Tag Archives: bill evans

Listening Report: 1975 Bill Evans Trio Concert, On A Friday Evening, 180-Gram Vinyl, Qobuz / Tidal Streams

There is often a great divide between “audiophiles” and “fans” when it comes to archival releases. The former want their music to sound as good as possible with the performance often being only of secondary importance while the latter appreciate the full performances delivered in any format possible, warts ’n all…

I really first came to understand this notion back in my days as active Dead Head and collector of their live concerts. It was always a joy to get new shows but when you got a tape of a great performance that also sounded amazing, well that was the heavenly crossroads everyone dreamed about.  

In recent years there have been some wonderful archival releases issued as producers and archival sleuths like Zev Feldman dig deep into the recesses  of private collections and other previously unknown or long-rumored archival treasures which have presented themselves to the universe. 

I’ve reviewed a number of them by no less than Stan Getz & Joao Gilberto, Thelonious Monk, Charles Mingus and Bill Evans. To read some of those reviews, click on the artists names to jump to the reviews I’ve done over the years.

Regarding the last name on that list, there happily seems to be a well spring of great recordings surfacing of late. Last year I wrote about the fabulous and rare 1968 set from Ronnie Scott’s club in London (click here for that) and there have been numerous others over the years.  In May, my associate Ken Micallef wrote about the new Bill Evans CD boxed set — Everybody Still Digs Bill Evans: A Career Retrospective (1956-1980) — which includes a 1975 live set of very high quality.  You can click here to read Ken’s review of the set but in short I concur with his perspective on the recording and performance. 

The good folks at Craft Recordings kindly sent me the new two-LP 180-gram vinyl version of that concert — recorded at Oil Can Harry’s in Vancouver, B.C. — which has been released separately, titled On A Friday Evening.  It is a wonderful recording which sounds to my ear like it was professionally engineered through a mixing board and onto analog tape (this was years before digital tape, folks). I can tell its not an audience recording because there is stereo panning on Evans’ piano apparent at times.  

However, part of the reason On A Friday Evening sounds as good as it does is because of a restoration step the producers wisely used from Plangent Processes.  This is a terrific technology and service that has been used by no less than Bruce Springsteen, The Grateful Dead and many others to correct issues — often significant issues — with the original tape due to motor speed fluctuations in the original recording, electrical variances (which can, again, affect motor speed) and other anomalies inherent to the tape and specific machines on which it was recorded. 

The result is a very tight sounding and in-tune recording that effectively brings the listener that much closer to what the original performance sounded like.  I have written about Plangent Processes before but if you want a fairly technical dive into it click here to read an article our former Editor Steven Stone wrote several years ago.

Kudos to Jamie Howarth at Plangent Processes for his work and to mastering engineer Paul Blakemore who clearly did an exemplary job on this nearly 50 year old recording. 

The whole set here is excellent but I particularly like “Saren Jurer,” “T.T.T. (Twelve Tone Tune)” and Miles Davis’ “Nardis” (Eddie Gomez’ bowed bass solo is wonderful!)

The 180-gram vinyl pressing made at RTI is dark, well centered and quiet, so no problems on that front either.

If you don’t have a turntable but are into the high resolution streaming experience and have both a DAC plus certain subscriptions, you can find On A Friday Evening streaming on Tidal in MQA format and on Qobuz Hi Res (both stream at 192 kHz, 24-bits). The music sounds exemplary there and very warm as digital streams go (click here to jump to it on Tidal and here for Qobuz).  

Both the streams and vinyl versions have their pluses and minuses so I’m not going to rank one over the other. But for a couple quick examples, on the streams the stereo separation seemed more distinct to where it becomes very apparent that Evans’ piano was likely mic’d in Stereo, allowing you to hear the pan of his playing across the keyboard (left to right across your speakers). However, I preferred how the drums sounded on the vinyl version, particularly how the cymbals decayed.  So, not surprisingly there is a give and take on different platforms and services. Use your ears and go with what ultimately feels best to you. 

All that said, On A Friday Evening  should be high on your must get list if you are fan of Evans’ music or if you are simply an audiophile seeking high quality live recordings to show off your system.  This one is a keeper. 

Original Resource is Audiophile Review

George Russell’s New York, Acoustic Sounds’ Decca Records Vinyl Restoration

Before I can tell you about how nice this 1959 reissue sounds, its probably important to answer a question some of you probably have: who is George Russell?

