Bill Evans Trio Sunday At The Village Vanguard

Bill Evans Trio - Sunday At The Village Vanguard (1961) [Japanese Limited SHM-SACD 2014]

Bill Evans Trio - Sunday At The Village Vanguard (1961) [Japanese Limited SHM-SACD 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 42:10 minutes | Scans included | 1,27 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 878 MB
Bill Evans Trio - Sunday At The Village Vanguard (1961) [2002, Analogue Productions Stereo SACD] {RE-UP}

Bill Evans Trio - Sunday At The Village Vanguard
SACD ISO (Stereo): 2,75 GB | 24B/88,2kHz Stereo FLAC: 1,30 GB | Artwork
Label/Cat#: Analogue Productions # CAPJ 9376 SA | Country/Year: US 1961, 2002 | 5% Recovery Info
Genre: Jazz | Style: Post Bop, Instrumental, Modal

"Most of the APO analog to DSD conversions are great, but this one is probably the best from a sonic perspective. And if you like jazz trio's with articulate bass playing and a clear and purposeful piano technique, then you are in for a treat. This is a live recording set at the New York Village Vanguard jazz club with accompanying audience 'participation', though that never distracts. The Stereo separation is rather absolute left/right, with the piano in the right speaker and the rest in the left. There is virtually no center image…." ~sa-cd.net
Bill Evans Trio - Sunday At The Village Vanguard (1961) {2008 Riverside} [Keepnews Collection Complete Series] (Item #23)

Bill Evans Trio - Sunday At The Village Vanguard (1961) {2008 Riverside} [Keepnews Collection Complete Series] (Item #23)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 461 Mb | MP3 @320 -> 164 Mb
Full Artwork @ 600 dpi (png) -> 299 Mb | 5% repair rar | 24-bit remastering
© 2008 Concord / Riverside | 0888072305090
Jazz / Post Bop / Modal Music / Piano

Conventional wisdom, which in this case may be right, holds that Bill Evans' storied career peaked on June 25, 1961, a date that yielded two live records, Sunday at the Village Vanguard and Waltz for Debby, the final two documents of Evans' first, and best, trio, with bassist Scott LaFaro and drummer Paul Motian. In the two years he'd been playing with Evans, LaFaro had opened up new possibilities for the jazz bass, playing with a harmonically oblique, melodically flexible style that was, at the time, unprecedented. Ten days after this record was made he died, just 25 years old.
Bill Evans Trio - Sunday At The Village Vanguard (1961) [2002, Analogue Productions Stereo SACD]

Bill Evans Trio - Sunday At The Village Vanguard
SACD ISO (Stereo): 2,75 GB | 24B/88,2kHz Stereo FLAC: 1,30 GB | Artwork
Label/Cat#: Analogue Productions # CAPJ 9376 SA | Country/Year: US 1961, 2002 | 5% Recovery Info
Genre: Jazz | Style: Post Bop, Instrumental, Modal

"Most of the APO analog to DSD conversions are great, but this one is probably the best from a sonic perspective. And if you like jazz trio's with articulate bass playing and a clear and purposeful piano technique, then you are in for a treat. This is a live recording set at the New York Village Vanguard jazz club with accompanying audience 'participation', though that never distracts. The Stereo separation is rather absolute left/right, with the piano in the right speaker and the rest in the left. There is virtually no center image…." ~sa-cd.net

Bill Evans Trio - Sunday at the Village Vanguard (1998) REPOST  Music

Posted by Oceandrop at Oct. 13, 2011
Bill Evans Trio - Sunday at the Village Vanguard (1998) REPOST

Bill Evans Trio - Sunday at the Village Vanguard (1998) REPOST
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 445 MB. & 186 MB.
600dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (1998) | Label: Riverside/JVC(xrcd) | Catalog# JVCXR-0051-2 | 69:46 min.

