Bill Evans: Bill Evans - Portraiture

lunes, 20 de abril de 2009

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)

4 comentarios:

Anónimo dijo...: "`Portraiture' has been described as "remastered", implying that the music has appeared previously under that title. If so, I hadn't heard of it. But nor is it a "new" Evans album. In fact, the ten titles on the CD are note-for-note the same performances that appear on `Waltz for Debby' on the Italian `Giants of Jazz' label in its 'Immortal Concerts' series (CD 53371). It's from a live date by the Evans trio with Eddie Gomez and Marty Morrell and the titles are Alfie; Waltz For Debby; 34 Skidoo; Blue In Green; Detour Ahead; Emily; Nardis; Peri's Scope; Some Other Time; Who Can I Turn To?
(...)
The origin of the material is a bit of a mystery. `Portraiture' claims to be from a 1969 Paris concert; but the same music on the Giants of Jazz `Waltz for Debby' is credited to a concert at the ORTF Studios, Paris, December 7 1972. However, I have a Belgian-produced CD - `A Jazz Hour with Bill Evans' (JHR 73549) - which contains exactly the same performances of "Some Other Time" and "Emily" as on this `Waltz for Debby' CD but dates the music as 1969, so who knows?

However, the Amazon UK website currently lists as unavailable a CD on the `Charly/Le Jazz' label - `Blue in Green' (LEJAZZ CD42) - which contains all of the same titles, plus "Elsa". It is said to have been recorded December 17, 1972 at ORTF Studios, Paris. Did the Evans trio record such a similar programme in 1969, then on the 7th December 1972, then again ten days later at the same location, or are these three CDs different packagings of the same material? (By the way, this `Blue in Green' CD should not be confused with a CD of the same title, but containing different material, from a Canadian concert recording, on the Milestone label).

To summarise: `Portaiture' is a re-packaging of material that has previously been released under one, possibly two, different album titles on different music labels.
(...)

note from Amazon, by MikeG (England)
(http://www.amazon.com/gp/pdp/profile/A22AM3QW6TCYQJ/ref=cm_cr_dp_pdp); 20/4/09, 17:43
Anónimo dijo...: LINK:

http://www.megaupload.com/?d=4OT0G3WR; 20/4/09, 17:44
chazz dijo...: Great post but 30mb?Should have been a a 320 rip.
Thanks
Chazz; 21/11/09, 6:34
Anónimo dijo...: While there has been a plethora of live recordings issued on CD from the Bill Evans Trio's (with Joe La Barbera and Marc Johnson) last tours in the final two years of Evans' life, far rarer are those with his previous trio with Marty Morell and bassist Eddie Gomez. Given the jazz fascists who insist that after Scott LaFaro died there was no Bill Evans Trio, this is not surprising. Most of the evidence on studio recordings proves them to be full of ____ (fill in your own blank). This date, recorded in Paris in 1969, is a case in point. For one, those who claimed Evans wasn't playing as well toward the end of the 1960s obviously never caught him live. His elegance and singular style are in full effect here, full of subtle shadings, gorgeously swinging and muted harmonic structures, and a firm command of the direction of improvisation -- check the opener, a gorgeous read of the Bacharach/David classic "Alfie." As for the trio itself, the rapport Evans has with Gomez is nothing short of stunning, as the interplay of solos and counterpoint on "Waltz for Debbie" reveals. In a little over six minutes, Evans and Gomez move through an intervallic exchange that is dizzying in scope. The band follows with "34 Skidoo," and Gomez goes right out after Evans, forcing the tempo; even Morell is caught off guard for a brief moment before turning the tables and Evans responds fluidly, warmly, and quickly, moving through blurring 16th notes that are uncharacteristic of his style. There are a few tunes from the Evans-Miles Davis collaboration too, such as one of the most lyrical and mysterious performances of "Blue in Green" ever recorded -- the space Evans employs in the intro and in the textural harmonic architecture is almost an inversion of the melodic line, but the changes keep it anchored in reality. "Nardis" is the other, with its staggered, partial chords, building upon one another percussively before giving way to the rhythm section that stretches them into whole sentences from phrases with Monk-like rhythmnatism. Likewise, Johnny Mandel's "Emily" is transformed from a soppy ballad into a work of glorious improvisation, where the original melody becomes a cipher and in its place are questions of time, space, and coloration under the guides of a melodic frame that suggests the original without actually playing it. Gomez's solo here is nothing short of stunning. This set looks a bit generic from its cover; don't let that fool you. What is contained within is more than enough to stun on contact.; 22/3/13, 5:56

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El director de éste blog no se hace responsable, más que idealmente ni tampoco menos, promoviendo la difusión de lo que nació en parte de uno de los infinitos seres del siglo XX, detallando una discografía lo más completa posible, y recibiendo anónimamente los links de descarga de los audios de cada disco que en su mayor parte se proveen hoy en mp3 o formatos de audio de distinta calidad sonora que los formatos standard de las discográficas, por lo cual a conciencia y librada al sentido común queda la disposición de: o bien comprar (con todo el real valor que eso genera para quienes hacen posibles las obras) la música en la calidad y forma anhelada, o aprehenderla cómo sea en pos de una existencia regida por el instante y la ética del amor, la posibilidad de difusión del arte y la entereza y densidad absoluta de la naturaleza universal; en definitiva ni un disco ni hoy una cantidad de bytes pueden encerrar de su destino a una obra del alma, ni generar así un fin; es inmedible e irreprimible la comunicación de los seres, solo alteramos las formas de ese fluir, y estamos a la espera concientemente.
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