The James R. and Susan
Neumann Jazz Collection presents
neUmann DIGITization project |
Why
in general did you want to take part in this project?
I
wanted to take part in this project because I am an avid collector of vinyl
records in my spare time at home in Hawaii. I listened to the records online on
OBIS and was amazed by the fidelity of the recordings and the clarity of the
vinyl. I was unaware of the fact that Oberlin has a large collection of jazz
vinyl records, and I wanted to explore that avenue further.
Why
did you choose this particular record?
When I studied abroad in Stockholm, I visited a record store on S:t. Eriksgatan, off the green line. I was actually looking for first pressings of ABBA CDs, but instead discovered a treasure trove of music popular in Sweden during the 1960s and 1970s. I asked the man at the counter what Swedish music he’d recommend for an American like myself. He looked like a rocker, but suggested the record I chose to digitize, Waltz for Debby. He said, “It’s one of the best Swedish jazz records of all time.” I actually bought the CD, but never listened the whole way through until this project.
When I studied abroad in Stockholm, I visited a record store on S:t. Eriksgatan, off the green line. I was actually looking for first pressings of ABBA CDs, but instead discovered a treasure trove of music popular in Sweden during the 1960s and 1970s. I asked the man at the counter what Swedish music he’d recommend for an American like myself. He looked like a rocker, but suggested the record I chose to digitize, Waltz for Debby. He said, “It’s one of the best Swedish jazz records of all time.” I actually bought the CD, but never listened the whole way through until this project.
How
was this experience different from simply locating an existing digital version
of the LP on YouTube or Spotify?
The
musical experience itself was much warmer than it was listening to the album
digitally. In this day and age, with record producers peak-limiting and compressing
masters and selling lossy-quality audio to the general public, a lot of
fidelity is permanently lost that I was able to hear on the record as I
digitized it. I was pleasantly surprised to hear that there were very few
distracting pops and hisses on the record. Nowadays, most used vinyl records
have deteriorated due to quotidian use. This particular record in the Neumann
collection has been preserved very well. Listening to the record through proper
equipment was simply sublime.
What
stood out to you as you listened to the recording, and what would you recommend
future listeners listen for when they stream this content?
Musically,
the simplicity stood out to me—voice, piano, drums, and bass. The music
conveyed so much raw emotion—melancholy, poignance, introspection—through the
nuances of Zetterlund’s alto register woven into the musical licks by Bill
Evans’s piano and the deep bass, against the backdrop of the soft brushes on
the drums.
I
was glad to hear the Swedish language again, so hearing the compositions “Jag
vet en dejlig rosa” and “Monicas vals” was a refreshing experience.
Surprisingly, I really enjoyed “Some Other Time” as well, a composition I'd
never heard before. I haven’t heard anything else of either Bill Evans or
Monica Zetterlund, but this collaboration worked beautifully. I’ll be sure to
listen to more of each of them in the near future.
For
other newcomers to the world of jazz music, I’d recommend the albums Time Out by the Dave Brubeck
Quartet and Bitches Brew by
Miles Davis, both of which are in the Neumann Collection.