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Tag: Bill Evans

Bill Evans – Live at Art d’Lugoff’s Top of the Gate (2012/2017) [Official Digital Download DSF DSD128/5.64MHz]

Bill Evans – Live at Art d’Lugoff’s Top of the Gate (2012/2017)
DSF Stereo DSD128, 1 bit/5,6 MHz | Time – 01:29:50 minutes | 7,09 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © 2xHD/Resonance Records
Recorded live October 23, 1968, Greenwich Village, NYC by George Klabin

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.

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Bill Evans – Further Conversations With Myself (1967/2016) [Official Digital Download 24bit/96kHz]

Bill Evans – Further Conversations With Myself (1967/2016)
FLAC (tracks) 24-bit/96 kHz | Time – 35:08 minutes | 1,47 GB | Genre: Jazz
Studio Master, Official Digital Download | Front Cover | © Verve

For Bill Evans’ second solo record of unaccompanied but overdubbed piano solos, he decided to simplify the concept used in Conversations with Myself (which had him playing three pianos) by only playing two this time. The program is brief, but Evans plays quite well throughout. In particular, his versions of Johnny Mandel’s “Emily” and “Santa Claus Is Coming to Town” are most memorable. A thoughtful and (despite the overdubbing) spontaneous-sounding set of melodic music.

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Bill Evans – Explorations (1961) [Japanese Limited SHM-SACD 2011] {PS3 ISO + FLAC}

Bill Evans Trio – Explorations (1961) [Japanese Limited SHM-SACD 2011]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 51:01 minutes | Scans included | 2,16 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 0,99 GB

When this album was recorded in February of 1961, it had been more than year since the Portrait in Jazz was issued, the disc that won the critics over. By the time of this issue, Evans had released four albums in six years, a pace unheard of during that time. Most musicians were issuing two, three, and even four records a year during the same era. Many speculate on Evans’ personal problems at the time, but the truth of the matter lies in the recordings themselves, and Explorations proves that the artist was worth waiting for no matter what else was going on out there. Evans, with Paul Motian and Scott LaFaro, was onto something as a trio, exploring the undersides of melodic and rhythmic constructions that had never been considered by most. For one thing, Evans resurrects a number of tunes that had been considered hopelessly played out, and literally reinvents them — “How Deep Is the Ocean” and “Sweet and Lovely.” His harmonic richness that extends the melodic and color palette of these numbers literally revived them from obscurity and brought them back into the canon. He also introduced “Haunted Heart” into the jazz repertoire, with a wonderfully impressionistic melodic structure, offered space, and depth by the understatement of Motian and extension by LaFaro’s canny use of intervals. Also noteworthy is Miles Davis’ “Nardis,” which Evans first played on a Cannonball Adderley set a couple of years before. The rhythmic workout by the Motian and LaFaro places Evans’ own playing in a new context, with shorter lines, chopping up the meter, and a series of arpeggios that open the ground for revelatory solo in counterpoint by LaFaro. Explorations is an extraordinary example of the reach and breadth of this trio at its peak.

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Bill Evans – Bill Evans At The Montreux Festival (1968) [Japanese Reissue 2004] {PS3 ISO + FLAC}

Bill Evans – Bill Evans At The Montreux Festival (1968) [Japanese Reissue 2004]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 52:20 minutes | Scans included | 2,16 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,07 GB

Recorded live at the Montreux Jazz Festival, Casino De Montreux, Montreux, Switzerland on June 15, 1968. Originally released on Verve (8762). Includes liner notes by Gene Lees. Digitally remastered by Dennis Drake (Polygram Studios) & Gert Van Hoeyen (Polygram Sound Lab, Baarn, The Netherlands). A unique Japanese SACD remaster of the American musician’s 1968 release as part of the ‘Verve 60th Anniversary Supreme Sound Edition’ series; DSD digitally remastered by Seigen Ono. Centre label of the original LP faithfully reproduced on the CD.

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Bill Evans Trio – Sunday At The Village Vanguard (1961/2002) [Official Digital Download DSF Stereo DSD64/2.82MHz]

Bill Evans Trio – Sunday At The Village Vanguard (1961/2002)
DSF Stereo DSD64/2.82MHz | Time – 01:08:38 minutes | 2,71 GB | Genre:Jazz
Studio Masters, Official Digital Download – Source: AcousticSounds |  © Riverside Records

Few albums in the history of contemporary American music can be more deserving than this one of the designation Original Jazz Classic. It is the first of two Riverside albums derived from the legendary final appearance of the first Bill Evans trio – taped during the last day of a Village Vanguard engagement, barely ten days before the tragic death of bassist Scott LaFaro. The recordings have long been recognized as capturing the essence of the unique three-way interaction that characterized the trio. This album is further distinguished by its emphasis on the solo work and compositions of the innovative LaFaro.

