No jazz musician has had a more a troubled, even tragic, life yet succeeded so completely in a musical journey that began with the revolutionary "democratic" piano trio with bassist Scott LaFaro (represented on the two sessions on a Sunday at the Village Vanguard on June 25, 1961) and ended with this 8-night stand--a startling explosion of creativity--at the Keystone Korner during the first week of Sept. 1980. Although he would die in NYC a mere several days after this engagement, he not only left us at the height of his powers but had evolved as an artist, moving from Debussy-like impressionism to a profound and insistently passionate, expressionism, perhaps stemming from his Russian ancestry.. Using a new approach that he demonstrates in 1978 on Marian McPartland's "Piano Jazz," he makes the piano roar one moment and whisper the next, always maintaining tension and building excitement by playing not "behind" but ahead of the expiring harmonies through his use of "anticipatory phrasing" (often producing an effect of "lunging" into the next measure). The widely held popular notion that Bill's addiction led to inferior playing and an inglorious end could not have been more off the mark.. As "The Paris Concert," "Consecration," and "The Last Waltz" (a total of18 discs) demonstrate, no jazz musician reinvented himself so completely, or traced a more satisfying arc in his obsessive Keatsian quest, as he related to Tony Bennett, for "truth and beauty." His last trio reveals an artist playing with new-found authority and energy, stemming from his working with two youthful discoveries (bassist Marc Johnson and drummer Joe LaBarbera) who pushed him, night after night, to the best playing of his career. Bill was one of the last "road warriors" in American music, playing as though each note might be his last, so consumed with his music that taking a break for a studio recording seemed a waste of precious time. His was a race against time, one that he simply refused to lose.
I only recently discovered Bill Evans, much to my shame and I cannot get enough of him, I know he is the most remarkable Pianist I have heard, I have read a little about him and I have taken in all you have said. Whatever inner problems he had my God he played from his heart and soul, he seemed even more perfect as time went on. I just am so taken by him, so so sad he died too soon, but thank goodness he had the perfection that was him. Many thanks for your most interesting comments. Take care, Anna.
caponsacchi Scott died 2 weeks after the Vanguard gig...sad. I dig Bill’s work so much I have a “dedicated acoustic bedroom rig” consisting of Fostex full range drivers powered by a SET amp. Your insight with Bill shows your appreciation of his work. Remember sometimes the most tortured souls produce the most beautiful sounds....
Who are these people who hold this "widely held popular notion that Bill's addiction led to inferior playing"? I want to find them and slap them silly.
1-1 Emily 0:00 1-2 Days Of Wine And Roses 5:33 1-3 Knit For Mary F. 13:58 1-4 Like Someone In Love 20:05 1-5 Your Story 27:12 1-6 Stella By Starlight 31:08 1-7 My Man's Gone Now 39:36 1-8 Letter To Evan 45:43 August 2, 1980 2-1 I Do It For Your Love 53:46 2-2 Turn Out The Stars 59:17 2-3 My Romance 1:06:24 2-4 Laurie 1:14:43 2-5 The Two Lonely People 1:22:00 2-6 Peau Douce 1:28:12 2-7 But Beautiful 1:34:12
Thank you Bill Evans and trio for gracing this world with your amazing talents and genius. Beautiful and wonderful music. Such an intimate relationship he has with the keyboard and notes, so rich. God Bless your soul
Não é sem razão que Bill era considerado o pianista dos pianistas. Como ninguém, ele expunha a melancolia de sua alma em sonoridade profunda, em improvisos incomuns e em melodias delicadas e ao mesmo tempo intensas.
Ho sentito Bill Evans a Milano nel luglio del 1980,quarant'anni fa e questa registrazione lo ripropone nella sua grandezza, l'emozione si rinnova perché questa musica è senza tempo, sarà sempre così meravigliosa e romantica ( perché Evans era un romantico) per sempre.
Sapessi quanto ti invidio (in senso buono), amico mio. Un mondo senza Evans non avrebbe senso. Raffinata passione, romanticismo, stile, eleganza...narrativa...Evans è un universo in continua espansione, più lo ascolti e più ti rapisce
IO lo vidi a Roma, al Piper, e un mio amico che mi aveva accompagnato ma non amava il jazz, in prima fila dove eravamo, si mise a dormire dopo una decina di minuti. :-( IO mi vergognai da morire. Vero, amici, come sarebbe la vita senza Bill Evans? Era un romantico, concordo. Le sue improvvisazioni sono sempre state, in fondo, delle nuove melodie. Imparandole a memoria dopo centinaia di ascolti, ce ne accorgiamo. E proprio lí era il suo genio romantico: costruttore di melodie complesse e sofisticate per orecchi attrezzati a riceverne il meraviglioso, unico, messaggio.
