From Bill Evans

In its ongoing series of reissues under the Double Time Jazz Collection moniker, Eagle Eye Media has put together two tribute shows on one DVD that demonstrate how a conception that is reverent yet forward-thinking can work wonderfully in one instance, and somewhat less-so in another. Tribute to John Coltrane: Live Under the Sky is an almost relentless, take-no-prisoners homage to Coltrane that works because it tries to take his music to a new place that is nevertheless respectful of its roots. Tribute to Bill Evans: Live at the Brewhouse is less successful because, while the musicianship is uniformly excellent, the lineage to Evans is less direct.

Morning Glory: The 1973 Concert at the Teatro Gran Rex, Buenos Aires is the first official release of pianist Bill Evans with Eddie Gomez and Marty Morell captured live at the Teatro Gran Rex in Buenos Aires, Argentina on June 24, 1973.

Bill Evans - The Sesjun Radio Shows (2011) {2CD Set, T2 Entertainment PRCD2011005 rec 1973-1979}
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© 1973-79, 2011 Out Of The Blue / Beeld en Geluid / T2 Entertainment | PRCD 2011005
Jazz / Post Bop / Modal Music / Piano

Bill Evans was frequently recorded for radio broadcast during his various European tours, many of which ended up as bootlegs with incorrect song and personnel listings, poor audio, and incomplete tracks. Fortunately, everything is done right in this two-CD set, which is compiled from three separate performances between 1973 and 1979. The first five tracks are from a duo tour with the phenomenal bassist Eddie Gomez, who spent over 11 years with the pianist. The absence of a drummer (Marty Morell was evidently not a part of this tour, though he played with Evans into 1974) gives Evans a more intimate sound; Evans seemed to achieve an incredible E.S.P. playing with the talented Gomez.

The only studio meeting between Stan Getz and Bill Evans took place over two days in 1964, with the aggressive drummer Elvin Jones and either Richard Davis or Ron Carter on bass. It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz and Evans hadn't had enough time to achieve the desired chemistry, though there are memorable moments. The punchy take of "My Heart Stood Still," the elegant interpretation of "Grandfather's Waltz," and the lush setting of the show tune "Melinda" all came from the first day's session, with Davis on bass. (Evidently he was unavailable the following day, so Carter replaced him.) Evans' driving, challenging "Funkallero" is the obvious highlight from day two, though the gorgeous "But Beautiful" and the breezy setting of "Night and Day" are also enjoyable…

Mixing laid-back melodies with go-for-broke jams with some of the greatest names in modern instrumental music, saxophonist Bill Evans lives in the middle ground between smooth jazz and what could easily be termed of as contemporary jazz fusion. On his Zebra Records debut, Touch, the distinction is based on each song's sense of adventure. "In Your Heart," for instance, is the kind of right in the pocket, sweet little slice of passion that radio drools over, made unique (as Evans does on all tunes) by switching off from the high tones of the soprano with the darker shades of tenor to better discuss the emotional complexities of love. Likewise there's the cool, urban-flavored "Remember," which features subtle vocal chanting floating off in the distance. But then there's the edgier side of Evans intertwining his soprano with Lew Soloff's staccato trumpet energy on the brisk blues of "Dixie Hop," and kicking up all sorts of dust on the last two tunes, "Back to the Walls" and the ten-minute "Country Mile."

Bill Evans - Time Remembered (1999) {Milestone}
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© 1999 Milestone / Fantasy | 00025218478328
Jazz / Post Bop / Modal Music / Piano

Recorded in April 1962 and May 1963. Pianist Bill Evans' final project for the Riverside label resulted in eight songs released as Bill Evans Trio at Shelly's Manne-Hole. This set doubles the program by adding eight previously unreleased selections. Evans, who is in fine form playing in a trio with bassist Chuck Israels and drummer Larry Bunker, often sounded more relaxed in concert than in studios and he stretches himself on the material (mostly standards), making one wonder why all of the music was not orignally released. This is one of the finest recordings by this particular trio.