lunes, 29 de diciembre de 2008

Bill Evans - Live at Balboa Jazz Club vol.4 - (1979)

Bill Evans: piano
Marc Johnson: bass
Joe LaBarbera: drums

1. Polka Dots And Moonbeams
2. Who Can I Turn To?
3. My Man's Gone Now
4. Quiet Now
5. Autumn Leaves
6. Laurie
7. 34 Skidoo
8. Minha

"Balboa Jazz Club", Madrid, Spain, December 11, 1979
Ivory (Portugal) ILP 3003

Tony Scott - Sung heroes - (1959)

Tony Scott (cl, p, g, bs)
Bill Evans (p)
Scott LaFaro (b)
Paul Motian (d)
1959, October 28, 29 - USA, NYC - Fine Studio
[tracks 1-8]

Tony scott (cl)
Juan Sastre (g)
1958 - USA, NYC
[track 9]

1. Misery
2. Portrait of Anne Frank
3. Remembrance of Art Tatum
4. Requiem for Hot Lips Page
5. Blues for An African Friend
6. For Stefan Wolpe
7. Israel
8. Memory of My Father
9. Lament to Manolete

All compositions by Tony Scott

Sunnyside SSC 1015-D

jueves, 11 de diciembre de 2008

Bill Evans - Re: Person I Knew - (1974)

Bill Evans (p) Eddie Gomez (b) Marty Morell (d):

"Village Vanguard", NYC, January 11 & 12, 1974
(Since we met, same session)

Re: Person I Knew

Sugar Plum



Excerpt From Dolphin Dance

Very Early

34 Skidoo


Are You All The Things

miércoles, 10 de diciembre de 2008

The Great Kai & J. J. - (1960)

J.J. Johnson - Trombón
Kai Winding - Trombón
Bill Evans - Piano
Paul Chambers - Bajo
Roy Haynes - Batería
Tommy Williams - Bajo
Art Taylor - Batería

Sello / Impulse! , 1960.

Temas / Tracks :

This Could Be the Start of Something Big
Georgia On My Mind
Blue Monk
Alone Together
Side By Side
I Concentrate On You
Theme From Picnic
Going, Going, Gong!
Just for a Thrill .

sábado, 6 de diciembre de 2008

Bill Evans Trio with Herb Geller - Hamburg - (1972)

Audio. FM source.
Studio 10
Hamburg, Germany
February 14th, 1972

Bill Evans (p)
Eddie Gomez (b)
Marty Morell (dr)
Herb Geller (fl)

Disc 1

01 - INtroduction by Michael Naura
02 - RE: A person i knew
03 - Turn out the stars
04 - Gloria's step
05 - The two lonely people
06 - Sao Paulo
07 - Stockenhagen
08 - Nardis

Disc 2

01 - Waltz of dissention
02 - Quarter tone experiments
03 - Northern Trail

Bill Evans - Private Concert at Ilkka Kuusisto´s Home - Lauttasaari, Helsinki, Finland - (1969 or 1970)

Bill Evans Trio
At Ilkka Kuusisto's home,
Lauttasaari, Helsinki
Finland,1970 (or 1969)

Bill Evans - p
Eddie Gomez - bs
Marty Morell - dr


1. Emily
2. Alfie
3. Nardis

Total time: 29:30
Format: DVD

Bill Evans Trio - Live at Maison de l´ORTF, Paris - (1965)

BILL EVANS - piano


01 - ELSA 5:58
02 - I SHOULD CARE 5:58
06 - NARDIS 6:41
08 - ISRAEL 1:58

13 de febrebro de 1965

** Tracks 9-12: Other venue, same Month

09 - NARDIS 6:09

Miles Davis - Kind Of Blue - Studio Sessions & Outtakes - (1959)


Featuring John Coltrane, Bill Evans, Cannonball Adderley, Wynton Kelly,
Freddie Loader, Paul Chambers & Jimmy Cobb

Miles Davis - "Kind of Blue" Studio Sessions & Outtakes, 1959 [FLAC] (including try-outs)

Tracks 1,2,3 > March 2, 1959 (2:30pm to 5:30pm and 7:00pm to 10:00pm)
Tracks 5,6 > April 22, 1959 (2:30pm to 5:30pm)
Columbia 30th Street Studio, New-York, USA


2. SO WHAT SESSION (12'53)

Bill Evans Trio - Live at Grande Parade du Jazz, Nice, France - (1978)

