epos M16i, Monitor Audio RX6 Silver. Cables Interconnect (all MIT): Magnum M3, MI-350 CVTwin Terminator, MI-330SG Terminator. Speaker: Acarian Systems Black Orpheus. Accessories Various by ASC, Bright Star, Celestion, Echo Busters, Salamander Designs, Simply Physics, Sound Anchor, VPI.…

I used DRA Labs’ MLSSA system and a calibrated DPA 4006 microphone to measure the MartinLogan Montis’s frequency response in the farfield, and an Earthworks QTC-40 mike for the near-field and spatially averaged room responses. A note on these measurements is in order: When a speaker is measured, there is a hidden assumption that the distance between speaker and measuring microphone is significantly larger than the speaker’s greatest dimension. With all but very large box speakers, this assumption is true. However, it is almost never true with panel speakers when the measurements are performed with a quasi-anechoic technique in a regular room. It is just not practicable to move the mike far enough away without drastically compromising the measurement’s midrange resolution, due to the need to window out reflections of…

This budget-priced processor2 has two digital inputs, S/PDIF and USB, selected with a small toggle switch. The S/PDIF input is offered on both TosLink and coaxial jacks, but only one can be used at a time. There is one set of analog outputs, single-ended on RCA jacks. The original V-DAC was reviewed by Sam Tellig in November 2009 and cost $299 (see http://tinyurl.com/czjjcbj). Sam then wrote about the V-DAC II in January 2012. This costs $379 but incorporates the asynchronous USB data receiver of Musical Fidelity’s V-Link ($169; see http://tinyurl.com/cbn49zy), which allows the V-DAC II to handle data with a 24-bit word length and sample rates of up to 96kHz rather than be limited by the original’s 16 bits and 48kHz. It still uses Burr-Brown’s DSD1792 D/A chip and SRC4392…

THIS ISSUE: H&S, Teresonic, Pioneer, Musical Surroundings, OMA, and MSR respond to our coverage of their products. H&S Cartridge Clinic Ice Blue Editor: Thank you very much for this in-depth and detailed review of the H&S Ice Blue moving-coil cartridge [“Analog Corner,” August 2012]. As for the price consideration, please understand that the outstanding measurements and performance specifications, as noted, are functions of the build quality of the Ice Blue, which makes it, in combination with intelligent use of precious and rare materials (eg, the powerful samarium-cobalt magnet, platinum disc, and resonance-free generator support frame) and experienced skills in production, an exceptional cartridge par excellence, and the best investment in playback in order to enjoy every tone of a precious record collection. Our aim was not to feed the market…

How the . . . Editor: Does anyone else find the Emotiva ad on p.34 of the June issue humorous? Look closely! The gentleman is apparently enjoying a CD while his preamp is set to “Phono Direct.” Also, there is no cartridge mounted in the ’table! —Don Shoemaker donshoemaker@yahoo.com What the . . . Editor: I’ll be damned, power cables work! I always thought it was so much snake oil. —Kevin Thomas kevinthomas95@yahoo.com Where the . . . Editor: In this day and age, I think adding the country of manufacture to a product review’s specifications box would be a useful bit of information. While ours is a global economy, I think many prospective purchasers would be interested to know where a product was made. While ultimately it is still…

Flea-power amplifiers & full-range drivers THIS ISSUE: Lowther-powered speakers and a terrific set of travel headphones. One good book leads to another. Adam Gopnik’s The Table Comes First: Family, France, and the Meaning of Food has led me to The Perfectionist: Life and Death in Haute Cuisine, by Rudolph Chelminski (Gotham Books, 2005). It’s one of the best books I’ve read about two of my favorite subjects: a) food, and b) France. Bernard Loiseau was one of the great French chefs of the late 20th century, up there with his colleagues and friends Paul Bocuse and Guy Savoy, both of whom he knew well. Loiseau took his own life in February 2003, fearful that Le Guide Michelin might knock down his three-star rating to two. His very identity, from adolescence,…

