Recorded live in Roma, 1969. Original recording by Joker Tonverlag Ag. Re-Mastered at Kojima Recordings, Inc. Bil Evans with Eddie Gomez (bass) and Marty Morell (drums).
Hugely acclaimed for his remarkable grasp of melody, harmony and interpretation, Bill Evans has earned his reputation as one of the most influential pianists and composers in jazz history. Classically trained from an early age, Evans initially made a name for himself working with other famous figures of the jazz genre, including George Russell, Cannonball Adderley, Chet Baker and Miles Davis, and his playing was a key feature on the latter s legendary Kind Of Blue (Columbia, 1959). By the early 1960s, Bill Evans began focussing on leading his own groups, primarily trios. Over the rest of his career, he put out a staggering body of work, including the classic albums Sunday At The Village Vanguard and Waltz For Debby (both Riverside, 1961). He received 31 Grammy nominations during his lifetime, taking away nine awards in total, and earned himself a place in the Down Beat Jazz Hall Of Fame.
William John Evans, known as Bill Evans (pronunciation: /ˈɛvəns/, August 16, 1929 – September 15, 1980), was an American jazz pianist and composer who mostly worked in a trio setting. He is widely considered to be one of the greatest jazz pianists of all time, and is considered by some to have been the most influential post-World War II jazz pianist. Evans's use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today. Unlike many other jazz musicians of his time, Evans never embraced new movements like jazz fusion or free jazz.
This LP has the debut of drummer Marty Morell with Bill Evans and bassist Eddie Gomez, and this particular trio would retain the same personnel for six productive years. Actually, this is a quartet set with guest flutist Jeremy Steig, whose playing recalls Herbie Mann's recording (Nirvana) with Evans back in the early '60s. Both flutists were always open to the influences of pop and rock, although in both of their collaborations with Evans, the music is very much on the pianist's turf. With the exception of Evans' "Time Out for Chris" and the "Spartacus Love Theme," the songs performed on this date would fit securely in the Miles Davis repertoire of the late '50s. Steig is in particularly fine form on the program which includes tunes such as "Straight No Chaser," "Autumn Leaves," and "So What."
An epic 100 CD chronological documentation of the history of jazz music from 1898 to 1959, housed in four boxed sets. Each box contains 25 slipcase CDs, a booklet (up to 186 pages) and an index. The booklets contain extensive notes (Eng/Fr) with recording dates and line-ups. 31 hours of music in each box, totalling 1677 tracks Each track has been restored and mastered from original sources.
2008 digitally remastered two CD set featuring a superb performance by the last edition of the Bill Evans Trio. Less than a year before his death, Bill Evans traveled to Madrid, Spain, to play three nights at a small venue called the Balboa Jazz Club. One of those magic nights was recorded and appears here in its entirety. The music from the December 12, 1979 Balboa concert was privately recorded and the sound quality leaves much to be desired. However, the music has been reprocessed and sounds better here than on any previous release.
Cardboard sleeve (mini LP) reissue from Bill Evans featuring the high-fidelity SHM-CD format (compatible with standard CD players) and the latest 24bit/96kHz digital remastering. Part of a 5-album Bill Evans SHM-CD cardboard sleeve reissue series featuring albums "I Will Say Goodbye," "Alone (Again)," "Intuition," "Re: Person I Knew," and "Jazzhouse." This set is one of two albums (both reissued on CD) recorded by the Bill Evans Trio (with bassist Eddie Gomez and drummer Marty Morell) at Copenhagen's Montmartre on one night in 1969 but not released initially until the late '80s. Evans sounds relaxed and swinging playing his usual repertoire. All of the songs (mostly standards) have been recorded by Evans at other times but the pianist's many fans certainly will not mind hearing these "alternate" versions of such tunes as "How Deep Is the Ocean," "How My Heart Sings," "Sleepin' Bee" and a light-hearted "California Here I Come."