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Artist:
Bill Evans
Label: Ojc Category: Music Average customer rating: Media: Audio CD Number Of Discs: 1 UPC: 025218901420 EAN: 0025218901420 ASIN: B000006NQA Release Date: 1998-06-09 |
Listmania:
Tracks:
Customer Reviews:
Buy it or elsa.......2006-10-03
A Riverside Selection.......2004-06-09
The music is from albums first released on the old Riverside label, which means that they are all from the 1950s /early 1960s. Four are from the famous `first trio' with Scott la Faro on bass and Paul Motian on drums. The swinging, up-tempo "Autumn Leaves" is from their first album, Portrait in Jazz, and the lyrical waltz-ballad "Elsa" is from Explorations. "Waltz for Debby" - one of Evans's best-known compositions - and "Gloria's Step" are from the two famous albums recorded live at the Village Vanguard in 1961 (respectively: Waltz for Debby and Sunday at the Village Vanguard). So far so good; except that if you like these tracks you will probably want to acquire the original albums.
The boppish "Conceptions" is from Evans's first album under his own name, New Jazz Conceptions (1956). From his second album, Everybody Digs Bill Evans (1958), comes an Evans classic, the haunting modal composition "Peace Piece" for solo piano (described in my Amazon.co.uk review of that album). "Re: Person I Knew" is another Evans modal composition, from the ballad album, Moonbeams, and "In Your Own Sweet Way" is from its companion album, How My Heart Sings - both of these are by the "second trio" with Motian and Chuck Israels.
The remaining tracks are the more out-of-the-way ones. "Know What I Mean" is the title track from the quartet album Evans made with altoist `Cannonball' Adderley and "Interplay" is the title track from the quintet album with guitarist Jim Hall and trumpeter Freddie Hubbard. They are both interesting and well played Evans compositions, though not, in my opinion, the most inspired choices from these albums. "On Green Dolphin Street" is from a fairly impromptu studio session, with bassist Paul Chambers and drummer Philly Joe Jones. The three of them had been, for a brief period, the rhythm section for Miles Davis (Jimmy Cobb replaced Jones on the famous Kind of Blue sessions). It's a performance that swings along nicely at a dancing mid-tempo, Evans playing the theme statements and his solo entirely in a syncopated, chorded style which sounds to me (even if not intended as such) like an attempt to capture the sound of the George Shearing Quintet, a commercially popular chamber-jazz group of the time. In its relaxed, genial style this track is a performance of considerable charm. So, in their different ways, are most of the pieces here. If you want them, in this particular combination, here they are.
Alternatively you could buy some of the original albums, in which case I would suggest that you start with Portrait in Jazz, Waltz for Debby (the Village Vanguard, 1961 album with that title) and Everybody Digs Bill Evans. If you're a `casual' listener to this kind of music, or maybe just getting to know Evans's work by exploring compilation CDs, the CD titled `Quiet Now/Never Let Me Go' on the Verve label is worth considering as an example of Evans's more romantic, lyrical playing, mainly at slow tempo. I'd also recommend `Bill Evans:Compact Jazz' (also on Verve).
Yes, but..........2003-01-25
A Great Place to Start.......2001-02-05
In short, Jazz Showcase is the best, most definitive single disc sampler of Evans' most important period, both musically and historically. A great place to start.
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