Bill Evans: Live at Art d'Lugoff's Top of the Gate (Remastered) Bill Evans with Eddie Gomez & Jack DeJohnette
- 1Emily: Emily (Take 1)04:44
- 3Roberta: Yesterdays (Take 1)05:04
- 4Round Midnight (Take 1)06:21
- 5Babes in Arms: My Funny Valentine04:41
- 6California Here I Come05:38
- 7Gone with the Wind: Gone With The Wind06:53
- 9Turn Out the stars04:38
- 10Roberta: Yesterdays (Take 2)04:45
- 11Emily: Emily (Take 2)05:05
- 12In a Sentimental Mood: In A Sentimental Mood04:03
- 13Round Midnight (Take 2)06:23
- 14Autumn Leaves05:27
- 15Snow White: Someday My Prince Will Come05:10
- 16Mother Of Earl04:19
- 17Carnival in Flanders: Here's that Rainy Day05:15
Info zu Bill Evans: Live at Art d'Lugoff's Top of the Gate (Remastered)
This is a newly unearthed discovery of Bill Evans recorded in Greenwich Village, NYC on October 23, 1968, featuring Eddie Gomez-Bass & Marty Morell-Drums with all previously unheard performances.
It is the only Bill Evans recording from The Village Gate ever released.
Digitally remastered in 2xHD from the original tapes recorded & mixed live, providing stellar sound & clarity.
Features rare tracks (in some cases recorded live with the Bill Evans trio for the very first time)
The album Live at Art D'Lugoff's Top of the Gate, offers listeners a table at the front of the stage for a stellar performance by one of jazz's greatest trios. It's October 23, 1968 in Greenwich Village.
The lineup that night consisted of three musicians in their prime: Evans, bassist Eddie Gomez and drummer Marty Morell. Evans had, reportedly, kicked his drug habit during this period, and this was thought by many to be his most stable and, certainly, longest-lasting group. This trio was together until 1975. Evans is in both swinging and contemplative modes and highlights the trio's superb interaction. Gomez had been with Evans since 1966, while Morell came aboard in 1968; Gomez was a master improviser, while Morell was an energetic, straight-ahead drummer, always keeping the trio on track. Along with the leader, both contribute masterful solos here. The album features two complete sets, including two versions of three songs. There is one original ("Turn Out the Stars"); the rest are jazz standards and familiar show tunes.
Throughout the two sets, Evans showcases his gift for interpreting standards, over the seventeen tracks. "My Funny Valentine" moves effortlessly from tenderness to passion, while "Gone with the Wind" erupts at a breakneck pace and "Here's That Rainy Day" concludes the evening with heart-breaking emotion.
Students of Evans' music will be delighted to see that three pieces ("Emily," "Yesterdays," and "'Round Midnight") are represented in both the first and second sets, offering a rare opportunity to compare the soloists' diverging takes on the same tunes in a single evening. Also, several of the selections possess historic significance: both "My Funny Valentine" and "Here's That Rainy Day" (and possibly "Mother of Earl") mark Evans' first documented trio performances of those songs, while "Here's That Rainy Day" may be the first time Evans recorded that piece period.
"... the incandescence of the piano playing is astounding ... the most important virtue of the package is the sound ... there is sufficient air and life in this recording to facilitate time travel. Forty-four years collapse and we are there." (JazzTimes.com)
"Five Stars .... crisp and clear, the sound has weathered the years ... three musicians in their prime ... shows Evans in both swinging and contemplative modes and highlights the trio's superb interaction ... along with the leader, both contribute masterful solos here ..." (AllAboutJazz)
"... the most important live Evans document to emerge in decades and the most rewarding on multiple levels ... it's just prime Bill Evans and the results are nothing short of astonishing for three reasons ... first, the sound is breathtaking ... will make you think you have been seated at a table placed on the stage in the middle of the musicians. I kid you not: the fidelity is that vivid and intimate ... second, the song choices are a dream ... spirited and exciting versions ... third and perhaps most important, Evans' playing is electrifying and loaded with confident and lyrical risk-taking ... a masterpiece ... for those who have spent years yearning for a highly intimate Evans recording that brings the artist as close as possible to the ear and provides marvellous material and execution, your ship has finally come in." (JazzWax.com)
"Bill was the Chopin of jazz. I loved him and respected him as a person as well as a musician; he was a great artist." (Jimmy Rowles)
"With the passage of time, Bill Evans has become an entire school unto himself for pianists." (Richard S. Ginell)
Bill Evans, piano
Eddie Gomez, bass
Marty Morell, drums
Born William John Evans
in Plainfield, New Jersey, on August 16, 1929, Bill Evans died on September 15, 1980. The famed jazz pianist first won the Down Beat International Jazz Critics Poll in the New Star Piano category in 1958 and went on to win the poll several times thereafter, culminating in his posthumous induction into the magazine's Jazz Hall of Fame in 1981. He won seven Grammys for his recordings—Conversations with Myself (1963), The Bill Evans Trio Live at the Montreux Jazz Festival (1968), Alone (1970), two for The Bill Evans Album (1971), and I Will Say Goodbye and We Will Meet Again (1980)—and was posthumously awarded the Grammy Lifetime Achievement Award in 1994.
