Mark Murphy - Rah - 1961

BILL toca solo en 3 TRACKS (Stanley Cowell piano en el resto):

Mark Murphy With Ernie Wilkins Orchestra

Bernie Glow, Ernie Royal, Clark Terry (tp) Jimmy Cleveland, Melba Liston (tb) BILL EVANS (p) Sam Herman (g) Wendell Marshall (b) Jimmy Cobb (d) Ray Barretto (cga) Mark Murphy (vo) Ernie Wilkins (arr)

NYC, October 16, 1961

	Out Of This World	Riverside RLP 395
	My Favorite Things (long version)	-
	My Favorite Things (short version)	-

* Mark Murphy - Rah (Riverside RLP 395; Fantasy OJC 141, OJCCD 141-2)

Stan Getz & Bill Evans - 1964

Credits:
Ron Carter Bass Richard Davis Bass Elvin Jones Drums
Produced by Creed Taylor.

Notes:
Seclections 1, 2, 3, 7, 8, and 11 recorded May 6, 1964 at Rudy Van Gelder's in Englewood Cliffs, N.J. Selections 4, 5, 6, 9, and 10 recorded May 5, 1964 at Rudy Van Gelder's in Englewood Cliffs, N.J.

Tracklist:

01 Night and Day
02 But Beautiful
03 Funkallero
04 My Heart Stood Still
05 Melinda
06 Grandfather's Waltz
07 Carpetbagger's Theme
08 Wnew (Theme Song) (Previously Unreleased)
09 My Heart Stood Still (Alternate Take-Previously Unreleased)
10 Grandfather's Waltz (Alternate Take-Previously Unreleased)
11 Night and Day (Alternate Take-Previously Unreleased)

The Canadian Concert Of Bill Evans - 1974

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

Camp Fortune, Ottawa, Canada, August, 1974

	Midnight Mood	Can-Am (Ca) CA 1200
	Elsa	-
	Sugar Plum	-
	Mornin' Glory	-
	A Sleepin' Bee	-
	How My Heart Sings	-
	Time Remembered	-
	Beautiful Love	-

* The Canadian Concert Of Bill Evans (Can-Am (Ca) CA 1200)

Kai Winding - The Incredible Kai Winding Trombones - 1960

Kai Winding Septet

Bill Evans only plays in:

Jimmy Knepper, Kai Winding (tb) Paul Faulise, Dick Lieb (btb) Bill Evans (p) Ron Carter (b) Sticks Evans (d)

NYC, December 13, 1960

	Black Coffee	Impulse A 3
	Bye Bye Blackbird	-
	Mitchie (slow)	-

* The Incredible Kai Winding Trombones (Impulse A 3; MCA 29062; Impulse 024 654 479-2)

Tadd Dameron Orchestra - The Magic Touch - 1962

Tadd Dameron Orchestra

Blue Mitchell, Clark Terry, Joe Wilder (tp) Jimmy Cleveland, Britt Woodman (tb) Julius Watkins (frh) Jerry Dodgion, Leo Wright (as, fl) Johnny Griffin (ts) Jerome Richardson (ts, fl) Tate Houston (bars) Bill Evans (p) George Duvivier (b) Philly Joe Jones (d) Tadd Dameron (arr, cond)

NYC, February 27, 1962

	Our Delight	Riverside RLP 419
	Our Delight (alt. take)	Fantasy OJCCD 143-2
	Bevan's Birthday	Riverside RLP 419
	Dial "B" For Beauty	-

* Tadd Dameron - The Magic Touch (Riverside RLP 419; Fantasy OJC 143, OJCCD 143-2)
Charlie Shavers (tp) Ron Carter (b) replaces Wilder, Duvivier

NYC, March 9, 1962

	On A Misty Night	Riverside R 45474, RLP 419
	On A Misty Night (alt. take)	Fantasy OJCCD 143-2
	Fontainebleau	Riverside RLP 419
	Swift As The Wind	Riverside R 45474, RLP 419

Clark Terry (tp) Jimmy Cleveland (tb) Jerry Dodgion (as, fl) Johnny Griffin (ts) Jerome Richardson (ts, fl) Tate Houston (bars) Bill Evans (p) Ron Carter (b) Philly Joe Jones (d) Barbara Winfield (vo -3,5) Tadd Dameron (arr, cond)

NYC, April 16, 1962

1.	Just Plain Talkin'	Riverside RLP 419
2.	Just Plain Talkin' (alt. take)	Fantasy OJCCD 143-2
3.	If You Could See Me Now	Riverside RLP 419
4.	Look Stop And Liston	-
5.	You're A Joy	-

Bill Evans - Quintessence - 1976

Bill Evans Quintet

Harold Land (ts -1,2,4/6) Bill Evans (p) Kenny Burrell (g -1,2,4/6) Ray Brown (b) Philly Joe Jones (d)

Berkeley, CA, May 27-30, 1976

1.	Sweet Dulcinea	Fantasy F 9529
2.	Martina	-
3.	Second Time Around	-
4.	A Child Is Born	-
5.	Bass Face	-
6.	Nobody Else But Me	Fantasy OJCCD 698-2

* Bill Evans - Quintessence (Fantasy F 9529, OJCCD 698-2)

Bill Evans Trio -The Paris Concert Ed. 1 y 2 - 1979

Edition One:
01 - I Do It for Your Love
02 - Quiet Now
03 - Noelle's Theme
04 - My Romance
05 - I Loves You Porgy
06 - Up With the Lark
07 - All Mine (Minha)
08 - Beautiful Love

Edition Two:
01 - Re: Person I Knew
02 - Gary's Theme
03 - Letter to Evan
04 - 34 Skidoo
05 - Laurie
06 - Nardis
07 - Interview

Bill Evans (p) Marc Johnson (b -1/7,9/14) Joe LaBarbera (d -1/7,9/14)

Paris, France, November 26, 1979

SEE...

