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Bill Evans: Live At Art D'Lugoff's Top of The Gate
Track review of "My Funny Valentine"
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 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, perhaps Evans' greatest bass collaborator after the tragic loss of Scott LaFaro, plays his level best, guiding Evans, while drummer Marty Morell 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.
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, perhaps Evans' greatest bass collaborator after the tragic loss of Scott LaFaro, plays his level best, guiding Evans, while drummer Marty Morell 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.
Track Listing: CD1: Emily; Witchcraft; Yesterdays; Round Midnight; My Funny Valentine; California Here I Come; Gone With The Wind; Alfie; Turn Out The Stars. CD2: Yesterdays; Emily; Round Midnight; In A Sentimental Mood; Autumn Leaves; Someday My Prince Will Come; Mother of Earl; Here's That Rainy Day.
Personnel: Bill Evans: piano; Eddie Gomez: bass; Marty Morell: drums.
Title: Live At Art D'Lugoff's Top Of The Gate | Year Released: 2012 | Record Label: Resonance Records
Tags
Bill Evans
CD/LP/Track Review
C. Michael Bailey
DL Media
Resonance Records
United States
Art Tatum
oscar peterson
Bud Powell
Art Pepper
eddie gomez
Scott LaFaro
Marty Morell
Live At Art D'Lugoff's Top Of The Gate
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By Connie Lansberg
Member since: 2010
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now”
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