Bill Evans

A present...

2010-11-24T21:14:00.000-08:00

http://www.goear.com/listen/9bf8c51/entrevista-a-bill-evans-sobre-scott-lafaro-george-klabin-1966

Bill Evans Portraiture - (Edition 2000)

2010-09-11T17:47:00.000-07:00

Bill Evans - Piano
Eddie Gomez - Bass
Marty Morell - Drums

1 Alfie Bacharach, David 5:08
2 Waltz for Debby Evans, Lees 6:40
3 34 Skidoo Evans 6:26
4 Blue in Green Davis, Evans 4:07
5 Detour Ahead Carter, Ellis, Freigo, Frigo 5:31
6 Emily Mandel 6:48
7 Nardis Davis 11:40
8 Peri's Scope Evans 9:07
9 Some Other Time Bernstein, Comden, Green 5:19
10 Who Can I Turn To (When Nobody Needs Me) Bricusse, Newley 6:37

Chet Baker And Bill Evans - The Complete Legendary Session (Reedition 2010)

2010-09-11T17:41:00.000-07:00

01 – Alone Together
02 – How High The Moon
03 – It Never Entered My Mind
04 – ’tis Autumn
05 – If You Could See Me Now
06 – September Song
07 – You’d Be So Nice To Come Home To
08 – Time On My Hands
09 – You And The Night And The Music
10 – Early Morning Mood
11 – Show Me
12 – I Talk To The Trees
13 – Thank Heaven For Little Girls
14 – I Could Have Danced All Night
15 – Almost Like Being In Love

Bill Evans & Lee Konitz Quartet - Together Again (1965)

2010-09-11T17:15:00.000-07:00

Lee Konitz (Alto sax);
Bill Evans (Piano);
Niels-Henning Orsted Pedersen (Bass);
Alan Dawson (Drums).

Lee Konitz - Bill Evans Quartet

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?	Magnetic (Luxe) MRCD 107; Moon (It) MCD 024-2
	Detour Ahead	Unique Jazz UJ 021; Moon (It) MCD 024-2
	My Melancholy Baby	Unique Jazz UJ 021; Magnetic (Luxe) MRCD 107; Moon (It) MCD 024-2

* Lennie Tristano Solo In Europe And Lee Konitz Quartet In Europe (Unique Jazz UJ 021)
* Lee Konitz Trio And Quartet Featuring Bill Evans (Magnetic (Luxe) MRCD 107)
* Bill Evans/Lee Konitz - Together Again (Moon (It) MCD 024-2)

Bill Evans Trio

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

Copenhagen, Denmark, October 31, 1965

	Come Rain Or Come Shine	Moon (It) MCD 024-2
	Someday My Prince Will Come	-
	Beautiful Love	-

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

Practice Tape No.1 [Original recording remastered] (1965-1966)

2010-09-11T15:53:00.000-07:00

20 Never before heard solo piano practice recordings made by Bill Evans himself in his New York apartment at an unknown date; features originals, standards & interpretations of Bach compositions. The first of a series of archival recordings, the restoration and release of which are being overseen by Evan Evans, son of the artist. Quietly released in late August, the 21-track CD comes from two tapes of Evans practicing his craft, unaccompanied in his apartment in the 1960s.

The disc includes few full works, but more riffs and shards of Evans originals along with passages of the work of other jazz composers, as well as several Bach pieces performed by the classically trained musician. Throughout the disc, Evans is faintly heard talking to an unidentified friend or associate, sometimes discussing his technique.

"My father practiced an average of eight hours a day in his later years," Evan Evans writes in the disc's liner notes. "That his music was so powerful can only be a testament to the importance of perseverance, dedication, and above all, as he and I agree, discipline."

1. These Things Called Changes
2. Walkin' Up
3. The Two Lonely People
4. Unnamed Composition
5. Only Child
6. "Nature Boy Like Tune"
7. "Pop-Type Tune"
8. Turn Out The Stars
9. Orbit
10. Voicings
11. Unnamed Waltz
12. Lover Man
13. Fly Me To The Moon (Howard) & Star Eyes (Raye)
14. The Art Of The Fugue (Bach)
15. Valse (Ogerman)
16. Pavane & Granados (Ogerman)
17. Prelude IV (Bach)
18. Prelude XVII (Bach)
19. Fugue XXIII (Bach)
20. Prelude XXIV (Bach)
21. Medley: Mother Of Earl (Zindars), Fun Ride, Star Eyes (Raye), Short'n'Bread, Only Child In Fact Contains 22 tracks! Surprise! AGRADECIMIENTOS (Thanks to) : Tomas velazquez y Juan "Mono" Fontana, Piano players argentinos, por los cuales me llegó éste disco.

Un detalle...

2010-09-11T13:44:00.001-07:00

http://www.geocities.ws/chuck_ralston/09slfbib-misc.htm#My%20Foolish%20Heart

Lucy Reed - Singing Reed (1955)

2010-09-11T13:16:00.000-07:00

That was the session:

Lucy Reed

Bill Evans or Dick Marx (p) Howard Collins (g) Bob Carter or Johnny Frigo (b) Sol Gubin (d) Lucy Reed (vo)

NYC, spring 1955

	Inchworm	Fantasy LP 3212
	My Love Is A Wanderer	-
	Because We're Kids	-
	It's All Right With Me	-
	There's A Boat Dat's Leavin' Soon For New York	-
	Lazy Afternoon	-
	Flying Down To Rio	-
	Little Girl Blue	-
	Fools Fall In Love	-
	Out Of This World	-
	You May Not Love Me	-
	My Time Of Day	-
	No Moon At All	Fantasy OJCCD 1777-2
	Tabby The Cat	-
	Baltimore Oriole	-
	That's How I Love The Blues	-

* Lucy Reed - The Singing Reed (Fantasy LP 3212, OJCCD 1777-2)

IF YOU've EVER downloaded an album from HERE...

2010-09-11T11:07:00.000-07:00

You can contact me at my email address: que_alegria_vivir@hotmail.com

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LET'S NOT MISS this beautiful PLACE.

Can you send me the links of the CD´s that you upload to a host to my email address/or post anonymously in their respective entry.

IF YOU've EVER downloaded an album from HERE...I appreciate that you reupload it to another host and then you post it in this blog, thank you! and for keep UP the quality of the blog.

Bill Evans From The 70's (1973-1977)

2010-08-09T09:50:00.000-07:00

2002

Out of print in the U.S. This compilation from the Jazz great features previously unreleased studio and live performances, all recorded between 1973-77. Whether you are a Bill Evans fan or not, these tracks represent an artist who, surprisingly, became better as he aged, creating an influential style that is still felt today. These inspired recordings feature Evans backed by Eddie Gomez on bass and Marty Morell on drums. Nine tracks including previously unreleased takes of 'Gone With The Wind', 'The Nature Of Things' and 'Show-Type Tune'. OJC.

Recorded at Fantasy Studios, Berkeley, California; Shelly's Manne Hole, Los Angeles, California and The Village Vanguard, New York, New York between 1973 & 1974. Includes liner notes by Doug Ramsey.

Personnel: Bill Evans (piano); Marty Morell (drums).

Audio Mixer: David Luke.

Audio Remasterer: Kirk Felton.

Audio Remixer: Richard Corsello.

Recording information: Fantasy Studios, Berkeley, CA (11/15/1973-01/11/1974); Shelly's Manne-Hole, Los Angeles, CA (11/15/1973-01/11/1974); Village Vanguard, New York, NY (11/15/1973-01/11/1974).

Editor: Richard Corsello.

Photographer: Jerome Knill.

Personnel: Bill Evans (piano); Eddie Gomez (bass); Marty Morell (drums).

	1.	Gone with the Wind - (previously unreleased, Take 3)
	2.	Hi-Lili, Hi-Lo - (previously unreleased, Take 6)
	3.	Nature of Things, The - (previously unreleased, Take 9)
	4.	Show-Type Tune - (previously unreleased, Take 4)
	5.	Are You All the Things - (previously unreleased, Take 3)
	6.	Up with the Lark
	7.	Quiet Now
	8.	Gloria's Step
	9.	Elsa

This is Luiz Eca & Bill Evans - Ao Vivo no Chiko's Bar (1979)

2010-01-08T11:07:00.000-08:00

1.Noelle's Theme
2. ?
3.Who can I turn to
4.Letter to Evan
5.Laurie
6.Five
7.Wave (Leny Andrade, Eca and Marc)
8.Hermeto Paschoal Theme (Chorinho Pra Ele)
9.Letter to Evan and ?
10.Laurie
11.Bill's hit tune
12.Corcovado
13.Stella by starlight
14.E nada mais...

track 7 features Leny Andrade, Cidinho and Marc Johnson. Cidinho is also on track 8, Chorinho Pra Ele. On track 14, E Nada Mais is played by Luiz Eça and Cidinho, 4 hands piano.

29Sep1979, Saturday, right after Bill's concert at Sala Cecilia Meirelles, where he played with Marc Jonhsos and Joe La Barbera.

Respect to the unidentified theme after "Letter to Evan" - Bill Evans played some days before in Rosario, Argentina; he played this tune and it's been impossible to pin - Maybe he was experimenting with a new composition.