Wow, what a night to remember. I was stationed in Germany as a soldier and I attended a Joe Zawinal concert and after the show I went backstage to ask for his autograph. After talking to him about his musical history, he invited me to the after show dinner for the band. What a wonderful night. I'll never forget. He told me all of the Jaco stories about weather report .
@@Greensburgg lol thanks 😊. I was on another zawinal video page and accidentally changed over to this page and then made my comments, thinking I was still on Joe's page. Thanks for your reply. Great catches. Thanks .👍🙂
1-1 Emily 5:33 1-2 Days Of Wine And Roses 8:25 1-3 Knit For Mary F. 6:07 1-4 Like Someone In Love 7:06 1-5 Your Story 3:56 1-6 Stella By Starlight 8:26 1-7 My Man's Gone Now 6:07 1-8 Letter To Evan 8:03 August 2, 1980 2-1 I Do It For Your Love 5:31 2-2 Turn Out The Stars 7:06 2-3 My Romance 7:51 2-4 Laurie 7:16 2-5 The Two Lonely People 6:12 2-6 Peau Douce 6:00 2-7 But Beautiful 4:14
Gerard's list above has indicated duration per track, rather than the YT video link. I added up Gerard's times and adjusted for delays like applause to get the list below that links each tune to the starting spot in this vid. I've verified times but not titles, which I suppose come from CD/online. I'll incorporate any comments/updates over time. Many thanks Gerard for your post! 1-1 0:09 Emily 1-2 5:35 Days Of Wine And Roses 1-3 13:48 Knit For Mary F. 1-4 20:05 Like Someone In Love 1-5 27:12 Your Story 1-6 31:08 Stella By Starlight 1-7 39:35 My Man's Gone Now 1-8 45:42 Letter To Evan 2-1 53:45 I Do It For Your Love 2-2 59:17 Turn Out The Stars 2-3 01:06:23 My Romance 2-4 01:14:42 Laurie 2-5 01:21:59 The Two Lonely People 2-6 01:28:11 Peau Douce 2-7 01:34:11 But Beautiful ps - This is a great album, and these versions of Emily, Turn Out the Stars, My Romance & But Beautiful are my fav!
Muchas gracias por compartir la música de Bill Evans,que en estos momentos tan trágicos en el mundo,la verdad que esta música te saca de a realidad por un buen rato.....
Love this site, it has taught me so much about Bill Evans, that much to my shame I discovered not soon enough. His playing I close my eyes to listen to he was out of this World. Thanks so much, Anna.
Agreed. Imho, his ability to expose his emotions sets him apart from other jazz pianists. His solo sessions recordings after the death of LaFaro also have this sort of defiance and struggle.
As much as I love every period of Bill Evans' music, there's just some indefinable quality about the live recordings of his last trio that make them my favorite. Yes, even over his Scott LaFaro-Paul Motian trio. After all, it's all subjective.
I agree mate. I'm a very fan of Mr. Evans (maybe my favourite jazz musician), and i love the classic trio of the village album, as well the gomez groovy collaboration, the mellow underrated albums with Israel and Bunker...but i think in the last two years this trio was something else, especially the live albums as you say. at the beginning, i was listening the classic lafaro motian impressionistic style albums...and didn't liked at all this last production, too busy and armonically complex. Now i can say is my favourite moment of Bill's music...very expressive and focused...like he was using the very 120% of his capabilities...amazing
I agree. I'd hate to choose between the two periods, but reviewers and critics who dwell on the early recordings and simply dismiss the work of his final years have simply bought into a "party line" about Bill and not bothered to listen carefully to the last trio. Scott LaFaro was an enormously gifted player, and possibly even more of a perfectionist (and certainly taskmaster) than Bill himself. As a result, the interplay between Scottie and Bill is always exhilarating to listen to. But with his last trio, Bill was ready to take control and to put his practice of "anticipatory phrasing" to the test. His two new youthful charges seemed as eager as Bill to put his ideas to the test, and their encouragement along with Bill's determination never to let them down simply ignited the playing of the pianist-leader. On most of the recordings of the final 18 months--all done "on-location" rather than in a studio--Bill plays with an authority, confidence, and passion simply unheard from him previously--and perhaps not from any other jazz musician. His late improvisations evoke Verdi or late Russian composers--from Tchaikovsky to Rachmaninoff--as much as Bud Powell. Bill at the end was as seminal a musician, and as vital to the 2nd half of jazz history, as Coltrane. Coltrane's music seemed to lose focus after the departure of McCoy and Elvin, splintering into all directions in the two years following his purpose-driven, spiritually sublime "A Love Supreme" (I saw him empty houses with the help of the sonic assaults of Archie Shepp and Pharoah Saunders). But Bill at the end brought all of his musical influences from the preceding 20 years into sharp focus and a brilliant coherence. If his life was filled with much tragedy and sadness, his art seemed to make up for those disappointments, leaving us with a legacy of perhaps the most singular instrumental voice of modern jazz piano.
