Bill Evans: In Norway: The Kongsberg Concert

The release of In Norway: The Konsberg Concert coincides with the sixtieth anniversary of the Konsberg Jazz Festival. Double cause for celebration. The steady flow of archival Evans recordings shows no signs of abating, with In Norway: The Konsberg Concert, recorded in 1970, coming hot on the heels of the previously unreleased Bill Evans: Behind The Dikes: The 1969 Netherlands Recordings (2021), Bill Evans: Treasures: Solo, Trio and Orchestra Recordings from Denmark (1965-1969) (2023) and Tales: Live in Copenhagen (1964) (2023)—and these are just the releases on Elemental Records. In fact, since Evans died in 1980 a dozen record labels have released upwards of fifty box sets, "complete" recordings and previously unreleased concerts in Evans' name. Everyone still digs Bill Evans, especially the record companies.

Bassist Eddie Gomez had been in Evans' trio since 1966. Between his arrival and this 1970 European tour Evans had found it hard to hold onto a drummer, with Shelly Manne, Philly Joe Jones and Jack DeJohnette all passing through. When Marty Morrell joined in 1968 Evans settled on what would prove to be his longest-serving rhythm section—this line-up continuing until 1974. Though only together as a unit for around two years at the time of its appearance at the Kongsberg Jazz Festival, this set clearly demonstrates that the trio had already developed big ears.

The Kongsberg date came just one week after the trio had played the Montreux Jazz Festival, released as Montreux II (CTI, 1970). The former performance is, in the main, more animated, and bar one tune the two set lists are completely different, lending credence to Morrell's observation that Evans rarely shared the set list with his musicians before a concert and tailored the tunes to suit his audience. Still, In Konsberg is a typical Evans set consisting of old chestnuts like "Come Rain or Come Shine," "Autumn Leaves," and Miles Davis tunes "So What" and "Nardis," exquisite balladry, a waltz or two and mid-tempo swingers.

Though Evans' playing rarely scales inspirational heights on this concert, he is, to be fair, in fine form. He shines brightest on a frisky version of "34 Skidoo," on the mid-tempo "Turn Out the Stars" and on the ballad "What are you Doing the Rest of your Life?" On the latter, Morell's brushwork is as fine as drizzle. The standouts, however, are beautifully rendered versions of "Some Other Time" (with its melancholy shades of "Blue In Green") and Denny Zeitlin's "Quiet Now," which Evans steers artfully through changes of tempo and mood. Gomez enjoys generous solo time, providing the trio's fulcrum in many ways, while Morrell's brushwork—which dominates his playing here—is a swinging delight.

A 28-page booklet offers insightful testimony from Gomez and Morrell, plus appreciations of Evans from Craig Taborn and Roy Hellvin—all four interviewed by producer Zev Feldman in 2024. In addition, there is an interview with Evans conducted by journalist Randi Hilton the day after this concert and an instructive analysis by journalist Marcus Myers. An eminent Evans scholar, Myers' observation about the difference in Evans' playing after swapping heroin for methadone at the beginning of 1970 invites listening, before and after, with new ears.