The Complete Tony Benett and Bill Evans Recordings - 2CD (2009)

2009-12-30T07:19:00.001-08:00

Cd1

01.Young and Foolish 03:55
02.The Touch of Your Lips 03:57
03.Some Other Times 04:42
04.When in Rome 02:55
05.We Ll Be Together Again 04:39
06.Mmy Foolish Heart 04:51
07.Waltz for Debby 04:05
08.But Beautiful 03:37
09.The Days of Wine and Roses 02:24
10.The Bad and the Beautiful 02:18
11.Licky to Be Me 03:45
12.Make Someone Happy 03:53
13.You Re Nearer 02:23
14.A Child is Born 03:17
15.The Two Lonely People 04:27
16.You Dont Know What Love is 03:28
17.Maybe September 03:55
18.Lonely Girls 02:50
19.You Must Believe in Spring 05:52
20.Who Can I Turn to 02:28
21.Dream Dancing 03:46

Cd2

01.Young and Foolish Take 4 04:46
02.The Touch of Your Lips Take 1 02:55
03.Some Other Time Take 7 04:56
04.When in Rome Take 11 02:57
05.Waltz for Debby Take 8 03:50
06.The Bad and the Beautiful Take 1 02:13
07.The Bad and the Beautiful Take 2 02:10
08.Make Someone Happy Take 5 03:54
09.Your Nearer Take 9 02:58
10.A Child is Born Take 2 03:27
11.A Child is Born Take 7 03:12
12.The Two Lonely People Take 5 04:44
13.You Dont Know What Love is Take 16 03:33
14.You Dont Know What Love is Take 18 03:37
15.Maybe September Take 5 04:38
16.Maybe September Take 8 04:32
17.Lonely Girl Take 1 02:58
18.You Must Believe in Spring Take 1 06:02
19.You Must Believe in Spring Take 4 05:36
20.Who Can I Turn to Take 6 02:30

Bill Evans Trio - Lulu White’s Club Boston - 1979

2009-12-29T06:44:00.001-08:00

Temas

Re: A person i knew
Midnight Mood
The Peacocks
Suicide is Painless (theme from MASH)
Lori
Up with the Lark
I’m getting Sentimental over You
I do it for your Love
My Romance.

Músicos

Bill Evans - Piano
Marc Johnson - Bajo
Joe LaBarbera - Batería .

Datos del Concierto

Bill Evans Trio
Lulu White’s Boston, MA, USA.
30 de Octobre de 1979.

Bill Evans - The complete on Verve

2009-12-29T06:38:00.000-08:00

Disc 1
01.The Washington Twist 6:27
02.Danny Boy 3:42
03.Let's Go Back to the Waltz 4:30
04.With a Song in My Heart 9:11
05.Goodbye 5:10
06.I Believe in You 5:52
07.Reflections in the Park / Gary McFarland 3:44
08.Night Images / Gary McFarland 5:54
09.Tree Patterns / Gary McFarland 4:58
10.Peach Tree / Gary McFarland 5:05
11.Misplaced Cowpoke / Gary McFarland 10:15
12.A Moment Alone / Gary McFarland 6:10

Disc 2
01.'Round Midnight 6:29
02.How About You? 2:46
03.Spartacus Love Theme 5:09
04.Blue Monk 4:32
05.Stella by Starlight 4:51
06.Hey There 4:26
07.N.Y.C.'s No Lark 5:30
08.Just You, Just Me 2:34
09.Bemsha Swing 2:54
10.A Sleepin' Bee 4:10
11.For Heaven's Sake 4:24
12.A Sleepin' Bee 5:29
13.Always (Breakdown) previously unreleased 0:29
14.Always previously unreleased / Complete Take 3:53
15.Always Master Take 4:03
16.Everything Happens to Me 4:38
17.Dancing in the Dark 4:35
18.Santa Claus Is Coming to Town 4:24

Disc 3
01.I'll See You Again (Breakdown) previously unreleased 0:51
02.I'll See You Again previously unreleased / Complete Take 4:28
03.I'll See You Again Master Take 3:56
04.Little Lulu previously unreleased / Complete Take 4:32
05.Little Lulu previously unreleased / Complete Take 5:00
06.Little Lulu Master Take 3:51
07.My Heart Stood Still previously unreleased 1:03
08.My Heart Stood Still previously unreleased / Complete Take 4:41
09.My Heart Stood Still previously unreleased / Rehearsal Fragments 0:49
10.My Heart Stood Still Complete Take 9:04
11.My Heart Stood Still previously unreleased 3:23
12.My Heart Stood Still Master Take 8:37
13.Grandfather's Waltz (Breakdown) previously unreleased 0:27
14.Grandfather's Waltz Master Take 6:29
15.Grandfather's Waltz previously unreleased / False Start 0:25
16.Grandfather's Waltz Complete Take 5:37
17.Melinda Master Take 5:04
18.Dark Eyes 1:19

Disc 4
01.Funkallero previously unreleased / Rehearsal Fragments 1:10
02.Funkallero Master Take 6:40
03.But Beautiful Master Take 4:40
04.Theme from the Carpetbaggers previously unreleased 1:37
05.Theme from the Carpetbaggers previously unreleased / Complete Take 1:57
06.Theme from the Carpetbaggers previously unreleased / Complete Take 1:46
07.Theme from the Carpetbaggers (Breakdown) previously unreleased 0:40
08.Theme from the Carpetbaggers Master Take 1:51
09.Theme from the Carpetbaggers previously unreleased / Complete Take 1:49
10.Night and Day previously unreleased / Drum Warmup 2:07
11.Night and Day Complete Take 6:37
12.Night and Day Master Take 6:44
13.WNEW (Theme Song) Master Take 2:52
14.How Deep Is the Ocean? 6:00
15.Love Is Here to Stay previously unreleased 5:05
16.Baubles, Bangles and Beads previously unreleased 5:32
17.Peace Piece /Spoken Introduction previously unreleased / Vamp 1:32
18.Nardis 5:38
19.Time Remembered previously unreleased 5:52
20.Someday My Prince Will Come 6:30

Disc 5
01.What Is This Thing Called Love? previously unreleased 4:50
02.Stella by Starlight 6:20
03.'Round Midnight 6:08
04.Make Someone Happy previously unreleased 7:14
05.Spoken Introduction and Warmup previously unreleased 1:24
06.The Boy Next Door 5:51
07.Little Lulu previously unreleased 4:06
08.My Love Is an April Song previously unreleased 5:30
09What Kind of Fool Am I? 8:31
10.What Is This Thing Called Love? previously unreleased 4:54
11.The Touch of Your Lips previously unreleased 6:21
12.Spoken Introduction and Warmup previously unreleased 0:58
13.The Boy Next Door previously unreleased 4:43
14.Time Remembered previously unreleased 5:36
15.Stella by Starlight previously unreleased 6:22

Disc 6
01.'Deed I Do previously unreleased 6:31
02.Baubles, Bangles and Beads previously unreleased 3:36
03.What Kind of Fool Am I? previously unreleased 5:30
04.poken Introduction and Warmup previously unreleased 1:09
05.Come Rain or Come Shine previously unreleased 5:35
06.How My Heart Sings 5:14
07.Alone Together previously unreleased 5:56
08.Israel previously unreleased 4:51
09.Spoken Introduction and Warmup previously unreleased 0:47
10.Alone Together previously unreleased 6:14
11.Make Someone Happy previously unreleased 6:54
12.My Love Is an April Song previously unreleased 5:15
13.'Deed I Do previously unreleased 6:18
14.Love Is Here to Stay previously unreleased 4:33
15.California, Here I Come previously unreleased 4:00
16.Warmup: These Things Called Changes previously unreleased 1:10
17.What Kind of Fool Am I? previously unreleased 6:15

Disc 7
01.What Is This Thing Called Love? previously unreleased 4:47
02.Alone Together previously unreleased 5:38
03.California, Here I Come previously unreleased 4:26
04.Come Rain or Come Shine Master Take 4:39
05.Jag Vet en Deglig Rosa (A Beautiful Rose) 2:50
06.Once upon a Summertime 3:01
07.So Long, Big Time 3:50
08.Monicas Vals (Original Waltz for Debby) 2:46
09.Lucky to Be Me Master Take 3:37
10.Vindarna Sucka (Sorrow Wind) 3:01
11.It Could Happen to You Master Take 2:58
12.Some Other Time 5:34
13.Om Natten (In the Night) 1:40
14.Come Rain or Come Shine previously unreleased / Complete Take 5:24
15.Come Rain or Come Shine Complete Take 5:12
16.Lucky to Be Me Complete Take 3:06
17.It Could Happen to You Complete Take 3:24
18.It Could Happen to You previously unreleased / Complete Take 3:18
19.Santa Claus Is Coming to Town previously unreleased 2:26

Disc 8
01.Israel 4:46
02.Elsa 4:20
03.'Round Midnight 6:40
04.Love Is Here to Stay 4:00
05.How My Heart Sings 2:47
06.Who Can I Turn to (When Nobody Needs Me) 4:51
07.Come Rain or Come Shine 5:23
08.If You Could See Me Now 4:46
09.Granados (A.K.A. Granadas) 5:50
10.Valse (Siciliano in G Minor) 5:49
11.Prelude (Prelude #15 in D-Flat Major) 2:58
12.Time Remembered 4:12
13.Pavane 3:57
14.Elegia 5:10
15.My Bells 3:46
16.Blue Interlude (C-Minor Prelude, Op. 28) 6:04

Disc 9
01.I Should Care 5:37
02.Spring Is Here 5:00
03.Who Can I Turn to (When Nobody Needs Me) 6:18
04.Make Someone Happy 4:47
05.Solo (In Memory of His Father): Prologue/Story Line/Turn Out the Stars 13:39
06.Beautiful Love 6:52
07.My Foolish Heart 4:47
08.One for Helen 5:53

Disc 10
01.I've Got You Under My Skin 3:21
02.My Man's Gone Now 6:43
03.Turn out the Stars 7:34
04.Angel Face 6:33
05.Jazz Samba 3:07
06.All Across the City 4:50
07.A Simple Matter of Conviction 3:17
08.Stella by Starlight 4:08
09.Orbit (Unless It's You) 3:41
10.Laura 4:17
11.My Melancholy Baby 5:13
12.I'm Getting Sentimental over You 4:11
13.Star Eyes 4:56
14.Only Child 4:02
15.These Things Called Changes 3:33

Disc 11
01.Emily previously unreleased 4:52
02.Yesterdays previously unreleased 3:48
03.Santa Claus Is Coming to Town previously unreleased 3:45
04.Funny Man previously unreleased 3:43
05.The Shadow of Your Smile previously unreleased 8:01
06.Little Lulu previously unreleased 2:48
07.Quiet Now previously unreleased 7:52
08.Happiness Is a Thing Called Joe previously unreleased 4:26
09.In a Sentimental Mood previously unreleased 4:04
10.Re: Person I Knew previously unreleased 5:00
11.California, Here I Come 5:36
12.Alfie previously unreleased 5:04
13.Gone with the Wind previously unreleased 6:05
14.Turn out the Stars 5:51
15.Polka Dots and Moonbeams 3:24
16.Stella by Starlight 4:04