It is a good question. He was on the 1950’s jazz scene in New York, part of a group of innovators who aligned themselves with Gil Evans (whose album I reviewed just yesterday, click here, not entirely coincidentally) including Miles Davis, Charlie Parker, Gerry Mulligan, and John Lewis.

Russell was especially noted for his theoretical work, particularly his influential Lydian Chromatic Concept of Tonal Organization (according to the Wiki, the first edition of his book was published in 1953, while he worked as a salesclerk at Macy’s). His ideas were stepping stones toward landmark modal music albums such as Miles Davis’ Kind of Blue. Russell soon became a composer writing for the likes of Dizzy Gillespie, Buddy DeFranco and others, also issuing albums as a leader under the Jazz Workshop umbrella.

So that is the quick back story on Mr. Russell…

This helps to explain how a relatively unknown name to the public might get to issue an album on a major label like Decca Records. His New York is a musical portrait of The Big Apple featuring a A-list cast which includes John Coltrane, Bill Evans, Max Roach, Jon Hendricks, Charlie Persiop, Milt Hinton, Al Cohn, Barry Galbraith, Art Farmer, Benny Golson, Phil Woods and many others…

Musicians liked Mr. Russell, clearly. 

As to what might have inspired his making a musical tribute to Manhattan with hep jazz, almost kitschy dialogue before each section of the suite, I can only guess. But I’ll take an educated leap that it might have been inspired by an earlier and very popular Decca Records release from 1946 created by Gordon Jenkins called Manhattan Tower.

Incredibly dated now to the point where it is almost humorous to listen to, that release traces the arrival of a young man into the hustle and bustle of New York City, the glory of his first apartment and the joys and challenges of living there. Replete with celestial choirs and over the top orchestral arrangements and over-earnest dialogue, that album was clearly very popular as it made the transition from 78 RPM to 33 1/3 and even was expanded over the years and fully re-recorded in high fidelity in 1956. It stayed in print into the 1970s!.  

George Russell’s New York is a much hepper, cooler place to live in than Gordon Jenkins’ cliche’d golly-gee-whiz vision of 1940s city life and I suspect that is in part why it is getting the reissue treatment these days. It is a good recording! Jon Hendricks’ dialogue and beat-rapping is limited so this is mostly a musical travelogue but the journey is quite lovely and at times even wondrous.  

Most importantly, New York sounds terrific. And even though I don’t have an original pressing I suspect this edition sounds better than even a mint copy from back in the day — Decca Records in the 1950s was known for pressing its records on styrene plastic, not vinyl, which didn’t wear well (especially on the heavier tonearms of the 1950’s) and often lent a harsh tone to the music.  

I’ve never seen a copy out in the wilds of collecting and in line with that reality, at the time of this writing there was only one  “near mint” copy listed on Discogs (the record collecting website). This new Acoustic Sounds reissue is top drawer, pressed on thick dark, quiet and well centered black vinyl, presented in a high quality glossy gatefold sleeve. They even seem to have gotten the period labels recreated accurately. 

So, do you need to get George Russell’s New York?  I would think so just because it is an interesting concept piece and it is great to hear all of these players in a larger group setting than they would become known for in later years, especially Coltrane and Evans.  

Below is a little taste from it which encapsulates the chill vibe of Manhattan’s upper East Side very well (I lived there for a bit in the 80s, so this resonates with me) including Vernon Duke’s “Autumn In New York.”

Original Resource is Audiophile Review

Everybody Still Digs Bill Evans: A Career Retrospective (1956-1980)

Concord’s Craft Records imprint is renowned for their excellent CD and LP reissues and frowned upon (by some) for their $100-per-LP, “one-step,” “Small Batch Series,” limited edition vinyl packages. With Everybody Still Digs Bill Evans: A Career Retrospective (1956-1980), Craft returns to what it does best, creating interesting compilations–with a twist. June 25th is the release date for this five-CD set, available for $69.99 preorder from craftrecordings.com. The set includes both familiar material and a previously unreleased live recording of a later period Evans trio.   

