The
James R. and Susan Neumann Jazz Collection presents
 |
| the neUmann DIGITization project |
Beginning in fall 2013,
we're giving interested students the chance to choose an LP to digitize from
the ca. 50,000 jazz-related recordings currently in the Neumann Jazz Collection and then to answer a few brief questions about their
experience. If you'd like to be a part
of the project, you can find out more information here. Today our post is by Joe Simmons
(OC '15), who chose the 1973 album Virtuoso #4
by Joe Pass (Pablo Live 2640-102.]
Why in general did you want to be a part of
this project?
I have been working on archiving,
cataloging, and digitizing Oberlin Alumnus Jim Neumann's immense collection of
jazz recordings and artifacts for the past year and a half. This has given me
direct exposure to the history of the music I study in a way that few people
have the privilege to do. As such, I applaud Matt Segall's efforts to make this
extraordinary collection more accessible to the students of Oberlin College and
Conservatory. Although I frequently digitize vinyl records as part of my job, I
decided I would like to add my voice to the conversation Matt started and
comment on what these recordings mean to me.
Why did you choose this particular record?
I chose to digitize and comment on
the first two sides of Joe Pass' Virtuoso
#4. Although this particular recording session is available digitally, it
consists of outtakes that were not included in the first three of the "Virtuoso"
series. As a guitarist, it's difficult to pass up a chance to listen to a Joe
Pass record on vinyl that you haven't heard.
How was this experience different from simply locating an existing digital version of the LP on YouTube or Spotify?
I think there is something really
special about hearing a great record on vinyl pressed 30 years ago, still in
pristine condition. People may argue on either side whether the sound quality
of vinyl is noticeably better, but there's no denying that it's a different
listening experience altogether. Ultimately of course, the purpose of
digitization is to preserve the music in a format that never "goes
bad" (vinyl slowly degrades with time and multiple listenings), and to
make it more accessible to listeners on campus. Still, I highly recommend
taking this opportunity to experience this collection first hand.
What musically stood out to you as you listened to the recording?
This particular recording offers
an interesting view into who Joe Pass was as a musician. All but one track (“Indian
Summer”) are played on acoustic guitar rather than electric arch-top (though
Norman
Granz incorrectly states that every track is acoustic in his liner
notes). I wasn't too sure that I liked this choice at first; the sound is much
rawer and harsher than I tend to prefer for jazz guitar. The sound of the pick
and the string-scratching during shifts is audible and I found it kind of
distracting. In fact, the first track "Lush life" left me with the
impression that Joe Pass isn't nearly as at home playing acoustic. However, as
I continued to listen, I became much more engaged. Listen for his use of
"guitaristic" techniques: blistering single-note lines interspersed
with double stops, chordal passages, counterpoint, and slurs among others. Joe
plays the guitar as a convincing solo instrument, combining sonic textures and
rhythmic/harmonic effects in much the same way that a solo violinist playing a
composed work would.
Still, there are moments when the
illusion is broken; I occasionally noticed slightly-too-long pauses where Joe
Pass searches for the right chord, a little too awkward to be construed as an
artistic choice. However, in these moments, I find myself in awe at the
realization that these beautiful renditions of standards are probably in fact
completely improvised. These pieces are a true reflection of his talent,
instincts, and immense knowledge and command of the guitar. Listen for his use
of the range of the entire instrument, as well as the way he marks different
sections of his improvisations to avoid monotony. Also, take note of his rubato
interpretation of some pieces (particularly the first few on side a) versus
others clearly rooted in the swing tradition (as in "Come Rain or Come Shine"
and "My Shining Hour").
I found the last track on side b,
"Someday My Prince Will Come" to be his most artful rendition of any
standard on this 2 disc set. He tastefully combines the techniques heard thus
far, but the transitions are flawless and the ending is satisfying and
appropriate in context with the rest of the piece. After listening to Virtuoso #4 in its entirety, I still
prefer Joe Pass on an electric arch-top guitar over acoustic, but this album
demonstrates that a tasteful artist can shine on almost any instrument.
Can other students
listen to the LP now that it’s been digitized?
Yes, just click here and, when prompted, enter your ObieID and password. If you’re off campus, you’ll need to authenticate using Oberlin’s VPN.
NEW YORK, N.Y. Nov. 5
George Benjamin began studies at age 15 with Olivier Messiaen at the Paris Conservatoire. His first orchestral work, Ringed by the Flat Horizon,
was written at 20 and conducted by Pierre Boulez. A spectacular career
ensued, with works for varied instrumental combinations creating rich
textures and harmonic beauty. His sharp ear for poetry and precision was
thrillingly revealed in his 2012 opera, Written on Skin,
premiered at the Aix-en-Provence Festival, and available on a Nimbus CD
set and DVD. In nearly 40 international performances, it has received
universal praise. The piece tells one of the oldest stories in the
world, a triangular tale of sexual curiosity, rhapsodic love, and
violent jealousy. But it does so in a language all its own, at once
exquisitely wrought and devastatingly raw. When Written on Skin received its U.S. premiere in concert at Tanglewood's Festival of Contemporary Music in August, Jeremy Eichler in the Boston Globe
called it a "complexly beautiful 21st-century score, one that carries
forward the worlds of Debussy and Berg without surrendering to either
one." That performance was recorded by the Festival and will receive its
world webcast premiere on New York's 
Jeremy Denk has been called "one of his generation's most eloquent and thoughtful interpreters" (New York Times). His flourishing concert schedule, the second release in his Nonesuch recording contract (Bach's Goldberg Variations), his widely read blog called "Think Denk," and articles for the New Yorker,
which led to a Random House book commission, attest to his
multi-faceted artistry. As music director for the 68th annual Ojai Music
Festival in 2014, he will not only perform on piano but also write his
first opera libretto in collaboration with composer Steven Stucky, based
on the late Charles Rosen's The Classical Style. In September,
Denk was named a 2013 MacArthur Fellow. Popularly known as a "genius
award," it is presented to "an extraordinary group of individuals who
collectively reflect the breadth and depth of American creativity" and
involves a stipend of $625,000.
The
International Contemporary Ensemble, popularly known as ICE, has
distinguished itself from the many excellent new-music groups in several
ways. For starters, it has avoided being typecast in any particular
contemporary style and performs yearly at Lincoln Center's Mostly Mozart
Festival. Since its founding in 2001, ICE has performed over 500 works,
most of them by emerging composers. The ensemble has released albums on
the Bridge, Naxos, and Nonesuch labels, among others, and launched its
own label, Tundra. It has its own educational program, aimed at
instructing students in the challenges of ensemble performance. ICE
aspires to reaching millions of people a year, live and online. "We talk
regularly about how fun it would be to play in outer space," says ICE
founder Claire Chase, a MacArthur Fellow in 2012. "I am dead serious
with a smile on my face."
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