Articles

Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

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Album Review

Bill Evans: After Hours

Read "After Hours" reviewed by Ken Dryden


Bill Evans was strictly known as a pianist, though he studied flute throughout college, yet he claimed to have “no chops on the instrument." His only previously known vocal was recorded on a lark at the conclusion of a Monica Zetterlund recording session for Philips, consisting of a playful, hip take of “Santa Claus Is Coming To Town," which was never intended for release, but it finally appeared in The Complete Verve Recordings of Bill Evans boxed set in 1997. ...

3

Album Review

Bill Evans: Live at Ronnie Scott's

Read "Live at Ronnie Scott's" reviewed by Mike Jurkovic


Bill Evans was always at home onstage. Live at Ronnie Scott's, Resonance Records' fifth Bill Evans archival offering, hits the same high marks as its predecessors--2012's standard bearer Live at Art D'Lugoff's Top of The Gate , 2016's Some Other Time: The Lost Session From the Black Forest, 2018's Another Time and 2019's Evans In England--majestically did. Do not let the dreaded tape hiss limit your listening. Recorded in '68, during a month-long residency at you-know-where, Evans--with the ...

12

Album Review

Bill Evans: Bill Evans Live at Ronnie Scott's

Read "Bill Evans Live at Ronnie Scott's" reviewed by Pierre Giroux


The emergence of Bill Evans as one of the jazz world's preeminent pianists was propelled by a unmistakeable style: a pensive note striking with harmonic transpositions resulting in unique voicings. This 1968 recording marks the fifth collaboration between Resonance Records and the Bill Evans Estate to bring previously unreleased material into the public domain. This 2xLP limited edition in a gatefold sleeve was co-produced by Zev Feldman of Resonance and Jack DeJohnette and was beautifully mastered by Bernie Grundman. This ...

8

Album Review

Bill Evans: Bill Evans Live at Ronnie Scott's

Read "Bill Evans Live at Ronnie Scott's" reviewed by Troy Dostert


All fans of Bill Evans, and piano trio enthusiasts generally, owe a huge debt of gratitude to Resonance Records, which over the last decade has released a formidable series of Evans discs featuring previously unreleased material (unless you count bootlegs). Beginning with Live at Art D'Lugoff's Top of the Gate in 2012, showcasing Evans' trio with bassist Eddie Gomez and drummer Marty Morrell, the pace really quickened several years later, when Some Other Time: The Lost Session from the Black ...

9

Album Review

Bill Evans: Bill Evans Live at Ronnie Scott's

Read "Bill Evans Live at Ronnie Scott's" reviewed by Franz A. Matzner


Bill Evans: Live At Ronnie Scott's brings to mind the phrase “on the shoulders of giants." Evans's stature in jazz history is unassailable, his influence having touched much of the music's subsequent trajectories, while also establishing a new, discernable branch of the jazz tree traceable to the present-day. A two-disc package, Bill Evans: Live at Ronnie Scott's captures the relatively brief trio configuration of Eddie Gomez and Jack DeJohnette in the natural setting of a live club performance.

3

Radio

We Got the Skilz to Play the Billz

Read "We Got the Skilz to Play the Billz" reviewed by Patrick Burnette


William, oh William, it was really nothing—but an all—Bill all the time podcast! At Mike's suggestion, this round's musicians are all named Bill. Heck, half of them are white guys named Bill Evans who gigged with Miles Davis. How's that for homogeneity? Don't fret—the other Bills at this party bring heavy-gauge avant credentials to balance things out. Pop matters swerves all over the road, ranging from The Negro Problem to Shaun Colvin. Playlist Discussion of Bill Evans' ...

5

Radio

The Piano Trios – Erroll Garner, Ahmad Jamal, and Bill Evans (1955 - 1961)

Read "The Piano Trios – Erroll Garner, Ahmad Jamal, and Bill Evans (1955 - 1961)" reviewed by Russell Perry


While there were influential piano trios in the 1940s (lead by Bud Powell, Thelonious Monk, Lennie Tristano, or Nat King Cole, for example), the format reached new peaks in the 1950s. In particular, Ahmad Jamal} and {{Bill Evans reconceived the format to stress the interplay of three artists, rather than a primary piano soloist with rhythm support. In this hour, we will hear from these pianists and from Erroll Garner, the work of each represented by a legendary live recording--Garner's ...


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