Arguably the greatest jazz piano influence of the 1960s, the immediate forebearer of Keith Jarrett, Brad Mehldau, Jacky Terrason, and many others, Bill Evans epitomizes the tortured artist syndrome, the musician as isolated, difficult genius, Evans’ legacy as important to jazz as such equally heroic but troubled musicians as Charlie Parker, Jaco Pastorius, Bix Beiderbecke, and Billie Holiday. Evans’ music still resonates deeply with jazz aficionados today, his passing on September 15, 1980 at age 51, not that distant, and seemingly endless reissues and documentaries keeping his work alive and accessible.

Regardless of recording, Bill Evans’ creativity shines as art, his melding of engrossing melodies, brilliant technique, unique phrasing, and sure swing–coupled to a certain interior darkness—remains rare and rewarding. 

His reissue sales on par with John Coltrane and Miles Davis (whether from domestic sources or sketchy EU labels), Evans’ profound lyricism, lovely compositions, and innovative trios still resound with listeners. Everybody Still Digs Bill Evans: A Career Retrospective (1956-1980) culls from prior Riverside, Milestone, Fantasy, Verve, Warner Bros., and Elektra/Musician CD titles. It’s kind of a primer for those not already in possession of such comprehensive Bill Evans’ offerings as 1991’s 12-CD set, The Complete Riverside Recordings; 1996’s 9-CD The Complete Fantasy Recordings; 1997’s 18-CD The Complete Bill Evans on Verve, and 2005’s The Complete Village Vanguard Recordings. In an era of downloads and streaming, the 60-plus remastered tracks of Everybody Still Digs Bill Evans confirm our fondness for physical product and the public’s endless fascination with Bill Evans.

The 5-CD box set arrives in a beautiful, fabric-wrapped, hard-cover portfolio style book (12” x 10” with a foil-stamped cover). The case feels and looks like velour, a favorite material of ‘60s and ‘70s designers of then-trendy clothes and furniture. The 48-page book features rare photos and liner notes by writer, Neil Tesser, including an overview of the box set’s tracks. Everybody Still Digs Bill Evans was produced by Nick Phillips and includes newly remastered audio by engineer, Paul Blakemore.

Disc one, “Trialogues, Vol. 1,” (not “Triologues”?) partially covers Evans’ trio sides with drummer Paul Motian and bassist Scott LaFaro. The unique interplay and shared sensitivity of this first trio as heard on the Riverside titles, New Jazz Conceptions, Portrait in Jazz, Explorations, Waltz for Debby, and Sunday at the Village Vanguard, still towers above all other Evans’ releases. Where later Evans’ trios seemed to bring out the muscle and flash of his collaborators, seemingly drawing on earlier jazz trio templates, the Evans, LaFaro, and Motian trio created an exceptional way of listening and interpreting which had its ultimate fruition in the roster of Manfred Eicher’s ECM label. The first trio’s thoughtful, deeply empathetic approach, as well as its innate chemistry, is what makes their music so compelling some 60 years later.   

Disc two, “Trialogues, Vol. 2,” focuses on “Evans’ trios from the mid-60s onwards, as he resolved the loss of LaFaro and began collaborating with such sidemen as Eddie Gómez, Eliot Zigmund, Joe LaBarbera, and Marc Johnson,” stated the liner notes. Disc three, “Monologues,” focuses on Evans’ solo performances, including such seminal works as “Peace Piece,” “Waltz for Debby,” and the Miles Davis-penned “Nardis,” which Evans made entirely his own. Evans’ solo work is the next logical destination after you’ve imbibed his major trio recordings.  

Disc four, “Dialogues & Confluences,” highlights Evans’ collaborations with Tony Bennett, guitarist Jim Hall, bassists Eddie Gomez and Marc Johnson, and an excerpt from Marian McPartland’s long-running NPR show. Additional work with Freddie Hubbard, Cannonball Adderley, Toots Thielemans, Zoot Sims, and Lee Konitz round out disc four. 

A newly discovered live 1975 performance by Evans, Eddie Gómez, and Eliot Zigmund from Oil Can Harry’s in Vancouver, BC, makes up disc five, “Epilogue.” Audio restoration by Plangent Processes and meticulous mastering bring you to what sounds like the third row of an intimate club, and the results are masterful. Gomez left, Evans center, Zigmund right, it’s a deeply swinging performance of such gems as “Nardis,” “Blue Serge,” “Quiet Now,” “The Two Lonely People,” plus others. The concert will be available on two 180-gram vinyl LPs as On A Friday Evening. It’s prime Evans in many ways, especially when the pianist plays solo, though it lacks the telepathic synergy and subtlety of the first Evans, LaFaro, Motian trio. For all that’s played by Evans’ later trios, it’s perhaps what’s not played that makes his first trio, to many ears, perfect.      