The Bill Evans Trio
Grande Parade Du Jazz
Nice, France
July 7, 1978

Bill Evans- piano
Marc Johnson- bass (later the leader of "Bass Desires")
Philly Jo Jones- drums
Lee Konitz - sax
Stan Getz - sax
Christian Escoude - guitar

Disc 1:

01 - Nardis
02 - Theme From M*A*S*H* (Suicide Is Painless)
03 - The Peacocks
04 - In Your Own Sweet Way
05 - On Green Dolphin Street
06 - Radio commentary

Disc Two:

07 - Like Someone In Love (with Lee Konitz)
08 - You Don't Know What Love Is (with Lee Konitz)
09 - Lover Man (with Lee Konitz & Curtis Fuller)
10 - Bill Evans Interview
11 - When I Fall In Love
12 - All The Things You Are (with Stan Getz, Cutris Fuller and Christian Escoude)

Bill Evans Trio & Herb Geller - Hamburg - (1972)


Funkhaus Hamburg/Germany, February 1972
(prior to Feb 14, when the actual concert took place)

NDR production "Backstage-Report über die Proben für ein Jazzkonzert"
(backstage report on the rehearsals for a jazz concert)

Producer: Michael Naura


Bill Evans, p
Eddie Gomez, b
Marty Morell, dr
Herb Geller, fl (piccolo, alto & c), as

Setlist :

1. 00:00 - 3:12 [piccolo]
2. 03:12 - 4:16 studio chatter
3. 04:16 - 9:48 [alto flute]
4. 09:48 - 9:59 studio chatter
5. 09:59 - 14:25 [alto sax] [inc]
6. 14:25 - 14:46 studio chatter
7. 14:46 - 16:43 [flute] [inc]
8. 16:43 - 16:54 studio chatter
9. 16:54 - 21:28 [flute]
10. 21:28 - 23:30 chatter & rehearsal
11. 23:30 - 25:23 [flute] [inc] [credits from 24:54-25:23]

Bill Evans Trio Live In Koblenz - (1979 )


Disc 1
1. Midnight Mood
2. If You Could See Me Now
3. There From M.A.S.H
4. Turn Out The Stars
5. Unknown Title
6. A Sleeping Bee
7. Quiet New
8. Up With The Lark
9 Spring Is Here
10. My Romance
11. Re: Person I Know

Disc 2
1. Laurie
2. Very Early
3. The Peacocks
4. On Green Dolphin Street
5. Mornin' Glory
6. Solar
7. Polka Dots And Moonbeams
8. Nardis

Koblenz Germany Devember 5. 1979

Bill Evans (p)
Marc Johnson (b)
Joe Barbera (ds)

viernes, 5 de diciembre de 2008

Bill Evans - Eloquence - (1973)

November 19, 1973

Gone With The Wind
Saudade Do Brasil
In A Sentimental Mood
But Beautiful
All Of You
Since We Met
But Not For Me / Isn't It Romantic / The Opener
When In Rome / It Amazes Me

Bill Evans (p) Eddie Gomez (b -2/4) Marty Morell (d -2/4)
"Shelly's Manne-Hole", Hollywood, CA, November 19, 1973

Bill Evans & Jeremy Steig - What´s New - (1969)

January 30, 1969

1. Straight No Chaser
2. Lover Man
3. What's New
4. Autumn Leaves
5. Time Out for Chris
6. Sparticus Love Theme
7. So What

Jeremy Steig (fl) Bill Evans (pf) Eddie Gomez (b) Marty Morell (ds) Recorded at NYC, January 30, February 3 & 5, March 11, 1969Verve V6 8777.

Bill Evans Trio - Letter to Evan - Live at Ronnie Scott´s - (1980)

July 21, 1980, live at Ronnie Scott´s in London.

1. Emily - Bill Evans, Mandel, Johnny
2. Days of Wine and Roses - Bill Evans, Mancini, Henry
3. Knit for Mary F. - Bill Evans, Evans, Bill [Piano]
4. Like Someone in Love - Bill Evans, Burke, Johnny
5. Your Story - Bill Evans, Evans, Bill [Piano]
6. Stella by Starlight - Bill Evans, Washington, Ned
7. My Man's Gone Now - Bill Evans, Gershwin, Ira
8. Letter to Evan - Bill Evans, Evans, Bill [Piano]

Bill Evans, Marc Johnson & Joe Labarbera.

