*** Bill Evans ***

[John Tapscott]

The Bill Evans I like the most besides the trio with LaFaro and Motian is the earlier sessions where he plays with more rhythmic Verve, like the George Russell RCA and Hal McKusick Decca sides. It seems he wasn't interested in pursuing that direction as intesively as other aspects of his playing, as he asked Orrin Keepnews to hold back a Riverside session with Paul Chambers and Philly Joe that swung like mad, "but there wasn't much happening on other levels", as he is quoted in the Riverside box set.

I agree totally. I think the best drummer for Evans was Philly Joe. He brought out the straightahead side of Bill's playing that for me is often missing from his other work. With Philly Joe Evans had no choice but to swing hard. Don't get me wrong. I enjoy Evans and his recordings. He really is one of the most important pianists in jazz. But when the music starts to really swing, he seems to cut the piece short or let the bass or drums have a solo, and I find it a bit frustrating. Like some others, I can only listen to Evans for relatively short periods of time, a recording here and there. Somewhere Gene Lees says words to the effect that Evans sometimes got lost in himself. What he's saying I think is that Evans often got so locked unto his unique harmonic concept that he tended to forget or downplay some of the other dimensions of his playing, like straight-ahead swinging. One of my favorite Evans albums is California Here I Come - a live double Verve LP with Eddie Gomez and Philly Joe. Interesting that it is one of Evans more straight-ahead recordiongs and wasn't released until after his death.

[EKE BBB]

What do you think about "From left to right" (Verve, 1970 ) where Evans shifts from playing electric to accoustic piano and back again, sometimes within the same piece?

Not my cup of tea, actually.

[EKE BBB]

And two curious CDs more, with Evans overdubbed:

Conversations with myself (Verve, 1963), where Evans plays three piano parts with overdubbing.

and

Further conversations with myself (Verve, 1967) with Evans playing only two overdubbed pianos.

I have only have the first one and dig it, specially "Just you, just me", "Stella by starlight" and "Blue Monk".

[Noj]

What do you think about "From left to right" (Verve, 1970 ) where Evans shifts from playing electric to accoustic piano and back again, sometimes within the same piece?

Not my cup of tea, actually.

I got this one a few years back and didn't care for it much either--it sort of turned me away from Evans. Then I finally heard some of his Fantasy/Prestige stuff in the last year and my whole opinion changed.

[John Tapscott]

Conversations With Myself is a great record, esp. Blue Monk. I had forgotten about this one. I'll have to give it a spin soon.

[vibes]

What do you think about "From left to right" (Verve, 1970 ) where Evans shifts from playing electric to accoustic piano and back again, sometimes within the same piece?

Not my cup of tea, actually.

This was the first Evans album I ever bought and have always loved it. After that, I went for "Conversations with Myself" and "Live at Montreux." Since then, I've bought or been given the Riverside, Verve, Fantasy and Turn Out the Stars boxes.

[mikeweil]

Am I alone in thinking that Evans played "differently" when there were horns around than when in a trio, duet, or solo setting, especially as the years passed? Myself, I prefer it.

You are not alone ... ... maybe that's why I prefer the early Russell etc. sessions I mentioned in my post above.

[chris]

Just last night I was listening to Undercurrents, which I had not heard before, with Bill Evans and Jim Hall. I enjoyed this session quite a bit. But it also made me realize that although I am an ex-guitar player, guitar-listening fanatic, the guitar is just not one of my favorite jazz instruments. I thought these two really played well together and didn't step on each others toes chordally, but I prefer Evans with his trio or with horns...

[mikeweil]

I agree totally. I think the best drummer for Evans was Philly Joe. He brought out the straightahead side of Bill's playing that for me is often missing from his other work. With Philly Joe Evans had no choice but to swing hard. Don't get me wrong. I enjoy Evans and his recordings. He really is one of the most important pianists in jazz. But when the music starts to really swing, he seems to cut the piece short or let the bass or drums have a solo, and I find it a bit frustrating. Like some others, I can only listen to Evans for relatively short periods of time, a recording here and there. Somewhere Gene Lees says words to the effect that Evans sometimes got lost in himself. What he's saying I think is that Evans often got so locked unto his unique harmonic concept that he tended to forget or downplay some of the other dimensions of his playing, like straight-ahead swinging. One of my favorite Evans albums is California Here I Come - a live double Verve LP with Eddie Gomez and Philly Joe. Interesting that it is one of Evans more straight-ahead recordiongs and wasn't released until after his death.

