(JazzPlanet) Bill Evans - Sunday at the Village Vanguard XRCD(Eac SFlac Cue) torrent

Torrent Name:	(JazzPlanet) Bill Evans - Sunday at the Village Vanguard XRCD(Eac SFlac Cue)
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Bill Evans - Sunday at the Village Vanguard XRCD
Artist: Bill Evans
Album Title: Sunday at the Village Vanguard
Recorded live at The Village Vanguard, New York on June 25, 1961
Data di uscita: 25 Marzo 1998
Formato: CD
Numero di configurazioni: 1
Paese di fabbricazione: Giappone
Etichetta: Riverside
VICJ-60142 Numero standard: VICJ-60142
Genre: Jazz
Styles: Straightahead/Mainstream/Bop/Hard Bop/Cool
Extractor: EAC 0.99 prebeta 4
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue (Noncompliant)
Accuraterip: (confidence
Size Torrent: 417 Mb
Cover Booklet included
Tracks List
01. GLORIA'S STEP(take 2)
02. MY MAN'S GONE NOW
03. SOLAR
04. ALICE IN WONDERLAND(take 2)
05. ALL OF YOU(take 2)
06. JADE VISION(take 2)
07. GLORIA'S STEP(take 3)
08. ALICE IN WONDERLAND(take 1)
09. ALL OF YOU(take 3)
10. JADE VISION(take 1)
Total Time: 01:08:19
Personnel:
Bill Evans - piano
Scott LaFaro - bass
Paul Motian - drums
[url=http://]https://www.elusivedisc.com/prodinfo.asp?number=JVCXR-0051[/url]
[embed=youtube]http://www.youtube.com/watch?v=Aib_RL_x7PA&feature=related[/embed]
[embed=youtube]http://www.youtube.com/watch?v=jcmdaCk2i4c[/embed]
[embed=youtube]http://www.youtube.com/watch?v=bSXRvgFea-0&feature=related[/embed]
Biography
Born August 16, 1929, in Plainfield, NJ
Died September 15, 1980, in New York, NY
Bill Evans was born in Plainfield, New Jersey on August 16, 1929 and began his music studies at age 6. Classically trained on piano; he also studied flute and violin as a child. He graduated with a degree in piano performance and teaching from Southeastern Louisiana College (now University) in 1950, and studied composition at Mannes College of Music in New York. After a stint in the Army, he worked in local dance bands, and with clarenetist Tony Scott, Chicago-area singer Lucy Reed and guitarist Mundell Lowe, who brought the young pianist to the attention of producer Orrin Keepnews at Riverside Records.
Evans' first album was New Jazz Conceptions in 1956, which featured the first recording of his most loved composition, "Waltz for Debby". It's follow-up, Everybody Digs Bill Evans was not recorded for another two years; the always shy and self- deprecating pianist claiming he "had nothing new to say." He gradually got noticed in the NYC jazz scene, for his original piano sound and fluid ideas, when in 1958, Miles Davis asked him to join his group (which also featured John Coltrane and Cannonball Adderley) He stayed for nearly a year, touring and recording, and subsequently playing on the all-time classic Kind of Blue album -- as well as composing "Blue in Green", now a jazz standard. His work with Miles helped solidify Bill's reputation, and in 1959, Evans founded his most innovative trio with the now-legendary bassist Scott LaFaro and with Paul Motian on drums. The trio concept of equal interplay among the musicians was virtually pioneered by Evans, and these albums remain the most popular in his extensive catalog. They did two studio albums together in addition to the famous 'live" sessions at NYC's Village Vanguard in 1961. LaFaro's tragic death in a car accident a few weeks after the Vanguard engagement -- an event which personally devastated Bill -- sent the pianist into seclusion for a time, after which he returned to the trio format later in 1962, with Motian again, and Chuck Israels on bass.
