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THE VINYL POST

Bill Evans: The Complete Village Vanguard Recordings, 1961

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Those of us who are diehard jazz collectors often loathe answering questions from neophytes as to a good starting place for building a jazz collection. Nonetheless, a short go-to list would probably include the iconic live sessions of Bill Evans and his trio captured on tape by Riverside Records back in June of 1961. For sheer improvisational genius and telepathic group interplay, these recordings can't be beat. Furthermore, the sonic magic that teleports you to your own personal table at the Village Vanguard has always been an undeniable perk of these sides. Upon initial examination, producer Orrin Keepnews ...

REASSESSING

Bill Evans Trio: How My Heart Sings

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The Bill Evans Trio How My Heart Sings OJC 1962/2013 Pianist Bill Evans' 1962 Riverside recording How My Heart Sings concludes the first wave of re-issues celebrating the 60th anniversary of Riverside Records. The previous releases include: alto saxophonist Julian Cannonball Adderley's 1959 Things Are Getting Better, guitarist Wes Montgomery's So Much Guitar!, trumpeter Chet Baker's Chet Baker Plays The Best Of Lerner & Loewe (OJC/Riverside, 1959/2013) and baritone saxophonist Gerry Mulligan's Mulligan Meets Monk (OJC/Riverside, 1957/2013). This series frames recordings released between 1957 and 1962, giving witness to the productivity and gravity of ...

CD/LP/TRACK REVIEW

Bill Evans (saxophone): Dragonfly

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The music on saxophonist Bill Evans' Dragonfly plays like the sum total of his experiences distilled into a single disc. Evans has spent more than three decades playing with the cream of the crop, including jazz heavyweights like trumpeter Miles Davis and guitarist John McLaughlin, and smooth stars such as pianist Dave Grusin and guitarist Lee Ritenour, but he doesn't always pitch his tent in the jazz camp. He's also spent time playing with Mick Jagger, Warren Haynes, The Allman Brothers, Béla Fleck and Willie Nelson, and all of these experiences play a part in the stylistic diversity that's at ...

CD/LP/TRACK REVIEW

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

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Why is pianist Bill Evans so important to jazz? it is simple: every pianist to hear and perform after him was influenced by him. Art Tatum and Oscar Peterson may have been technically more brilliant and extroverted, but it took first Bud Powell 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, bared naked his troubled soul in exquisite detail.This never-before-released sides from Resonance Records, Live At Art D'Lugoff's Top ...

CD/LP/TRACK REVIEW

Bill Evans: Live at Art D'Lugoff's Top of the Gate

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The two-CD Bill Evans Live at Art D'Lugoff's Top of The Gate--a never-before-released recording of the Bill Evans Trio made over 50 years ago--consists of two sets recorded by then-college student George Klabin in the New York City club, October, 1968. Until now, the music has only been heard on a Columbia University radio show; now, Klabin has taken the tape out of the closet and released it on Resonance Records, the label he heads. Crisp and clear, the sound has weathered the years.The lineup that night consisted of three musicians in their prime: Evans, bassist Eddie Gomez ...

CD/LP/TRACK REVIEW

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

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Legendary jazz pianist Bill Evans has been gone since 1980; nevertheless, his music continues to inspire new generations of young musicians and remains an integral part of jazz history. Live At Art D'Lugoff's Top of The Gate celebrates Evans' memory, capturing the great pianist and his trio performing in the upstairs room--and separate club, called The Top of The Gate--of The Village Gate night club in Greenwich Village, founded by Art D'Lugoff back in 1958. Never released until now, this piece of musical history was made possible because then-22 year-old engineer George Klabin was given permission to record the October ...

JAZZ IN THE AQUARIAN AGE

Breakfast with Bill Evans

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[Bill Evans was in a relaxed mood late in the morning on a cloudy spring day in 1979 for this interview. He was very happy with his most recent recording and excited about the new direction he was taking with his trio. In addition to sharing memories about his musical career from its earliest days, he reflected on his place in the history of jazz. He died not long afterwards, in September 1980.] Greeting me at the door of his apartment in Fort Lee, New Jersey, Bill Evans runs his fingers through his slightly disheveled hair and holds ...



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