Главная » 2012 » Сентябрь » 8 » Bill Evans - Live at Art D'Lugoff's Top of The Gate (1968) [2 CD, Digitally remastered 2012]
Bill Evans - Live at Art D'Lugoff's Top of The Gate (1968) [2 CD, Digitally remastered 2012]
Исполнитель:Bill Evans Название альбома: Live at Art D'Lugoff's Top of The Gate Год записи: 1968 Год выпуска диска: 2012 Лейбл: Resonanse Records Стиль: Piano Jazz Формат рипа: FLAC (tracks), scans Размер архива: 232 + 286 mb, 3% для восстановления Скачать с: rapidshare.com Источник: Собственная коллекция
There have been many posthumous releases featuring various Bill Evans trios since the pianist's death in 1980, but Live at Art D'Lugoff's Top of the Gate is a cut above most of them for several reasons. First, it documents Evans' trio with bassist Eddie Gomez (who had been playing with him since 1966) and drummer Marty Morell in the early weeks of this band's existence. Secondly, the session engineer, George Klabin, got permission from Evans' manager Helen Keane to record the performances for his radio show, and though he didn't get an opportunity to do a soundcheck prior to the start of the gig, his excellent mike placement and adjustments on the fly capture the intimacy of the trio, without distortion and with very little chatter from the often noisy Manhattan crowds of the late '60s. Finally, the interpretations of several of the songs, all known to fans familiar with Evans' repertoire, in several cases represent an early live trio recording or one of the earliest recordings of certain songs. The fact that the trio was new matters little, the chemistry developed quickly between the three musicians as a unit and Evans is buoyed by Gomez's inventive basslines (it's little wonder he remained with the pianist for over 11 years), and Morell's light touch on drums and subtle brushwork. Several of the numbers are repeated in both sets, including driving takes of "Yesterdays," melodically rich treatments of "'Round Midnight," and two buoyant renditions of "Emily." Evans' fans will delight in his introspective, somewhat disguised arrangement of "California, Here I Come," the dazzling workout of "Autumn Leaves," and the magical romp through "Someday My Prince Will Come." If the music isn't enough, the detailed liner notes as to how the recordings came to be made, along with commentary by Nat Hentoff, Gary Burton, Eddie Gomez, Marty Morell, and others, in addition to period photographs of the artists and the club's interior, make it a complete package, not some carelessly packaged collection of previously unknown performances. One can only hope that Resonance label owner George Klabin recorded many other shows at the Top of the Gate and is able to gain the rights to issue them. This two-CD set will be considered essential by Bill Evans collectors. ** Ken Dryden **
The two-CD Bill Evans Live at Art D'Lugoff's Top of The Gate—a never-before-released recording of the Bill Evans Trio made over 50 years ago—consists of two sets recorded by then-college student George Klabin in the New York City club, October, 1968. Until now, the music has only been heard on a Columbia University radio show; now, Klabin has taken the tape out of the closet and released it on Resonance Records, the label he heads. Crisp and clear, the sound has weathered the years.
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. The CD shows Evans 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. Each disc features one complete set, including two versions of three songs. There is one original; the rest are jazz standards and familiar show tunes.
Among an array of standouts, "Round Midnight " is given an assertive approach, with heavy chords for punctuation, in the manner of its composer, Thelonious Monk. Evans, though, delivers it in his own unique way, driven by Morell's extroverted drumming. A revved-up version of "Autumn Leaves" features a tasty bass solo and is spiced by the leader's swinging piano. A lilting "Someday My Prince Will Come" starts out coolly as a ballad, before becoming a fiery foray. Surprises abound in Evans' approaches, such as his unconventional treatment of the old Al Jolson favorite, "California Here I Come."
To be sure, there are the trademark elegant Evans' takes, particularly on "My Funny Valentine" and "Emily." We can be thankful, indeed, that Klabin had the foresight to pack away these tapes to be opened now. This package includes a 27-page booklet, some vintage photographs and essays by producer Zev Feldman, jazz critic Nat Hentoff and vibraphonist Gary Burton. ** Larry Taylor (from All About Jazz) **
1. Emily (Mandel & Mercer) 2. Witchcraft (C. Coleman) 3. Yesterdays (J. Kern) 4. Round Midnight (T. Monk) 5. My Funny Valentine (Rogers & Hart) 6. California Here I Come (De Sylva, Jolson & Myers) 7. Gone With The Wind (Magidson & Wrubel) 8. Alfie (B. Bacharach) 9. Turn Out The Stars (B. Evans)
Disc Two - Set 2
1. Yesterdays (J. Kern) 2. Emily (Mandel & Mercer) 3. In A Sentimental Mood (D. Ellington) 4. Round Midnight (T. Monk) 5. Autumn Leaves (J. Kosma) 6. Someday My Prince Will Come (Churchill & Morey) 7. Mother Of Earl (E. Zindar) 8. Here's That Rainy Day (Burke & Van Heusen)
Bill Evans - Piano Eddie Gomez - Bass Marty Morell - Drums
Recorded in Greenwich Village, NYC on October 23, 1968.
Digitally remastered from the original tapes recorded & mixed live providing stellar sound & clarity.
Thank you, Hector! Ilya announced long ago about this album, I'm sure it's a great album, and I think others will appreciate this album before I did, I ordered this CD on amazon.com and will soon have to get it. Waiting increases the fun!
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