THIS ISSUE: SM visits the anechoic chamber at the National Research Council, in Ottawa, Canada, and lives with Tannoy’s Mercury V1 loudspeaker. Two Distinct Sounds: One High, One Low When I began my junior year at Fairleigh Dickinson University, in Teaneck, New Jersey, I’d already fulfilled the main requirements for graduation, but still had a number of credits to put toward elective studies. The courses in yoga and bowling were already closed, so I devised an independent course in experimental music. Thinking about it now, it seems a strange miracle that the university allowed me to come up with such a thing. Fairleigh’s music department had long been abandoned, forgotten, traded in for the money that comes with well-publicized investments in business, economics, and a fast-growing foreign-exchange program. To me,…

I was setting up for some musical demonstrations I was to present for a Music Matters evening at the ListenUp! store in Boulder, Colorado, in May 2011. For these events, an audio store invites manufacturers (and the occasional journalist) to demonstrate to local audiophiles the musical benefits of high-end audio playback. In Boulder, I was to share the store’s big listening room with Dave Nauber, president of Classé Audio, who had set up a system with B&W Diamond 802 speakers, a Classé stereo amplifier, and a preproduction sample of Classé’s new CP-800 preamplifier ($5000), all hooked up with AudioQuest cable. I unpacked my MacBook, with which I was going to play the high-resolution master files of some of my Stereophile recordings, and looked around for a DAC. There wasn’t one.…

Analog Sources Linn Sondek LP12 turntable with Lingo power supply, Linn Ekos tonearm, Linn Arkiv B phono cartridge. Digital Sources Ayre Acoustics C-5xeMP & DX-5 universal players; Apple 2.7GHz i7 Mac mini laptop running OS10.7, iTunes 10, Pure Music 1.86; Shuttle PC with Lynx AES16 soundcard & dual-core AMD Athlon processor running Windows 7, Foobar 2000, Adobe Audition 3.0; Halide DAC HD, dCS Debussy, Benchmark DAC1, Logitech Transporter, Mark Levinson No.30.6 D/A converters; Ayre Acoustics QA-9 USB A/D converter. Preamplification Liberty B2B-1 phono preamplifier, Ayre Acoustics K-5xeMP. Power Amplifiers Classé CT-M600, Lamm M1.2 Reference (both monoblocks). Loudspeakers BBC LS3/5a, Emotiva XRT-5.2 X-Ref, Lansche 5.1, PSB Imagine Mini, Sony SS-AR2. Cables Digital: DH Labs Silver Sonic. AES/EBU: AudioQuest Coffee, Belkin Gold USB. FireWire: AudioQuest FireWire 400 (prototype). Interconnect (balanced): AudioQuest Wild.…

I used DRA Labs’ MLSSA system and a calibrated DPA 4006 microphone to measure the Marten Django XL’s frequency response in the farfield, and an Earthworks QTC-40 mike for the nearfield responses. Because the Django XL is a large, heavy speaker, I could not raise it very high off the ground for the acoustic measurements. As a result, the measured responses have less resolution in the midrange than I would have liked. My estimate of the Django’s voltage sensitivity was 84.1dB(B)/2.83V/m, which is much lower than the specified 89dB/2.83V/m. Offsetting that, the speaker’s plot of electrical impedance with its woofer control set to “+” (fig.1) indicates that it is not a difficult load for the partnering amplifier to drive. Although there is a minimum impedance of 3.8 ohms between 70…

Description Three-way, bassreflex bookshelf loudspeaker. Drive-units: 1" (25mm) ring-radiator tweeter, 3.25" (83mm) polypropylene-cone midrange, 6.5" (165mm) polypropylene-cone woofer. Crossover frequency (midrange–tweeter): 2.8kHz. Frequency range: 36Hz–40kHz. Frequency response: 50Hz–30kHz, –3dB. Nominal impedance: compatible with 8 ohm outputs. Sensitivity: 88dB. Recommended amplification: 20–200Wpc. Dimensions 163/4" (426mm) H by 8" (203mm) W by 149/16" (370mm) D. Weight: 29.6 lbs (13.4kg). Finishes Mount Vernon Cherry, Midnight Mahogany. Serial Numbers of Units Reviewed AM731200206, ’13. Price $1499.90/pair. Approximate number of dealers: >50. Manufacturer Polk Audio, 5601 Metro Drive, Baltimore, MD 21215. Tel: (800) 377-7655, (410) 358-3600. Fax: (410) 764-5470. www.polkaudio.com.…