Disc 12
01.Very Early 5:15
02.You're Gonna Hear from Me previously unreleased 4:42
03.Emily previously unreleased 5:25
04.Wrap Your Troubles in Dreams (And Dream Your Troubles Away) 6:51
05.'Round Midnight 6:07
06.On Green Dolphin Street 4:53
07.If You Could See Me Now 3:37
08.I'm Getting Sentimental over You previously unreleased 4:27
09.You're Gonna Hear from Me previously unreleased 4:57
10.G Waltz previously unreleased 4:36
11.California, Here I Come previously unreleased 5:07
12.Emily previously unreleased 4:42
13.Alfie previously unreleased 4:43
14.Wrap Your Troubles in Dreams (And Dream Your Troubles Away) previously unreleased 7:16

Disc 13
01.In a Sentimental Mood previously unreleased 4:08
02.California, Here I Come previously unreleased 4:38
03.You're Gonna Hear from Me previously unreleased 6:12
04.Alfie 5:24
05.Gone with the Wind 6:01
06.Emily previously unreleased 5:55
07.G Waltz previously unreleased 5:03
08.Wrap Your Troubles in Dreams (And Dream Your Troubles Away) previously unreleased 6:09
09.In a Sentimental Mood 3:55
10.California, Here I Come previously unreleased 4:35
11.You're Gonna Hear from Me 5:00
12.Alfie previously unreleased 5:12
13.Gone with the Wind previously unreleased 5:54
14.Emily 5:21
15.G Waltz previously unreleased 3:17

Disc 14
01.Wrap Your Troubles in Dreams (And Dream Your Troubles Away) previously unreleased 5:46
02.On Green Dolphin Street previously unreleased 3:50
03.G Waltz previously unreleased 4:01
04.You're Gonna Hear from Me previously unreleased 5:10
05.Wrap Your Troubles in Dreams (And Dream Your Troubles Away) previously unreleased 6:59
06.Gone with the Wind previously unreleased 5:51
07.Emily previously unreleased 5:21
08.G Waltz 4:33
09.Spoken Introduction 0:57
10.One for Helen 4:24
11.A Sleepin' Bee 6:05
12.Mother of Earl 5:15
13.Nardis 8:22
14.Quiet Now 6:11

Disc 15
01.I Loves You, Porgy 6:00
02.The Touch of Your Lips 4:45
03.Embraceable You 6:45
04.Someday My Prince Will Come 6:08
05.Walkin' Up 3:35
06.Here's That Rainy Day 5:20
07.A Time for Love Master Take 5:04
08.Midnight Mood /All the Things You Are/Midnight Mood 2 Fragments 5:20
09.On a Clear Day (You Can See Forever) 4:47
10.Never Let Me Go 14:34
11.A Time for Love Complete Take 6:56
12.Medley: All the Things You Are/Midnight Mood 2 Fragments 4:07

Disc 16
01.Straight, No Chaser 5:41
02.Lover Man 6:20
03.What's New? 4:51
04.Autumn Leaves 6:14
05.Time out for Chris 7:20
06.Spartacus Love Theme 4:58
07.So What 9:11
08.Why Did I Choose You? previously unreleased / Complete Take 4:07
09.Why Did I Choose You? previously unreleased / Complete Take 4:11
10.Why Did I Choose You? previously unreleased / Complete Take 4:21
11.Why Did I Choose You? previously unreleased / Complete Take 4:24
12.Why Did I Choose You? previously unreleased / Complete Take 4:22
13.Why Did I Choose You? previously unreleased / Complete Take 4:14
14.Why Did I Choose You? previously unreleased / Complete Take 4:15
15.Why Did I Choose You? Master Take 5:04

Disc 17
01.I'm All Smiles Master Take 5:42
02.Like Someone in Love Master Take 5:38
03.Children's Play Song Master Take 4:11
04.Soirйe Complete Take 3:37
05.Soirйe Master Take 3:34
06.Soirйe Complete Take 3:22
07.Lullaby for Helene previously unreleased / Complete Take 2:42
08.Lullaby for Helene previously unreleased / Complete Take 2:41
09.Lullaby for Helene previously unreleased / Complete Take 2:37
10.Lullaby for Helene Master Take 2:51
11.What Are You Doing the Rest of Your Life? previously unreleased / Complete Take 4:34
12.What Are You Doing the Rest of Your Life? previously unreleased / Incomplete Take 2:39
13.What Are You Doing the Rest of Your Life? previously unreleased / Complete Take 4:42
14.What Are You Doing the Rest of Your Life? 4:05
15.The Dolphin-Before previously unreleased / Complete Take 4:09
16.The Dolphin-Before previously unreleased / Complete Take 4:00
17.The Dolphin-Before previously unreleased / Complete Take 4:04
18.The Dolphin-Before (Breakdown) previously unreleased 2:03
19.The Dolphin-Before previously unreleased / Complete Take 4:05
20.The Dolphin-Before (Breakdown) previously unreleased 3:06
21.The Dolphin-Before previously unreleased / Complete Take 3:52

Disc 18
01.The Dolphin-Before Master Take / Edit 3:05
02.The Dolphin-After 3:07
03.Comrade Conrad previously unreleased / Complete Take 4:36
04.Comrade Conrad previously unreleased / Incomplete Take 4:01
05.Comrade Conrad previously unreleased / Complete Take 3:36
06.It Must Be Love previously unreleased / Complete Take 3:57
07.It Must Be Love previously unreleased / Incomplete Take 2:32
08.It Must Be Love previously unreleased / Complete Take 3:42
09.Spoken Introduction 0:47
10.Dancing in the Dark 5:35
11.I Love You 4:32
12.'s Wonderful 5:14

Mark Murphy - Rah - 1961

2009-04-30T00:12:00.000-07:00

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

2009-04-27T10:29:00.000-07:00

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

2009-04-26T18:06:00.000-07:00

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

2009-04-26T17:11:00.000-07:00

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

2009-04-26T17:03:00.000-07:00

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

2009-04-26T16:39:00.000-07:00

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

2009-04-26T16:10:00.000-07:00

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

2009-04-24T11:17:00.001-07:00

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:

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

Bill Evans - Montreux III - 1976

2009-04-24T10:51:00.001-07:00

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

2009-04-24T10:38:00.000-07:00

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

2009-04-24T10:20:00.001-07:00

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)

2009-04-24T10:06:00.000-07:00

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)

2009-04-24T09:43:00.001-07:00

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

2009-04-24T09:32:00.000-07:00

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 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

2009-04-23T10:06:00.000-07:00

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

2009-04-21T11:51:00.000-07:00

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

2009-04-20T22:12:00.000-07:00

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

2009-04-20T21:50:00.000-07:00

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

2009-04-20T17:46:00.000-07:00

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

2009-04-20T17:28:00.000-07:00

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

2009-04-20T15:11:00.000-07:00

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

Bill Evans/Lee Konitz - Together Again - 1965

2009-04-20T13:56:00.000-07:00

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

2009-04-20T11:50:00.000-07:00

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

Bill Evans (The Brilliant) San Francisco, 31 August and 7 September - 1980

2009-04-20T09:23:00.000-07:00

Recorded at "Keystone Corner", San Francisco, USA on 31 August and 7 September 1980.

ARTISTS
BILL EVANS - piano
MARC JOHNSON - bass
JOE LABARBERA - drums

TRACKS
1. Laurie (7:51) (Evans)
2. Letter To Evan (8:40) (Evans)
3. Mornin' Glory (3:54) (Genthy)
4. Theme From M.A.S.H. (4:20) (Mandel)
5. Up With The Lark (6:59) (Kern)
6. Gary's Theme (5:41) (McFarland)
7. Bill's Hit Tune (7:08) (Evans)
8. Knit For Mary F (6:37) (Evans)

Bill Evans - Live in London - 1965

2009-04-20T09:09:00.000-07:00

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

Previously unreleased live material recorded at Ronnie Scott's in London in March of 1965, features ten tracks including a seven-minute-plus interview with Bill Evans recorded on January 4, 1972.

Bill Evans - California Here I Come - 1967

2009-04-19T18:55:00.000-07:00

Bill Evans - Eddie Gomez - Philly Joe Jones

Recorded live at the Village Vanguard, these 1967 sides document a short-lived but inspired musical mix: the introspective pianist Bill Evans and the hard-driving drummer Philly Joe Jones. With the help of bassist Eddie Gomez, just beginning his 11-year association with Evans, this unlikely pair bring out the best in each other.

Recorded August 1967 at the Village Vanguard, New York City: tracks 1-4, 8, 10, 12, 13, and 15 on August 17; tracks 5-7, 9, 11, and 14 on August 18
Original recordings produced by Helen Keane.