The magic of Bills early 60's-70's tube recordings is gone, now recorded on transistor tape recorder minus the vintage tube telefunken microphones. Cant enjoy this as much as I do of his early recordings in terms of sheer musicality. The piano tone is now rather colored and bass and cymbal response constricted.
@Evan Harris - Just heard it for the first time. Had this playing in the background, and when I heard that riff I popped back and checked the timer to see if that's what you were talking about. Sure enough.... Wow. Amazing.
There is another recording (on spotify) entitled "Live At Ronnie Scott's" Bill Evans that is a compilation of previously unissued material from 1968. Check that out too.
sentiste o conocés a Lennie Tristano? -en el Pozo del Poeta, Oliveros (se iba de gira con los 5 latinos) me dejó de cambio con Strano Santo; me trajo al mundo, sin partes, títulos ni melodía que orejear. . . tocaba todo en 10 dedos, cuando le pregunté de dónde era lo que tocaba, me dió el nombre (en ese tiempo no encontré nada . . . ahora me lo como acá!)
Really lovely stuff. Bill's last trio in top form and beautifully recorded. Thanks for posting! Pedantic niggle: why is Jimmy Van Heusen (4) credited as a writer but not Johnny Mandel (1), Henry Mancini (2) and some others?
What strikes me is how forceful and fierce his playing is on this date. It’s cliche to say but it sounds as though he was playing for his life and trying to get everything out before his time was up, which unfortunately came about before the end of the year.
I love Bill Evan's, and saw him live with Gomez and Zsigmond, but it's hard to listen to these final trio recordings. Folks that come to Bill thru this trio having heard all the accolades for Evan's invariably think, what's the big deal. All the aspects Bill's playing that I enjoyed , dynamics, quiet fire, controlled and perfectly executed playing, are all gone. He seems to be dragging this trio along with him. I would encourage new listeners to check out the wealth of material from the Gomez-Morrell trio, or the early Village Vanguard recordings. Been listening to Evan's for 50 years, and I'm pretty sure I've heard everything available.
NO, NO ! You are not getting the point. Bill Evans music had a great evolution in his last years. We can´t compare that little boy who did those early recordings ( such traditional jazz ), with, for instance his last phase, full of complex harmonies, inventive melodies, and richness of rhythm. You can´t expect an artist to remain all the same. That would not be jazz after all. Bill Evans last years are more creative, just listen more carefully.
With all due respect, each recording from this period must be judged on its own merit. While his health was an obvious consistency factor by this time, this was when his creative spirit was moving in previously unheard directions. Unlike most examples of earlier recordings, he was taking musical chances, and that is all anyone should ask of artists of this caliber. I would challenge you or anyone to compare versions from this period of "I Loves You Porgy" (The Paris Concert vs Live in Buenos Aires) or Nardis (The Paris Concert vs any of the versions found on the box set, "Turn Out The Stars"). These are examples of a creative world class musical identity given license to move a personal musical narrative forward.
No, the elements of genius were not all gone. But the guy was near death and had endured much suffering. I heard him at the Village Vanguard in the late Sixties and he didn’t look at all well even then. I’m eighty, and in 55 years of listening to jazz no other musician has provided such consistent joy - every one of his performances, no matter how often played, soothes my soul.
Unfortunately, the piano has several notes REALLY out of tune, but the Bill Evans was at his height when he died. I was beginning to learn the piano. I love Bill Evans music so much !
Really love Bill and Eddie Gomez, Scott Lafaro and all of his musicians that played with him over the years. I have to admit though, not digging the drummer on this recording at all. Too loud and way too wild. Just my opinion and we all know what opinions are. :)
It is appointed for men to die once, but after this the judgment Hebrews 9:27 NKJV But God demonstrates His own love toward us, in that while we were still sinners, Christ died for us. Romans 5:8 NKJV For God so loved the world that He gave His only begotten Son, that whoever believes in Him should not perish but have everlasting life. John 3:16 NKJV Repent, and let every one of you be baptized in the name of Jesus Christ for the remission of sins; and you shall receive the gift of the Holy Spirit. Acts 2:38 NKJV Jesus answered, Most assuredly, I say to you, unless one is born of water and the Spirit, he cannot enter the kingdom of God. John 3:5 NKJV For as many as are led by the Spirit of God, these are sons of God. Romans 8:14 NKJV He who believes in the Son has everlasting life; and he who does not believe the Son shall not see life, but the wrath of God abides on him. John 3:36 NKJV Do not be deceived, God is not mocked; for whatever a man sows, that he will also reap. Galatians 6:7 NKJV For if we sin willfully after we have received the knowledge of the truth, there no longer remains a sacrifice for sins, Hebrews 10:26 NKJV Enter by the narrow gate; for wide is the gate and broad is the way that leads to destruction, and there are many who go in by it. Because narrow is the gate and difficult is the way which leads to life, and there are few who find it. Matthew 7:13-14 NKJV Eye has not seen, nor ear heard, Nor have entered into the heart of man The things which God has prepared for those who love Him. 1 Corinthians 2:9 NKJV And this gospel of the kingdom will be preached in all the world as a witness to all the nations, and then the end will come. Matthew 24:14 NKJV
Classical pianist playing a modernized classical style influenced by the trouble within him, causing his music to sound confusing and sad - not to be confused with real jazz music.
