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BUILDING A JAZZ LIBRARY

Bill Evans: Sublime Sideman

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We already know what a tremendous voice Bill Evans has had in jazz history, and most of the major jazz pianists that he has influenced. Most jazz aficionados know most of the tunes Evans has composed and most of the tunes that were in his ever-changing repertoire. But, a subject that hardly gets enough attention concerning Evans are his superlative skills as a consummate sideman. What we're discussing are two totally separate categories. It takes a certain kind of mentality ...

BUILDING A JAZZ LIBRARY

The Ten Best Live Jazz Recordings (1953-65)

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Having recently completed a survey of the Best Live Rock Albums, I have learned a couple of valuable things. One is a list of this sort should be presented in descending order starting with number 10 and descending to number 1. Second, it is better to poll a group for their opinions and develop the list from an analytical (or pseudoanalytical) evaluation of the results. This is how the Top Ten Best Live Jazz Recordings (1953-65) were selected. I polled ...

BUILDING A JAZZ LIBRARY

Bill Evans

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Arguably the greatest jazz pianist of the 1960s and '70s, Bill Evans is generally acknowledged as the most influential pianist since Bud Powell and a primary influence on players such as Keith Jarrett and Chick Corea. Evans co-wrote Kind Of Blue with Miles Davis and some consider the pianist's Sunday At The Village Vanguard the best piano trio album ever. Evans is also credited with advancing harmonic and voicing structures, and pioneering modern trio format elements such as giving sidemen ...

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 ...

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 ...

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 ...

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, ...

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 ...



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