Bill Evans – Empathy (1962/2014) FLAC (tracks) 24-bit/96 kHz | Time – 35:12 minutes | 775 MB | Genre: Jazz Official Digital Download – Source: HDTracks.com | @ Verve Reissues
Empathy is the album that resulted when the Bill Evans Trio and Shelly Manne & His Men were sharing the bill at New York’s Village Vanguard. A session at Rudy Van Gelder’s studio was set up, and the trio of Evans, Manne, and Monty Budwig (Manne’s bass player) recorded the album. Because all of the musicians were out of their regular working ensembles, they felt more free to play around with the music and the resulting music is light, free, and relaxed. Songs recorded include Irving Berlin’s “The Washington Twist” and “Let’s Go Back to the Waltz”. (more…)
Stan Getz & Bill Evans – Stan Getz & Bill Evans (1973) [Japanese Limited SHM-SACD 2011 # UCGU-9029] PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:16 minutes | Scans included | 1,55 GB or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 604 MB
Stan Getz & Bill Evans is an album by jazz saxophonist Stan Getz & pianist Bill Evans recorded in 1964 for the Verve label but only 1st released 1973.
Includes liner notes by James Isaacs. Digitally remastered by Dennis Drake (Polygram Studios).The only studio meeting between Stan Getz & Bill Evans took place over 2 days in 1964, with the aggressive drummer Elvin Jones & either Richard Davis or Ron Carter on bass. It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz & Evans hadn’t had enough time to achieve the desired chemistry, though there are memorable moments. The punchy take of “My Heart Stood Still,” the elegant interpretation of “Grandfather’s Waltz,” & the lush setting of the show tune “Melinda” all came from the 1st day’s session, with Davis on bass. (Evidently he was unavailable the following day, so Carter replaced him.) Evans’ driving, challenging “Funkallero” is the obvious highlight from day 2, though the gorgeous “But Beautiful” & the breezy setting of “Night & Day” are also enjoyable. Only the brief version of “Carpetbagger’s Theme,” which seems badly out of place & suggestive of the label’s interference with the session, is a bit of a disappointment. (It’s not included on this SHM version) Obviously neither Getz nor Evans liked the tune, as they go through the motions in a very brief performance. [Some reissues add 3 unissued alternate takes, though additional material from the sessions was included in the box set The Complete Bill Evans on Verve.]~ Ken Dryden
Bill Evans Trio – Portrait In Jazz (1959) [Reissue 2003] PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 51:46 minutes | Scans included | 2,2 GB or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,13 GB
The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of “Autumn Leaves.” Other than introducing Evans’ “Peri’s Scope,” the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as “Come Rain or Come Shine,” “When I Fall in Love,” and “Someday My Prince Will Come” (which preceded Miles Davis’ famous recording by a couple years) are full of subtle and surprising creativity. A gem. (more…)
Cannonball Adderly with Bill Evans – Know What I Mean (1961) [APO Remaster 2002] PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 51:18 minutes | Scans included | 2,14 GB or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,02 GB
What’s better than a Bill Evans Trio album? How about a Bill Evans trio album on which the bassist is Percy Heath, the drummer is Connie Kay, and the leader is not Evans but alto sax god Cannonball Adderley, making the group actually a quartet? It’s a different sort of ensemble, to be sure, and the musical results are marvelous. Adderley’s playing on “Waltz for Debby” is both muscular and sensitive, as it is on the other Evans composition here, a modal ballad called “Know What I Mean?” Other treats include the sprightly “Toy” and two takes of the Gershwin classic “Who Cares?” The focus here is, of course, on Adderley’s excellent post-bop stylings, but it’s also interesting to hear Evans playing with a rhythm section as staid and conservative as Kay and Heath (both charter members of the Modern Jazz Quartet). It’s hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording. (more…)
Bill Evans Trio – Waltz for Debby SACD ISO (Stereo): 3,02 GB | 24B/88,2kHz Stereo FLAC: 1,24 GB | Full Artwork | 3% Recovery Info Label/Cat#: Analogue Productions # CAPJ 9399 SA | Country/Year: Europe 2002 Genre: Jazz | Style: Post Bop
Years ago, having heard this was one of the best jazz records ever, I bought the CD, finding it indifferently mastered and mildly boring. In view of the high regard for this recording, I have retried it every now and then, reestablishing the same impressions. The SACD reincarnation transformed all this. Listening to the same music has become infinitely more involving, a sensual experience. Yes, the recording has its very apparent shortcomings: the piano, slightly coarse, comes out of the right speaker only; the drums and the somewhat bigger-than-life double-bass come from the left speaker only; there is hardly any middle, except for audience noises. However, what presence and tangibility! In spite of these shortcomings and being “only stereo”, this is still one of the best-sounding SACDs I have had the pleasure of hearing. Actually, audience noises and clicking of glasses only add to the feeling of “being THERE”, much more so than, say, in the audiophile classic Jazz at the Pawnshop, Vol. 1 – Arne Domnerus in its newer (2005) remastering. Recommended! SA-CD.net
