Bill Evans Peace Piece Midi
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Individual Albums New Jazz Conceptions (1956) Evans' debut album is recommended for those who are already a fans of the pianist, as it largely allows them to track his development. Here he is playing largely mainstream bop in the Bud Powell tradition without much of a distinct individual voice. Hints of future development are in his first recording of "Waltz For Debby" and his treatments of "Displacement," where few notes fall on the beat, and "Five," featuring a frenetic quintuplet-based beat in 4/4 time. Everybody Digs Bill Evans (1958) The cover of this album is hardly indicative of a shy and reclusive musician, as it consists entirely of quotes raving about Evans from the likes of Miles Davis (the first time he ever allowed such a quote), Cannonball Adderley and others familiar with him. But it also reflects the stellar reputation he had achieved among musicians and critics - if not quite yet the public - and this album is a clear step toward the more relaxed and meditative style he is famous for. Particularly strong pieces include "Young And Foolish," as moving as any ballad he's written, and the famous melodic improvisational experiment "Peace Piece." Kind Of Blue (1959) Most jazz fans probably already have Davis' landmark album, but many may get a new perspective listening to it again to hear Evans' contributions as a sideman and composer. Many songs are among the simplest in jazz, with two-chord structures and melodies any school-age band member can play. Furthermore, Evans notes the group recorded all of the pieces without playing them through first in rehearsal. Years later the pianist said both factors infused fresh energy into the session. "Blue In Green" remains one of the most beautiful ballads of all time and "Flamenco Sketches" is a masterpiece of harmonic composition. Portrait In Jazz (1959) Evans reaches a pinnacle that would last through his Village Vanguard albums with this album. It is the first to feature his famed trio of bassist Scott LaFaro and drummer Paul Motian, and also where the pianist's concept of dividing solos more evenly among the players is fully realized. The album is nearly all standards, but there's plenty of originality to their playing. Their fast-paced interplay on "Someday My Prince Will Come" and interpretations on two versions of "Blue In Green" are among the many highlights. Explorations (1961) Considered among the essential Evans albums, but maybe the first hesitant buyers should pass up. There was some tension between players during the session and LaFaro had to play a replacement bass since his regular one was being repaired. The playing is solid, especially on ballad standards toward the end such as "Israel" where they finally get a good repoire going, but more restrained than their other "elite" albums. Sunday At The Village Vanguard (1961) and Waltz For Debby The pianist's definitive albums. They are masterpieces of phrasing in melody and solo lines, and a revelation how other members of a trio can interact with and shape a song. LaFaro in particular captivates with his bass lines on the Sunday album, making his death 10 days later all the more tragic. On Waltz "My Foolish Heart" is unmatched in its aching beauty, while the more swinging "My Romance" might be the trio's strongest interactive effort. A warning: don't confuse these with At The Village Vanguard a 10-song compilation of songs from the two live albums, both of which stand up better on their own. Conversations With Myself (1963) and Further Conversations With Myself (1967) These albums featuring Evans double- and triple-tracking himself on piano are the subject of much critical debate. Some simply don't like the albums, while others disagree about which is superior. Evans won his first Grammy for the triple-dubbed Conversations and those who prefer this album say its originality and energy is superior to the more refined follow-up. Fans of the double-tracked second album say it's less cluttered and superior in composition, reflecting Evans' development during the interim. At The Montreax Jazz Festival (1968) Evans won his second Grammy for this trio album, featuring Gomez and drumming legend Jack DeJohnette. Evans is lured into playing freer than usual by his co-players, both of whom are in top- notch form. Gomez is particularly worth listening to, as many felt he was taking over as the driving and creative force of the group by now. Alone (1969) Evans won his third Grammy for his first solo album, but opinions run the entire range from worst to best among listeners. That controversy alone might make this worthwhile for collectors, who can decide if this is 1) a rambling effort caused by the lack of discipline sidemen might have provided or 2) a triumph of the piano as a "complete expressive musical medium," which Evans said was one of his greatest musical pleasures. Intuition (1974) Those wanting to hear Evans on electric keyboard might find this their best bet - or at least a safe one - as he alternates between electric and acoustic on this duo collaboration with Gomez. The interaction between the two is superb and most of the songs are new compositions. The Tony Bennett/Bill Evans Album (1975) This seems like an unlikely collaboration, but those intrigued by the concept will find the results hold up on merit. Evans largely plays a supportive, but strong role as Bennett delivers emotionally sincere efforts on songs like "The Days Of Wine And Roses," "Young And Foolish" and "Waltz For Debby." You Must Believe In Spring (1977) Evans' debut for Warner Brothers is one of his easier to find latter-day releases and does a better job than many '70s albums of capturing his brooding and melodic strengths. The title track and "B Minor Waltz" are fine examples of his ability to wring deceptively simple melodies from complex structures, and there's a surprisingly diverse feeling for an album of ballads. Some misfires keep this from ranking among his best trio albums. It's strange to hear "Blue Bossa" morph into a ballad on "We Will Meet Again" and, in retrospect, it's a bit disconcerting to hear his "Theme From M*A*S*H" - a fine song, but too much a reminder of his willingness at times to play purely commercial stuff to pay the bills. Marian McPartland's Piano Jazz (1978) This early episode of McPartland's long-running radio series is considered one of her best. Their half- dozen duets are fine, but the real strengths are the detailed discussions Evans provides about his techniques throughout his career and the stellar examples he plays to demonstrate them. Obviously not the first album a newcomer should purchase, but a must-have early on for those serious about starting a collection. The Paris Concert, Edition One (1979) Those who can't afford The Last Waltz can find a strong example of Evans last trio on this album (plus Edition Two from the same concert). Marc Johnson isn't the bassist Gomez was and the trio was still relatively new and finding its niche, but they nonetheless breath new life into standards like "My Romance" and "I Loves You, Porgy." Edition Two may appeal more to hardcore Evans fans, since it focuses mostly his compositions.A Few to Avoid: From Left To Right : His first recording using a Fender Rhodes is easy listening, not jazz. The Bill Evans Album and Living Time : Evans said he dreamed of signing with a label like Columbia, but the short-lived association was a huge disappointment for him and his fans. Just about any single-disc "best-of" compilation - especially those at bargain prices. Far too many are quick-buck efforts featuring substandard performances. Back to Index
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