LOUDSPEAKER One of my formative audiophile experiences was the first time I heard electrostatic speakers. I walked into an audio store and heard music played by a live jazz combo. But where were the musicians? I saw none, though I did notice a couple of room-divider panels in the part of the store where the music seemed to be coming from. Eventually, it dawned on me that these must be loudspeakers—but they sounded like no other speakers I’d ever heard, and nothing like the Advents I had at home. Those room dividers turned out to be KLH Nine electrostatic speakers. My Advents, good as they were, sounded like speakers; these sounded more like live music. The price was something like $2000/pair, more than 10 times the price of the Advents—completely…

Digital Source Ayre Acoustics CX-7eMP CD player. Preamplifier Convergent Audio Technology SL-1 Renaissance. Power Amplifiers Audiopax Model 88 Mk.II, McIntosh MC275LE, Simaudio Moon Evolution W-7. Integrated Amplifier PrimaLuna ProLogue Premium. Loudspeakers Avantgarde Uno Nano, GoldenEar Triton Two. Cables Interconnects, speaker cables, AC: Nordost Valhalla. Accessories PS Audio PerfectWave Power Plant 5 AC regenerator; Arcici Suspense Rack, PolyCrystal equipment stands; Nordost Sort Kone TC footers; Furutech RD-2 CD demagnetizer.-Robert Deutsch…

I don’t know whether the makers of Bricasti Design’s M1 D/A converter ($7795)3 consciously subscribe to W. Edwards Deming’s famous 14 principles of management, but they sure do seem intent on continuous improvement. The ink was hardly dry on my March 2012 Follow-Up on the M1’s new filter set (which provided a greater number of intermediate steps in the range of rolloff options) when Bricasti Design cofounder Brian Zolner informed me that his company would shortly make available as a no-cost upgrade an even newer filter set adding minimum-phase implementations of the six most popular filters of the second filter set. (In his February 2012 cover review of the M1, John Atkinson had noted that, in view of the M1’s software-based system architecture, there was no reason minimum-phase filters couldn’t…

THIS ISSUE: “Dance and dance, still dancing till, he goes off to sleep…” Under the Lavender Moon Hard as they may wish or try, most bands are never lucky enough to record their defining moment. They’re never able to replicate the energy of their live performances, or coalesce and crystallize all of their influences and experiences into one coherent statement—one classic work of art that lives on in its own universe and has that most elusive of artistic attributes: timelessness. Twenty years ago, Los Lobos—a band built around the childhood friendship of Louie Pérez and David Hidalgo, a pair of music nerds who were, in their own word, “weird”— managed to write and record just that kind of album. With its entrancing mix of nearjazz, rock’n’roll, traditional Mexican music, psychedelia,…

ERRATA Stephen Mejias In the May 2012 “Analog Corner,” we mistakenly identified an AirTight cartridge as a Lyra Atlas (bottom image, page 33). In the title to July’s “Analog Corner,” we misspelled the name of the $150,000 Onedof Turntable. Apologies. UK: HIGH STREETS Paul Messenger In late summer 2010, the British hi-fi industry was surprised to hear of the merger of the UK’s two biggest hi-fi retail chains, Audio T and Sevenoaks Sound & Vision. After nearly two years of working to integrate the chains, including changing the name of some 15 Audio T outlets, it comes as an even greater surprise that the merger has been called off. Although rebranding 15 Audio T stores gave the impression that much work had already gone into the merger, apparently most of…