Conversations with myself - Bill Evans - (1963)

January 1963

'Round Midnight; How About You?; Spartacus Love Theme; Blue Monk; Stella By Starlight; Hey, There; N.Y.C.'s No Lark; Just You, Just Me; Bemsha Swing; A Sleepin' Bee.


Bill Evans - Piano.


"In February 1963 Evans' extreme withdrawal into himself produced an album that was a hit with the critics. Conversations With Myself (which won the Grammy Award for best instrumental jazz performance of 1963; Verve V6-8526; CD 821-984-2) was made by over-dubbing three recordings of himself, thereby creating a sort of "three-pianist trio.”

This over-dubbing technique was not entirely new to jazz: Lennie Tristano, in fact, had done the same thing in the 1950s, causing no small stir among the critics at the time, The peculiarity of the thing spurred Evans, however, to clarify his intentions in the album's liner notes, in which he said that he considered that strange "trio" a ”group"; for all intents and purposes it was a collective improvisation. Naturally the album demonstrates Evans' great capacity to carefully balance the three piano parts, even though the impression of artifice and of "personal challenge" prevail throughout its artistic content which, once again, seems necessarily to come to the foreground in relation to the pianist's "dark side".

N.Y.C.’s No Lark is conceived as a sort of dirge-like song in memory of the young pianist Sonny Clark who, tragically, had recently died as a result of drugs. The agonizing atmosphere of the piece, constructed as a kind of heavy funeral march in which Evans, using Debussy-like harmonies, refers to the more hidden, destructive aspects of a city like New York which (and for Evans himself it was, unfortunately, the same story) could easily become a painful and oppressive place. However, beyond the virtuosity Evans showed in handling a decidedly complex musical situation and his ability to "orchestrate", it seems rather to represent a curiosity along his musical path than a significant point of arrival.
Three months later, in May of 1963, going along with Creed Taylor's often disputable taste, Evans recorded an album for MGM on which his performance consisted simply of playing famous Hollywood themes according to the most banal and simplistic parameters of elevator music. Despite the slick presentation in the liner notes (“Evans can explore a pop tune and give it a dignity and meaning it never received before”), the album collapses into a completely conventional, commercialized product, whose total disengagement was in deep contrast with the constant appeal to beauty that Evans was always making in his statements. Evans restricts himself to playing the melody of the pieces in the most pedestrian way imaginable, succeeding in coming dangerously close, if not in fact crossing over, into the style of sequined ballroom entertainers. Evans, aware of this self-annihilation and, disturbed by the whole thing, thought at first of hiding behind his Russian name, but after releasing the album he rationalized that “if this record could have done something for widening my audience, getting better distribution for my other records, I'm all for it. Because it's a cold, hard business.” His hopes of making money, however, didn't pan out but somehow, perhaps in spite himself, he managed to avoid ruining his artistic image forever. The brilliant arranger Claus Ogerman had been brought in for the occasion, and would go on to work with Evans on various other recording projects, the most successful among which the album Symbiosis in 1974."

(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)(thanks !!!)

Further Conversations With Myself - Bill Evans - (1967)

1.: Emily

2.: Yesterdays

3.: Santa Claus Is Coming To Town

4.: Funny Man

6.: Little Lulu

5.: Shadow Of Your Smile

7.: Quiet Now

Pianos: Bill Evans.

Bill Evans Trio - Live In Switzerland - (1975)

Bill Evans (p) Eddie Gomez (b) Marty Morell (d)

Espalinges, Switzerland, February 6, 1975

1.: Sugar Plum

2.: Midnight Mood

3.: Turn Out The Stars

4.: Gloria's Step

5.: Up With the Lark

6.: Twelve Toned Tune

7.: Morning Glory

8.: Sareen Jurer

9.: Time Remembered

10.: My Romance

11.: Waltz For Debby

12.: Yesterday I Heard The Rain

Bill Evans Trio- The Birdland Sessions - (1960)

Recorded Live at the Birdland Club, New York City, March 12 & 19 and April 30, 1960. Features Bill Evans (piano), Scott Lafaro (bass) & Paul Motian (drums)

1. Autumn Leaves
2. Our Delight
3. Beautiful Love/Five (Theme)
4. Autumn Leaves
5. Come Rain or Come Shine/Five (Theme)
6. Come Rain or Come Shine
7. Nardis
8. Blue in Green
9. Autumn Leaves
10. All of You
11. Come Rain or Come Shine
12. Speak Low