I agree on Philly Joe - didn't Evans himself name him as a favourite?

Jack deJohnette would have been interesting, but he went with Miles .....

I have to check out that California album - is there any single issue?

[JSngry]

DeJohnette did that Montreux thing on Verve, and it was indeed good.

[king ubu]

Regarding Evans with horns - well, I know we all love the music he made with Miles, but me thinks Evans is responsible for some of the highlights of that studio date that never actually was released on a separate album from 1958. That date that yielded a great version of Love For Sale with one of my favorite Bill Evans solos...

ubu

[JSngry]

...but me thinks Evans is responsible for some of the highlights of that studio date that never actually was released on a separate album from 1958. That date that yielded a great version of Love For Sale with one of my favorite Bill Evans solos...

Although, "Love For Sale" didn't come out until DIRECTIONS.

[king ubu]

Wow Jim, I never saw that cover! Cool one! Thanks for posting it.

ubu

[JSngry]

Yeah, that one was one side the Sextet session to which you refer (minus LFS) and one side Ascent to the Scaffold soundtrack. Never has been reissued in that form either. Rarer than hen's teeth.

[king ubu]

Yeah, that one was one side the Sextet session to which you refer (minus LFS) and one side Ascent to the Scaffold soundtrack. Never has been reissued in that form either. Rarer than hen's teeth.

I knew the details, but hell, that 58 session would have made an album right up with "Milestones" and "KoB", no?

Glad I got that box set!

(and the Ascenseur soundtrack is around in better - and complete, which is worthwhile for every Wilen fan - reissues)

ubu

[mikeweil]

The fact that "Love For Sale" was only recorded after Paul Chambers and Jimmy Cobb "becoming edgy because they wanted to cook on something" (or similar, I'm quoting from memory) and not released sheds some light on the esthetics of Miles' records of that time. Cool music on the studio sessions, hot stuff on live gigs, as on the Newport recording in the box set. I was glad when all that finally came in complete from and session order. KOB was the only original album I kept.

[chris]

While thinking of Undercurrents, I vaguely recall reading somewhere in a Bill Evans bio that there were some more lively cuts from that session that didn't get released, except for the alt take of My Funny Valentine on the CD. Did those get collected somewhere else?

[Alexander Hawkins]

Don't get me wrong, I don't mind listening to Bill Evans (I appreciate that sounds somewhat damning, but it's not meant to be!). But I just can't identify with it in any way. I guess it sounds a bit classical and polished for my taste.

That said, I do admire him for having his own sound and going with it.

Perhaps my adverse criticism is undeserved also in the sense that his countless imitators probably spoil him for me.

[EKE BBB]

Anybody got this? Any comments?

Available at cduniverse for the hiiiiigh ammount of $23.29 (being a single CD)

[king ubu]

EKE, if you get it, tell us how it is!

ubu

[tjobbe]

EKE,

if you look for better prices... Amazon UK listed it for 12GBP and a little bit lower for 11 incl Shipping at play.com

Here....

Cheers, Tjobbe

BTW: just pressed the buy now button as I was not aware of this one... feedback guaranteed as soon as it arrives

Edited January 16, 2004 by tjobbe

[EKE BBB]

FOR NOW, I will pass on this one. I have some live Evans discs I haven´t listened to yet (Paris 1965; Time to remember -Live in Europe 1965-72- ; Live in Switzerland 1974; My foolish heart Live in Buenos Aires 1975; The brilliant -Rome 1979-...)

But if your review forces me...

[HolyStitt]

Did anyone end up buying this one?

[Daniel A]

Did anyone end up buying this one?

Missed this release back then. Will probably get it.

Several posts seem to be missing in this thread. Anyone knows what's up with that?

[sidewinder]

Up for this thread. Just listening to CDs 1 and 2 of 'The Complete Fantasy Recordings' box set. Superb stuff - the recordings for Fantasy seem to get lukewarm reviews from the likes of the Penguin Guide but for anyone on the fence with this set, I recommend it. The ideas are just flying off the fingers throughout. CD 9 also has a full edition of Marian McPartland's 'Piano Jazz' with Evans, looking forward to reaching that disk. Now need to get me 'The Last Waltz' and 'Secret Sessions' (Zweitausendeins....please... ).