Bill Evans The Solo Sessions

Bill Evans Trio - Waltz For Debby (1961) {Analogue Productions}
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© 1961 RIverside / Analogue Productions | CAPJ 009
Jazz / Post Bop / Modal Music / Cool

Recorded at the Village Vanguard in 1961, shortly before Scott LaFaro's death, Waltz for Debby is the second album issued from that historic session, and the final one from that legendary trio that also contained drummer Paul Motian. While the Sunday at the Village Vanguard album focused on material where LaFaro soloed prominently, this is far more a portrait of the trio on those dates.

A rarely seen filmed performance by the splendid Miles Davis septet, recorded live in Warsaw in 1983 - with saxophonist Bill Evans and guitarist John Scofield. This fabulous, complete concert was filmed shortly after Miles Davis recorded his celebrated album 'Star People' - and features many of the compositions from the album, although it hadn`t actually yet been released when they performed in Poland. Bill Evans (the sax player) had been replaced by Branford Marsalis on the original studio versions of 'That`s Right' and 'Code M.D.'

Miles Davis - At Newport 1958 (1964) {2001 Columbia Remaster}
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© 2001 Sony Music / Columbia / Legacy | CK 85202 2
Jazz / Modal Music / Hard Bop

Thanks to the research that went into the box set The Complete Miles Davis/John Coltrane Sessions there's a the definitive Newport 1958 date that features the debut live performances to the Miles Davis Sextet's two newest members: drummer Jimmy Cobb and pianist Bill Evans. The gig was part of a festival tribute to Duke Ellington, but that didn't stop Davis from showing off – aggressively – what his new band was capable of (six months later he would show the world when the band went to record Kind of Blue). This is a revelatory performance for fans of Evans. When Cobb kicks off into Charlie Parker's "Au-Leu-Cha," the tempo is breakneck. Davis' solo is all fire, pure heat, and inspiration. The melody goes by in a blink, and Cobb and Chambers carry the dictum to go faster as Davis gives way first to Coltrane, already moving his angular lines to the harmonic breaking point and doing them not in scales but in modes, fast and footloose.

Charlie Parker - Bird: The Complete Charlie Parker On Verve (1946-1954) {2005 10CD Box Set Verve-Universal 983 3382}
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© 1949-54, 2005 Verve / Universal Music Italia Srl | 983 3382
Jazz / Bop / Small Group / Big Band / Saxophone

As a leader, Charlie Parker recorded for Savoy and Dial during 1945-1948 and then for Verve exclusively (at least in the studios) during 1949-1954. This remarkable ten-CD box set, which adds quite a bit of material to an earlier ten-LP set, contains all of these recordings plus Bird's earlier appearances with Jazz at the Philharmonic. The JATP jams are highlighted by Parker's perfect solo on "Oh Lady Be Good," a ferocious improvisation on "The Closer," and a solo on "Embraceable You" that tops his more famous studio recording. In addition, this box has all of the "Bird and Strings" sides, his meetings with Machito's Cuban orchestra, the 1950 session with Dizzy Gillespie and Thelonious Monk, small-group dates (including a 1951 meeting with Miles Davis), odd encounters with voices and studio bands, the famous "Jam Blues" with fellow altoists Johnny Hodges and Benny Carter, and his final recordings, a set of Cole Porter tunes. The fact-filled 34-page booklet is also indispensable. Highly recommended.

For Loren Schoenberg of the Jazz Museum of Harlem, it's the discovery that capped nearly forty years of searching. For us at Mosaic, it's the "find" that has us re-examining an era we thought we knew inside out. And now, for listeners, it's an historic and fleeting opportunity to own a treasure trove of previously unknown music. Mosaic Records presents "The Savory Collection" - six CDs with 108 tracks locked away for more than 70 years and finally available on CD for the very first time anywhere. The recordings are from the personal collection of Bill Savory, a quirky and secretive studio engineer in New York whose day job in the late 1930s and early 1940s was transcribing radio broadcasts for foreign distribution, and whose nighttime passion was turning on the disc recorders to pull in and preserve what was happening in the clubs of New York City and other cities.