California Here I Come	5:20
Polka Dots and Moonbeams	3:14
Turn Out the Stars	5:37
Stella by Starlight	3:55
You're Gonna Here From Me	4:42
In a Sentimental Mood	3:42
G Waltz	4:17
Green Dolphin Street	4:37
Gone With the Wind	5:36
If You Could See Me Now	3:29
Alfie	4:55
Very Early	4:31
Round Midnight	5:51
Emily	5:05
Wrap Your Troubles in Dreams	6:36

Bill Evans Homecoming: Live At Southeastern Louisiana University - 1979

2009-04-18T10:36:00.001-07:00

Bill Evans: Piano - Marc Johnson (b) Joe LaBarbera (d)

1.: Re Person I Knew

2.: Midnight Mood

3.: Laurie

4.: MASH (theme/Suicide is painless)

5.: Turn Out The Stars

6.: Very Early

7.: But Beautiful

8.: I Loves You Porgy

9.: Up With The Lark

10.: Minha (All Mine)

11.: I Do It For Your Love

12.: Someday My Prince Will Come

13.: Interview

Southeastern Louisiana University, November 6, 1979

Bill Evans Trio - Turn Out The Stars - The Final Village Vanguard Recordings - 1980

2009-04-18T08:35:00.000-07:00

June 1980
Line-Up:
Bill Evans - piano
Marc Johnson - bass
Joe Labarbera - drums

Tracks:
Disk 1
1. Bill's Hit Tune
2. Nardis
3. If You Could See Me Now
4. The Two Lonely People
5. Laurie
6. My Romance
7. Tiffany
8. Like Someone In Love
9. Letter To Evan

Disk 2
1. Days Of Wine & Roses
2. Emily
3. My Foolish Heart
4. Nardis
5. Yet Ne'er Broken
6. Quiet Now
7. But Not For Me
8. Spring Is Here
9. Autumn Leaves

Disk 3
1. Your Story
2. Re: Person I Knew
3. Polka Dots & Moonbeams
4. The Two Lonely People
5. Theme From M*A*S*H
6. Tiffany
7. Turn Out The Stars
8. Laurie
9. My Romance
10. Knit For Mary F.
11. Midnight Mood
12. Time Remembered

Disk 4
1. Days of Wine & Roses
2. Up With The Lark
3. Nardis
4. Your Story
5. Yet Ne'er Broken
6. If You Could See Me Now
7. Bill's Hit Tune
8. Tiffany
9. In Your Own Sweet Way

Disk 5
1. I Do It For Your Love
2. Five
3. Polka Dots & Moonbeams
4. Bill's Hit Tune
5. Turn Out The Stars
6. Days of Wine & Roses
7. But Not For Me
8. Knit For Mary F.
9. Like Someone In Love
10. Quiet Now

Disk 6
1. Emily
2. I Do It For Your Love
3. Nardis
4. Knit For Mary F.
5. Like Someone In Love
6. Letter To Evan
7. Minha
8. A Sleepin' Bee
9. My Romance/Five

Bill Evans - New Conversations (1978)

2009-04-05T22:47:00.000-07:00

Bill Evans Solo

Bill Evans (p, el-p) overdubbing himself

NYC, January 26-28 & 30, February 13-16, 1978

	Song For Helen	Warner Bros. BSK 3177-Y
	Nobody Else But Me	-
	Maxine	-
	For Nenette	-
	I Love My Wife	-
	Remembering The Rain	-
	After You	-
	Reflections In D	-

* Bill Evans - New Conversations (Warner Bros. BSK 3177-Y)

William Evans - “Piano Player” (1957-73)

2009-04-03T12:21:00.001-07:00

Tracklist:

01. All About Rosie
02. My Funny Valentine [live]
03. Vierd Blues
04. Besame Mucho
05. Mornin’’’ Glory
06. Django
07. Waltz for Debby
08. T.T.T. (Twelve Tone Tune)
09. Comrade Conrad
10. Gone with the Wind
11. Fun Ride

Dave Pike - Pike's Peak - 1961

2009-04-03T12:15:00.001-07:00

Dave Pike Quartet

Dave Pike (vib) Bill Evans (p) Herbie Lewis (b) Walter Perkins (d)

NYC, November, 1961

	Why Not? (Impressions)	Epic LA 16025
	In A Sentimental Mood	-
	Vierd Blues	-
	Besame Mucho	-
	Wild Is The Wind	-

* Dave Pike - Pike's Peak (Epic LA 16025)

Eddie Costa Quartet - Guys and Dolls like Vibes - 1958

2009-04-03T11:59:00.000-07:00

Eddie Costa Quartet

Eddie Costa (vib) Bill Evans (p) Wendell Marshall (b) Paul Motian (d)

NYC, January 15, 1958

104069	Guys And Dolls	Coral CRL 57230
104070	I'll Know	-

* Eddie Costa - Guys And Dolls Like Vibes (Coral CRL 57230)

Eddie Costa Quartet

Eddie Costa (vib) Bill Evans (p) Wendell Marshall (b) Paul Motian (d): same personnel

NYC, January 16, 1958

104085	I've Never Been In Love Before	Coral CRL 57230
104086	Luck Be A Lady	-

* Eddie Costa - Guys And Dolls Like Vibes (Coral CRL 57230)

Eddie Costa Quartet

Eddie Costa (vib) Bill Evans (p) Wendell Marshall (b) Paul Motian (d): same personnel

NYC, January 17, 1958

104087	Adelaide	Coral CRL 57230
104088	If I Were A Bell	-

* Eddie Costa - Guys And Dolls Like Vibes (Coral CRL 57230)

Joe Puma Trio And Quartet Bill Evans - 1957

2009-04-03T10:55:00.000-07:00

BILL EVANS ONLY PLAYS IN TRACKS 17 - 18- 19.

Joe Puma Trio And Quartet

Bill Evans (p) Joe Puma (g) Oscar Pettiford (b) Paul Motian (d)

NYC, late summer 1957

	I Got It Bad	Jubilee JLP 1070
	Mother Of Earl	-
	Indian Summer	-

* Joe Puma Trio And Quartet (Jubilee JLP 1070)

Now's The Time - Hal McKusick NYC, March 28, 1958

2009-04-03T10:40:00.000-07:00

Hal McKusick (as) Dick Hafer, Frank Scolow (ts) Jay Cameron (bars) Bill Evans (p) Paul Chambers (b) Connie Kay (d)

http://www.youtube.com/watch?v=ApZ5w1qXrFw

Miles 1958 - 1958

2009-04-03T10:00:00.001-07:00

Miles Davis 1958 session with Julian “Cannonball” Adderley, John Coltrane, BILL EVANS, Paul Chambers and Jimmy Cobb on rare Japanese issue.

Tracks:

1. On Green Dolphin Street (N. Washington-B. Kaper) 9:56
2. Fran Dance (M. Davis) 5:54
3. Stella by Starlight (N. Washington-V. Young) 4:50
4. Love for Sale (C. Porter) 11:47
5. Little Melonae (J. McLean) 7:21

Recorded : 1’ ~ 4’ May 26, 1958; 5’ March 4, 1958

May 26, 1958: Miles Davis (tpt); Julian “Cannonball” Adderley (as); John Coltrane (ts); Bill Evans (p); Paul Chambers (b); Jimmy Cobb (d)

March 4, 1958: Miles Davis (tpt); John Coltrane (ts); Red Garland (p); Paul Chambers (b); Philly Joe Jones (d)

SEE...

"Early in 1958, Miles Davis called and invited him to spend a weekend in Philadelphia - this was the beginning of one of the most intense periods in Evans' artistic career. Playing with Miles Davis meant nothing less than being part of the best-loved jazz group in the world at the moment; but it also meant, understandably, considerable physical and emotional stress. Life 'on-the-road' proved to be quite demanding, and then we mustn’t forget the hard-hitting musical excellence of the group itself ("I had the feeling I was playing with a bunch of supermen," Evans reported, referring to John Coltrane, Cannonball Adderley, Paul Chambers, Jimmy Cobb, not to mention Davis himself). Moreover, Davis and his group were idols for black Americans, and the idea that Miles had called a white guy in to take Red Garland's place didn't exactly make them jump for joy. (Evans later complained about the "silent treatment" he had received.) Regardless of all this, psychologically and artistically-speaking these were very valuable months for Evans, because that period helped him overcome his uncertainty and lack of faith, to the point where it could even be said that it was him that exerted a subtle but strong influence on the group's music.

The meeting between the two is narrated by Davis himself in his autobiography: "I needed a piano player who was into the modal thing and Bill Evans was. I met Bill through George Russell, whom Bill had studied with. ( ... ) As I was getting deeper into the modal thing, I asked George if he knew a piano player who could play the kinds of things I wanted, and he recommended Bill."

That "modal thing" that Davis was talking about was the leaving behind of bop, a natural progression that had reached its time by the end of the 1950s. Bop had led jazz harmony to its maximum complexity. The unpredictable or even programmed substitutions with which new chords were added to the basic harmony of a song (even a simple blues tune) crammed the pieces like a highway at rush-hour. Improvisation had become an obstacle course in which the winner was the one who multiplied the obstacles in order to then be able to say that he had overcome them. Jazz musicians were feeling, therefore, a great need to simplify, to bring jazz back to a higher degree of melodic essentialness. Miles, as always, had perceived this need before the others.

Milestones had been the first of his compositions to go in this new direction. This simplification process was not unlike that which occurred with European music after the orgy of modulations and widenings of the harmonic spectrum which culminated with Richard Wagner and his disciples. In contrast to the dynamic harmony of the Wagnerians, implying a strong sense of movement and development, the static, colorist, evocative music of Debussy had appeared. The "territory' in which melodic invention could be expressed needed to be shrunk down to a simple 'mode", meaning a predetermined succession of a few sounds which, being only a few, forced a soloist to create true melodies; in other words, to compose and not simply to vary in some more or less repetitive way.
Evans' classical background was crucial to this process. Davis, again in his autobiography, remembers that "Bill brought a great knowledge of classical music, people like Rachmaninov and Ravel," and moreover he recalls that "besides Ravel and a whole lot of others, Bill Evans had turned me on to Aram Khachaturian, a Russian-Armenian composer. I had been listening to him and what intrigued me about him were all those different scales he used." Evans played with Davis regularly from February to November of 1958, a period of which only a few, important recordings are left to testify. Three of these, recorded in May, are especially interesting. In each of these selections (On Green Dolphin Street, Fran-Dance and Stella By Starlight) Evans does some solos that we could call premodal. He simply creates peaceful, wide melodic lines harmonized with two hands, and completely abandons the long hornlike sequences typical of the bop approach. Evans lays down his chords calmly and unhurriedly and leaves them resounding for a long time. Those sonorous silences create a sense of waiting for something that is never going to happen. His choice of notes forming the chords (what is commonly called voicing) is made dissonant by the frequent use of major second intervals, something which has more to do with achieving luminosity than with making the chords harsh.
Evans improvises and admirably harmonizes melodic "micronuclei" that follow a distant trace of the original melody and sound like its echo. Here we have an inner song, a sort of resounding and response to the given melody, sung by no one but seeming as if someone were singing it (hadn't Davis maybe done this shortly before?). So those micronuclei float like water-lilies on Chambers and Cobb's relaxed, swinging ‘walk.’