Bill Evans & Lee Konitz - Play the Arrangements of Jimmy Giuffre - (1959)

1. Palo Alto - Bill Evans, Konitz
2. When Your Lover Has Gone - Bill Evans, Swan
3. Cork 'N' Bib - Bill Evans, Konitz
4. Somp'm Outa' Nothin' - Bill Evans, Giuffre
5. Someone to Watch Over Me - Bill Evans, Gershwin, Ira
6. Uncharted - Bill Evans, Giuffre
7. Moonlight in Vermont - Bill Evans, Suessdorf
8. The Song Is You - Bill Evans, Kern, Jerome
9. Darn That Dream - Bill Evans,
10. Ev'rything I've Got (Belongs to You) - Bill Evans, Rodgers
11. You Don't Know What Love Is - Bill Evans, Raye
12. I Didn't Know About You - Bill Evans, Ellington
13. I'm Getting Sentimental Over You - Bill Evans, Bassman, George
14. You're Driving Me Crazy - Bill Evans, Donaldson
15. You're Clear out of This World - Bill Evans, Arlen
16. The More I See You - Bill Evans, Warren
17. You Are Too Beautiful - Bill Evans, Rodgers

Lee Konitz, Hal McKusick (as) Ted Brown, Warne Marsh (ts) Jimmy Giuffre (bars, arr) Bill Evans (p) Buddy Clark (b) Ronnie Free (d)

Bill Evans Trio - The Koln Concert - (1976)

1. Time Remembered
2. In Your Own Sweet Way - Bill Evans, Brubeck, Dave
3. Sareen Jurer - Bill Evans, Zindars
4. Morning Glory - Bill Evans, Gentry
5. 34 Skidoo
6. Sugar Plum
7. Turn out the Stars
8. How My Heart Sings
9. Time Remembered
10. Twelve Toned Tune

Bill Evans (p) Eddie Gomez (b) Eliot Zigmund (d)

Bill Evans & Orchestra - Brandeis Jazz Festival - (1957)

Art Farmer, Louis Mucci (tp) Jimmy Knepper (tb) Jim Buffington (frh) Robert DiDomenica (fl) Manuel Zegler (basn) John LaPorta (as) Hal McKusick (ts) Margaret Ross (harp) Teddy Charles (vib) Bill Evans (p) Barry Galbraith (g) Joe Benjamin (b) Ted Sommer (d) George Russell, Gunther Schuller (arr, cond)
"Brandeis Jazz Festival", NYC, June 10, 1957

(Teo Macero (bars) Fred Zimmerman (b) Charles Mingus (voice) replaces Benjamin
"Brandeis Jazz Festival", NYC, June 18, 1957
Joe Benjamin (b) replaces Macero, Zimmerman, Mingus
"Brandeis Jazz Festival", NYC, June 20, 1957)

1. All About Rosie, Pts. 1-2 - Bill Evans, Russell, G.
2. Suspensions - Bill Evans, Giuffre, J.
3. Transformation - Bill Evans, Schuller, G.
4. On Green Mountain - Bill Evans, Shapero, H.
5. All Set - Bill Evans, Babbitt, M.
6. Revelations - Bill Evans, Mingus, C.
7. Dancing in the Dark - Bill Evans, Dietz
8. I Love You - Bill Evans, Porter, C.
9. 'S Wonderful - Bill Evans, Gershwin, George


"All About Rosie belonged to a group of pieces commissioned from six composers who were able to write in the "mixed" language of the Third Stream, which many musicians were studying and experimenting with in those years. The six compositions were to be performed at the Brandeis jazz Festival in the summer of 1957 by an orchestra co-conducted by Günter Schuller and George Russell. Evans' overwhelmingly swinging performance in All About Rosie struck both journalists and musicians. Critic Nat Hentoff commented that "aside from proving himself professionally-speaking, Evans has some very original and meaningful things to say."
(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)(thanks !!!)

jueves, 4 de diciembre de 2008

Interplay - The Bill Evans Quintet - (1962)

Freddie Hubbard (tp) Bill Evans (p) Jim Hall (g) Percy Heath (b) Philly Joe Jones (d)