Jazz was around long before Evans appeared on the scene. George Shearing played a style of piano that one could say that Evans copied to some degree. Garner originated his own style. In each instance, each pianist established his own "fingerprint" identifying himself apart from others. Whatever "everyone else" copied from Evens, it fell outside jazz music into a category of its own, mistakenly called jazz.
Algonquin - small thoughts. You presume yourself the standard by which Jazz is interpreted. This is literature; sad or confused moments are part of it. Real jazz. That’s preposterous.
NO, NO ! You are not getting the point. Bill Evans music had a great evolution in his last years. We can´t compare that little boy who did those early recordings ( such traditional jazz ), with, for instance his last phase, full of complex harmonies, inventive melodies, and richness of rhythm. You can´t expect an artist to remain all the same. That would not be jazz after all. Bill Evans last years are more creative, just listen more carefully.
1-1 Emily 0:00 1-2 Days Of Wine And Roses 5:33 1-3 Knit For Mary F. 13:58 1-4 Like Someone In Love 20:05 1-5 Your Story 27:12 1-6 Stella By Starlight 31:08 1-7 My Man's Gone Now 39:36 1-8 Letter To Evan 45:43 August 2, 1980 2-1 I Do It For Your Love 53:46 2-2 Turn Out The Stars 59:17 2-3 My Romance 1:06:24 2-4 Laurie 1:14:43 2-5 The Two Lonely People 1:22:00 2-6 Peau Douce 1:28:12 2-7 But Beautiful 1:34:12
![Bill Evans Trio - "Live At Lulu White's, 1979" [Full Album] | bernie's bootlegs](http://i.ytimg.com/vi/H-kEp-Vg1Ps/mqdefault.jpg)
![Bill Evans Trio — "Live At Lulu White's, 1979" [Full Album] | bernie's bootlegs](/img/tr.png)
![Barney Kessel and Monty Alexander Trio -Spontaneous Combustion (1987) [Complete CD]](/img/1.gif)
Holy fuck; I've been listening to Bill Evans for quite some years and this is for sure the most agressive record that I've ever listened of him.
Wish there were a ❤️ button instead of just the thumbs up.
No jazz musician has had a more a troubled, even tragic, life yet succeeded so completely in a musical journey that began with the revolutionary "democratic" piano trio with bassist Scott LaFaro (represented on the two sessions on a Sunday at the Village Vanguard on June 25, 1961) and ended with this 8-night stand--a startling explosion of creativity--at the Keystone Korner during the first week of Sept. 1980. Although he would die in NYC a mere several days after this engagement, he not only left us at the height of his powers but had evolved as an artist, moving from Debussy-like impressionism to a profound and insistently passionate, expressionism, perhaps stemming from his Russian ancestry.. Using a new approach that he demonstrates in 1978 on Marian McPartland's "Piano Jazz," he makes the piano roar one moment and whisper the next, always maintaining tension and building excitement by playing not "behind" but ahead of the expiring harmonies through his use of "anticipatory phrasing" (often producing an effect of "lunging" into the next measure).
The widely held popular notion that Bill's addiction led to inferior playing and an inglorious end could not have been more off the mark.. As "The Paris Concert," "Consecration," and "The Last Waltz" (a total of18 discs) demonstrate, no jazz musician reinvented himself so completely, or traced a more satisfying arc in his obsessive Keatsian quest, as he related to Tony Bennett, for "truth and beauty."
His last trio reveals an artist playing with new-found authority and energy, stemming from his working with two youthful discoveries (bassist Marc Johnson and drummer Joe LaBarbera) who pushed him, night after night, to the best playing of his career. Bill was one of the last "road warriors" in American music, playing as though each note might be his last, so consumed with his music that taking a break for a studio recording seemed a waste of precious time. His was a race against time, one that he simply refused to lose.