"From that August 1979 on, in fact, we see his gradual and complete rediscovery of music, but the energy in that new spurt of growth would be inversely proportional to how much he cared about his own life, which was rapidly slipping into decline. The trio with Johnson and LaBarbera made its European debut in November of that same year. A couple of months earlier, on the occasion of his son Evan's fourth birthday, Bill had composed a tender piece for which he had also written the bitter-sweet words. The affectionate and detached Letter To Evan was performed many times along the tour, one concert of which was recorded and released on the two LPs The Paris Concert, Edition One & Edition Two and received with great enthusiasm by fans new and old. Curiously, Evans was being "rediscovered" in those years by a large number of younger listeners who had begun to tire of rock music and who were beginning to get interested in his music, having heard him perform at various European festivals."
Your Story
The trio with Johnson and LaBarbera evolved rapidly. Bill was satisfied and proud of the extremely fast progress his two partners were making, and of how in tune they were with his musical world. But he was beginning to have serious problems with his health. For some time now, and probably increasingly so following his brother's tragic death, he had been using cocaine, and this was having repercussions on his way of playing, among which a strong tendency to rush the tempo (something of which he was completely aware, according to what he once said to LaBarbera).

In fact, on his final recordings, his solos were frenetic at times and lingered at the highest register of the keyboard. Regardless of all this, his creative energy was propelled by a new impetus, and he began once again to compose extensively. The structures he used were extremely varied, but the prevailing approach was one that we might call “nuclear", in which the same brief sequence of notes and their rhythmic layout is repeated many times in a harmonically modulating development.

This is the case with the yearning Your Story, a piece in which the music is both a confession and an invocation. Here, thanks to his masterful use of enharmonic modulation, Evans tells a true story of regret and desperation; a vast and hopeless "why?", repeated and then repeated again, knowing that there will never be an answer. He also began to perform Nardis again, repeating it at almost every concert. The version he played in Paris, and which appears on the The Paris Concert Edition Two is a remarkable one. The long piano solo he improvises on the structure of this piece, whose Eastern flavor has always held a special attraction for him, becomes an amazing recapitulation of all the elements that have contributed to his piano style, of everything that he has ever loved in music. Shades of classical music (Khachaturian, Rachmaninoff, his favorite Russian composers), harmonic derivations from Tristano an entire piano tradition ranging from Romanticism to the 20th century and jazz are fused in this Nardis, something which has no antecedents in either jazz or in the classical music tradition.

Without giving up the structure, thereby remaining anchored to a tonal approach, Evans succeeds in escaping from it to create a series of sound forms in which constructive intelligence and pathos, mind and heart are no longer separate. When, after a series of variations, Johnson and LaBarbera join him, the audience understandably explodes in the joyous applause of those who have been led across unknown and beautiful places never before seen. Thus Nardis became a kind of message that Evans was sending out to everyone in each of his final concerts. His whole personal story is here, in this series of inventions and combinations: he seems to be posing the music one more question, whose answer is the certainty of his own creativity. This re-discovered faith shines through in the whole of this last phase.
The collaboration of the highest caliber offered him by Johnson and LaBarbera was never routine and brought him back that tension and passion for the musical quest with which he had peaked twenty years earlier at the time of his unparalleled collaboration with Motian and LaFaro: “This trio is very much connected to the first trio ... I feel that the trio I have now is karmic.” Having previously been heavily involved in Zen, and also due to his Russian Orthodox background which had given him a natural aptitude and sensitivity for the metaphysical and spiritual, he felt that having these two young musicians alongside him was a sign of destiny, of the "circularity' of things and their inexplicable propensity for moving according to a script already written.

Evans was drifting by now, no longer resisting his own karma, in which the key role was being played by his powerful subconscious death-wish. With his adventurous piano solos in Nardis he was confirming what many years before clarinet player Jimmy Giuffre had said of him: “Bill Evans is a greater musician than Charlie Parker;” and to clarify so surprising a statement to his incredulous listeners he added: “There is an area up here where musical categories do not exist. This area isn’t only jazz, or European music, classical or anything else. It's just music, great music which cannot be categorized. That's what Evans plays.”
(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)

Bill Evans - Alone Again - 1975

Session:

Bill Evans Solo

Bill Evans (p)

Berkeley, CA, December 16-18, 1975

	The Touch Of Your Lips	Fantasy F 9542
	In Your Own Sweet Way	-
	Make Someone Happy	-
	What Kind Of Fool Am I?	-
	People	-
	All Of You	Fantasy F 9618
	Since We Met	-
	Medley: But Not For Me / Isn't It Romantic / The Opener	-