THIS ISSUE: Musical Fidelity’s M1ViNL phono preamplifier and Clearaudio’s Goldfinger Statement phono cartridge set up residence chez Mikey. Travels, an affordable phono stage, & a far-from affordable cartridge I recently spent a week traveling—it was good to get out of the basement! First up, toward the end of May, was an event at the Audio Alternative, in Fort Collins, Colorado. Owner Rick Duplisea is a vinyl fanatic and Linnie whose store—actually, his sprawling home—is packed with gear and LPs. His record collection beats mine. Unfortunately, I didn’t have time to look at every album—it would have taken days—but even a quick peek turned up lots of vinyl I wish I owned or even just had a chance to hear. Next time! I demoed for an appreciative crowd vinyl vs 24-bit/96kHz…

THIS ISSUE: Dolby’s new TrueHD, Parasound’s Halo A 31 three-channel amplifier, and MSR Acoustics’ Dimension4 SpringTraps. Amps, Apodizing, & Absorption Late in May, Dolby Laboratories held a two-day press event, Fidelity Forum 2.0, to announce a new feature added to the production tools included in their flagship codec, TrueHD. While I could not attend, Jason Victor Serinus reported all the details at http://tinyurl.com/d8o84lx. Briefly, while TrueHD has always supported 24-bit/96kHz resolution, the great majority of Blu-ray discs carry audio of no higher resolution than 24-bit/48kHz—barely better than what’s found on CDs. That these audio tracks typically sound better than CD, may be due to better attention to production efforts, the use of the 24-bit word length, and/or the advantage of having more than two channels to play with. Getting any…

Description Remote-controlled, solid-state preamplifier with touchscreen display, DSP-implemented tone and equalizer controls, 10 digital inputs (AES/EBU, 3 S/PDIF on coax, 4 S/PDIF on TosLink, asynchronous USB, front-panel USB host input for iPods, etc.), and analog inputs (2 pairs balanced on XLR jacks, 3 pairs unbalanced on RCAs). Analog outputs: 3 pairs balanced on XLRs, 3 pairs unbalanced on RCAs, headphones on 1/4" (6.35mm) jack. Other inputs/outputs: Ethernet, trigger, CAN-Bus, IR. Frequency responses: 8Hz–200kHz, <1dB, stereo analog bypass; 8Hz–20kHz, <0.5dB, all other sources. Channel matching: <l0.05dB. THD+noise: 0.0005%, digital source/bypassed analog source; 0.002%, processed analog source. Maximum input levels: 2V (DSP), 4.5V (bypass), single-ended; 4V (DSP), 9V (bypass), balanced. Maximum output levels: 9V single-ended, 18V balanced. Gain range:–93dB to +14dB. Input impedances: 100k ohms, single-ended; 50k ohms, balanced. Output impedances: 100…

If it’s rare to go to an audio show and hear most of a company’s products set up properly in multiple rooms, it’s rarer still to hear those products also sounding terrific in each and every room. Such was my introduction to Marten’s loudspeakers at the 2010 Consumer Electronics Show. In each of the systems in which the Swedish company’s speakers were set up, and no matter what gear was upstream of them, I heard distinctly neutral, open, musical sound. After having the very same experience with Marten’s speakers at the 2011 CES, I concluded that they must know what they’re doing, and that their speakers are the real deal. I wanted to review some. However, most of the speakers in Marten’s Heritage and Coltrane lines are quite pricey, and…

Analog Sources Clearaudio Concept turntable & tonearm, with Concept moving-magnet cartridge; Clearaudio Ovation turntable & tonearm, Clearaudio Talisman V2 cartridge. Digital Sources Benchmark DAC1 HDR D/A converter/preamplifier, Sony Vaio laptop computer; Bel Canto Design CD 2 CD player & DAC 3.5 VB Mk.II D/A converter & VB-1 power supply. Preamplification Clearaudio Nano phono preamplifier. Power Amplifiers Audio Research Reference 150, Rogue Audio M-180 monoblocks, Simaudio Moon Evolution 880M monoblocks. Loudspeakers Revel Performa F30. Cables Digital: Stereovox HDVX coaxial, Silver Sonic D-110 AES/EBU, Cardas Clear USB. Interconnect: Sain Line Systems Pure, balanced & single-ended. Speaker: Kimber Kable BiFocal X. AC: Sain Line Systems Reference. Accessories Shunyata Research Hydra 8 power conditioner; Ready Acoustics, ASC Tube Trap room treatments; Butcher Block audio table.…

