Treasures - Solo, Trio & Orchestral Records from Denmark (1965-69)

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This compilation holds immense value, as it represents an opportunity to experience the authentic essence of Evans' artistry on a tangible medium. The beautifully designed triple gatefoldLP set showcases previously unpublished photos by Jan Perssonfrom Evans' Danish tours, as well as insightful liner notes by acclaimed author, journalist and Evans scholar, Marc Myers, plus interviews and statements from Danish drummer Alex Riel, music journalist, Danish producer and Evans discographer Peter Larsen, Palle Mikkelborg, Evans' long-time trio-mates - bassist Eddie Gomezand drummer Marty Morell, and pianists Ran Blakeand Matthew Shipp. Refreshing surprises include a perky and cheerful take on In a Sentimental Mood (which, like My Funny Valentine, is a tune that in the wrong hands tends towards the maudlin). Reddit and its partners use cookies and similar technologies to provide you with a better experience.

Evans and Gomez were like two halves of one musical mind, and it’s always fascinating to hear them together, as Gomez moves easily between supporting rhythm, undergirding the harmonic foundation, and playing melodic leads. While he always keyed his playing to fit his environment – quartet, trio, or even orchestra – his solo playing allows us to soak in his brilliance in one sensitive yet commanding cascade of notes after another. His quest for harmonic intrigue even led him to record several albums of him accompanying himself, multi-tracking his improvisations so that two or three pianos were heard simultaneously.Fans of Bill Evans are hardly short of existing material, what with reissues, compilations and ‘newly discovered rarities’ adding to an already bulging discography – not to mention that Evans obsessively revisited a handful of tunes over and over, year after year. The pianist was starting to think more ambitiously and expansively during the mid-1960s, culminating in the lush ‘orchestral suite’ here from 1969, arranged by Palle Mikkelborg, which sees Bill again in an outgoing mood; it's great, but there's not enough Evans. Pick up any live recording of any incarnation of the Bill Evans Trio and the odds are good that you’ll find a version (or two) of Waltz for Debby, Time Remembered or Nardis. In the orchestral version of ‘Time Remembered’, Evans’s piano pairs with the orchestra; the only difference is the timbre of individual instruments as they function as extensions of each other. Punk 45: There Is No Such Thing As Society (2024 Edition) Get A Job, Get A Car, Get A Bed, Get Drunk!

More recently though I have been really into Jazz music and I was just curious if anybody has listened to Bill Evans Treasures album. The first indicator that this collection is worth investing in is the packaging: either a triple-gatefold double CD with a 56-page booklet, or a limited-edition triple LP on 180g vinyl. Six solo radio performances circa 1965 take disc 2 to a quieter time and place; Evans contemplating the verdant harmonics and inherent beauty of "Re: Person I Knew," "'Round Midnight," and the only known solo, luminous version of "My Funny Valentine.

NHØP was only nineteen at the time of the recording, but precociously talented; and as bassist for the house band of Copenhagen’s Montmartre Jazzhus, he’d built his chops playing with several visiting US stars (even playing with Bud Powell when only sixteen). It was the year in which Gomez started his long stint as Evans’s bassist, but it sounds almost as if Gomez is the leader, Evans often happy to make space for a bass solo straight after the head and Riel largely in the background – although quite prominent on a relatively short Nardis that closes the set. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. I wish that the pressing plant had been a better one (RTI, Pallas or even Optimal on a good day) or that they had care more about their job with all the work that has preceded the pressing. Evans seems not to distinguish between notes and chords; they are all a means of expression and reflections of each other.