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Bass and drum solos don’t distract but ass energy to Evan’s precious as he dissects and reassembles the Disney/Larry Morey and Frank Churchill classic. If anybody has information on this album and if it’s worth getting or maybe get waltz for Debby or portrait in jazz. Finance is provided by PayPal Credit (a trading name of PayPal UK Ltd, Whittaker House, Whittaker Avenue, Richmond-Upon-Thames, Surrey, United Kingdom, TW9 1EH). 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.
The extensive 52-page booklet showcases previously unpublished photos by Jan Persson from Evans’ Danish tours, as well as insightful liner notes by acclaimed author, journalist and Evans scholar, Marc Myers, plus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’ longtime trio mates - bassist Eddie Gomez and drummer Marty Morell, and pianists Ran Blake and Matthew Shipp. The second disc contains later trio recordings, this time featuring bassist Eddie Gomez, eventually the pianist’s longest-tenured collaborator, along with drummers Alex Riel (on the ’66 set) and Marty Morell (from a ’69 session). Treasures: Solo, Trio and Orchestra Recordings from Denmark (1965-1969) is a set of never-before-released recordings of jazz piano icon Bill Evans, taped with excellent sound quality either live or in Danish TV and Radio studios in the mid-to-late 1960s. 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).On listening, it seems that Evans regarded the orchestra no different than his trio – they were fellow musicians to hear, listen to, and respond to. The latest of these, Treasures, is a collection of previously unissued performances—over two hours of music, 2xCD or 3xLP—made for Danish radio and cut between 1965 and 1969.
Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers.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.
In the edit page, go to the 'Metadata' tab and add your Juno artist, label or release page for listeners to purchase your release / releases. Bill Evans is well established in the jazz firmament, and the treasures on this recording are a testament to his lofty placement. The Royal Dutch Symphony (featuring trumpeter Palle Mikkelborg) joins bassist Eddie Gomez and drummer Marty Morrell (who all share their recollections of the time in the beautifully curated deluxe booklet) for luxuriant renderings of, among others, "Time Remembered" and "My Bells. LondonJazz is a not-for profit venture, but may occasionally take on work as a paid publicist and/or sell advertising packages. There are some excellent livelier cuts in the mix this time, like the humming “Autumn Leaves” and the hard-swinging “Emily.
NHØP and the two drummers each swing beautifully behind him, making these two of the most satisfying Evans trios I have ever heard. This compilation holds immense value, as it represents an opportunity to experience the authentic essence of Evans' artistry on a tangible medium. Description 'Treasures' is a 3LP set of never-before-released live recordings by jazz piano icon Bill Evans insolo, trio and orchestral performances from the Copenhagen Jazz Festival, television and radio broadcasts in Denmark in the mid-to-late 1960s, 180g vinyl - triple gatefold sleeve.
There’s a lot of music too, with plenty of variety: two hours and 18 minutes comprising one solo set, four pure trio performances with varying bassists and drummers, and a trio augmented by a symphony orchestra and big band. This is the quickest I've resold an RSD release, and it wasn't a hard decision to make even though I lost money on it. On the standards ‘Stella by Starlight’ and ‘Autumn Leaves’, Evans, and his trio, including his long-time bassist Eddie Gomez crackle with sparks and life, the trio members taking their place as genuine contributors to the song as it unfolds. A few songs later, he ends his solo set with “Epilogue,” the haunting fragment threaded through his 1958 LP Everybody Digs Bill Evans.
It's an absolute must-have for jazz aficionados and anyone seeking to explore the enchanting sphere of Bill Evans' music. Eddie Gomez was the longest serving bassist of any Bill Evans Trio (1966–77), and Marty Morell a longstanding member too (1968–75), so it’s interesting to hear them performing with Evans relatively early on. The final performance is the Evans/Gomez/Morell trio in Aarhus (November 1969), a change of drummer and a gap of three years perhaps most noticeable in how Morell sounds more to the fore than Riel – particularly on a brisk version of Autumn Leaves that has a longish bass-drums dialogue from which Evans drops out completely. When you pair Evans’ endlessly listenable style with a seemingly bottomless well of recorded gigs, you get a reissue cottage industry boosted further by the vinyl revival. As well as the usual ‘track listing, personnel and recording dates’ type information, the booklet is packed with rare photos, interviews with (or articles on) the musicians involved, and other insightful articles such as an analysis of Bill Evans’s time in Denmark.