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Bill Evans Trio: How My Heart Sings
by C. Michael Bailey
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 ...
Continue ReadingBill Evans: Live at Art D'Lugoff's Top of the Gate
by AAJ Italy Staff
D'Lugoff's non è certo un nome facile da pronunciare per un italiano, eppure merita un piccolo sforzo, perché si tratta di un locale notevole. Era il club posto un piano sopra il più celebre Village Gate e per questo soprannominato “Top of the Gate". Accoglieva artisti dello stesso calibro e capitava spesso che il trio di Bill Evans suonasse lì mentre poco più sotto operava Thelonious Monk. Possiamo solo invidiare l'appassionato di jazz che, nell'ottobre del 1968, si trovava nel ...
Continue ReadingBill Evans: Live At Art D'Lugoff's Top of The Gate
by C. Michael Bailey
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, ...
Continue ReadingBill Evans: Live at Art D'Lugoff's Top of the Gate
by Larry Taylor
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 ...
Continue ReadingBill Evans: Live At Art D'Lugoff's Top of The Gate
by Edward Blanco
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 ...
Continue ReadingBreakfast with Bill Evans
by Bob Kenselaar
[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 ...
Continue ReadingBill Evans: The Sesjun Radio Shows
by Dan McClenaghan
Bill EvansThe Sesjun Radio ShowsOut Of The Blue/Naxos2011 (1973-79) Pianist Bill Evans (b. 1929, d. 1980) changed the way of the piano trio, beginning with a handful of brilliant studio recording for Riverside Records in the late 1950s and early 1960s. A pair of live recordings for the label, Sunday at the Village Vanguard and Waltz for Debby, both released in 1961, cemented his reputation as a genius and agent of ...
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