U DIG IT?: Zach Resnick digitizes Mel Lewis's 1982 recording Live in Montreux

The James R. and Susan Neumann Jazz Collection presents

the neUmann DIGITization project

In fall 2013, we gave 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. Their contributions can be found here.  Today we're returning to the project to feature a Mel Lewis recording of Herbie Hancock compositions, many of which will be included on the Oberlin Jazz Ensemble's upcoming December 6 concert. Today's post is by Zach Resnick (OC '16).

Why in general did you want to take part in this project?
I wanted to digitize this record because there wouldn't have been any way for me to hear this music without digitizing the record myself; there is currently no place to buy this record or download any of the audio files. I very much appreciate that something like the Neumann Collection exists so it's possible for a student of jazz at Oberlin to have access to almost any obscure jazz record that is of interest to them.

Why did you choose this particular record?
I chose this record because the Oberlin Jazz Ensemble just received new music, and we're playing four of the five songs on the record. When I play/learn music of any kind that's not original, it's very helpful to have a recording to reference.

How was this experience different from simply locating an existing digital version of the LP on YouTube or Spotify?
Digitizing the record forced me to listen actively and have my focus for the time I was listening to music be solely on the music. As much as I try to do this when listening to music normally, it's somewhat regular that my mind might wander, I'll choose to change the track, or even stop listening completely.

What stood out to you musically as you listened to the recording?
The Mel Lewis Jazz Orchestra is one my favorite big bands of all time. I haven't heard a bad record of theirs, only ones I think are good and ones I think are great. This recording is special because it featured the music of Herbie Hancock arranged by Bob Mintzer. These are two of my favorite artists who have never been featured by The Mel Lewis Jazz Orchestra before. The result is fantastic, with the songs on this record being now some of my favorite tracks ever recorded by this band. On top of great songs and great arrangements with outstanding ensemble playing, the solos are out of this world with some of the hottest performers of The Mel Lewis Jazz Orchestra at their career's best. Make sure to watch out for Dick Oatts's solo on "Dolphin Dance," as well as Rich Perry on "Wiggle Waggle."

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.

U DIG IT?: Max Bessesen digitizes Anthony Braxton's 1975 recording Five Pieces - 1975

The James R. and Susan Neumann Jazz Collection presents

neUmann DIGITization project

We're now 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 Max Bessesen (OC '16), who chose the 1975 album Five Pieces - 1975 by Anthony Braxton (Arista AL 4064).

Why in general did you want to take part in this project?
I have a special interest in jazz and I am a saxophonist myself. I wanted to see the Neumann Collection as it is such a great resource that I wouldn’t otherwise have much access to. 

Why did you choose this particular record? 

I chose this record because I have listened to it a great deal on YouTube, and I was interested in hearing it with better quality. I also wanted to see how the track names actually looked on the record!

How was this experience different from simply locating an existing digital version of the LP on YouTube or Spotify?
The process of listening to a vinyl record is one that encourages us to sit down and just listen without distraction. Even as a musician I often find it difficult to hollow out time to just absorb an album of music. So this was an immersive experience. It was also a great chance to listen to a record that I don’t think many people have heard, but that I think is really great and deserves broader recognition. So I’m really happy it will be in a more accessible place.

What were some of the highlights of the recording for you?

The first track of the second side (I won’t try to re-create the name) is a very interesting composition, and I think it highlights Braxton’s ability to create a wide variety of textures and provide platforms for spontaneous creation in his band. He’s able to keep a long tune (over 17 minutes) engaging throughout. As a saxophonist I like to listen to Braxton’s articulation—it’s really unique!


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.

U DIG IT?: Cuyler Otsuka digitizes Monica Zetterlund's 1973 Swedish LP Waltz for Debby

The James R. and Susan Neumann Jazz Collection presents

neUmann DIGITization project

We're now 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 Cuyler Otsuka (OC '14), who chose the 1973 Swedish release Waltz for Debby by Monica Zetterlund and Bill Evans (Philips 6378 508).

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.

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.

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.