Bill Evans Trio with Symphony Orchestra - (1966)

Claus Ogerman - Arreglos y dirección orquestal

Bill Evans - Piano
Chuck Israels - Bass
Larry Bunker - Drums
Grady Tate - Drums

1. Goyescas (Guys in Love), pieces (6) in 2 books for piano, H. 64 La maja y el ruiseñior
   Composed by Enrique Granados
   Conducted by Claus Ogermann
   
   
2. Sonata for flute & keyboard in E flat major, BWV 1031 Sicilienne
   Composed by Johann Sebastian Bach
   Conducted by Claus Ogermann
   
   
3. Prelude for piano in D flat major, Op. 11/15
   Composed by Alexander Scriabin
   Conducted by Claus Ogermann
   
   
4. Time Remembered
   Composed by Bill Evans
   Conducted by Claus Ogermann
   
   
5. Pavane, for orchestra & chorus ad lib in F sharp minor, Op. 50
   Composed by Gabriel Faure
   Conducted by Claus Ogermann
   
   
6. Concerto for Jazz Piano & Orchestra Elegia (Elegy)
   Composed by Claus Ogermann
   Conducted by Claus Ogermann
   
   
7. My Bells
   Composed by Bill Evans
   Conducted by Claus Ogermann
   
   
8. Prelude for piano No. 20 in C minor, Op. 28/20, CT. 185
   Composed by Fryderyk Chopin
   Conducted by Claus Ogermann

SEE...

"(...)the album of Evans' trio with the symphony orchestra directed by Claus Ogerman. The bright idea of having a jazz trio perform selections from the European classical repertoire, rearranged for the occasion, was touted with triumphant promotional declarations by its author Creed Taylor. It seemed that the impossible had been done and the jazz/classical opposition had been overcome. In reality, the experiment, in this instance, was an unhappy one. Paradoxically, it was not in the explicit blend of the two musical languages where Evans produced his best, but rather when his classical background unconsciously melded with his capacity to improvise and with his acute sensibility for shaping music. [emphasis mine]. Therefore, this performance, once again designed for commercial purposes, ends up sounding like an example of late Third Stream with all the limits of authenticity that afflicted its worst works. The orchestral treatment, and especially Ogerman's formal concept, was without depth or imagination, and even Evans' exquisite My Bells suffered considerable damage.”
(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)