Tracks in this CD:

1. "The Touch of Your Lips" (Ray Noble) – 5:17
2. "In Your Own Sweet Way" (Dave Brubeck) – 5:02
3. "Make Someone Happy" (Betty Comden, Adolph Green, Jule Styne) – 5:16
4. "What Kind of Fool Am I?" (Leslie Bricusse, Anthony Newley) – 4:45
5. "People" (Jule Styne, Bob Merrill) – 14:28

Bill Evans - Montreux III - 1976

1. Elsa
2. Milano
3. Venutian Rhythm Dance
4. Django
5. Minha (All Mine)
6. Driftin'
7. I Love You
8. The Summer Knows

Session:

Bill Evans - Eddie Gomez Duo

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

"Montreux Jazz Festival", "Casino De Montreux", Switzerland, July 20, 1975

	Elsa	Fantasy F 9510
	Milano	-
	Venutian Rhythm Dance	-
	Django	-
	Minha (All Mine)	-
	Driftin'	-
	I Love You	-
	The Summer Knows	-
	In A Sentimental Mood	Fantasy F 9618
	But Beautiful	-

* Bill Evans - Montreaux, III (Fantasy F 9510, OJC 644, OJCCD 644-2)

Bill Evans - Montreux II - 1970

MONTREUX II
Bill Evans
Live at the Casino de Montreux, Switzerland: June 19, 1970
Bill Evans (p); Eddie Gomez (b); Marty Morrell (d).

a. Introduction - 1:12
b. Very Early (Bill Evans) - 5:10
c. Alfie (Bachrach/David) - 5:05
d. 34 Skidoo (Bill Evans) - 5:20
e. How My Heart Sings (Earl O. Zindars) - 3:55
f. Israel (John Carisi) - 4:08
g. I Hear A Rhapsody (Fragos/Baker/Gasparre/Bard) - 5:30
h. Peri's Scope (Bill Evans) - 5:30
i. What Are You Doing The Rest Of Your Life (Michel LeGrand/Alan and Marilyn Bergman)
j. Gloria's Steps
k. Turn Out The Stars (Bill Evans/Gene Lees)
l. Autumn Leaves (Kosma/Prevert/Mercer)
m. Quiet Now (Denny Zeitlin)
n. My Funny Valentine (R. Rodgers/L. Hart)
o. A Sleepin' Bee (Arlen/Capote)

The Bill Evans Album - 1971

Sessions:

Bill Evans Trio

Bill Evans (p, el-p) Eddie Gomez (b) Marty Morell (d)

NYC, May 11, 12, 17, 19 & 20, June 9, 1971

CO109106	Comrade Conrad	Columbia C 30855
CO109107	The Two Lonely People	-
CO109108	Funkallero	-
-	Funkallero (alt. take)	unissued
CO109109	Sugar Plum	Columbia C 30855
CO109110	Waltz For Debby	-
-	Waltz For Debby (alt. take)	unissued
CO109111	Re: Person I Knew	Columbia C 30855
-	Re: Person I Knew (alt. take)	unissued
CO109112	T.T.T.	Columbia C 30855
CO109113	Fun Ride	rejected

* The Bill Evans Album (Columbia C 30855)

SEE...


Ttt

"His private life was much calmer now. Helen Keane had managed to notably enhance his artistic image, finding his target audience predominantly in Europe. Despite the great diffusion of rock-jazz, a portion of the public and of other musicians had, in fact, rejected the "electric revolution" and saw in Evans the standard-bearer of important and serious musical values, of an aesthetic that the spreading politicized ideology of music-for-the-masses seemed determined to dismantle, to relegate forever to a forgettable past. Evans' "message" in this aesthetic found numerous and attentive receivers.

Having always been interested in Eastern philosophies, he colored his interviews in the late 60s with considerations on the universal value of art, on the impossibility of a rational approach to music, on its "spiritual" function. His music did not shout, did not need to be played at high volume, did not seek massive audiences - it was profoundly human and went straight for the heart. They began to transcribe his solos and themes, to realize that his formal conception, his chord-voicing was a kind of synthesis, a distillation of the previous twenty years of jazz language and, most of all, that this synthesis was so accessible to so many.

As opposed to the great jazz piano personalities like Monk, for example, the work of "de-coding and re-coding" that Evans carried out on jazz improvisation mechanisms helped enormously to clarify the "creative process" of jazz, which, precisely through his solos and his restructuring and recomposing of the old standards, is today accessible and comprehensible. To say something understandable, while maintaining an increasing higher degree of meaning was, in any case, one of the most pressing requirements that he exacted of his music. The accessibility and special flavor that characterize his harmonic approach really had a lot to do with his classical background. A good example is, for instance, his chord-voicing made up of "stacked", superimposed thirds used frequently in Ravel's modal pieces. By contrast, Evans' style frequently featured the right hand playing three or four sounds in close harmony, recalling the sound of a big band trumpet section. Evans' harmony, actually, seems to be based on the four-part harmony of the traditional Protestant liturgy, onto which he grafts the specific dissonant flavor of jazz. These liturgical origins are probably traceable to his father's Welsh/Celtic roots, but also to his classical exposure, especially to Bach and Brahms.