Jazz pianist Bill Evans began a quiet revolution in the early 1960s. Before Evans, jazz piano trios spotlighted the pianist while the others essentially accompanied him or her. Evans envisioned a trio where all three musicians were on an equal footing, where they'd truly interact. "Sunday at the Village Vanguard", recorded live in 1961, captures the original Bill Evans Trio at its peak. Drummer Paul Motian plays with grace, subtlety, and restraint that are equal to Evans's, and bassist Scott LaFaro (who also played with Ornette Coleman) has a rapport with the others that seems telepathic. Evans absorbed the bebop approach to the keys but also took inspiration from the suave pianism of Nat "King" Cole and 20th-century classical Impressionism. "Sunday" is piano trio jazz that's executed so beautifully one might not notice how complex it really is.
Bill Evans Trio - Sunday at the Village Vanguard (2010) {Analogue Productions 45rpm 180g} 24-bit/96kHz Vinyl Rip + CD Version

Bill Evans Trio - Sunday at the Village Vanguard
Part of Bill Evans Riverside Recordings Box Set

Vinyl rip in 24-bit/96kHz | FLAC (5% Recovery) | m3u & Tech Log, no cue | HQ Artwork
909 MB (24/96) + 274 MB (CD) | RAR 5% recovery | DR Analysis | Jazz | 1961
Analogue Productions ~ APJ-018 (2010)
45rpm Double LP mastered by Kevin Gray ~ Pressed in Germany

is a 1961 album by jazz pianist and composer Bill Evans. The album is routinely ranked as one of the best live jazz recordings of all time.
Bill Evans Trio - Sunday At The Village Vanguard (1961) {2001 Riverside Remaster 20bitK2}

Bill Evans Trio - Sunday At The Village Vanguard (1961) {2001 Riverside Remaster 20bitK2}
EAC rip (secure mode) | FLAC+CUE+LOG -> 531 Mb | MP3 @320 -> 183 Mb
Full Artwork @ 300 dpi (png) -> 28 Mb
© 2001 Riverside / Fantasy | RCD-9376-2
Jazz / Hard Bop / Modal Music / Piano

Conventional wisdom, which in this case may be right, holds that Bill Evans' storied career peaked on June 25, 1961, a date that yielded two live records, Sunday at the Village Vanguard and Waltz for Debby, the final two documents of Evans' first, and best, trio, with bassist Scott LaFaro and drummer Paul Motian. In the two years he'd been playing with Evans, LaFaro had opened up new possibilities for the jazz bass, playing with a harmonically oblique, melodically flexible style that was, at the time, unprecedented. Ten days after this record was made he died, just 25 years old.
Bill Evans Trio - Sunday At the Village Vanguard (1961) {2008 Keepnews Collection}

Bill Evans Trio - Sunday At the Village Vanguard (1961) {2008 Keepnews Collection}
EAC rip (secure mode) | FLAC+CUE+LOG -> 454 Mb | MP3 @320 -> 157 Mb
Full Artwork @ 300 dpi (png) -> 32 Mb
© 2008 Concord / Riverside | 0888072305090 | 24-bit Remastering
Jazz / Post Bop / Modal Music / Cool


Bill Evans Trio - Sunday At the Village Vanguard (1961) {2008 Keepnews Collection}

Conventional wisdom, which in this case may be right, holds that Bill Evans' storied career peaked on June 25, 1961, a date that yielded two live records, Sunday at the Village Vanguard and Waltz for Debby, the final two documents of Evans' first, and best, trio, with bassist Scott LaFaro and drummer Paul Motian. In the two years he'd been playing with Evans, LaFaro had opened up new possibilities for the jazz bass, playing with a harmonically oblique, melodically flexible style that was, at the time, unprecedented. Ten days after this record was made he died, just 25 years old.

Bill Charlap Trio - Live at the Village Vanguard  Music

Posted by dino63 at Nov. 22, 2008
Bill Charlap Trio - Live at the Village Vanguard

Bill Charlap Trio - Live at the Village Vanguard
FLAC+Cue+Log | Scans | 1 CD | 299 MB
Jazz | Blue Note | 2007
Bill Evans Trio - Portrait In Jazz (1959) {2008 Riverside} [Keepnews Collection Complete Series] (Item #26)

Bill Evans Trio - Portrait In Jazz (1959) {2008 Riverside} [Keepnews Collection Complete Series] (Item #26)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 314 Mb | MP3 @320 -> 144 Mb
Full Artwork @ 600 dpi (png) -> 277 Mb | 5% repair rar | 24-bit remastering
© 2008 Concord / Riverside | 0888072306783
Jazz / Post Bop / Modal Music / Piano

Orrin Keepnews' commentary (from his new liner notes): “This turned out to be the easiest Bill Evans record session I was ever involved in. The trio's initial working repertoire consisted entirely of material that he wanted to record but had not yet attempted; I probably would have preferred having more than two originals, having not yet fully realized that his ability to reconstruct and revitalize old and often over-familiar standards was one of his more important contributions to the jazz vocabulary.”