Bill Evans: Live At Art D'Lugoff's Top of The Gate (2012)

C. MICHAEL BAILEY,

C. Michael Bailey

Senior Contributor since 1997

...wants to know if Gene Harris is playing "Summertime" in Heaven...

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Published: June 6, 2012

Bill Evans: Live At Art D'Lugoff's Top of The Gate

Track review of "My Funny Valentine"

Why is pianist Bill Evans Bill Evans
1929 - 1980
piano so important to jazz? it is simple: every pianist to hear and perform after him was influenced by him. Art Tatum Art Tatum
1909 - 1956
piano and Oscar Peterson Oscar Peterson
1925 - 2007
piano may have been technically more brilliant and extroverted, but it took first Bud Powell Bud Powell
1924 - 1966
piano and then Evans to turn the creative tables toward the muted and introverted, thereby beginning a jazz piano cultural revolution that continues to this day. Evans had an almost painfully personal style that, like late-period Art Pepper Art Pepper
1925 - 1982
sax, alto , bared naked his troubled soul in exquisite detail.

This never-before-released sides from Resonance Records, Live At Art D'Lugoff's Top of The Gate, is notable for having a couple of firsts: it's the first-ever documented Evans trio recordings of "My Funny Valentine" and "Yesterdays," while "Witchcraft" is Evans' only recording of this Cy Coleman-Carolyn Leigh song, aside from the 1959 studio version appearing on Portrait in Jazz (Riverside).

It is "My Funny Valentine," however, that shines most brightly. A ballad, always fertile territory for Evans' inward thinking, it is treated with an anathema hard swing by the normally quiet and thoughtful pianist. Evans tries to fool with an impressionistic introduction that, in time, fully dissembles into a full-fledged show tune for jazz piano trio. Bassist Eddie Gomez Eddie Gomez
b.1944
bass , perhaps Evans' greatest bass collaborator after the tragic loss of Scott LaFaro Scott LaFaro
1936 - 1961
bass , plays his level best, guiding Evans, while drummer Marty Morell Marty Morell
b.1944
drums watches the tempo road signs.

It is Gomez that turns introspective (in a wordy fashion) on his solo, with Evans' bright accompaniment providing the bassist a spark of effervescence. This performance is nothing short of stunning and it may be quite proper that no one has emerged on piano to dethrone the last great muse of the 88 keys.

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

Record Label: Resonance Records
Style: Modern Jazz