In analyzing any one of Evans' harmonies it is easy to recognize his accuracy in following the correct, canonical part motion, as recommended in the treatises on harmony and (almost always) put into practice by the great composers of Western music. It is also striking how much care Evans took in moving the so-called inner parts of chords; a detail that reaffirms the substantially "vocal" and contrapuntal character of his approach to harmony, and which, by means of an extremely refined audio and tactile sensibility, gave these inner lines (usually neglected by bop piano players) great personal expressive quality.

At a time when themes were stated predominantly by the horns (sax or trumpet), his passion for the song form and his need to "sing" through the instrument, spurred Evans to take on an apparently banal problem which had been rather ignored by his colleagues of the early 1950s, but one to which he gave a central role: the harmonizing at the piano of a melody. The point was to resolve this problem using the widest harmonic vocabulary possible, including that harmonic lexicon that until then had been the almost exclusive legacy of European piano music, from late-Romanticism throughout the entire Impressionist era.
Part of this lexicon had already penetrated jazz, thanks to some arrangers of the late 1940s (the Gil Evans of Birth Of The Cool, for example, or some scores by Gerry Mulligan and George Russell) but, outside of big-band jazz, there was a sort of lag in appropriating and using that enormous patrimony. Bill Evans filled the gap.

It was a long and tedious process. Applying the principles and harmonic codes of classical music to jazz was a delicate job of blending and took an enormous effort. Evans stated paradoxically that this was due to the fact that his musical ear wasn't good. This was not a joke, but one of his numerous and sincere understated, self-deprecating observations that had to do with his retiring, even self-negating, nature. This was an enterprise that involved the ear, of course, but the brain and heart as well following, above all, an extreme craving for beauty capable of avoiding any artifice and superficial hybridization.

The "glue" in this risky operation was Evans' enormous love for the song form, in which he felt the common language of the people vibrating and transmitting, through a melodic simplicity, human emotions accessible to everyone. This was, therefore, a musically cultivated, but anti-intellectual, operation; an artistic process in which the final goal was not to create something new but something more pleasing and more beautiful. He succeeded completely, to the point of radically, and forever, changing the face and sound of jazz piano. It was ahead of its time too. In fact, when Evans began working, and when he started to see the first results (this happened between '56 and '58 - we can consider Young And Foolish the first example of a successful outcome), impassioned jazz listeners were struck above all by the Powell-like improvisational lines that were the usual way in which the majority of piano players were expressing themselves at that time. It was musicians like Miles Davis who were the first to become aware that something profoundly new, a sound never before heard, had been added to the history of jazz.

It was on a recording in the spring of 1970 that Evans first made use of the electric piano; a cautious approach to the use of an instrument that, thanks to Joe Zawinul, Herbie Hancock and Chick Corea, was beginning to spread even though, contrary to many predictions in those years, would not replace the acoustic piano but would take its place alongside it. One of Evans' most significant "indirect disciples", pianist Keith Jarrett, went into the studio more or less in that period to record his first album with Miles Davis. It is a curious fact that for that recording - Live Evil - Davis had called upon these three pianists - Hancock, Corea and Jarrett - who summarized, although through three distinctly different artistic personalities, much of Evans' influence.

Out of the three, Jarrett was surely the most reminiscent of the “master", not only from the point of view of piano language, but also in terms of the aesthetic concept and philosophic vision of the phenomenon of music. Jarrett shared with Evans, among other things, a certain aversion, or at least a marked skepticism, for electric instruments, to the extent that he made a sharp distinction between electricity and electronics, saying that only the former is to be considered a - still largely unexplored - human factor.
An artist such as Evans, who had placed at the center of his enterprise a feeling for the keyboard that will allow you to transfer any emotional utterance into it, could not be very interested in "prefabricated" sounds which had little possibility to be "molded" according to one's psychic/emotional dynamic.

In an interview for the magazine Contemporary Keyboard of September 1979, Jarrett expressed his ideas on the ineffability of music in much the same terms that Evans had in 1960. The latter had said of jazz that “it's got to be experienced, because it's feeling, not words. Words are the children of reason and, therefore, can't explain it... That's why it bugs me when people try to analyze jazz as an intellectual theorem. It's not, it's feeling.”

The late 1960s and early 1970s found Evans deeply involved with his trio. His return to a stable group after the many changes of the mid-60s, his firm belief in the importance of keeping the same members in a group, his faith in Gomez and Morell (musicians that he had taken on after careful evaluation of their abilities, as he had always done and would continue to do throughout his entire career), all contributed to reviving his prospects for continuous and fruitful growth.

