Sello / Impulse! , 1960.
Temas / Tracks :
This Could Be the Start of Something Big
Georgia On My Mind
Blue Monk
Judy
Alone Together
Side By Side
I Concentrate On You
Theme From Picnic
Trixie
Going, Going, Gong!
Just for a Thrill .
TrackList
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)
| 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 |
| 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] |
'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.
Personnel:
Bill Evans - Piano.
SEE...
"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 http://jazzprofiles.blogspot.com !!!)
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.
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
| 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 |
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) |
| 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 |
| 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 |
| 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 |
‘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.
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.
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.