No one in the history of jazz had ever used the piano in this way before [emphasis, mine]. We could say that in these almost questioning solos he reaches that “expressive inexpressive” that the Franco-Russian philosopher Vladimir Jankelevitch placed among the most enigmatic and seductive aspects of the ineffable in music. A total of about ten recordings remain of that period with Davis. You can hear, especially in the medium tempo tunes, and in the selections where Miles used the mute, that he wanted to adapt the band's sound to Bill's style. You can also hear that Davis absorbed a lot of that calm, that “expressive inexpressive” that Evans was able to infuse his music with - that “quiet fire” that Miles would fall so much in love with.

Evans was one of those pianists that “when they play a chord, play a sound more than a chord” the trumpet player would say, adding “I learned a whole lot of things from Bill Evans. He plays the piano the way it should be played ...” Evans' collaboration with Davis built his reputation. Even though by then he had made only one album under his own name, thanks to his work with Miles Davis he was nominated as Best New Star by the Down Beat magazine critics' poll in 1958 and 1959."
(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 !!!)

Bill Evans & Don Elliott - Tenderly - 1956

2009-04-01T06:56:00.000-07:00

Personnel:
Bill Evans piano
Don Elliott vibes, percussion

Tracklist:

01 - Tenderly
02 - I'll Take Romance
03 - Laura
04 - Blues No 1
05 - I'll Know
06 - Like Someone In Love
07 - Love Letters
08 - Thou Swell
09 - Airegin
10 - Everything Happens To Me
11 - Blues No 2
12 - Stella By Starlight
13 - Funkallero

Bill Evans - Getting Sentimental (1978)

2009-03-04T12:04:00.000-08:00

Audio CD (August 19, 2003)
Original Release Date: August 12, 2003
Number of Discs: 1
Format: Live
Label: Milestone

Track Listings:

I Should Care
How My Heart Sings
Gary's Theme
I'm Getting Sentimental Over You
Quiet Now
Re: Person I Knew
The Peacocks
Emily
Song From M*A*S*H (Suicide Is Painless)
Turn Out The Stars
When I Fall In Love
In Your Own Sweet Way
But Beautiful
I Love You

recorded at the Village Vanguard, New York, NY, 15 January 1978 by Mike Harris. Bill Evans, piano; Michael Moore, double bass; `Philly' Joe Jones, drums.

Bill Evans - The Complete Pescara Concert (1969)

2009-03-04T11:54:00.000-08:00

The (really) complete 1969 Pescara concert

Bill Evans: piano
Eddie Gomez: bass
Marty Morell: drums

1. Waltz for Debby
2. Emily
3. A sleepin' bee
4. Alfie
5. Who can I turn to?
6. Very early
7. Come rain or come shine
8. Nardis
9. Quiet now
10. 'Round about midnight
11. Autumn leaves
12. Le Najadi (So what)

"Festival Di Pescara", Pescara, Italy, July 18, 1969

Bill Evans Trio - Waltz for Debby - The Complete Pescara 1969 Festival
2004 Lone Hill Jazz LHJ10156)

track 12 is from
Various Artists - It happened in Pescara (1969-1989)
Philology (It) W 100/101

Scott-LaFaro Great Collection

2009-03-04T11:49:00.000-08:00

http://www.taringa.net/posts/musica/1930783/Scott-LaFaro.html

It's all right with me (Cole Porter) Bill Evans & Lucy Reed

2009-03-04T11:43:00.000-08:00

Bill Evans or Dick Marx (p) Howard Collins (g) Bob Carter or Johnny Frigo (b) Sol Gubin (d) Lucy Reed (vo)

NYC, spring 1955

http://www.youtube.com/watch?v=4SVBPBUH1gg

I´ll find the entire album!

Bill Evans - We will meet again - (1979)

2009-01-04T12:24:00.000-08:00

Tom Harrell (tp -1/3,5,6,8) Larry Schneider (ts, ss -1/3,5,6,8) Bill Evans (p, el-p) Marc Johnson (b -1/3,5,6,8) Joe LaBarbera (d -1/3,5,6,8)

NYC, August 6-9, 1979

1.	Comrade Conrad	Warner Bros. HS 3411-Y
2.	Laurie	-
3.	Bill's Hit Tune	-
4.	For All We Know (We May Never Meet Again)	-
5.	Only Child	-
6.	Peri's Scope	-
7.	We Will Meet Again	-
8.	Five (theme)	-

* Bill Evans - We Will Meet Again (Warner Bros. HS 3411-Y)

SEE...

"sometime between late 1978 and early 1979, on the strength of another recommendation (this time from guitarist Joe Puma with whom Bill shared a long-time friendship as well as a passion for trotter-racing), Evans decided to hire drummer Joe LaBarbera for his trio, despite worries that he might not have been completely available due to his heavy studio commitments. LaBarbera’s capacity to “do the right thing at the right time” made him a drummer of considerable musical intelligence. Gifted with a strong and relaxed sense of swing a la Elvin Jones he, like Johnson, had a highly developed ability to listen to his partners. The chemistry between these two and Evans gave him reason to expect peaks like those that he had known with LaFaro and Motian and, in fact, that is what happened.

Nevertheless, the first recording featuring LaBarbera and Johnson together - We Will Meet Again [Warner Bros. HS 3411] was a quintet album, the two horns being Tom Harrell's expressive trumpet and again the brilliant tenor sax of Larry Schneider. This album is comprised exclusively of original Bill Evans compositions, among which the inspired Laurie - dedicated to the woman who would be at his side in this last brief leg of his journey - and We Will Meet Again (which Evans had recorded two years earlier, surely never imagining the sad circumstances under which he was to find himself re-recording it). That session of August 1979, in fact, took place shortly after the tragic suicide of Bill's brother Harry, and the solo piano version of We Will Meet Again included here was clearly a despairing musical farewell directed towards this brother whom he had always worshiped.
“It's there for that reason. Also a solo version of For All We Know because that's linked with the title. So, there are those two solo tracks - For All We Know- We May Never Meet Again- and then the song We Will Meet Again.” These words from an interview with Evans' in August of 1980, give us an illuminating glimpse, flashing momentarily on the secret code that often encrypted the connection between his music and his life. With the benefit of hindsight it is not difficult to see that this was precisely the period in which Evans had unconsciously decided to let loose all his self-destructive urges, and in which he began to chant his swan song."
(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 !!!)

Bill Evans - You Must Believe In Spring - 1977

2009-01-04T12:03:00.000-08:00

Bill Evans Trio

Bill Evans (p -1/8,10, p, el-p -9) Eddie Gomez (b) Eliot Zigmund (d)

Capitol Studios, Vine Street, Hollywood, CA, August 23-25, 1977

1.	B Minor Waltz (For Ellaine)	Warner Bros. HS 3504-Y
2.	You Must Believe In Spring	-
3.	Gary's Theme	-
4.	We Will Meet Again (For Harry)	-
5.	The Peacocks	-
6.	Sometime Ago	-
7.	Theme From MAS*H (Suicide Is Painless)	-
8.	Without A Song	Rhino/Warner Bros. 73719
9.	Freddie Freeloader	-
10.	All Of You	-

* Bill Evans - You Must Believe In Spring (Warner Bros. HS 3504-Y; Rhino/Warner Bros. 73719)

SEE...

"In August of 1977 Warner Bros made Evans a very generous recording offer, and it was Helen Keane who made the switch to that label possible. You Must Believe In Spring (again with Gomez and Zigmund) continues along the lines of I Will Say Goodbye, but there is much more in it. This album, however, also begins to reveal the traces of a destiny marked by some unsettling clues: the opening piece, B Minor Waltz, is dedicated to Bill's former long-term, unfortunate girlfriend Ellaine (was it just a coincidence that the key of B minor was the same as Tchaikovsky’s tragic, desperate "Pathetic" Symphony?”); the closing piece, Johnny Mandel's theme from Bill's favorite TV series M*A*S*H*, is sub-titled Suicide is Painless. What was happening to Bill?

Why dwell on self-destruction? Maybe because “suicide ... brings on many changes, and I can take or leave it as I please?” Perhaps a successful hit like M*A*S*H*was enough to set off that subconscious image/sound mechanism which always seemed to stimulate him. The story of M*A *S*H* (set, as everyone knows, in the Korean War) denouncing the madness and psychologically devastating violence of war, probably sparked Bill's memory of his psychically wounding experiences at Fort Sheridan in the early 50s, where he had come into contact with the harsh and senseless reality of army life. His slow slide into a self-destructive depression, probably traceable to those distant days, led him some years later into the drug habit (“the longest suicide in history,” as writer and great friend Gene Lees would say of him) which he shared with fragile, vulnerable Ellaine, who could not bear the idea of being separated from him.
Not even the birth of his son Evan the previous year had been able to fulfill that promise of regeneration that he had begun to glimpse, not to mention the fact that his marriage with Nenette was on the rocks. Perhaps all this would be enough to explain the album's mournful tone. Alongside the images of that movie which recalled his own suffering and the pain of another failure, that of his marriage, Bill was “speaking" through his music to Ellaine.

But another element must be factored in to give You Must Believe In Spring [Warner Bros. 3504] a special place in the final stages of Evans' artistic activity. The entire record, in fact, and not only the piece We Will Meet Again, was dedicated to his beloved big brother Harry - although Harry was never to know this. Bill loved movies, as we have already pointed out, but a script that not even the most imaginative screenwriter could ever have conceived had cast him in the leading role. His past (Ellaine) and his present (Harry) were soon to be linked precisely by the suicide. Two years after the recording of You Must Believe In Spring, Harry Evans Jr., he as well suffering from a long depression, took his own life. Since the album had not yet been published Harry never heard it nor did he ever know about that act of affectionate brotherly devotion - a shocking premonition. Starting with the recording of that ill-fated album in August '77, a dark destiny seemed to be rushing towards the artist; but he still had a little more time - time enough to say many more things in music and to "close the circle" of his musical journey."
(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 !!!)

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

2008-12-29T22:38:00.001-08:00

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)

2008-12-29T22:25:00.001-08:00

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

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

2008-12-11T13:08:00.000-08:00

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
	Alfie
	T.T.T.
	Excerpt From Dolphin Dance
	Very Early
	34 Skidoo
	Emily
	Are You All The Things

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

2008-12-10T09:58:00.000-08:00

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
Judy
Alone Together
Side By Side
I Concentrate On You
Theme From Picnic
Trixie
Going, Going, Gong!
Just for a Thrill .