Bill Evans began studying piano at the age of six and later took up both flute and violin. He received a music scholarship to Southeastern Louisiana College, graduated in 1950, and joined Herbie Fields's band the same year. A year later, he was drafted. He played flute in the Fifth Army Band at Fort Sheridan, spending his nights playing jazz piano in Chicago clubs. Released from the army in 1954, he began playing jazz in New York, where he joined the group of clarinetist Tony Scott.
That was the era of so-called 'Third Stream' music, the attempt at a fusion of jazz and classical music spearheaded by John Lewis of the Modern Jazz Quartet, and the composer Gunther Schuller. Evans, with his classical training and jazz experience, was a natural for this music. Many of the Third Stream records and concerts of the time featured Evans, with his piano solo on the recording of George Russell's 'All About Rosie' a notable standout.
In 1959, Evans made the one step sure to bring him wider attention: he replaced Red Garland as pianist with the enormously influential Miles Davis Sextet, which, at the time, included John Coltrane and Cannonball Adderley. Davis had felt that too many chords were cluttering up music; he wanted to work with scales and modes. Evans, partially influenced by Lennie Tristano, had been working along the same lines, and the result was one of the most influential albums ever made, Davis's Kind of Blue.
That same year, Evans formed his own trio. What he had in mind was not a piano with bass and drum accompaniment but a group in which all three voices would be as equal as possible. When he found the remarkable young bassist Scott LaFaro and drummer Paul Motian, that ideal was nearly achieved, but soon after, while make a classic series of landmark recordings at the Village Vanguard in New York, LaFaro was killed in an automobile accident. Thereafter, Evans worked with some of the finest bass players in jazz: Chuck Israels, Gary Peacock, Eddie Gomez, Michael Moore.
The Bill Evans Trio continued with bassist Michael Moore and Philly Joe Jones on drums. The first Bill Evans album for Warner Bros., however, in 1978, was a solo outing in the tradition of his earlier albums Conversations with Myself and Further Conversations with Myself. On the album, New Conversations, Evans solos and, through multi-tracking, accompanies himself on acoustic and electric keyboards. He went on to record three more records for the label: Affinity, We Will Meet Again, and You Must Believe in Spring.
In June 1980, three months before Evans's untimely death, bassist Marc Johnson and drummer Joe LaBarbera joined the 51-year-old pianist for four nights at New York's Village Vanguard. Evans intended to release a double LP culled form these sessions, and he supervised the initial mixing and editing of the tapes. It would take more than 15 years before this material would become available, in an exhaustive, chronologically sequenced six-CD set, on Warner Bros., titled Turn Out the Stars: The Final Village Vanguard Recordings. Jazz critic Gary Giddins hailed the unearthed work as 'an important find-the most lyrical of improvisers was revitalized by a new trio in his favorite jazz club.' The 2009 Nonesuch reissue contains the original packaging and liner notes, as well as the complete 1996 set.
Evans, whose soft, intricate, rhapsodic improvisations became the performance standard for his time, once said, 'I think jazz is the purest tradition in music this country has had. It has never bent to strictly commercial considerations and so it has made music for its own sake. That's why I'm proud to be part of it.'
In the liner notes to Evans's Warner Bros. label debut, New Conversations, Nat Hentoff wrote, 'Evans has become so deeply influential a force in jazz by sheer force of integrity.' Miles Davis, characteristically direct, once said of Evans: 'He plays the piano the way it should be played.' (Source: Warner Music)