BILL EVANS TRIO – Complete 1956-1962 Studio Albums
Omnia Collected Works 348260
Bill Evan (piano)
NEW JAZZ CONCEPTIONS
Teddy Kotick (bass); Paul Motian (drums)
Recorded New York, September 18 & 27, 1956
EVERYBODY DIGS BILL EVANS
Sam Jones (bass); Philly Joe Jones (drums)
Recorded New York, December 15, 1958
PORTRAIT IN JAZZ
Scott LaFaro (bass), Paul Motian (drums)
Recorded New York, December 28, 1959
EXPLORATIONS
Scott LaFaro (bass), Paul Motian (drums)
Recorded New York, February 2, 1961
MOONBEAMS / HOW MY HEART SINGS
Chuck Israels (bass); Paul Motian (drums)
Recorded New York, May 17 & 29, & June 5, 1962
EMPATHY
Monty Budwig (bass); Shelley Manne (drums)
Recorded New York, August 20, 1962
In this beautifully presented box set we have arguably seven of Evans’ most influential studio recordings. The passing of time does not lessen this impact any, even if the pianist’s influence is such that much of his language is now deeply embedded in the jazz vocabulary.
It is now irrefutable that Evans’ played a pivotal role on Miles Davis’ seminal album Kind of Blue, and indeed one of the joys in this set is not just hearing how Evans’ develops his concepts over a period of time, but also hearing recordings made under his own name before and after his association with the trumpeter.
Davis was a staunch admirer of Evans’ playing and reportedly went out of his way to help the pianist upon his departure from Miles’ sextet, and it is noticeable from Bill’s debut album as leader, New Jazz Conceptions from 1956, that we are listening to an original and distinctive voice. Crucial to this is the use of Paul Motian on drums, who along with Evans’ would go on to even greater heights in just a few short years, and the pianist’s introduction of two tunes that would feature enormously within his trio repertoire for many years (although heard as very brief solo pieces here) in ‘My Romance’ and the original composition ‘Waltz for Debbie’.
There would be a two year gap before Evans’ would record a leader, and this came after his tenure with Miles, at the end of 1958 in the acclaimed, Everybody Digs Bill Evans. If Evans’ was to become revered for his delicate touch at the keyboard he was also to demonstrate that he could hold his own on the faster tempos and also with the powerhouse drumming of Philly Joe Jones in a superbly taut rendition of Sonny Rollins ‘Oleo’. This is also marked an important musical statement in another original composition ‘Peace Piece’ which would later form the basis for the introduction on ‘Flamenco Sketches’ when temporarily reunited with Miles the following year.
Almost exactly twelve months later he was back in the studio with a new line up, recalling the services of Paul Motian and introducing bassist Scott LaFaro, in what was to become one of the greatest piano trios in jazz. This is the jewel in the crown for the set, and has in their entirety the two studio albums that the this line up recorded in December 1959 and February 1961, and issued as Portrait In Jazz and Explorations. These were the two studio recordings, which along with the Village Vanguard tapes, helped establish a new vocabulary for the piano trio in jazz. It is interesting listening to these two albums back to back t hear how the unit had developed over the period between recordings, and a further leap forward can be heard on the live Village Vanguard sessions. Where the trio would have gone from there is a matter for speculation as LaFaro was tragically killed in a car accident, and thus brought to a premature end what is one of the finest small groups in the music.
If Evans’ never reached the same heights again he did after a period of mourning for the loss of LaFaro, lead some other fine trios and also made some impressive recordings throughout his career. Chuck Israels has the unenviable task of stepping in LaFaro’s shoes, and went on to prove himself as one of the pianist’s most empathetic musical partner. His contribution can be heard on the Moonbeams and How My Heart Sings albums alongside drummer Paul Motian that feature a couple of Bill’s best known compositions ‘Vey Early’ and ‘Re: Person I Knew’. The studio sessions of the time, are neatly rounded out with the Empathy album that featured Monty Budwig and Shelly Manne.
This is a highly desirable acquisition with a fully illustrated booklet that has the artwork and liner note from the original LPs replicated inside. The music however speaks for itself and makes for an essential purchase for those that do not already own any of the original recordings, and ideal for those wishing to plug any gaps in their collection.