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

2008-12-06T12:50:00.000-08:00

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)

2008-12-06T12:40:00.000-08:00

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

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

Tracks:

1. Emily
2. Alfie
3. Nardis

Total time: 29:30
Format: DVD

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

2008-12-06T12:33:00.000-08:00

BILL EVANS - piano
CHUCK ISRAELS - bass
LARRY BUNKER - drums

Setlist:

01 - ELSA 5:58
02 - I SHOULD CARE 5:58
03 - TIME REMEMBERED 6:26
04 - COME RAIN OR COME SHINE 5:31
05 - SOME OTHER TIME 7:21
06 - NARDIS 6:41
07 - HOW DEEP IS THE OCEAN? 6:27
08 - ISRAEL 1:58

13 de febrebro de 1965

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

09 - NARDIS 6:09
10 - STELLA BY STARLIGHT 4:43
11 - SOMEDAY MY PRINCE WILL COME 2:53
12 - ROUND MIDNIGHT 7:17

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

2008-12-06T12:14:00.000-08:00

MILES DAVIS

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

Tracks:

1. FREDDIE FREELOADER SESSION (13'38)
2. SO WHAT SESSION (12'53)
3. BLUE IN GREEN SESSION (11'13)
4. FLAMENCO SKETCHES SESSION (24'10)
5. ALL BLUES SESSION (11'53)

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

2008-12-06T11:39:00.000-08:00

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)

2008-12-06T11:20:00.001-08:00

DVD - PAL

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

Line-up:

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 )

2008-12-06T11:01:00.000-08:00

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)

Bill Evans - Eloquence - (1973)

2008-12-05T17:26:00.000-08:00

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)

2008-12-05T16:11:00.000-08:00

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)

2008-12-05T15:36:00.000-08:00

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)

2008-12-05T12:17:00.000-08:00

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.

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 !!!)

Further Conversations With Myself - Bill Evans - (1967)

2008-12-05T12:04:00.000-08:00

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)

2008-12-05T10:22:00.000-08:00

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)

2008-12-05T08:55:00.000-08:00

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)

2008-12-05T06:10:00.000-08:00

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)

2008-12-05T06:06:00.000-08:00

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)

2008-12-05T05:56:00.000-08:00

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

SEE...

"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 http://jazzprofiles.blogspot.com !!!)

Interplay - The Bill Evans Quintet - (1962)

2008-12-04T07:25:00.000-08:00

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

NYC,

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

SEE...

“[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 http://jazzprofiles.blogspot.com !!!)

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

2008-12-03T14:25:00.000-08:00

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)

2008-12-03T14:09:00.000-08:00

Tracklisting:

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)

2008-12-03T09:03:00.001-08:00

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

10-Poinciana

11-Vanilla Frosting On a Beef Pie

12-Yesterdays

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

2008-12-03T08:42:00.001-08:00

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 http://jazzprofiles.blogspot.com !!!)

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

2008-12-03T08:31:00.000-08:00

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)

Just Jazz! Arranged and Conducted by Benny Golson - (1962)

2008-12-01T06:39:00.001-08:00

Side 1
1. GROOVIN' HIGH 2. MOTEN SWING 3. OUT OF NOWHERE 4. AUTUMN LEAVES 5. DONNA LEE
Side 2
1. QUICKSILVER 2. STELLA BY STARLIGHT 3. ORNITHOLOGY 4. IF I SHOULD LOSE YOU 5. WALKIN'

Piano: BILL EVANS Tenor Sax: WAYNE SHORTER Alto Sax: ERIC DOLPHY Trumpet: FREDDY HUBBARD Trombone: GRACHEN MONCUR, BILL HARDMAN, CURTIS FULLER Bass: RON CARTER Drums: CHARLIE PERSIP, JIMMY COBB

April 1962 (LP) AUDIO FIDELITY ULS-1866-V

Bill Evans & Monica Zetterlund - Waltz For Debbie (1964)

2008-12-01T05:56:00.000-08:00

1. Come Rain Or Come Shine

2. Beautiful Rose (Jag Vet En Dejlig Rosa)

3. Once Upon A Summertime

4. So Long Big Time

5. Waltz For Debby (Monicas Vals)

6. Lucky To Be Me

7. Sorrow Wind (Vindarna Sucka Uti Skogarna)

8. It Could Happen To You

9. Some Other Time

10. In The Night (Om Natten)

Bill Evans (p) Chuck Israels (b) Larry Bunker (d) Monica Zetterlund (vo)

Stockholm, Sweden, August 29, 1964

Bill Evans & Tony Bennett - Together Again - (1977)

2008-12-01T04:52:00.000-08:00

1 The Bad and the Beautiful 2:14
2 Lucky to Be Me 3:43
3 Make Someone Happy 3:50
4 You’re Nearer 2:20
5 A Child Is Born 3:17
6 The Two Lonely People 4:22
7 You Don’t Know What Love Is 3:27
8 Maybe September 3:51
9 Lonely Girl 2:44
10 You Must Believe in Spring 5:41

The Tony Bennett & Bill Evans album - (1975)

2008-12-01T04:44:00.000-08:00

1. Young and Foolish (Albert Hague, Arnold B. Horwitt) 3:55
2. The Touch of Your Lips (Ray Noble) 3:57
3. Some Other Time (Leonard Bernstein, Betty Comden, Adolph Green) 4:44
4. When in Rome (Cy Coleman, Carolyn Leigh) 2:56
5. We'll Be Together Again (Carl Fischer, Frankie Laine) 4:39
6. My Foolish Heart (Ned Washington, Victor Young) 4:50
7. Waltz for Debby (Bill Evans, Gene Lees) 4:06
8. But Beautiful (Johnny Burke, Jimmy Van Heusen) 3:37
9. Days of Wine and Roses (Henry Mancini, Johnny Mercer) 2:21

SEE...

"On September 13th, however, an even more important event took place - Bill's son Evan was born of the union with Nenette, whom he had married in 1973. Evan's birth seemed to give Bill new motivation and determination to live. He had never been able to kick his drug habit, but that depression that had haunted him for years now seemed to begin to lift. His piano language remained in that simplifying phase that had begun more or less in the mid-1960s when he concluded the trio cycle with Chuck Israels and Larry Bunker. Narrative-style pieces, especially film themes, began to fill out his repertoire. Except when performing as an unaccompanied pianist or else when playing some solo pieces during his trio concerts, there was no longer any trace of that Tristano flavor so recognizable in his work during the 1950s. The influence of Powell and Silver had also vanished by now.
It could be said that by the mid-70s Evans' was personalizing his style more in the melodic direction, in terms of themes, while his improvisational vocabulary foregrounds more a harmonic variation process rather than one of recomposing. His signature sound was by now established, even though his occasional use of the electric piano tended to flatten it. In that same year, thanks to an idea of Helen Keane's, Evans was able to fulfill one of his dreams - to record with the singer Tony Bennett. That album confirmed Evans' desire to reconnect with the tradition of the American popular song and, from this point of view, he was carrying on the musical thinking and practice of Gershwin, convinced of the originality of this tradition incarnate in the musical comedy and in forms of high quality "light" music.

Nonetheless, it is hard for this writer to think of this Fantasy recording as a jazz album. Actually, at that point in his career Evans' artistic image was difficult, in any case, to pin down. Surely, of the two, the one who benefited the most from the other was Bennett, who could easily place himself in the hands of a knowing harmonic sensibility like that of Evans. Bennett's vocal style, pleasant but certainly not without a slightly theatrical emphasis, led the pianist into a Hollywood cocktail-party atmosphere, dangerously close to the concept of mere entertainment. The process of this musical shift towards disengagement was surely aided by the subtle commercial inclinations of Evans' managers (Creed Taylor in the 60s and now Keane). But it is also true that, even in a "pure" artist like Evans, there appeared from time to time the temptation to "reach the people" - a temptation the price of which he did not seem to be fully aware."
(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 !!!)

Bill Evans/George Russell - Living Time (1972)

2008-11-29T14:33:00.000-08:00

Ernie Royal, Richard Williams, Snooky Young (tp, flh) Howard Johnson (flh, tu, bcl) Dave Baker, Garnett Brown (tb) Dave Bargeron (tb, tu) John Clark (frh) Jimmy Giuffre, Joe Henderson, Sam Rivers (reeds) Bill Evans (p) Webster Lewis, Ted Saunders (el-p) Sam Brown (g) Eddie Gomez (b) Ron Carter, Herb Geller (el-b) Marty Morell, Tony Williams (d) Marc Belair (d, per)
George Russell (arr, cond)

NYC, May, 1972

*Bill Evans: piano, rhodes electric piano
*Eddie Gomez: acoustic bass
*Marty Morell: drums.
*Snooky Young, Ernie Royal, Richard Williams,Stanton Davis: trumpet
*Snooky Young, Ernie Royal, Richard Williams, Howard Johnson: flugelhorn
*John Clark: french horn
*Howard Johnson, Dave Bargeron: tuba
*Jimmy Guiffre, Sam Rivers: tenor saxophone, flute
*Sam Rivers: obo
*Howard Johnson: bass clatinet
*Ron Carter (on 5,7), Stanley Clark (on 1,2,3),Herb Bushler (on 4,6,8): fender bass
*Sam Brown: bass guitar, electric guitar
*Ted Saunders: electric piano, clavinette
*Webster Lewis: organ, electric piano
*Tony Williams: drums
*Marc Belair: percussion

*01.: Living Time - Event I (3:52)
*02.: Living Time - Event II (8:24)
*03.: Living Time - Event III (2:50)
*04.: Living Time - Event IV (5:32)
*05.: Living Time - Event V (11:56)
*06.: Living Time - Event VI (4:16)
*07.: Living Time - Event VII (2:10)
*08.: Living Time - Event VIII (5:41)

SEE...

