A present...

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

Bill Evans Portraiture - (Edition 2000)

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)

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)

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)

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...

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

Lucy Reed - Singing Reed (1955)

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...

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

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)

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)

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

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

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

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

Mark Murphy With Ernie Wilkins Orchestra

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

NYC, October 16, 1961

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

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

Stan Getz & Bill Evans - 1964

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

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

Tracklist:

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

The Canadian Concert Of Bill Evans - 1974

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

Camp Fortune, Ottawa, Canada, August, 1974

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

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

Kai Winding - The Incredible Kai Winding Trombones - 1960

Kai Winding Septet

Bill Evans only plays in:

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

NYC, December 13, 1960

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

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

Tadd Dameron Orchestra - The Magic Touch - 1962

Tadd Dameron Orchestra

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

NYC, February 27, 1962

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

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

NYC, March 9, 1962

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

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

NYC, April 16, 1962

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

Bill Evans - Quintessence - 1976

Bill Evans Quintet

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

Berkeley, CA, May 27-30, 1976

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

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

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

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

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

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

Paris, France, November 26, 1979

SEE...

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

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

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

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

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

Bill Evans - Alone Again - 1975

Session:

Bill Evans Solo

Bill Evans (p)

Berkeley, CA, December 16-18, 1975

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

Tracks in this CD:

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

Bill Evans - Montreux III - 1976

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

Session:

Bill Evans - Eddie Gomez Duo

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

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

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

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

Bill Evans - Montreux II - 1970

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

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

The Bill Evans Album - 1971

Sessions:

Bill Evans Trio

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

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

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

* The Bill Evans Album (Columbia C 30855)

SEE...


Ttt

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Two Lonely People

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

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