I only recently discovered Bill Evans, much to my shame and I cannot get enough of him, I know he is the most remarkable Pianist I have heard, I have read a little about him and I have taken in all you have said. Whatever inner problems he had my God he played from his heart and soul, he seemed even more perfect as time went on. I just am so taken by him, so so sad he died too soon, but thank goodness he had the perfection that was him. Many thanks for your most interesting comments. Take care, Anna.
JUst watch "The univesal mnd of Bill Evans" a 1967 documentary/interview to understand he was a allround intellectual.
caponsacchi Scott died 2 weeks after the Vanguard gig...sad. I dig Bill’s work so much I have a “dedicated acoustic bedroom rig” consisting of Fostex full range drivers powered by a SET amp. Your insight with Bill shows your appreciation of his work. Remember sometimes the most tortured souls produce the most beautiful sounds....
Who are these people who hold this "widely held popular notion that Bill's addiction led to inferior playing"? I want to find them and slap them silly.
Well we will never know the heights his playing could've reached if he had kept his head sober. Could've been worse, could've been better.
Thanks Bill...the best jazz pianist for ever....and ever....you can rest in peace....thanks again, and again.....
A work of genius. A monumental legacy made posible by modern technology. I thank my luck for having lived in this marvelous and horrifying century.
Never far away from Bill's music. Always touches my depths, even after six decades of listening.
1-1 Emily 0:00
1-2 Days Of Wine And Roses 5:33
1-3 Knit For Mary F. 13:58
1-4 Like Someone In Love 20:05
1-5 Your Story 27:12
1-6 Stella By Starlight 31:08
1-7 My Man's Gone Now 39:36
1-8 Letter To Evan 45:43
August 2, 1980
2-1 I Do It For Your Love 53:46
2-2 Turn Out The Stars
59:17
2-3 My Romance 1:06:24
2-4 Laurie 1:14:43
2-5 The Two Lonely People 1:22:00
2-6 Peau Douce 1:28:12
2-7 But Beautiful 1:34:12
東京メトロポリタンテレビジョン様などが試験電波発射音楽を流してくれますよ。
Thank you Bill Evans and trio for gracing this world with your amazing talents and genius. Beautiful and wonderful music. Such an intimate relationship he has with the keyboard and notes, so rich. God Bless your soul
Bill Evans was a genius.
Magic....I hear this record, and cry....incredible pianist,,,,,
Não é sem razão que Bill era considerado o pianista dos pianistas. Como ninguém, ele expunha a melancolia de sua alma em sonoridade profunda, em improvisos incomuns e em melodias delicadas e ao mesmo tempo intensas.
The greatest of allll time!!!!!!!! Best that ever did it!
The greatest...for ever...thank you Bill....God bless you!!!
For ever and ever the best , love you Bill
It simply does not get any better than this. Rest in peace Bill, thankfully your music lives on.
Genius-so incredible that someone can play this well.
The greatest improvisational musician of the 20th Century
So true!
Erroll Garner?????
@@solidsnake9332 No.
Ho sentito Bill Evans a Milano nel luglio del 1980,quarant'anni fa e questa registrazione lo ripropone nella sua grandezza, l'emozione si rinnova perché questa musica è senza tempo, sarà sempre così meravigliosa e romantica ( perché Evans era un romantico) per sempre.
Sapessi quanto ti invidio (in senso buono), amico mio.
Un mondo senza Evans non avrebbe senso.
Raffinata passione, romanticismo, stile, eleganza...narrativa...Evans è un universo in continua espansione, più lo ascolti e più ti rapisce
IO lo vidi a Roma, al Piper, e un mio amico che mi aveva accompagnato ma non amava il jazz, in prima fila dove eravamo, si mise a dormire dopo una decina di minuti. :-( IO mi vergognai da morire. Vero, amici, come sarebbe la vita senza Bill Evans?
Era un romantico, concordo. Le sue improvvisazioni sono sempre state, in fondo, delle nuove melodie. Imparandole a memoria dopo centinaia di ascolti, ce ne accorgiamo. E proprio lí era il suo genio romantico: costruttore di melodie complesse e sofisticate per orecchi attrezzati a riceverne il meraviglioso, unico, messaggio.
I was lucky enough to be there on one of those nights . I would never imagined that after few weeks he would have left us .
Wow, what a night to remember. I was stationed in Germany as a soldier and I attended a Joe Zawinal concert and after the show I went backstage to ask for his autograph. After talking to him about his musical history, he invited me to the after show dinner for the band. What a wonderful night. I'll never forget. He told me all of the Jaco stories about weather report .
@@tracythejazzlifer4529 This isn't a Zawinul album man.