"Evans got involved in two projects with large orchestra at this time. The first, in 1972, was the controversial Living Time, conceived and worked out with his friend George Russell. It was Evans himself, in an effort to satisfy Columbia Records' urging for more saleable ideas, who had come up with the idea of an album featuring him with a large ensemble. As had already happened other times in the past, Russell again appeared to be trying to force Evans into formally freer situations, acting out his usual role as “stimulator of the new and unknown” which left Evans more than a little uneasy. Russell's score on this occasion was a daring fusion of rock, informal jazz and modal music where Bill seemed a bit like a fish out of water: “Bill played like he was being pushed into some other level, hit over the head, kicked in the behind,” Russell is quoted as saying, adding, paradoxically, “I love and respect Bill's playing so much that I really couldn't resist the challenge.” The album turned out to be difficult for the average listener as well. Even with the presence of musicians like Jimmy Giuffre, Sam Rivers, Joe Henderson and Ron Carter, the outcome was a complex music which had trouble moving ahead as a result of Russell's need more to scratch his experimental itch than to accommodate the natural feeling of the musicians involved."

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

Miles Davis Sextet - Jazz At The Plaza (1958)

2008-11-29T14:24:00.001-08:00

Players:
Miles Davis: trumpet
John Coltrane: tenor saxophone
Julian "Cannonball" Adderley: alto saxophone
Bill Evans: piano
Paul Chambers: bass
Philly Joe Jones: drums

Track List:
1. If I Were A Bell (8:31)
2. Oleo (10:38)
3. My Funny Valentine (10:18)
4. Straight, No Chaser (10:57)

Recorded At: Perssian Room, Plaza Hotel, NY, September 9, 1958

Bill Evans - Jazzhouse (1969)

2008-11-29T14:12:00.000-08:00

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

"Jazzhus Montmartre", Copenhagen, Denmark, November 24, 1969

1. How Deep Is the Ocean?
2. How My Heart Sings
3. Goodbye
4. Autumn Leaves
5. California, Here I Come
6. A Sleepin' Bee
7. Polka Dots and Moonbeams
8. Stella by Starlight
9. Five (Theme)

Bill Evans - The Last European Concert (1980)

2008-11-29T14:05:00.000-08:00

1. Letter to Evan
2. Yet Ne'er Broken
3. Laurie
4. Bill's Hit Tune
5. Knit for Mary F.
6. The Days of Wine and Roses
7. Your Story
8. But Beautiful
9. If You Could See Me Now
10. Waltz for Debby
11. Who Can I Turn To
12. Theme from M.A.S.H.
13. Five
Bill Evans (p) Marc Johnson (b) Joe LaBarbera (d)

Bad Hoenningen, West Germany, August 15, 1980

Miles Davis - At Newport (1958)

2008-11-29T14:02:00.001-08:00

Músicos / Personnel:
Miles Davis (trumpet)
Cannonnball Adderley (alto sax)
John Coltrane (tenor sax)
Bill Evans (piano)
Paul Chambers (bass)
Jimmy Cobb (drums)

Grabado 3 Julio, 1958.

Temas / Tracks:
1. Introduction by Willis Conover (2:16)
2. Ah-Leu-Cha (5:52)
3. Straight, No Chaser (8:47)
4. Fran-Dance (7:13)
5. Two Bass Hit (4:10)
6. Bye Bye Blackbird (9:10)
7. The Theme (2:48)

The Gary McFarland Orchesta with Bill Evans - (1963)

2008-11-29T13:51:00.000-08:00

1. REFLECTIONS IN THE PARK
2. NIGHT IMAGES
3. TREE PATTERNS
4. PEACH TREE
5. MISPLACED COWPOKE
6. A MOMENT ALONE

Phil Woods (cl) Spencer Sinatra (as, fl) Julian Barber, Allan Goldberg (vla) Aaron Juvelier, Joseph Tekula (vlc) Gary McFarland (vib, arr, cond) Bill Evans (p) Jim Hall (g) Richard Davis (b) Ed Shaughnessy (d)

Webster Hall, NYC, January 24, 1963 or December 18, 1962

Bill Evans Trio with Symphony Orchestra - (1966)

2008-11-29T13:44:00.001-08:00

Claus Ogerman - Arreglos y dirección orquestal

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

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
Sonata for flute & keyboard in E flat major, BWV 1031 Sicilienne
Composed by Johann Sebastian Bach
Conducted by Claus Ogermann
Prelude for piano in D flat major, Op. 11/15
Composed by Alexander Scriabin
Conducted by Claus Ogermann
Time Remembered
Composed by Bill Evans
Conducted by Claus Ogermann
Pavane, for orchestra & chorus ad lib in F sharp minor, Op. 50
Composed by Gabriel Faure
Conducted by Claus Ogermann
Concerto for Jazz Piano & Orchestra Elegia (Elegy)
Composed by Claus Ogermann
Conducted by Claus Ogermann
My Bells
Composed by Bill Evans
Conducted by Claus Ogermann
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)

Blue in green - (1974)

2008-11-29T13:40:00.001-08:00

Personnel:
Bill Evans, piano
Eddie Gomez, bass
Marty Morell, drums

Vivo grabado a Camp Fortune, Hull, Canada in August 1974.

Tracks:
1. One For Helen (B.Evans) 6:13
2. The Two Lonely People (Evans-Hall) 7:03
3. What Are You Doing For The Rest Of Your Life (Legrand- Bergman) 4:38
4. So What (M.Davis) 6:47
5. Very Early (B.Evans) 5:32
6. If You could See Me Now (T.Dameron) 3:53
7. 34 Skidoo (B.Evans) 7:33
8. Blue In Green (Evans-Davis) 3:40
9. T.T.T. - Twelve Tone Tune (B.Evans) 5:29

I will Say Goodbye - (1977)

2008-11-29T13:35:00.000-08:00

Temas / Tracks:
1. I Will Say Goodbye
2. Dolphin Dance
3. Seascape
4. Peau Douce
5. Nobody Else But Me
6. I Will Say Goodbye (Take 2)
7. The Opener
8. Quiet Light
9. A House Is Not A Home
10. Orson's Theme

Bill Evans (piano); Eddie Gomez (bass); Eliot Zigmund (drums).

SEE...

"I Will Say Goodbye
Evans believed in "simple" music; but simplicity, of course, not necessarily at the expense of beauty, and it was precisely that which he demonstrated a couple of years later. Beauty has to do with a deeper and somehow mysterious dimension - a something that Bill possessed, and thanks to which he had captured, especially in the 1950s and 60s, the hearts and minds of musicians and jazz lovers all over the world. In May of 1977 Evans recorded his last album for the Fantasy label, I Will Say Goodbye, with Gomez and the sensitive Zigmund on the drums. The album's title track, written by Michel Legrand, as well as Johnny Mandel's tender Seascape, are both film score tunes which, in Evans' hands, become compelling, intimate Mendelssohn-like "songs without words.”
Here Evans revives the classical piano modules of Brahms and Chopin, Debussy and Scriabin, whom he had known and loved in his childhood and later in his college years in Louisiana. He treats these melodic lines, evoking images of separations ("goodbye") and seascapes, with a touch that unearths a rich range of color and nuance that had been lost in his years with Gomez and Morell. Here he greatly refines the classical technique of playing three or four notes with the right hand, making their upper voice "sing".

All this is made possible also by Zigmund's sensibility and capacity to listen to and play with Evans, avoiding the error of other drummer's of playing "with the bass", thus leaving the piano isolated. Zigmund follows the emotional and sound "curve" of the pianist and, in this way, restores to the trio the breath that has long been missing.
Another big film hit tune People, written by Jules Styne and made popular by Barbara Streisand, had been used by Evans a couple of years earlier for his solo album Alone Again. That performance had marked a moment in which Evans seems to have declared his belief more in interpretation than in improvisation as the primary vehicle for his musical communication. The melody of People is played for more than thirteen minutes in various keys and becomes a sort of "theme and variations" in which Evans shows the many possibilities for dealing with a simple song on piano. His use of the left hand playing arpeggio-lines as a kind of "contrapuntal" accompaniment to the right is characteristic here. This device goes beyond just simply confirming or tracing the harmonic path of the piece, and is able to create a second "voice" dialoguing with the right hand and, at times, functioning as protagonist.

Throughout the entire length of the performance, the original melody is never abandoned. John Wasserman, who wrote the liner notes for this album, rightly observes, “one would have to be a fool or a genius to pick such songs, songs that have been played with a repetition past counting. The fool would choose them because they are familiar and one with nothing to say must be satisfied with quoting others. The genius chooses them for the challenge; for the untapped potential lying underneath the facade. It requires supreme confidence and fundamental humility in addition to an innate sense of beauty. His music, complex and simple at the same time, is like stop-action photography - the learning, the understanding, the feelings of a lifetime compressed into three minutes, or five, or seven.”
The material that Evans chose for both Alone Again and I Will Say Goodbye, was almost always very easy on the ear, mostly evoking melancholy, nostalgia for something lost, something which had perhaps never existed, or else had always been unattainable. Very often, as has already been said, these were songs from films which spoke of lost, impossible or troubled love, or of the travails of couples and the unending search for happiness. Russian tradition is full of story-telling and fables, and we must not forget that Evans origins were half Russian. It is no surprise, therefore, that he was orienting himself more and more towards musical stories written to accompany picture stories. Improvisation as such seemed no longer to interest him very much. Far from the extreme harmonic quest of a Coltrane, extraneous also to the contemporary jazz/rock revolution with its new rhythms and sound, Evans was heading in a musical direction that no one but he was attracted to in those years."
(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 !!!)

Bill Evans trio y Stan Getz - But Beautiful (1974)

2008-11-29T13:32:00.000-08:00

Grandfather`s Waltz
Stan`s Blues
But Beautiful
Emily
Lover Man
Funkallero
Peacocks, The
You and the Night and the Music
See-Saw
Two Lonely People, The

Personnel: Bill Evans (piano); Stan Getz (tenor saxophone); Eddie Gomez (bass); Marty Morell (drums).