Nevertheless, the artistic results of that period from 1968 to 1974 were not particularly exceptional. Perhaps a certain rigidity in Morell's approach, his preference for relatively high sound volume and his scarce propensity for "dialoguing", along with a certain stressing of the virtuoso aspects of his way of playing in Gomez, contributed to this. Add to all that Evans' tendency to thicken his phrasing, and to use not exactly daring improvisational modules, and what you get is a decidedly more "mainstream" product. The formal itinerary of the pieces becomes more predictable: Morell and Gomez impatiently “push” for an energetic and vigorous "walk,” sharply stress the four beats per bar, unable to calmly let the music itself and Evans' discourse evolve naturally towards their desired rhythmic situation. Allied with this general increase in the trio's volume (due to a large extent to Marty Morell, who used the brushes very little compared with Evans' previous drummers) was the technological revolution in progress, thanks to which Gomez like many other bass players at the time, was beginning to make wider use of the amplifier.
There were two important consequences of all this: the first was that Evans had to literally "shift" his center of action towards the upper register of the keyboard; the other was his growing desire to play duets and leave out the drummer. When interviewed by Francois Postif of Jazz Hot after a concert in February 1972 at the Maison de l’ORTF in Paris (link to 1965 concert), Evans said, -“I like the music that I am playing now, but I don’t seem to be making any progress, and that makes me sad.” His awareness of this stalled phase says a lot about Evans capacity to perceive the more or less evolving nature of his music. The golden years, those full of the tension of searching, seemed far off now. Besides, his physical state was not the best; repeated attempts to quit drugs had failed. Thus the recordings made with Gomez and Morell in the early 1970s could be considered a fairly accurate picture of a rather seriously retrogressive phase for Evans. The Bill Evans Album (1971) opened a brief period with the Columbia label, a major recording company who would not be at all sensitive to the most meaningful aspects of Evans' art (they went as far as to offer him a rock album!).

Here Evans plays a bit of electric piano which perhaps could also be considered a way to try "from outside" to vary and animate an expressive world suffering from a lack of creative vitality. It should, however, be noted that the Columbia producers' attitude was even more commercial than Creed Taylor's had been at Verve. They were trying to invent "gimmicks" to make Evans' music more saleable, and the use of the electric piano was most likely his bowing to this policy, which had, perhaps, to do with this low-ebb period in his art. The album, which is not among his most successful trio recordings contains, however, exclusively original pieces by Evans.

This reawakening of his compositional vein came about, as it had some ten years earlier on the occasion of Interplay Sessions, under force. Evans did not think of himself as a full-time composer but increased his output when recording projects called for it. His preparation in the field was, in reality, broad and deep, dating back to his years at Mannes College in New York (1955), where he had learned the most sophisticated compositional techniques, to which he dedicated himself periodically, even if just as an exercise.
TTT(Twelve Tone Tune) on The Bill Evans Album is a clear demonstration of his technical mastery. As the title itself suggests, this piece uses the principles of serial music which requires the choice of a twelve-note row, none of which can recur until they are all used up: Evan presents his row three times in three sections of four bars each leaving, however, the relative harmonization to follow a tonal logic. Some interesting scribbles of his allow us to follow the gradual developing of his compositional idea and the process by which he arrived at the final score. Evans worked like a patient bricklayer who, after choosing his materials, little by little builds the piece. This procedure is surely much closer to the practice of classical music than to the instinctive immediacy usually associated with a jazz tune. The piece TTTT (Twelve Tone Tune Two) recorded for the first time in early 1973 and included in the live album The Tokyo Concert, was also based on the same compositional technique."

The Two Lonely People

"Although master of the most evolved compositional techniques, Evans was at his most sincere in pieces that had an obvious narrative form, like the touching The Two Lonely People, also recorded for the first time on The Bill Evans Album and fruit of that very intense period of work as a composer. Once again the title of the piece seems to conceal an allusion to Bill's private life - probably to the solitude and unhappiness in his relationship with girlfriend Ellaine. He wrote the music to a text given to him by Carol Hall which he found deeply stimulating. As in a sort of private diary The Two Lonely People, which was originally entitled The Man and the Woman, sings of the impossibility for any kind of joy, and recounts the inevitable failure of men and women to hold on to each other ("the two lonely people have turned into statues of stone ... for love that once mattered is old now and battered ... "). A sense of incurable melancholy overtakes the listener. There is here that heavy atmosphere of communication break-down typical of the films by famous Italian director Antonioni made in the early 60s.
The lyrics of the song appear to have been a shocking omen of the future: a few years after its composition, in fact, Ellaine, threw herself in front of a subway train after hearing from Bill that he was leaving her for another woman. Brian Hennessey, an Englishman and mutual friend of the couple, would rightly comment on this tragedy saying "artists who show genius in one field often display ignorance in others." Recognition notwithstanding (he was voted best pianist by Down Beat in 1968, and his 1970 album Montreux II won a Grammy Award), it is difficult to consider this period of Evans' career one of noteworthy artistic evolution.