@@Greensburgg lol thanks 😊. I was on another zawinal video page and accidentally changed over to this page and then made my comments, thinking I was still on Joe's page. Thanks for your reply. Great catches. Thanks .👍🙂
1-1 Emily 5:33
1-2 Days Of Wine And Roses 8:25
1-3 Knit For Mary F. 6:07
1-4 Like Someone In Love 7:06
1-5 Your Story 3:56
1-6 Stella By Starlight 8:26
1-7 My Man's Gone Now 6:07
1-8 Letter To Evan 8:03
August 2, 1980
2-1 I Do It For Your Love 5:31
2-2 Turn Out The Stars 7:06
2-3 My Romance 7:51
2-4 Laurie 7:16
2-5 The Two Lonely People 6:12
2-6 Peau Douce 6:00
2-7 But Beautiful 4:14
These track times ( via Wikipedia ? ) are not even close... been trying to find the recording to accompany a transcription.
Gerard's list above has indicated duration per track, rather than the YT video link. I added up Gerard's times and adjusted for delays like applause to get the list below that links each tune to the starting spot in this vid. I've verified times but not titles, which I suppose come from CD/online. I'll incorporate any comments/updates over time.
Many thanks Gerard for your post!
1-1 0:09 Emily
1-2 5:35 Days Of Wine And Roses
1-3 13:48 Knit For Mary F.
1-4 20:05 Like Someone In Love
1-5 27:12 Your Story
1-6 31:08 Stella By Starlight
1-7 39:35 My Man's Gone Now
1-8 45:42 Letter To Evan
2-1 53:45 I Do It For Your Love
2-2 59:17 Turn Out The Stars
2-3 01:06:23 My Romance
2-4 01:14:42 Laurie
2-5 01:21:59 The Two Lonely People
2-6 01:28:11 Peau Douce
2-7 01:34:11 But Beautiful
ps - This is a great album, and these versions of Emily, Turn Out the Stars, My Romance & But Beautiful are my fav!
Gerard Muller Thanks !!
One of my desert island discs.
Damn, this is beyond incredible. No one has made so many excellent live recordings.
Muchas gracias por compartir la música de Bill Evans,que en estos momentos tan trágicos en el mundo,la verdad que esta música te saca de a realidad por un buen rato.....
Love this site, it has taught me so much about Bill Evans, that much to my shame I discovered not soon enough. His playing I close my eyes to listen to he was out of this World. Thanks so much, Anna.
The rush to the beyond.....
Espetacular. Bill Evans ainda é demais!
The urgency felt in his last recordings is unbelievable! It is like he was preparing his deathbed...
Jesus, have a glass of hot chocolate milk and go to bed! And keep away from your computer...god
Agreed. Imho, his ability to expose his emotions sets him apart from other jazz pianists. His solo sessions recordings after the death of LaFaro also have this sort of defiance and struggle.
The longest suicide in history.....
@@peterj.andros3996 You're a bit ignorant about Bill Evans, aren't you, Peter? Do a little research about this period, then get back to us...
As much as I love every period of Bill Evans' music, there's just some indefinable quality about the live recordings of his last trio that make them my favorite. Yes, even over his Scott LaFaro-Paul Motian trio. After all, it's all subjective.
I agree mate. I'm a very fan of Mr. Evans (maybe my favourite jazz musician), and i love the classic trio of the village album, as well the gomez groovy collaboration, the mellow underrated albums with Israel and Bunker...but i think in the last two years this trio was something else, especially the live albums as you say. at the beginning, i was listening the classic lafaro motian impressionistic style albums...and didn't liked at all this last production, too busy and armonically complex. Now i can say is my favourite moment of Bill's music...very expressive and focused...like he was using the very 120% of his capabilities...amazing
You're not sure?
now i'm sure
I agree. I'd hate to choose between the two periods, but reviewers and critics who dwell on the early recordings and simply dismiss the work of his final years have simply bought into a "party line" about Bill and not bothered to listen carefully to the last trio. Scott LaFaro was an enormously gifted player, and possibly even more of a perfectionist (and certainly taskmaster) than Bill himself. As a result, the interplay between Scottie and Bill is always exhilarating to listen to. But with his last trio, Bill was ready to take control and to put his practice of "anticipatory phrasing" to the test. His two new youthful charges seemed as eager as Bill to put his ideas to the test, and their encouragement along with Bill's determination never to let them down simply ignited the playing of the pianist-leader.
On most of the recordings of the final 18 months--all done "on-location" rather than in a studio--Bill plays with an authority, confidence, and passion simply unheard from him previously--and perhaps not from any other jazz musician. His late improvisations evoke Verdi or late Russian composers--from Tchaikovsky to Rachmaninoff--as much as Bud Powell. Bill at the end was as seminal a musician, and as vital to the 2nd half of jazz history, as Coltrane. Coltrane's music seemed to lose focus after the departure of McCoy and Elvin, splintering into all directions in the two years following his purpose-driven, spiritually sublime "A Love Supreme" (I saw him empty houses with the help of the sonic assaults of Archie Shepp and Pharoah Saunders). But Bill at the end brought all of his musical influences from the preceding 20 years into sharp focus and a brilliant coherence. If his life was filled with much tragedy and sadness, his art seemed to make up for those disappointments, leaving us with a legacy of perhaps the most singular instrumental voice of modern jazz piano.