Bill Evans Trio - Since We Met (1974)

2008-11-29T10:28:00.001-08:00

1.: Since We Met

2.: Midnight Mood

3.: See Saw

4.: Sareen Jurer

5.: Time Remembered

6.: Turn Out The Stars

7. : But Beautiful

Personnel:

Bill, with Eddie Gomez bass y Marty Morell drums

Bill Evans - The Complete Fantasy Recordings - (1973-1979)

2008-11-29T10:22:00.000-08:00

Artist:Bill Evans

Recording Date:Jan 20, 1973-May 13, 1979

Tracks (7 cd´s)

1 Mornin' Glory [live] Gentry 5:46
2 Up With the Lark [live] Kern, Robin 6:46
3 Yesterday I Heard the Rain [live] Lees, Manzanero 6:32
4 My Romance [live] Hart, Rodgers 8:40
5 When Autumn Comes [live] Fischer 6:03
6 T.T.T.T. (Twelve Tone Tune Two) [live] Evans 6:34
7 Hullo Bolinas [live] Swallow 4:00
8 Gloria's Step [live] LaFaro 7:12
9 On Green Dolphin Street [live] Kaper, Washington 6:45
10 Up With the Lark [live] Kern, Robin 6:41
11 Quiet Now [live] Zeitlin 4:56
12 Gloria's Step [live] LaFaro 6:51
13 When in Rome [live] Coleman, Leigh 3:23
14 It Amazes Me [live] Coleman, Leigh 2:28
15 Since We Met [live] Evans 8:50
16 Midnight Mood [live] Raleigh, Zawinul 6:52
17 See-Saw [live] Coleman 6:50
18 Elsa [live] Zindars 7:14
19 Sareen Jurer [live] Zindars 6:38
20 Time Remembered [live] Evans 5:26
21 Turn Out the Stars [live] Evans 5:07
22 But Beautiful [live] Burke, VanHeusen 6:21
23 Re: Person I Knew [live] Evans 5:17
24 Sugar Plum [live] Evans 8:11
25 Alfie [live] Bacharach, David 4:54
26 T.T.T. (Twelve Tone Tune) [live] Evans 5:15
27 Dolphin Dance/Very Early [live/excerpt] Hancock 7:20
28 34 Skidoo [live] Evans 6:06
29 Emily [live] Mandel, Mercer 5:12
30 Are You All the Things [live] Evans 6:20
31 Invitation Kaper, Webster 6:28
32 Blue Serge Ellington 5:06
33 Show-Type Tune Evans 4:04
34 The Nature of Things Rochlin 3:22
35 Are You All the Things Evans 4:59
36 A Face Without a Name Ogerman 5:35
37 Falling Grace Swallow 4:28
38 Hi Lili, Hi Lo (For Ellaine) Deutsch, Kaper 7:16
39 Gone With the Wind Magidson, Wrubel 5:31
40 Saudade Do Brasil Jobim 5:40
41 My Foolish Heart Washington, Young 4:47
42 The Touch of Your Lips Noble 3:54
43 Some Other Time Bernstein, Comden, Green 4:40
44 When in Rome Coleman, Leigh 2:53
45 We'll Be Together Again Fischer, Laine 4:36
46 Young and Foolish Hague, Horwitt 3:51
47 Waltz for Debby Evans, Lees 4:02
48 But Beautiful Burke, VanHeusen 3:34
49 Days of Wine and Roses Mancini, Mercer 2:20
50 Elsa [live] Zindars 7:23
51 Milano [live] Lewis 4:38
52 Venutian Rhythm Dance [live] Stevens 4:25
53 Django [live] Lewis 6:10
54 But Beautiful [live] Burke, VanHeusen 3:42
55 Minha (All Mine) [live] Hime 4:09
56 Driftin' [live] Haerle 5:10
57 I Love You [live] Porter 6:34
58 The Summer Knows [live] Bergman, Bergman, Legrand 3:22
59 In a Sentimental Mood [live] Ellington, Kurtz, Mills 5:58
60 The Touch of Your Lips Noble 7:01
61 In Your Own Sweet Way Brubeck 8:53
62 Make Someone Happy Comden, Green, Styne 7:08
63 All of You Porter 4:57
64 What Kind of Fool Am I? Bricusse, Newley 6:02
65 People Merrill, Styne 13:33
66 Since We Met Evans 3:39
67 But Not for Me/Isn't It Romantic/The Opener Evans, Gershwin, Gershwin ... 5:11
Composed by: Evans, Gershwin, Gershwin, Hart, Rodgers
68 Sweet Dulcinea Wheeler 6:02
69 Martina Legrand, Marnay, Shaper 8:12
70 Second Time Around Cahn, VanHeusen 3:41
71 A Child Is Born Jones, Wilder 7:30
72 Bass Face Burrell 10:04
73 Nobody Else But Me Hammerstein, Kern 7:27
74 Sugar Plum [live/#] Evans 6:28
75 Time Remembered [live/#] Evans 5:33
76 34 Skidoo [live/#] Evans 7:10
77 T.T.T.T. (Twelve Tone Tune Two) [live/#] Evans 6:34
78 Turn Out the Stars [live/#] Evans 5:01
79 Someday My Prince Will Come [live/#] Churchill, Morey 7:08
80 Minha (All Mine) [live/#] Hime 3:46
81 All of You [live/#] Porter 8:09
82 Waltz for Debby [live/#] Evans, Lees 5:32
83 Eiderdown Swallow 8:16
84 Ev'ry Time We Say Goodbye Porter 3:28
85 Pensativa Fischer 5:35
86 Speak Low Nash, Weill 6:30
87 When I Fall in Love Heyman, Young 4:16
88 Night and Day Porter 6:03
89 I Will Say Goodbye Legrand 3:26
90 Dolphin Dance Hancock 6:00
91 Seascape Mandel 5:20
92 Peau Douce Swallow 4:14
93 Nobody Else But Me Hammerstein, Kern 5:03
94 I Will Say Goodbye [Take 2] Legrand 4:45
95 The Opener Evans 6:09
96 Quiet Light Zindars 2:26
97 A House Is Not a Home Bacharach, David 4:36
98 Orson's Theme Legrand 3:46
99 Marian McPartland's Piano Jazz Interview [live] 58:08
100 Kaleidoscope (Theme) [live] McPartland :23
101 Waltz for Debby [live] Evans, Lees 1:33
102 All of You [live] Porter 2:19
103 In Your Own Sweet Way [live] Brubeck 5:02
104 The Touch of Your Lips [live] Noble 4:59
105 Reflections in D [live] Ellington 4:36
106 I Love You [live] Porter 4:10
107 Days of Wine and Roses [live] Mancini, Mercer 3:17
108 This Is All I Ask [live] Jenkins 4:01
109 While We're Young [live] Engvick, Wilder 4:28

Bill Evans - A Simple Matter Of Conviction (1966)

2008-11-29T10:18:00.001-08:00

Músicos / Personnel:
Bill Evans, piano
Eddie Gomez, bass
Shelly Manne, drums

Temas / Tracks:
1. Simple Matter Of Conviction (B.Evans) 3:17
2. Stella By Starlight (Young-Washington) 4:09
3. Unless It's You (B.Evans) 3:41
4. Laura (Mercer-Raksin) 4:17
5. My Melancholy Baby (Burnett-Norton) 5:14
6. I'm Getting Sentimental Over You (Washington-Bassman) 4:11
7. Star Eyes (Raye-DePaul) 4:56
8. Only Child (B.Evans) 4:02
9. These Things Called Changes (B.Evans) 3:34

SEE...

"Within a few months Israels' place was taken by 21-year-old Puerto Rican bass player Eddie Gomez. He was playing with the Gerry Mulligan group opposite Evans' trio at the Village Vanguard when he caught Bill's eye. Enormously gifted technically - an authentic virtuoso on his instrument - Gomez would stay with Evans for eleven years proving himself, in many ways, an ideal partner and the first real heir to Scott LaFaro. Gomez, in fact, continued and extended LaFaro's insights and contributed to making the bass an instrument "equal" to other melodic instruments in its expressive potential.

In October of 1966 they made their first studio recording, A Simple Matter of Conviction. The drummer on that occasion was the great Shelly Manne who, four years earlier, had recorded Empathy alongside Evans [both LPs have been combined on one disc as Verve 837 757 2]. This encounter would not be repeated, as witnessed by Evans' difficulty filling in the deep void left by Motian. So for yet another couple of years a variety of musicians were to take the drummer's seat - Philly Joe Jones, Arnold Wise and Jack DeJohnette - until at the end of 1968 Marry Morell would become the third permanent member of the trio.
In reality, the problem of a drummer that was not easy to resolve for a pianist like him. He was perfectly aware of the volume problems that a drummer, discreet as he may be, could pose to his music. His ideal "group" was a duet with the bass, but he knew that to achieve a certain effect a drummer was necessary. As would come out in an interview he did in 1972 for the French magazine Jazz Hot, his biggest problem with drummers was their difficulty in lowering the tension and volume of their drumming once they had intensified it - a defect which, as Evans pointed out, robbed the performance of its "breath" and weighed it down unnecessarily.

A Simple Matter Of Conviction introduced two new and exciting original compositions: Only Child and Unless It’s You (Orbit). The latter is built on an extraordinary harmonic progression that seems truly to have no end, to "go into orbit", every once in a while returning hesitantly to itself, to then spin off again. A piece that perfectly incarnates Evans' idea of harmony as an expansion from and return to the tonic. At the end of October '66 Evans made his second tour in Scandinavia, bringing only Eddie Gomez with him. He resolved his doubts concerning a drummer in the person of the young and promising Dane Alex Riel, performing alongside the Swedish singer Monica Zetterlund, with whom he had already recorded a very prestigious album a couple of years earlier."
(Bill Evans: Ritratto d’artista con pianoforte/Bill Evans: The Pianist as an Artist.Enrico Pieranunzi, Rome 1999, Stampa Alternativa)

The Bill Evans Trio - Moon Beams (1962)

2008-11-29T10:03:00.001-08:00

The Bill Evans Trio - 1962

Bill Evans piano
Chuck Israels bass
Paul Motian drums

1: Re: Person I Knew
2: Polka Dots And Moonbeams
3: I Fall In Love Too Easily
4: Stairway To The Stars
5: If You Could See Me Now
6: It Might As Well Be Spring
7: In Love In Vain
8: Very Early