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The Bill Evans Trio – On A Monday Evening (Live) (1976/2017) [Official Digital Download 24bit/192kHz]

The Bill Evans Trio – On A Monday Evening (Live) (1976/2017)
FLAC (tracks) 24-bit/192 kHz | Time – 46:48 minutes | 558 MB | Genre: Jazz
Studio Master, Official Digital Download | Booklet, Front Cover | © Concord Records

On A Monday Evening offers jazz fans a rare treat: an unreleased (and never bootlegged!) concert recording of The Bill Evans Trio, featuring Eddie Gomez and Eliot Zigmund. Captured live at Madison, Wisconsin’s Union Theater on Monday, November 15, 1976, this recording finds Evans at the top of his game, performing both contemporary compositions from that era, as well as his longstanding signature tunes to a packed house. New liner notes by GRAMMY Award-winning jazz historian Ashley Kahn round out the package, featuring commentary by Eddie Gomez and Eliot Zigmund.

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Bill Evans – Live at Art d’Lugoff’s Top of the Gate (2012/2017) [Official Digital Download 24bit/192kHz]

Bill Evans – Live at Art d’Lugoff’s Top of the Gate (2012/2017)
FLAC (tracks) 24 bit/192 kHz | Time – 01:29:12 minutes | 3,06 GB  | Genre: Jazz
Studio Master, Official Digital Download  | Source: e-Onkyo | Booklet, Front Cover | © 2xHD/Resonance Records
Recorded live October 23, 1968, Greenwich Village, NYC by George Klabin

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.

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Bill Evans – Montreux II (1970/2013) [Official Digital Download DSF DSD64/2.82MHz]

Bill Evans – Montreux II (1970/2013)
DSF Stereo DSD64/2.82MHz | Time – 39:37 minutes | 1,56 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: e-Onkyo | Front Cover |  © CTI Records
Recorded live at the Montreux Jazz Festival, Casino De Montreux, Switzerland on June 19 & 20, 1970

Montreux II is a live album by jazz pianist Bill Evans with Eddie Gómez and Marty Morell recorded at the Montreux Jazz Festival in Switzerland in 1970 and released on the CTI label. The album was the second of Evan’s Montreux concert recordings to be released following the Grammy Award-winning Bill Evans at the Montreux Jazz Festival (1968).

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Bill Evans – Trio 64 (1964) [Japanese Limited SHM-SACD 2012] {PS3 ISO + FLAC}

Bill Evans – Trio 64 (1964) [Japanese Limited SHM-SACD 2012]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 35:23 minutes | Scans included | 1,44 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 771 MB
Genre: Jazz

Joining Bill Evans (piano) on Trio ’64 – his initial three-piece recording for Verve – is the compact rhythm section of Gary Peacock (bass) and Paul Motian (drums). The effort spotlights their communal and intuitive musical discourse, hinging on an uncanny ability of the musicians to simultaneously hear and respond. All the more interesting, Evans had not interacted in this setting before, having most recently worked with Chuck Israels (bass) and Larry Bunker (drums). The personable opener, “Little Lulu,” features the aggregate melodically molding individual and distinct sonic characteristics. Evans’ nimble and emphatic syncopation is not only ably supported, but framed by Peacock’s expressive runs and Motian’s acute sense of timing. “A Sleeping Bee” is one of the collection’s most endearing selections as the groove playfully scintillates surrounding some hauntingly poignant chord changes. Evans bandies back and forth with Peacock, the latter likewise providing a stellar solo. “Always” captures a similar effervescence as the instrumentalists ebb and flow in synchronicity. Since the December 18 session was held the week before Christmas 1963, they fittingly tote out “Santa Claus Is Coming to Town,” creating a minor masterpiece of post-bop from what could easily have started as a spontaneous seasonal suggestion. Noël Coward’s “I’ll See You Again” bears a brisk waltz persona, enabling the unit to fluently weave its offerings without obstructing the otherwise affective tune. Concluding Trio ’64 is Rodgers & Hart’s standard “Everything Happens to Me,” with an unhurried tempo lingering just long enough to embrace the familiar refrain. Evans sparkles, gliding around Peacock’s full-bodied basslines and Motian’s solid yet restrained beat.

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Bill Evans – Some Other Time: The Lost Session From The Black Forest (1968/2016) [Official Digital Download DSF DSD128/5.64MHz]

Bill Evans – Some Other Time: The Lost Session From The Black Forest (1968/2016)
DSD128 (.dsf) 1 bit/5,64 MHz | Time – 01:33:40 minutes | 7,41 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | Digital Booklet | © 2xHD
Recorded: MPS Studios in Villingen, Germany, June 20, 1968

This double album includes 93 minutes of never before heard captivating studio recordings by pianist Bill Evans in solo, duo and trio settings and is only the second release —(and the only studio album) to feature the short-lived Bill Evans Trio with drummer Jack DeJohnette and bassist Eddie Gomez. Recently unearthed, these tracks were taken from a session in June 1968, only five days after the trio’s triumphant performance at the Montreux Jazz Festival. Recorded by Hans Georg Brunner-Schwer (HGBS) and Joachim-Ernst Brendt in Germany, these songs were originally intended for the legendary MPS label but for some reason were never released. It’s a remarkable document of an under-represented period in the career of one of the icons of jazz.

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