Sunday at Village Vaguard.
Oírle y desaparece en el mundo de lo de impresionante nuestro Bill Evans el universal del jazz
Evans often went up one or more keys in his playing. This effect causes a brightening of his basically somber music. For instance: Danny Boy.
You need to listen to the series CONSECRATION, one wek before his death. He was almost supernatural !
Fabulous man ❤
The magic of Bills early 60's-70's tube recordings is gone, now recorded on transistor tape recorder minus the vintage tube telefunken microphones. Cant enjoy this as much as I do of his early recordings in terms of sheer musicality. The piano tone is now rather colored and bass and cymbal response constricted.
"Like Someone In Love" - a marathon of modulations !
Bill Evans at a very plugged in moment in his playing.
Gets me every time! 40:00
@Evan Harris - Just heard it for the first time. Had this playing in the background, and when I heard that riff I popped back and checked the timer to see if that's what you were talking about. Sure enough.... Wow. Amazing.
There is another recording (on spotify) entitled "Live At Ronnie Scott's" Bill Evans that is a compilation of previously unissued material from 1968. Check that out too.
Dragony: Bill, into thy hands I commend my spirit. Dearly beloved ,Honour to whom honour is due.
Muchas gracias BillEvansArchive!!!
Para mí los tríos del enorme Bill Evans junto con otro enorme como Keith Jarrett lo más grande en la historia del Jazz!!
sentiste o conocés a Lennie Tristano? -en el Pozo del Poeta, Oliveros (se iba de gira con los 5 latinos) me dejó de cambio con Strano Santo; me trajo al mundo,
sin partes, títulos ni melodía que orejear. . . tocaba todo en 10 dedos, cuando le pregunté de dónde era lo que tocaba, me dió el nombre (en ese tiempo no encontré nada . . . ahora me lo como acá!)
Really lovely stuff. Bill's last trio in top form and beautifully recorded. Thanks for posting!
Pedantic niggle: why is Jimmy Van Heusen (4) credited as a writer but not Johnny Mandel (1), Henry Mancini (2) and some others?
George Gershwin(My Main's),Victor Young(Stella)
Супер !!!!
in some tunes I hear echoes of Scriabin
Listen to Scriabin's Piano Sonatas, and you will hear echoes of Scriabin for sure! Good point.
@@HJKelley47 earlier ones for sure. Latter ones, not so much, maybe the 8th
Just wondering if this great musician has a library of CDs package, or a long play CD the best of Bill Evans.
😀🌱🌼💚
What strikes me is how forceful and fierce his playing is on this date.
It’s cliche to say but it sounds as though he was playing for his life and trying to get everything out before his time was up, which unfortunately came about before the end of the year.
he mightve disliked the piano too. hed play harder if he didnt like the tone
I love Bill Evan's, and saw him live with Gomez and Zsigmond, but it's hard to listen to these final trio recordings. Folks that come to Bill thru this trio having heard all the accolades for Evan's invariably think, what's the big deal. All the aspects Bill's playing that I enjoyed , dynamics, quiet fire, controlled and perfectly executed playing, are all gone. He seems to be dragging this trio along with him. I would encourage new listeners to check out the wealth of material from the Gomez-Morrell trio, or the early Village Vanguard recordings. Been listening to Evan's for 50 years, and I'm pretty sure I've heard everything available.
are you sure ?
I find as great as la faro/motian trio ...nothing is gone...bill evans is always great....
NO, NO ! You are not getting the point. Bill Evans music had a great evolution in his last years. We can´t compare that little boy who did those early recordings ( such traditional jazz ), with, for instance his last phase, full of complex harmonies, inventive melodies, and richness of rhythm. You can´t expect an artist to remain all the same. That would not be jazz after all. Bill Evans last years are more creative, just listen more carefully.
You need to listen to the series CONSECRATION, one wek before his death. Amazing !
With all due respect, each recording from this period must be judged on its own merit. While his health was an obvious consistency factor by this time, this was when his creative spirit was moving in previously unheard directions. Unlike most examples of earlier recordings, he was taking musical chances, and that is all anyone should ask of artists of this caliber. I would challenge you or anyone to compare versions from this period of "I Loves You Porgy" (The Paris Concert vs Live in Buenos Aires) or Nardis (The Paris Concert vs any of the versions found on the box set, "Turn Out The Stars"). These are examples of a creative world class musical identity given license to move a personal musical narrative forward.
