A live recording with cuts from two concerts in Germany, it was recorded live to 24-track and later remixed for an amazing sound quality for a live album. Evans expands on the style of the late Miles Davis and the album is sometimes reminiscent stylistically of We Want Miles, but it has an individual touch due to the contributions from the different bandmembers. It's one of those rare live albums that is really enjoyable even if you were not at one of the shows. This album was voted Best Album of the Month by several large German publications.
Verve 60th Anniversary Rare Albums SHM-CD Reissue Series. Reissue with SHM-CD format. Two different sides of Verve Records in the 50s – one modern, one a bit more traditional – and both represented in live material from the Newport Jazz Festival in 1957! Side one features a stunning live performance from pianist Teddy Wilson – working in a tight trio with Milt Hinton on bass and Spec Powell on drums – and really blowing away any conceptions we might have had about Wilson being aging or flowery at the time. Instead, he's got a sharp edge and command of the keys that's amazing – and which almost seems to have a bit more bite than usual in this concert setting.
This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Getting Riverside's permission to let the pianist participate, Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio.
William John Evans, known as Bill Evans (pronunciation: /ˈɛvəns/, August 16, 1929 – September 15, 1980), was an American jazz pianist and composer who mostly worked in a trio setting. He is widely considered to be one of the greatest jazz pianists of all time, and is considered by some to have been the most influential post-World War II jazz pianist. Evans's use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today. Unlike many other jazz musicians of his time, Evans never embraced new movements like jazz fusion or free jazz.
William John "Bill" Evans , August 16, 1929 - September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.
Depending on the nature of the person involved, success either dictates more and more compulsive activity, or else it permits relaxation. With Cannonball Adderley, the latter certainly appears to be the case; and this album can, among other things, serve as a testimonial to the truth of this impression. Adderley is undeniably a successful, widely-acclaimed artist, and it may seem to some that his success came quickly. But it is more in the nature of what one night-club comic once referred to bitterly as "my overnight success after fifteen years." To recap briefly, Cannonball came up to New York in the mid-'5Os with a thorough background as a player…
This LP has the debut of drummer Marty Morell with Bill Evans and bassist Eddie Gomez, and this particular trio would retain the same personnel for six productive years. Actually, this is a quartet set with guest flutist Jeremy Steig, whose playing recalls Herbie Mann's recording (Nirvana) with Evans back in the early '60s. Both flutists were always open to the influences of pop and rock, although in both of their collaborations with Evans, the music is very much on the pianist's turf. With the exception of Evans' "Time Out for Chris" and the "Spartacus Love Theme," the songs performed on this date would fit securely in the Miles Davis repertoire of the late '50s. Steig is in particularly fine form on the program which includes tunes such as "Straight No Chaser," "Autumn Leaves," and "So What."
Reissue with the latest remastering. Features original cover artwork. Magical live material from Bill Evans in the early 70s – a double-length collection that showcases a time when Evans had an especially fluid, open touch on the keys of the piano! The group here features the great trio with Eddie Gomez on bass and Marty Morell on drums – and unlike some other live Evans albums of this nature, which tend to mike the piano more than the rhythm, this one really has all three points of the trio coming out strongly together – especially Gomez' wonderfully rich, round tones on the bass.