His 1963 Conversations With Myself album , in which he double and triple-tracked his piano, won him the first of many Grammy® awards and the following year he first toured overseas, playing to packed houses from Paris to Tokyo, now solidifying a worldwide reputation. The great bassist Eddie Gomez began a fruitful eleven year tenure with Bill in 1966, in various trios with drummers Marty Morell, Philly Joe Jones, Jack DeJohnette and others -- contributing to some of the most acclaimed club appearances and albums in Evans's career. His recorded output was considerable -- (for Riverside, Verve, Columbia, Fantasy and Warner Bros) over the years, and he also did sessions (especially early on) with some of the top names in jazz. Musicians like Charles Mingus, Art Farmer, Stan Getz, Oliver Nelson, Jim Hall, George Russell, Shelley Manne, Toots Theielmans, Kai Winding /J.J. Johnson, Hal McKusick and others all featured Evans. In the seventies, he recorded extensively-- primarily trio and solo piano now and then, but also including several quintet albums under his own name as well two memorable dates with singer Tony Bennett.
His last trio was formed in 1978, featuring the incomparably sensitive Marc Johnson on bass and drummer Joe LaBarbera, which rejuvenated the often-ailing pianist, who was elated with his new line-up, calling it "the most closely related" to his first trio (with LaFaro and Motian). He suffered yet more family problems and upheavals in his personal life, (often due to bouts with narcotics addiction) and yet brought a new dynamic musical vitality, a surer confidence, fresh energy and even more aggressive interplay to the trio's repertoire. Evans' health was deteriorating, however, though he insisted on working until he finally had to cancel midweek during an engagement at Fat Tuesday's in New York. A few days later, he had to be taken to Mount Sinai Hospital on September 15, 1980, where he died from a bleeding ulcer, cirrhosis of the liver and bronchial pneumonia . He is buried next to his beloved brother Harry, in Baton Rouge, Louisiana.
While Evans was open to new musical approaches that would not compromise his musical and artistic vision -- such as his occasional use of electric piano, and his brief associations with avant-garde composer George Russell -- he always insisted on the purity of the song structure and the noble history of the jazz tradition. It was a point the highly articulate Evans was quite forthcoming about in the various interviews he gave throughout his career. Consistently true to his own pianistic standards, he continued to enhance his own singular vision of music until the very end.
In his short life, Bill Evans was a prolific and profoundly creative artist and a genuinely compassionate and gentle man, often in the face of his recurring health problems and his restless nature. His rich legacy remains undiminished, and his compositions have enjoyed rediscovery by jazz players and even some classical musicians. Even twenty-five years after his passing, Bill Evans' music continues to influence musicians and composers everywhere and all those who have been deeply touched by his expressive genius and sensitive, lyrical artistry.
________________________________________________________________________________________
review
"In the spring of 1961, since the trio was going strong, they decided to risk a live album, notwithstanding all the technical problems associated with this type of recording, which was not so common a practice at that time. The planned date was Sunday, June 25th, the last day of a two-week gig at the Village Vanguard. The trio played five sets that day, two in the afternoon between 4.30 and 6.30, and three in the evening, starting at 9.30. A total of thirteen pieces were recorded, five of which only once, others twice, and only a couple (Gloria's Step and All Of You) three times. Some selections had never been recorded by the trio before; another (LaFaro's Jade Visions), turned into a sort of "public rehearsal". Finally, My Romance and Waltz For Debby, which Evans had recorded unaccompanied on his debut album, were re-packaged for the trio setting.
The trio reached an apex here that they had been working towards for a couple of years. In one of those coincidences not infrequent in the history of jazz, all three seem to be arriving simultaneously at a ripening of their respective and different talents. Their individual creativity and musicality has peaked, the desire and capacity of each to enter the musical spirit of the other, giving birth to a musical miracle.