Still very much under the influence of drugs, having failed to free himself from their grip, he began to develop a denser and denser, at times hysterical, style. Driven by a blind energy, he seemed to have lost his sensitivity for silences, and their use in structuring phrasing, of which he had become such a master. It is hard, for instance, not to notice a disconcerting banality running through the Peri’s Scope of Montreux II, or the Gloria's Step of The Tokyo Concert, as compared with previous renditions. Evans' soloing shows a lack of his typical laid-back approach and also of formal sensibility. It is seemingly charged with a frenzy uncommon to him. As a result his playing seems to be missing that marvelous "breath", that dynamic variety, that sense of logical and meaningful discourse that had made his music so appealing. Gomez and Morell, unfortunately, did not hinder this tendency - on the contrary, they encouraged it. Only some years later Evans would regain, at least in some small part, that serenity in which his music's expressive possibilities were laying dormant. The Village Vanguard Sessions (1961) had been the result of one afternoon and one evening's performances(!), while The Bill Evans Album - exactly ten years later - took six days to record. Even if miracles, by their very nature, never happen twice, this discrepancy is more than a little significant, isn’t it?"
(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)

Shelly Manne - Bill Evans - Empathy - (1962)

Sessions:

Shelly Manne - Bill Evans Trio

Bill Evans (p) Monty Budwig (b) Shelly Manne (d)

NYC, August 14, 1962

62VK579	The Washington Twist	Verve V/V6 8497
62VK580	Danny Boy	Verve V/V6 8497, V/V6 8747
62VK581	Let's Go Back To The Waltz	Verve V/V6 8497
62VK582	With A Song In My Heart	-
62VK583	Goodbye	-
62VK584	I Believe In You	Verve V/V6 8497, V/V6 8747

* Bill Evans/Shelly Manne - Empathy (Verve V/V6 8497)
= The Complete Bill Evans On Verve (Verve 314 527 953-2)
* The Best Of Bill Evans (Verve V/V6 8747)

Bill Evans Trio ´65 - (1965)

Bill Evans Trio

Bill Evans (p) Chuck Israels (b) Larry Bunker (d)

NYC, February 3, 1965

65VK254	Israel	Verve V/V6 8613
65VK255	Elsa	-
65VK256	'Round About Midnight	-
65VK257	Love Is Here To Stay	-
65VK258	How My Heart Sings	Verve VK 10360, V/V6 8613
65VK259	Who Can I Turn To?	-
65VK260	Come Rain Or Come Shine	Verve V/V6 8613
65VK261	If You Could See Me Now	-

* Bill Evans - Trio '65 (Verve V/V6 8613)
= The Complete Bill Evans On Verve (Verve 314 527 953-2)
* Bill Evans - How My Heart Sings c/w Who Can I Turn To? (Verve VK 10360)

SEE...

"The recordings he was making with Israels and Bunker in those years were of uneven quality. The performance modules of the three had crystallized into a tension-free approach which was naturally affected by Evans' aesthetics and choice of repertoire. "Trio '65 [Verve CD 314 519 808-2]" is by far the most representative product of this period. Here Evans recorded, for the first time, a song that he had recently discovered, Who Can I Turn To?, which he seems to mold into a composition of his own. One of the album's peaks is his interpretation of Monks 'Round Midnight, which he "Evansizes", entering with authority and delicacy into a world he had always deeply admired."
(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)

Bill Evans Trio At Shelly Manne-Hole - 1963

Sessions:

Bill Evans Trio

Bill Evans (p) Chuck Israels (b) Larry Bunker (d)

"Shelly's Manne-Hole", Hollywood, CA, May 14, 1963

	Who Cares?	Milestone M 47068, M 47083
	What Is This Thing Called Love?	-
	Lover Man (Oh, Where Can You Be)	-
	Blues In "F" / Five (theme)	Riverside RLP 487
	Our Love Is Here To Stay	-
	'Round About Midnight	-
	Stella By Starlight	-
	How About You?	Milestone M 47068, M 47083
	Isn't It Romantic	Riverside RLP 487
	The Boy Next Door	-
	All The Things You Are	Fantasy OJCCD 263-2

* Bill Evans - Time Remembered (Milestone M 47068)
* Bill Evans - Time Remembered (Milestone M 47083, MCD 47083-2)
* Bill Evans Trio At Shelly's Manne-Hole (Riverside RLP 487; Fantasy OJC 263, OJCCD 263-2)
= Bill Evans - Recorded Live At The Shelly's Manne-Hole (Riverside RS 3013)

Bill Evans Trio

Bill Evans (p) Chuck Israels (b) Larry Bunker (d): same personnel

"Shelly's Manne-Hole", Hollywood, CA, May 19, 1963

	In A Sentimental Mood	Milestone M 47068, M 47083
	Everything Happens To Me	-
	Time Remembered	-
	My Heart Stood Still	-
	Wonder Why	Riverside RLP 487
	Swedish Pastry	-

* Bill Evans - Time Remembered (Milestone M 47068)
* Bill Evans - Time Remembered (Milestone M 47083, MCD 47083-2)
* Bill Evans Trio At Shelly's Manne-Hole (Riverside RLP 487; Fantasy OJC 263, OJCCD 263-2)
= Bill Evans - Recorded Live At The Shelly's Manne-Hole (Riverside RS 3013)

SEE...