For those new to Bill Evans or who call themselves completists, Everybody Still Digs Bill Evans: A Career Retrospective (1956-1980) is a worthy purchase.  

Original Resource is Audiophile Review

Bill Evans concert from 1975 gets first release on 2xLP

An evening with the legendary jazz pianist.

A Bill Evans Trio concert recording titled On A Friday Evening, is being released for the first time, via Craft Recordings this June.

The recording captures the trio’s concert at Vancouver club Oil Can Harry during 1975, with Evans joined by Eddie Gomez on bass and Eliot Zigmund on drums

“In the history of 20th-century piano, the music of Bill Evans constitutes an inflection point,” shares Zigmund. “There have been only a handful of pianists … whose innovations so strongly altered the prevailing aesthetic that the timeline breaks down into ‘before’ and ‘after.’”

On A Friday Evening follows Craft Recordings’ reissue of Yusef Lateef’s 1961 album Eastern Sounds.

Pre-order On A Friday Evening here in advance of its 25th June release, check out the artwork and tracklist below.


Side A

1. Sareen Jurer (live)
2. Sugar Plum (live)

Side B

1. The Two Lonely People (live)
2. T. T. T. (Twelve Tone Tune) (live)
3. Quiet Now (live)

Side C

1. Up With The Lark (live)
2. How Deep Is The Ocean (live)

Side D

1. Blue Serge (live)
2. Nardis (live)

Photo by: Phil Brey

Original Resource is The Vinyl Factory

Classic Chet Baker, Kevin Gray Remastered On RTI-Pressed Craft Recordings Vinyl (Part 2)

In part one of my exploration of the new Chet Baker vinyl reissues from Craft Recordings, I discussed the need for these still remarkably rare recordings to be offered again in high quality, audiophile-worthy editions. I also explored the album Chet Stereo in some detail, my favorite release of the series. In case you missed that first review, please click here to jump to it as there is some information there you may find interesting. 

Generally, these reissues are consistently quite beautiful — clean and rich, some delivering a nice sense of air around the music. The pressings are dead quiet, so there are no issues with quality controls that I can see/hear. Each of these albums are pressed in 180-gram vinyl at the respected RTI manufacturing plant. 

While I don’t have original pressings to compare these albums to, I suspect these new masters are a bit brighter than the 1958-59 editions (less compression used in in mastering, higher quality vinyl, audiophile grade pressing, etc.). In general these albums sound nice, a couple of them might even become demo discs for some of you.

Chet Baker Plays The Best Of Lerner and Loewe

Listening to Chet Stereo, I realized that one of the things I like most about Chet Baker’s trumpet playing is his buttery lyricism which shines on slower paced tunes. His phrasing is masterful and I enjoy being able to relish every note. That said, Chet Baker Plays The Best Of Lerner and Loewe is my second favorite among these reissues as it — in some ways — continues the cool West Coast vibe. Some of the connective glue to both albums is the presence of piano legend Bill Evans who anchors about half of this collection. While not all of the arrangements of the Lerner and Loewe classics from My Fair Lady are entirely to my liking — I prefer treatments by Oscar Peterson and Shelly Manne from that period — in general Chet’s playing is sublime throughout.  Having support from Zoot Sims and Pepper Adams on saxophones doesn’t hurt either.  

Chet In New York 

This is an interesting affair which at times approaches the fantastic (my third favorite in the series). A sweet set, here Chet is backed by a stellar rhythm sections featuring no less than Philly Joe Jones on drums and Paul Chambers on bass. True to the title and intent of the album, this pairs Baker — ‘the most notable of “cool” West Coast stars’ according to the liner notes — with  some of the best East Coast players of the period. Accordingly, this swinging set at times gets into some harder bop flavors and Baker rises to the occasion, no doubt. But I think he is in his sweet spot on the more laid back arrangements which inject a shot of East Coast energy beneath the chill West Coast vibe. Tracks like “Soft Winds” and “Blue Thoughts” are smokey and rich. Baker likewise finds that comfort zone on Miles Davis’ “Solar.” “Polka Dots & Moonbeams” has some beautiful soloing on it. 

