Bill Evans 45 RPM 180g Audiophile Vinyl Giveaway

[jsaliga]

Here is the numbered list of entrants.

1. etcarroll
2. eleazar
3. topround
4. StereoNut
5. _Scotty_
6. Triode Pete
7. evan1
8. mfsoa
9. mdconnelly
10. JBryan
11. BobM
12. rajacat

I used Random.org to generate a random number between 1 and 12.



_Scotty_ is the winner.  Congrats.  Thanks to all who entered.

--Jerome

[StereoNut]

Thanks for being so generous, Jerome! 

[_Scotty_]

Thanks again Jerome, I replied to your PM requesting my address. Please let me know if you need any further information.
 This should be a lot of fun, in the last 6mos. I have had my phono preamp, line stage and power amp upgraded and vinyl replay has improved in a very substantial way. In many ways it is superior to
all but the most recent 24/96 transfers and it manages to out point them by having a lower noise floor, which CD in my system has yet to equal.
 This will make only the third 45 rpm recording I have of audiophile quality. The other two are a D to D Charlie Byrd on Crystal Clear and Denon Demo record which I have seldom played.
 I am looking forward to hearing this record and my comments on the experience will be forthcoming.
Scotty

[jsaliga]

I'll get your record in the mail by the end of the week.  Hope you enjoy it.

--Jerome

[rollo]

 Sorry I missed the opportunity, hey man that was a cool thing to do. 


charles
SMA

[richidoo]

Thanks Jerome, that was a nice contest.  I already have the CDs or else I would have entered too.
Rich

[_Scotty_]

I am playing side 1 right now and it sounds fantastic. My 20bit CD transfer is crap compared to this version of the recording.
Everything is there, the highs, the lows and an excellent three dimensional sound-stage. This recording has a wonderful dynamic range which is very effectively preserved by the 45 RPM pressing. There is a very low level amount of tape hiss that is audible during the quietest passages, this is as it should be. This implies that there is no jiggery pokery going on with some kind of electronic noise filtering which would also cost us some musical information. Also my copies were very flat!
 I will take what I can get,the pressing is dead quiet and once again emphasizes the black background I get from vinyl in my system which I can't seem to get from my digital front end.
 I can't thank Jerome enough for having this drawing.
Obviously this 45 RPM pressing of Everybody Digs Bill Evans is Highly recommended.
Scotty

[topround]

Jerome that was a great game...thank you
I may want to play again... maybe I will offer something for giveaway.
Let me see what I have to offer that I won't miss too much

Mike

[_Scotty_]

Has anybody noticed that Bill appears to hum along to the music during his piano solo on Night and Day. I wonder if he influenced
Keith Jarrett in any way.
Scotty

[jsaliga]

Has anybody noticed that Bill appears to hum along to the music during his piano solo on Night and Day. I wonder if he influenced
Keith Jarrett in any way.
Scotty

There were a lot of piano men before Jarrett who would vocalize to their playing.  Bud Powell, Oscar Peterson, Thelonious Monk, and several other notable players did it.  I have mixed feelings about it.  

Oscar Peterson was a genuine singing talent, though he hardly ever sang.  And you probably wouldn't know that from his vocalizations while playing piano.  Sometimes he would scat and at others he could assault your eardrums.  The reason Peterson didn't sing much is his singing voice was practically a dead ringer for Nat King Cole.  In fact, shortly after Cole's death, Peterson released a record in 1965 on Verve entitled With Respect to Nat, which is a tribute album collecting a dozen songs that were made famous by Cole, with Peterson doing the vocals.  He is reunited with Ray Brown and Herb Ellis.  It's worth having if you can find a copy.

I have more or less learned to blot out the vocal cacophony of piano men who tend to loose themselves in the music and let their raucous vocal outbursts run wild.

--Jerome

[BobM]

I remember going to a piano coach back in my college days for a primer on composition and improvisation. One of his first lessons was to make me sing along with my playing. The theory is that the brain finds it very easy to produce a vocal melody and if you are accomplished it is very easy to translate that into the keys you are playing and "follow along". Most reasonably good musicians have relative or pseudo-perfect pitch anyway.

It definitely worked for me. My improv got way more melodic and the composition helped me come up with melodic surprises which triggered other thoughts, keeping it fresh.

[Rob S.]

wow,

Jerome- thanks for doing this- I'm pissed that I've been snoozing from this site and didn't make the entry.

Rob S.

[tmazz]

In fact, shortly after Cole's death, Peterson released a record in 1965 on Verve entitled With Respect to Nat, which is a tribute album collecting a dozen songs that were made famous by Cole, with Peterson doing the vocals.  He is reunited with Ray Brown and Herb Ellis.  It's worth having if you can find a copy.

ALIS couldn't find me a copy in the library system and Amazon had them for a very reasonable price, so I just had to buy one. 

http://www.amazon.com/gp/product/B000009DGQ