Although the concert takes place before an audience, the three seem to interact exclusively among themselves and relate only to the music. This contributes to the almost palpable, breath-taking density of these recordings where the musicians follow their itinerary of pure, almost merciless honesty. In the background you hear the chatter and laughter of the audience, but the trio pays no heed. Each of them is totally concentrated on his own sound while carefully listening to that of the others: the inner mechanism of the trio has been carried to its perfect balance. Each of the three completes a little revolution, My Foolish Heart (which Evans records for the first time here) being an excellent example. Here only the melody is played, but the calm sense of humble and participant singing with which Evans interprets Young's song is exalted by the parsimonious interventions of LaFaro, whose profound and resonant notes seem to anxiously await the melody in astonishment, and to dialogue with it. This performance is permeated with the sense of the yet-to-be-discovered, an unknown dimension in which Motian’s role is decisive; in fact, he plays with the melody, making of the delicate contact between his brushes and cymbals emotionally meaningful interjections that closely follow the "little story in music" that Evans is telling.
LaFaro's true creative stature begins to come out on My Romance. In December of the previous year the 25-year-old bass player had played on Ornette Coleman's Free Jazz. It was probably that contact to finally assuage his uncertainties about trying out harmonic and rhythmic paths more unconventional than those of recent trends. He literally explodes in Solar, which is, from every point of view, the most innovative result of this historic occasion, After an opening where LaFaro follows in the steps of the melody Evans is playing, the latter begins to improvise an octave-doubled single line. Echoes of Tristano reemerge, but what is most remarkable is that beneath him LaFaro, picks up the theme and gradually exploits some of its chromatic fragments. The bass seems to go off on its own, ignoring the piano and drums, as he hazards some sharp intervals, clambering up harmonies far away from the basic one, with each of the three keeping an eye on the structure of the piece while doing his own thing. Evans contributes to making Davis' piece dramatic by his insistent drilling of its motivic cell, which he extrapolates and makes into the germinating cell of another, extemporaneously composed line. The number ends in a very open and completely unconventional way for the time, after a 12-bar Motian/Evans "trade" in which the pianist boosts the volume of his chord voicing to deal with the increasing sound impact of the drums. This ending seems to pose a question: What comes next? or even What has just happened? It seems to say: "these were only a few of the possibilities that we could have explored; and we'll surely go looking for others next time ….”
Two of the selections played on that very special Sunday at the Village Vanguard [3RCD-4443-2]were LaFaro's contributions, both deviating from the prevailing compositional habits: Jade Visions, which alternates 4/4 and 5/4 meters, and Gloria’s Step, a theme whose first section unfolds over 5 bars. Here he ventures into a very audacious solo, letting the phrasing of his bass "fly' into a vigorous monologue bursting with the desire to go beyond. His instrumental skills are astonishing, he pushes them to the edge, not for mere virtuosity's sake, but in order to have available the widest possible range of sound and tone contrasts (low notes of the instrument responding to high ones, for instance).
LaFaro is the real co-protagonist of this historical recording. His relationship with Evans is telepathic. He inserts himself naturally among the piano's silences and breaths, almost always stubbornly refusing to ‘walk’ as the majority of his colleagues did in those days. Even in All Of You, where he could do it, he breaks up the tempo, thus creating a contrast with Motian. Observing these performances a bit more closely, it is clear that some of the material has to do with Miles Davis, both because they use two of his compositions (Solar and Milestones) and because of some important performances of his (All Of You and Gershwin's My Man’s Gone Now and I Loves You Porgy). All of which is understandable given Evans’ recent association with the trumpeter.
Evans plays My Foolish Heart in A major, a key generally considered “awkward" (it is very probable that LaFaro was no stranger to the choice of this key as a way to exploit the open strings of the bass); and My Man’s Gone Now, which the pianist "sings" with deep nostalgic participation, is played in E minor, the same key as his favorite Nardis - both of which keys Evans would claim to love playing in. Their awkwardness, in reality, could help avoid “mechanical" improvisation, since a less common key forces the ear into the highest concentration. On the other hand a piece played in an easier or more common key could encourage a sort of repetitive automatism that counts on what the hands “already know". We find an illustration of this in Alice In Wonderland where LaFaro seems to be suffering for the rather banal and obvious character of the piece."

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