Bill Evans Trio – Sunday At The Village Vanguard SACD ISO (Stereo): 2,75 GB | 24B/88,2kHz Stereo FLAC: 1,30 GB | Artwork Label/Cat#: Analogue Productions # CAPJ 9376 SA | Country/Year: US 1961, 2002 | 3% Recovery Info Genre: Jazz | Style: Post Bop, Instrumental, Modal
Most of the APO analog to DSD conversions are great, but this one is probably the best from a sonic perspective. And if you like jazz trio’s with articulate bass playing and a clear and purposeful piano technique, then you are in for a treat. This is a live recording set at the New York Village Vanguard jazz club with accompanying audience ‘participation’, though that never distracts. The Stereo separation is rather absolute left/right, with the piano in the right speaker and the rest in the left. There is virtually no center image.
It is said that the interaction with his rhythmn section and the prominent place he gives them is a hallmark of the Bill Evans Trio. The bass of Scott LaFaro gets the same attention here as Bill Evans’ piano. Every song is rich in texture and communicates the enormous skills of each of the players. There are many tempo changes and the playing just demands your attention. This is not one for background music, it’s far too interesting for that.
Unfortunately LaFaro died in a car accident ten days after this recording – one of the reasons for featuring him so prominently here. A second album was cut of this session. So if you want to re-live that afternoon on June 25, 1961, you have no choice to buy ‘Waltz For Debbie’ as well – some choice
One of the finest sounding Jazz SACDs in my collection. Expensive now (cira 2013), but it is a must have SACD. At first I thought there was a pressing error/glitch on one track, but I double checked the OJC Red Book and it is there as well. Every system update reveals more information from this stunning SACD. It will hurt when you shell out the bucks for it today unless you can get a good deal, but man is it so worth it! Highest recommendation. sa-cd.net (more…)
Bill Evans Trio – Moon Beams SACD ISO (Stereo): 1,57 GB | 24B/88,2kHz Stereo FLAC: 730 MB | Artwork | 3% Recovery Info Label/Cat#: Analogue Productions # CAPJ 9428 SA | Country/Year: US 1962, 2002 Genre: Jazz | Style: Post Bop, Instrumental, Modal
Review by Thom Jurek
Moonbeams was the first recording Bill Evans made after the death of his musical right arm, bassist Scott LaFaro. Indeed, in LaFaro, Evans found a counterpart rather than a sideman, and the music they made together over four albums showed it. Bassist Chuck Israels from Cecil Taylor and Bud Powell’s bands took his place in the band with Evans and drummer Paul Motian and Evans recorded the only possible response to the loss of LaFaro — an album of ballads. The irony on this recording is that, despite material that was so natural for Evans to play, particularly with his trademark impressionistic sound collage style, is that other than as a sideman almost ten years before, he has never been more assertive than on Moonbeams. It is as if, with the death of LaFaro, Evans’ safety net was gone and he had to lead the trio alone. And he does first and foremost by abandoning the impressionism in favor of a more rhythmic and muscular approach to harmony. The set opens with an Evans original, “RE: Person I Knew,” a modal study that looks back to his days he spent with Miles Davis. There is perhaps the signature jazz rendition of “Stairway to the Stars,” with its loping yet halting melody line and solo that is heightened by Motian’s gorgeous brush accents in the bridge section. Other selections are so well paced and sequenced the record feels like a dream, with the lovely stuttering arpeggios that fall in “If You Could See Me Now,” and the cascading interplay between Evan’s chords and Israel’s punctuation in “It Might As Well Be Spring,” a tune Evans played for the rest of his life. The set concludes with a waltz in “Very Early,” that is played at that proper tempo with great taste and delicate elegance throughout, there is no temptation by the rhythm section to charge it up or to elongate the harmonic architecture by means of juggling intervals. Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader. allmusicguide
There is a storyline running through this and the other two Evans album – also reviewed here – that provides depth to the music. It’s of course about LaFaro, but there is more. When Bill Evans does ballads I always feel he is talking, and that takes listening to him to a different level. It’s not only a fine flowing, elegant piano piece – but let’s not forget the sensitive contributions of Chuck Israels on bass and Paul Motian on drums. It has that something extra that is difficult to put into words. It invites you to really listen and it takes the ballad out of the realm of background music.