I used DRA Labs’ MLSSA system and a calibrated DPA 4006 microphone to measure the Polk LS I M703’s frequency response in the farfield, and an Earthworks QTC-40 for the nearfield and spatially averaged room responses. With its 1/4" capsule, the Earthworks mike is small enough to not significantly affect the tuning of the port when used to take a nearfield measurement. I estimated the LS I M703’s B-weighted voltage sensitivity as 87dB/2.83V/m, 1dB lower than the specification. The electrical impedance (fig.1, solid trace) remained between 4 and 7 ohms over most of the audioband, but dropped to 3 ohms at 125Hz. There is also an awkward combination of 4 ohms and–47° phase angle at 90Hz, a frequency where music can have considerable energy. Polk specifies the LS I M703…

Description Two-way, floor-standing, electrostatic loudspeaker with a powered dynamic woofer. Driveunits: 44" (1118mm) H by 11.3" (287mm) W XStat CLS electrostatic high-frequency transducer (radiating area, 497in.2 [3209cm2]); 10" (254mm) high-excursion, aluminum-cone woofer. Crossover frequency: 340Hz. Frequency response: 29Hz-23kHz, ±3dB. Horizontal dispersion: 30°. Vertical dispersion: 44" (1120mm) line source. Sensitivity: 91dB/2.83V/m. Impedance: 4 ohms, 0.52 ohm at 20kHz. Compatible with 4, 6, or 8 ohm rated amplifiers. Woofer amplifier: 200Wpc (4 ohms). Recommended amplification: 20-500Wpc. Audio controls: ±10dB under 100Hz. Lighting: LED intensity control (On/Dim/Off). Power draw: Idle: <1Wpc (idle), 200Wpc (maximum). Dimensions: 59.3" (1505mm) H by 12.7" (322mm) W by 18" (457mm) D. Weight: 58 lbs. (26.3 kg). Finishes black ash, dark cherry, black cherrywood. Serial numbers of units reviewed MTWH 000, MTWH 001. Price $9995/pair. Approximate number of dealers:…

THIS ISSUE: Jon Iverson on the T+A media player, John Atkinson on the Musical Fidelity V-DAC II, and John Marks on the Bricasti M1 D/A processor. My first reaction on setting up the latest version of T+A elektroakustik’s Music Player Balanced ($4400) was one of familiarity. Apparent on the outside were the same clean, beautiful design, build quality, and attention to detail that had impressed me when I reviewed the original Music Player ($4000) in our August 2009 issue. But a closer inspection revealed that T+A’s engineers have been busy.1 First off, the display seems easier to read, and several new buttons have sprouted on the front panel. On the back, new connections have popped out all over. In addition to the variable stereo RCA outputs and the coax digital…

Keith Jarrett’s American quartet (with Redman, Haden, Motian) was prolifically inventive. His Standards trio (Peacock, DeJohnette) continues endlessly rich and ebullient at the end of its third decade. But Jarrett’s Scandinavian quartet of saxophonist Jan Garbarek, drummer Jon Christensen (both Norwegian), and bassist Palle Danielsson (Swedish), was something else again. Each player’s technical mastery, combined with their collectively perfect attunedness to one other, an apparently effortless intimacy of interplay that sounds telepathic, made them special even in a career as brilliant as Jarrett’s-who wrote his best tunes for this band. Jarrett’s Belonging band (unofficially named for their first album together) convened only occasionally in its five years, and released few records. Belonging (1974) and the very popular My Song (1978) are both studio recordings. The two discs of Sleeper expand…