It Could Happen To You – Chet Baker Sings

Don’t hate me folks, but I wanted to like this album more than I did (gasp! blasphemy!). I’m not a huge fan of Chet’s singing but I do love his Trumpet playing. However, on this album I did come to appreciate his very horn like “scat” vocalizing — it is at those points in the album that his voice comes alive and rings true to my ear. Sure his timing and phrasing is quite nice but I find his voice just a  a bit too clean for my tastes.

Its a little like the difference between Ella Fitzgerald or Sarah Vaughan, with Sarah perhaps having a more raw technique but bringing out an — and this is just my opinion folks, not the gospel! — more street-wise jazz feel than Ella’s crisp precision. Or consider two singers which Chet’s voice reminds me of: June Christy and Chris Connor.

I find June has more swing and some of that Sarah-like sassiness in her interpretations as opposed to Chris’ coloring-within-the-lines approach. So Chet — for me at least — feels a bit more like a male Chris Connor. And for many of you that may be a good thing!

For me, I’d rather simply listen to his horn playing. Still, its nice to finally hear this album which is highly revered and does indeed sound great from a listening standpoint.

All four of these new releases are in high demand. In fact, many of the pre-orders seem to be sold out already! Check back at Amazon by clicking the links embedded in the titles here (above) or here.  Also check Craft Recording’s website in case they announce a repressing.  

If you have trouble finding these Craft Recordings reissues online, check with your favorite music stores. You can also find them streaming in 96 kHz, 24-bit MQA (click here) via Tidal and at 192 kHz, 24 Bit High Res via Qobuz (click here). 

Original Resource is Audiophile Review

Classic Chet Baker, RTI-Pressed Kevin Gray Remastered Craft Recordings Vinyl (Part 1)

Before I get to the review portion of this exploration of the new remasters of classic albums by the legendary jazz musician Chet Baker, I thought it would be important to put the need for these reissues in perspective.

You see, my curiosity was peaked as to why these albums might be getting the analog, Kevin Gray Cohearant Audio mastering treatment here and now. There are several reasons, I suspect. The obvious one being that in 2019 these recordings were put into a boxed set with a bonus disc of outtakes and alternates from the period — so this is the first time those new remasters are available individually.

In keeping with similar reissue series from Universal Music and their Blue Note Tone Poet and Analog Productions imprints, these releases from Craft Recordings — the boutique audiophile arm of Concord Music which owns the catalogs of Riverside, Fantasy and Prestige Records among others — are albums which have achieved near legendary status among both jazz aficionados and audiophiles alike. 

And one resultant of that status is the reality that finding original pressings of these albums out in the wilds is next to impossible for all but the most fastidious of crate diggers.  I mean, I’ve been out there (pre Covid, at least) digging regularly and have only found a handful of good Chet Baker gems in the past 10 years (and almost none on the Riverside label). 

There have been many reissues of these albums over the years in varying quality and there are even “gray market” versions of some of these albums made from dubious sources and often using alternate artwork, yet charging full prices. So it is in the label’s and the fan’s best interest to issue a quality product to make sure people aren’t ripped off by unscrupulous marketers taking advantage of expired copyright laws overseas.

Accordingly, original pressings of Chet’s albums in Good to Near Mint condition go for quite a lot of coin on the collector’s marketplace. I spot checked what the titles in the new reissue series are going for at the time of this writing earlier this week, so click on any of the underlined titles in the next paragraph to jump to those pages for reference.

There were only three original Stereo pressings on Discogs  of Chet Baker In New York, selling for upwards of $250! Sellers of three Stereo copies of Chet Baker Plays The Best Of Lerner & Loewe are asking for upwards of $125 each. There is one copy of Chet Stereo going for $136 — even the 1963 repressing of that album is asking upwards of $400!! The Monos are more abundant (six copies) yet very pricey!  Heck, the more recent 45 RPM two LP set of Chet from Analog Productions is going for upwards of $500!  The one Stereo copy of It Could Happen To You, Chet Baker Sings was going for nearly $600 and Mono copies ain’t cheap either!