July, 1962

1. You and the Night and the Music
2. When You Wish Upon a Star
3. I'll Never Smile Again - (take 7)
4. I'll Never Smile Again - (take 6)
5. Interplay
6. You Go to My Head
7. Wrap Your Troubles in Dreams


“[In 1962] Circumstances were forcing Bill to widen his sphere of musical activity. The trio was no longer the only group requiring his attention. In addition to his increased compositional activity, in July/August of 1962 Evans recorded two splendid quintet albums which were originally issued as a single LP called Interplay [Riverside LP 9445] and subsequently as a double LP entitled The Interplay Sessions, [Milestone 47055] and that later became the CDs Interplay [OJCCD-308-2] and Loose Bloose [Milestone 9200].

Bill chose which instruments there would be in each band using trumpet, guitar, and piano-bass-drums on Interplay and saxophone, guitar and the same rhythm section on Loose Bloose.
‘Who’ was playing on these dates is something that Bill kept closely in his focus as he was developing the music for these dates. The musicians common to both recordings, drummer Philly Joe Jones and guitarist Jim Hall, were Evans’ preferred performers on their instruments. The trumpet player on the first recording was the then emerging Freddie Hubbard, while on the second LP it was Zoot Sims who had risen to prominence as one of Woody Herman’s ‘Four Brothers’ at the end of the 1940’s.
The most relevant factor of these two albums lay precisely in Evans’ ability to match the material to the color and tone of the instruments that he had chosen for these sessions. Both albums highlight his talent as an arranger, one who is able to treat a small group like a big band. In some selections, the theme is presented by the trumpet and guitar using the latter as a sort of second horn; in others, the guitar is phrased with the other string instrument, the bass.

The order of the solos is sensitively conceived to avoid monotony. And, with this in mind, the instrument that states the theme at the beginning does not play it again at the end of the piece, thus maintaining a lively variety in tone color within each number.

From the point of view of Evans’ piano language, these albums marked a successful attempt at regaining that vitality and performing energy that seemed to be missing with his second trio [based on the preceding chapter, Pieranunzi seems to be referring to the trio in which Chuck Israels replaced Scott LaFaro with Paul Motian remaining as the trio’s drummer until her left Bill in Hollywood in 1963]. Working out of Philly Joe Jones’ generous rhythmic pulse, he recaptures in some solos that hard bopper verve demonstrated in New Jazz Conceptions and Everybody Digs Bill Evans. In particular, Wrap Your Troubles in Dreams – a title which is perfectly appropriate to the difficult period in which Evans perhaps yearned to shed his problems and dreamed of a better life – there is an almost joyful simplicity in the phrasing. It is as if Evans was searching back in time for his personal ‘golden age’ when, as a teenager, he had discovered and learned to love Jazz.

The melodies of the album on which Hubbard plays are all from the late 1930s, and perhaps this is no accident. Evans up-dates them, inventing delightful, unpredictable and unconventional codas for each one – to the point that the ending of You Go To My Head sounds harmonically unresolved and erratic.

All things considered, Interplay is a very hopeful album. Furthermore, this being an occasion to lead a group larger than a trio, Evans does something really intriguing which is reflected in the two title-tracks, Interplay and Loose Bloose. In both numbers, the minor blues form is combined with an approach the pianist owed to his exposure to the music of Bach.
These two tunes are, in fact, very close in their construction to some of the great composer’s works: a sequence of tenths as played by the guitar and bass forms a calm and almost solemn harmonic framework while the melody unfolds in counterpoint to it.

Loose Bloose, written in the unusual key of E-Flat minor, also offers a demonstration of melodic daring uncommon to Evans. Here he makes use of often dissonant intervals which trace a flickering, zigzagging line by frequently zooming-out in wide leaps.

Less successful was his attempt at fusing classical procedures with an exclusively jazz context. Fudgesicle Built for Four [another of Evans’ pun titles obviously playing off the title of the song Bicycle Built for Two] is a real “fugato” where each of the four voices enters one after the other, according to the most rigorous imitative style.

The result is a very Dave Brubeck-like jazz, with a slightly pompous, tuxedoed “Modern Jazz Quartet” flavor, but unfortunately, the harmonic structure laid out by Evans for improvisation on the tune seems to inhibit the soloists.

Essentially, the Interplay album with Freddie Hubbard can be considered a hard bop release with Evans even dusting off a few Horace Silver type passages."