"At the end of May, 1963 Evans gave a concert at the newly-opened club Shelly's Marine Hole [Riverside RLP-9487; OJCCD 263-2] in Los Angeles. On this occasion the pianist agreed to try out Larry Bunker, a Californian drummer - but also a very good vibes player - who before then had done both studio work as well as jazz activity of a very high level, playing with greats such as Art Pepper, Gerry Mulligan and Peggy Lee. Bunker was an able drummer in his use of the brushes and quite sensitive in listening to his two partners. His swing was incisive and his cymbal work combined both precision and imagination. Evans was impressed and hired him for his trio.
The live album shows an Israels clearly evolved, compared with the shy bass player of "Moonbeams" and "How My Heart Sings" of the previous year. The trio seemed to have found a new equilibrium, with Israels and Bunker maybe not exactly "flying", but deep enough to give Evans the solid, calm, supportive tranquility he needed. His repertoire in those years remained more or less static. He composed very little, performing, at least up until 1966, his compositions previous to 1962, along with standards and pop songs, every now and then adding on a new one. Only occasionally did he take on the blues (the splendid Blues in F and Swedish Pastry on the live album at Shelly's Manne Hole, for example), reinforcing his image as the introverted, romantic and solitary musician."


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

George Russell - New York, N.Y. - 1958 - 1959

George Russell Orchestra

Art Farmer, Ernie Royal, Doc Severinsen (tp) Tom Mitchell, Frank Rehak (tb) Bob Brookmeyer (vtb) Hal McKusick (as) John Coltrane (ts) Sol Schlinger (bars) Bill Evans (p) Barry Galbraith (g) Milt Hinton (b) Charlie Persip (d) Jon Hendricks (nar) George Russell (arr, cond)

NYC, September 12, 1958

105626

Manhattan

Decca DL 9216

* George Russell - New York, N.Y. (Decca DL 9216; Impulse IMPD 278)

George Russell Orchestra

Art Farmer, Ernie Royal, Joe Wilder (tp) Tom Mitchell, Frank Rehak (tb) Bob Brookmeyer (vtb) Hal McKusick, Phil Woods (as) Al Cohn (ts) Gene Allen (bars) Bill Evans (p) Barry Galbraith (g) George Duvivier (b) Max Roach (d -1) Don Lamond (d -2) Al Epstein (bgo -2) Jon Hendricks (nar) George Russell (arr, cond -1, chromatic d, arr, cond -2)

NYC, November 24, 1958

1. 105627	A Helluva Town	Decca DL 9216
2. 105628	Manhattan-Rico	-

* George Russell - New York, N.Y. (Decca DL 9216; Impulse IMPD 278)

George Russell Orchestra

Art Farmer, Joe Ferrante, Joe Wilder (tp) Tom Mitchell, Frank Rehak (tb) Bob Brookmeyer (vtb) Hal McKusick (as) Phil Woods (as, fl, cl) Benny Golson (ts) Sol Schlinger (bass sax) Bill Evans (p) Barry Galbraith (g) Milt Hinton (b) Charlie Persip (d) Jon Hendricks (nar) George Russell (arr, comp)

NYC, March 25, 1959

105629	Big City Blues	Decca DL 9216
105630	East Side Medley: Autumn In New York / How About You?	-

* George Russell - New York, N.Y. (Decca DL 9216; Impulse IMPD 278)

SEE...

"Bill also played with George Russell on his New York, N.Y. [Decca /GRP MVCR 20051] album, one of the most successful experiments conceived by that untiring, avant-garde composer who assembled, over the course of those three recording sessions, no less than John Coltrane, Art Farmer, Bob Brookmeyer, Max Roach, Jon Hendricks and others."

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

Marian McPartland´s Piano Jazz - With guest Bill Evans - 1978

Marian McPartland's
Piano Jazz
with guest Bill Evans
conversation and music as heard on National Public Radio
Recorded 11-06-1978

01. Waltz for Debby (Evans Solo) (1:33)
02. Conversation (2:55)
03. All Of You (Evans Solo) (2:18)
04. Conversation (:18)
05. All Of You (Duet) (:40)
06. Conversation (4:14)
07. In Your Own Sweet Way (Duet) (5:02)
08. Conversation/Demonstration (Evans Solo) (5:40)
09. The Touch of Your Lips (Duet) (2:48)
10. Conversation (4:57)
11. Reflections In D (Evans Solo) (4:34)
12. Conversation (2:44)
13. Days Of Wine And Roses (Duet) (3:15)
14. Conversation (2:35)
15. This Is All I Ask (Duet) (3:58)
16. Conversation (:43)
17. While We're Young (McPartland Solo) (4:25)
18. Conversation (1:03)
19. I Love You (3:43)

Sahib Shihab Sextet - Jazz Sahib - 1957

Sahib Shihab Sextet

Phil Woods (as) Benny Golson (ts) Sahib Shihab (bars) BILL EVANS (p) Oscar Pettiford (b) Art Taylor (d)

Rudy Van Gelder Studio, Hackensack, NJ, November 7, 1957

Blu-A-Round Savoy MG 12124, SJL 2245
Le Sneak -
Ballad To The East -
Ba-Dat-Du-Dat -

* Sahib Shihab - Jazz Sahib (Savoy MG 12124)
* Sahib Shihab - All Star Sextets (Savoy SJL 2245)

BILL ONLY PLAYS IN TRACKS :
4, 5, 6, 7.

not in 1.2.3.