No, the elements of genius were not all gone. But the guy was near death and had endured much suffering. I heard him at the Village Vanguard in the late Sixties and he didn’t look at all well even then. I’m eighty, and in 55 years of listening to jazz no other musician has provided such consistent joy - every one of his performances, no matter how often played, soothes my soul.
Mipiace
Bill Evans Repertoire Any% speedrun, WR 1:39:04
It's still an incredible recording, don't get me wrong.
Hearing is believing - that this is humanly possible. . . .
Musicians such as this are so incredibly rare. Don’t be sleepin on ‘‘em while they’re around. Check out Hiromi Uehara.
🌠こんや日本は
ペルセウス流星群回帰ピーク日
2022年8月15日🎉
空の上で㊗️御祝いですね。
お誕生日おめでとう👏
Unfortunately, the piano has several notes REALLY out of tune, but the Bill Evans was at his height when he died. I was beginning to learn the piano. I love Bill Evans music so much !
Mio
This sounds almost like an electric bass, wtf?
Really love Bill and Eddie Gomez, Scott Lafaro and all of his musicians that played with him over the years. I have to admit though, not digging the drummer on this recording at all. Too loud and way too wild. Just my opinion and we all know what opinions are. :)
It is appointed for men to die once, but after this the judgment
Hebrews 9:27 NKJV
But God demonstrates His own love toward us, in that while we were still sinners, Christ died for us.
Romans 5:8 NKJV
For God so loved the world that He gave His only begotten Son, that whoever believes in Him should not perish but have everlasting life.
John 3:16 NKJV
Repent, and let every one of you be baptized in the name of Jesus Christ for the remission of sins; and you shall receive the gift of the Holy Spirit.
Acts 2:38 NKJV
Jesus answered, Most assuredly, I say to you, unless one is born of water and the Spirit, he cannot enter the kingdom of God.
John 3:5 NKJV
For as many as are led by the Spirit of God, these are sons of God.
Romans 8:14 NKJV
He who believes in the Son has everlasting life; and he who does not believe the Son shall not see life, but the wrath of God abides on him.
John 3:36 NKJV
Do not be deceived, God is not mocked; for whatever a man sows, that he will also reap.
Galatians 6:7 NKJV
For if we sin willfully after we have received the knowledge of the truth, there no longer remains a sacrifice for sins,
Hebrews 10:26 NKJV
Enter by the narrow gate; for wide is the gate and broad is the way that leads to destruction, and there are many who go in by it.
Because narrow is the gate and difficult is the way which leads to life, and there are few who find it.
Matthew 7:13-14 NKJV
Eye has not seen, nor ear heard, Nor have entered into the heart of man The things which God has prepared for those who love Him.
1 Corinthians 2:9 NKJV
And this gospel of the kingdom will be preached in all the world as a witness to all the nations, and then the end will come.
Matthew 24:14 NKJV
Classical pianist playing a modernized classical style influenced by the trouble within him, causing his music to sound confusing and sad - not to be confused with real jazz music.
Jazz was around long before Evans appeared on the scene. George Shearing played a style of piano that one could say that Evans copied to some degree. Garner originated his own style. In each instance, each pianist established his own "fingerprint" identifying himself apart from others. Whatever "everyone else" copied from Evens, it fell outside jazz music into a category of its own, mistakenly called jazz.
Algonquin - small thoughts.
You presume yourself the standard by which Jazz is interpreted. This is literature; sad or confused moments are part of it. Real jazz. That’s preposterous.
NO, NO ! You are not getting the point. Bill Evans music had a great evolution in his last years. We can´t compare that little boy who did those early recordings ( such traditional jazz ), with, for instance his last phase, full of complex harmonies, inventive melodies, and richness of rhythm. You can´t expect an artist to remain all the same. That would not be jazz after all. Bill Evans last years are more creative, just listen more carefully.
Your analysis will be as irrelevant in 100 years as it is now.
As Ronnie once said "When I want your opinion, I will give it to you"
1-1 Emily 0:00
1-2 Days Of Wine And Roses 5:33
1-3 Knit For Mary F. 13:58
1-4 Like Someone In Love 20:05
1-5 Your Story 27:12
1-6 Stella By Starlight 31:08
1-7 My Man's Gone Now 39:36
1-8 Letter To Evan 45:43
August 2, 1980
2-1 I Do It For Your Love 53:46
2-2 Turn Out The Stars
59:17
2-3 My Romance 1:06:24
2-4 Laurie 1:14:43
2-5 The Two Lonely People 1:22:00
2-6 Peau Douce 1:28:12
2-7 But Beautiful 1:34:12