Analogue Productions has produced some of the best sounding piano on SA-CD, and this one is no exception. If you want to listen to Bill Evans’ story you owe it to yourself to buy all three discs (‘Saturday At The Village Vanguard’ and ‘Waltz For Debbie’ are the other two). sa-cd.net (more…)
Bill Evans Quintet – Interplay (1962) [Japanese Limited SHM-SACD 2011 # UCGO-9018] PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:59 minutes | Scans included | 1,63 GB or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 878 MB
Interplay stands as some of Bill Evans’ most enigmatic and unusual music in makeup as well as execution. It was recorded in July 1962 with a very young Freddie Hubbard from the Jazz Messengers, guitarist Jim Hall, bassist Percy Heath, and drummer Philly Joe Jones performing five veteran standards. Evans has a more blues-based approach to playing: harder, edgier, and in full flow, fueled in no small part by Hall, who is at his very best here, swinging hard whether it be a ballad or an uptempo number. Hubbard’s playing, on the other hand, was never so restrained as it was here. Using a mute most of the time, his lyricism is revealed to jazz listeners for the first time — with Art Blakey it was a blistering attack of hard bop aggression. On this program of standards, however, Hubbard slips into them quite naturally without the burden of history — check his reading and improvisation on “When You Wish Upon a Star.” Ironically, it’s on the sole original, the title track, where the band in all its restrained, swinging power can be best heard, though the rest is striking finger-popping hard bop jazz, with stellar crystalline beauty in the ballads. (more…)
Monika Lang Trio – A Tribute to Bill Evans (2015) FLAC (tracks) 24 bit/48 kHz | Time – 00:57:09 minutes | 622 MB | Genre: Jazz Studio Master, Official Digital Download – Source: Q0buz | @ Gramola Records Recorded: December 6-8, 2013 at Wavegarden Studio, Mitterretzbach, Lower Austria
Already at the end of the fifties the great Jazz pianist Bill Evans (1929 – 1980) was seen as “one of the most important pianists in today’s music scene.” It comes as no surprise at all that soon even Miles Davis appreciated his “sense of harmony and his lyricism”. It was also quite unusual and controversial that Davis accepted him as the only white musician in his early sextet. After that, Evans, together with his piano trio, generally found his innermost and equally indicatory own form of expression. The result of this musical dialogue were style-forming concerts and recordings, based on the “use of individually coloured chord voicings”, an “individual rhythm with a sort of subliminal, barely noticeable Swing”, distinct dynamics, a nuanced touch and the subtle use of many stylistic devices from Jazz to classical music. Required qualification for this was, of course, a classical pianist training, but also a sort of linear vocal melody line that frequently orientated itself towards film music and the great composers of the “American Songbook”. In that way, Bill Evans came to be one of the most influential pianists of modern Jazz in the studios and especially on concert stages. Evans – insecure and in bad health all his life – was a drug addict and finally died of the many resulting afflictions and diseases. Added to that, furthermore came tragedies in his entourage – the consequences were depression and increased drug use. Giving musical honour to Evans, as also did John McLaughlin and Pat Metheny, was by no means a rarity but much more of a special challenge. To face this challenge and also live up to it needs a special sort of ability to combine technical mastering, experience and also emotion.
Bill Evans with Jeremy Stieg – What’s New (1963) [Japanese Limited SHM-SACD 2011] PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 44:42 minutes | Scans NOT included | 1,79 GB or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 908 MB Genre: Jazz
This reissue has the debut of drummer Marty Morell with Bill Evans and bassist Eddie Gomez; that particular trio would keep the same personnel for six productive years. Actually this is a quartet set with guest flutist Jeremy Steig, whose playing recalls Herbie Mann’s recording (Nirvana) with Evans back in the early ’60s. Both flutists were always open to the influences of pop and rock although in both of their collaborations with Bill Evans, the music is very much on the pianist’s turf. With the exception of Evans’ “Time Out for Chris” and the “Spartacus Love Theme,” the songs performed on this date would fit securely in the Miles Davis repertoire of the late ’50s. Steig is in particularly fine form on the program which includes tunes such as “Straight No Chaser”, “Autumn Leaves” and “So What”. (more…)