1. S.m.t.w.t.f.s.s.blues
2. Jamila
3. The moors
4. Blu-A-Round
5. Le Sneak -
6. Ballad To The East -
7. Ba-Dat-Du-Dat -

Cannonball Adderley Quintet - Portrait Of Cannonball - 1958

Cannonball Adderley Quintet
Blue Mitchell (tp) Cannonball Adderley (as) Bill Evans (p) Sam Jones (b) Philly Joe Jones (d)

NYC, July 1, 1958

	Blue Funk	Riverside RLP 12-269; Milestone M 47001
	Nardis	-
	Nardis (take 4)	Fantasy OJC 361, OJCCD 361-2
	People Will Say We're In Love	Riverside RLP 12-269; Milestone M 47001
	Straight Life	-
	A Little Taste	Riverside RLP 12-269, RLP 12-284; Milestone M 47001
	Minority (take 2)	Milestone M 47001; Fantasy OJC 361, OJCCD 361-2
	Minority (take 3)	-
	Minority (take 2+3)	Riverside RLP 12-269

* Cannonball Adderley - Portrait Of Cannonball (Riverside RLP 12-269; Fantasy OJC 361, OJCCD 361-2)
* Cannonball Adderley And Eight Giants (Milestone M 47001)
* Various Artists - Saxophone Revolt (Riverside RLP 12-284)

1 Minority
2 Straight Life
3 Blue Funk
4 A Little Taste

5 People Will Say We're
6 Nardis

Bill Evans Trio/Lee Konitz/Warne Marsh - Crosscurrents - 1977

Lee Konitz (as -1,3/7,9) Warne Marsh (ts -1/4,6/9) Bill Evans (p) Eddie Gomez (b -1/4,6/9) Eliot Zigmund (d -1/4,6/9)

Berkeley, CA, February 28, March 1 & 2, 1977

1.	Eiderdown	Fantasy F 9568
2.	Ev'ry Time We Say Goodbye	-
3.	Pensativa	-
4.	Speak Low	-
5.	When I Fall In Love	-
6.	Night And Day	-
7.	Eiderdown (take 9)	Fantasy OJCCD 718-2
8.	Ev'ry Time We Say Goodbye (take 7)	-
9.	Night And Day (take 9)	-

* Bill Evans/Lee Konitz/Warne Marsh - Crosscurrents (Fantasy F 9568, OJCCD 718-2)

Bill Evans - Portraiture - 1969-1972

1	Alfie	Bacharach, Burt/David, Hal	5:08
2	Waltz for Debby	Evans, Bill Piano /Lees, Gene	6:40
3	34 Skidoo	Evans, Bill Piano	6:26
4	Blue in Green	Davis, Miles/Evans, Bill Piano	4:07
5	Detour Ahead	Ellis, Herb/Carter, Lou/Freigo, John	5:31
6	Emily	Mandel, Johnny	6:48
7	Nardis	Davis, Miles	11:40
8	Peri's Scope	Evans, Bill Piano	9:07
9	Some Other Time	Bernstein, Leonard/Comden, Betty/Green, Adolph	5:19
10	Who Can I Turn To (When Nobody Needs Me)	Bricusse, Leslie/Newley, Anthony	6:37

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

Bill Evans - The solo Sessions - 1963

DISCO 1
Bill Evans piano

:: What Kind Of Fool Am I? - (take 1)
:: My Favorite Things - Easy To Love - Baubles, Bangles And Beads
:: When I Fall In Love
:: Spartacus (Love Theme) - Nardis
:: Everything Happens To Me
:: April In Paris

DISCO 2

• 1 All The Things You Are
• 2 Santa Claus Is Coming To Town
• 3 I Loves You, Porgy
• 4 What Kind Of Fool Am I?
• 5 Love Is Here To Stay
• 6 Ornithology
• 7 Medley: Autumn In New York / Ho

Bill Evans/Lee Konitz - Together Again - 1965

Bill Evans/Lee Konitz - Together Again (Moon (It) MCD 024-2)

Bill Evans (p) Niels-Henning Orsted Pedersen (b) Alan Dawson (d)
Copenhagen, Denmark, October 31, 1965

Someday My Prince Will Come

Beautiful Love

Come Rain Or Come Shine


Lee Konitz (as) Bill Evans (p) Niels-Henning Orsted Pedersen (b) Alan Dawson (d)

"Philharmonie", Berlin, West Germany, October 29, 1965

How Deep Is The Ocean?

Detour Ahead My Melancholy Baby

Bill Evans - Time Remembered - 1963

Time Remembered (Milestone M 47068)
Bill Evans (p) Chuck Israels (b) Larry Bunker (d)
``Shelly's Manne-Hole'', Hollywood, CA, May 14, 1963

* Who Cares?, What Is This Thing Called Love?, Lover Man, How About You?
same personnel
``Shelly's Manne-Hole'', Hollywood, CA, May 19, 1963

* In a Sentimental Mood, Everything Happens to Me, Time Remembered, My Heart Stood Still

1	Danny Boy 10:41
2	Like Someone In Love 6:27
3	In Your Own Sweet Way 2:58
4	Easy To Love 4:42
5	Some Other Time 6:12
6	Lover Man 5:06
7	Who Cares? 5:24
8	What Is This Thing Called Love? 5:48
9	How About You? 4:06
10	Everything Happens To me 4:47
11	In A Sentimental Mood 4:26
12	My Heart Stood Still 4:34
13	Time Remembered 5:35