Reviewed by Nick Lea
Omnia Collected Works 348260
Bill Evan (piano)
NEW JAZZ CONCEPTIONS
Teddy Kotick (bass); Paul Motian (drums)
Recorded New York, September 18 & 27, 1956
EVERYBODY DIGS BILL EVANS
Sam Jones (bass); Philly Joe Jones (drums)
Recorded New York, December 15, 1958
PORTRAIT IN JAZZ
Scott LaFaro (bass), Paul Motian (drums)
Recorded New York, December 28, 1959
EXPLORATIONS
Scott LaFaro (bass), Paul Motian (drums)
Recorded New York, February 2, 1961
MOONBEAMS / HOW MY HEART SINGS
Chuck Israels (bass); Paul Motian (drums)
Recorded New York, May 17 & 29, & June 5, 1962
EMPATHY
Monty Budwig (bass); Shelley Manne (drums)
Recorded New York, August 20, 1962
In this beautifully presented box set we have arguably seven of Evans’ most influential studio recordings. The passing of time does not lessen this impact any, even if the pianist’s influence is such that much of his language is now deeply embedded in the jazz vocabulary.
It is now irrefutable that Evans’ played a pivotal role on Miles Davis’ seminal album Kind of Blue, and indeed one of the joys in this set is not just hearing how Evans’ develops his concepts over a period of time, but also hearing recordings made under his own name before and after his association with the trumpeter.
Davis was a staunch admirer of Evans’ playing and reportedly went out of his way to help the pianist upon his departure from Miles’ sextet, and it is noticeable from Bill’s debut album as leader, New Jazz Conceptions from 1956, that we are listening to an original and distinctive voice. Crucial to this is the use of Paul Motian on drums, who along with Evans’ would go on to even greater heights in just a few short years, and the pianist’s introduction of two tunes that would feature enormously within his trio repertoire for many years (although heard as very brief solo pieces here) in ‘My Romance’ and the original composition ‘Waltz for Debbie’.
There would be a two year gap before Evans’ would record a leader, and this came after his tenure with Miles, at the end of 1958 in the acclaimed, Everybody Digs Bill Evans. If Evans’ was to become revered for his delicate touch at the keyboard he was also to demonstrate that he could hold his own on the faster tempos and also with the powerhouse drumming of Philly Joe Jones in a superbly taut rendition of Sonny Rollins ‘Oleo’. This is also marked an important musical statement in another original composition ‘Peace Piece’ which would later form the basis for the introduction on ‘Flamenco Sketches’ when temporarily reunited with Miles the following year.
Almost exactly twelve months later he was back in the studio with a new line up, recalling the services of Paul Motian and introducing bassist Scott LaFaro, in what was to become one of the greatest piano trios in jazz. This is the jewel in the crown for the set, and has in their entirety the two studio albums that the this line up recorded in December 1959 and February 1961, and issued as Portrait In Jazz and Explorations. These were the two studio recordings, which along with the Village Vanguard tapes, helped establish a new vocabulary for the piano trio in jazz. It is interesting listening to these two albums back to back t hear how the unit had developed over the period between recordings, and a further leap forward can be heard on the live Village Vanguard sessions. Where the trio would have gone from there is a matter for speculation as LaFaro was tragically killed in a car accident, and thus brought to a premature end what is one of the finest small groups in the music.
If Evans’ never reached the same heights again he did after a period of mourning for the loss of LaFaro, lead some other fine trios and also made some impressive recordings throughout his career. Chuck Israels has the unenviable task of stepping in LaFaro’s shoes, and went on to prove himself as one of the pianist’s most empathetic musical partner. His contribution can be heard on the Moonbeams and How My Heart Sings albums alongside drummer Paul Motian that feature a couple of Bill’s best known compositions ‘Vey Early’ and ‘Re: Person I Knew’. The studio sessions of the time, are neatly rounded out with the Empathy album that featured Monty Budwig and Shelly Manne.
This is a highly desirable acquisition with a fully illustrated booklet that has the artwork and liner note from the original LPs replicated inside. The music however speaks for itself and makes for an essential purchase for those that do not already own any of the original recordings, and ideal for those wishing to plug any gaps in their collection.
Reviewed by Nick Lea