(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)(thanks !!!)

miércoles, 3 de diciembre de 2008

Bill Evans Trio - Live at Balboa Jazz Club Vol. 1 &2 - (1979)

Recorded live at Balboa Jazz Club in Madrid, Spain on December 12, 1979 with Marc Johnson and Joe LaBarbera

& Volumen 2 includes:

Bill´s Hit Tune, Gary´s Theme, Laurie, Like Someone in Love, & Nardis.

Bill Evans & Eddie Gomez- Intuition - (1974)


1. Invitation
2. Blue Serge
3. Show-Type Tune
4. The Nature Of Things
5. Are You All The Things
6. A Face Without A Name
7. Falling Grace
8. Hi Lili Hi Lo

Bill Evans (p, el-p) Eddie Gomez (b)

Recording Date: 1974

The Touch of Tony Scott - (1956)

Tony Scott(Leader)
John Carisi, Joe Wilder(tp)
Jimmy Cleveland, Urbie Green (tb)
Tony Scott((cl),
Danny Bank (brs)
Bill Evans(p),
Barry Galbraith (g),
Milt Hinton (b),
Osie Johnson (d)
Arr.: George Siravo , Al Cohn, John Carisi

1-Rock Me but Don't Roll Me 2.30
2-Deep Purple 1.55
3-Jitterbug Waltz 3.08
4-The Moon Walks 3.41
5-My Old Flame 3.22
6-Aeolian Drinking Song 6.12
7-You're Driving Me Crazy 3.10
8-Round About Midnight 3.29
9-Walkin' On Air 2.57
11-Vanilla Frosting On a Beef Pie

Oliver Nelson - The Blues and the Abstract Truth - (1961)

1. Stolen Moments
2. Hoe-Down
3. Cascades
4. Yearnin'
5. Butch and Butch
6. Teenie's Blues

Oliver Nelson - Saxos alto y tenor
Eric Dolphy - Saxo alto y flauta
George Barrow - Saxo barítono
Freddie Hubbard - Trompeta
Bill Evans - Piano
Paul Chambers - Contrabajo
Roy Haynes - Batería

Impulse, 1961

"Three weeks after Explorations, Evans recorded as sideman on Oliver Nelson's great Blues And The Abstract Truth. The group included, among others, Eric Dolphy, a saxophonist from Los Angeles, whose very dissonant and extremely innovative phrasing went well beyond hard bop clichés. Dolphy was soon to be recognized, for his work with Coltrane and Mingus, as one of the most original heralds of the jazz avant-garde, contributing richly to the deconstruction and transformation of the current rhythmic/harmonic parameters of post-bop jazz. Once again the meeting seems not to have produced much of a reaction in Evans. He kept his own pace along that personal path which, in the space of a few months, would lead his trio to astonishing musical and artistic peaks. Perhaps in a less sensational way than Dolphy or Coltrane and some others, these would profoundly, and forever, change the concept of a piano/bass/drum trio, the “ethics" within group improvisation, and the interactive approach of a bass player or drummer in any type of group.

Evans' influence on other pianists and instrumentalists, already glimpsed by that time, was destined to gradually equal that of Bud Powell. However, his went much further as a result of the greater number of jazz piano aspects involved, such as voicing, melodic approach, the logic in shaping a solo, tone of the instrument in relation to expressive aims; not to leave out some aesthetic/historical aspects like the rediscovery of the "singing" potential of the piano, no small feature of the late-Romantic and Impressionist European tradition with which Evans generously enriched the jazz language."
(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)(thanks !!!)

Cannonball Adderley & Bill Evans - Know What I Mean? - (1961)

Cannonball Adderley (saxo alto) Bill Evans (piano), Percy Heath (contrabajo) y Connie Kay (batería).

1.Waltz for Debby (Bill Evans) (5:14)
2.Goodbye (Gordon Jenkins) (6:15)
3. Who Cares? (Take 5) (George & Ira Gershwin) (5:57)
4. Who Cares? (Take 4) (George & Ira Gershwin) (5:55)
5. Venice (John Lewis) (2:55)
6. Toy (Clifford Jordan) (5:08)
7. Elsa (Earl Zindars)(5:52)
8. Nancy (With the Laughing Face)(Van Heusen-silvers) (4:07)
9. Know What I Mean? (Re-Take 7)(Bill Evans) (4:54)
10. Know What I Mean? (Take 12)(Bill Evans) (7:01)