So, yes there is clearly a need for these reissues for the rest of us who can’t afford to spend hundreds of dollars on a single rare original issue! All the pressings I have received for review are 180-gram, remastered at Cohearant Audio by Kevin Gray. The albums are all pressed at RTI and the packaging is exemplary with high quality, period accurate thick cardboard sleeves with pasted on artwork just like original copies (probably nicer than originals in some ways, actually). The black Stereo labels also seem accurate, only the serial numbers have inevitably changed.

And, how do they sound?  Generally, they are consistently quite beautiful — clean and rich, some delivering a nice sense of air around the music. The pressings are dead quiet, so there are no issues with quality controls that I can see/hear. While I don’t have original pressings to compare these albums to, I suspect they are a bit brighter than the 1958-59 editions (higher quality vinyl, audiophile grade pressing, less compression used in mastering, etc.).

Chet Stereo is my favorite of the batch with its lovely sound design which compliments this expressive music nicely. I like how the then-new Stereo reverb applied to Baker’s trumpet ricochet’s from one channel the other without feeling gimmicky. His horn playing works sympathetically with the band which on many cuts includes legends like Bill Evan on piano, Kenny Burrell on guitar and Paul Chambers on bass. This album has classic oozing from every corner…

I did notice one curious reality, a detail likely of interest to those seeking a pristine presentations of the music. 

I had to listen to “It Never Entered My Mind” very closely many times to confirm whether what I was hearing was some sort of drop-out on the original magnetic tape at points or perhaps such clarity that it might be fluid gathering in Chet’s trumpet. Comparing the new reissue LP to versions on Qobuz and Tidal, I am leaning toward thinking it is physical wrinkle on the source tape used.  

Allow me a moment to be a wee bit obsessive about this while I offer some details…

On Qobuz, listen to this first version (click here) at around the 3:48 mark and you’ll hear the slightly garbled-wrinkled-tape sounding distortion similar to what I’m hearing on the new LP reissue. Yet, if you listen on another version also on Qobuz — click here, from the “Keepnews Collection” series — it does not have that anomaly.  There is a third version which sounds more clearly like a tape edit as it alters the sound stage for a moment (click here). There is a version with it on The Legendary Riverside Albums version (click here) streaming in 192 kHz, 24 bits. I suspect what I’m hearing is a physical tape edit wearing out, which happens over time.

For those of you on Tidal, compare this CD quality version (click here) with another containing the audible (likely) splice (click here). The Legendary Riverside Albums version streaming in 96 kHz  24-bit MQA format also has that anomaly (click here). 

Ok, thanks for indulging my obsessive audiophile-collector moment, but those of you who geek out on original pressings and getting the best audio quality may appreciate this microscopic focus.  

The question of course remains which tape source is the original? I would guess that the tapes with the audible splice — wrinkled or other wise — are probably the closest to the original. Just guessing, but I would suppose that perhaps later editions were digitally repaired. If any of you out there have further insights into this, please let us know in the comments below. 

Anyhow, Chet Stereo is a great album. Stay tuned as next week I’ll explore the other three albums in this fine reissue series, It Could Happen To You – Chet Baker Sings, Chet Baker In New York and Chet Baker Plays The Best Of Lerner & Loewe.

Original Resource is Audiophile Review

Bill Evans Live at Ronnie Scott’s | The Vinyl Anachronist

I reviewed a couple of Christmas jazz releases last week, something to play right before the holidays to get into the right mood. Well, consider Bill Evans Live at Ronnie Scott‘s an actual present to yourself, especially if you’re a fan of Bill Evans. (I am. I put him up there with Ellington and Brubeck, three corners of an equilateral jazz piano triangle.) This collection of previously unreleased performances, captured in 1968 over a month-long gig at the titular Soho club, wound up in a German vault for 50 years. If you know your Bill Evans, you’ll know his trio during this period included bassist Eddie Gomez and drummer Jack DeJohnette–the crew that was featured in Bill Evans at the Montreux Jazz Festival. Resonance Records, which is fast becoming a label known for finding lost treasures in the world of jazz–I reviewed their early Nat King Cole collection, Hittin’ the Ramp, a year ago and even purchased it for my parents at Christmas–and you get the same great packaging. I didn’t know this until now, but Brian Hunter interviewed Resonance’s Zev Feldman, aka The Jazz Detective, two years ago on The Occasional Podcast. Because these are “historical discoveries,” as opposed [...]

Original Resource is Part-Time Audiophile