New Vanguard 311

Bill Evans Trio - Sunday At The Village Vanguard (1961) {2008 Riverside} [Keepnews Collection Complete Series] (Item #23of27)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 459 Mb | MP3 @320 -> 161 Mb
Full Artwork @ 600 dpi (png) -> 311 Mb | 5% repair rar | 24-bit remastering
© 1961, 2008 Concord / Riverside | 0888072305090
Jazz / Post Bop / Modal Music / Piano

Conventional wisdom, which in this case may be right, holds that Bill Evans' storied career peaked on June 25, 1961, a date that yielded two live records, Sunday at the Village Vanguard and Waltz for Debby, the final two documents of Evans' first, and best, trio, with bassist Scott LaFaro and drummer Paul Motian. In the two years he'd been playing with Evans, LaFaro had opened up new possibilities for the jazz bass, playing with a harmonically oblique, melodically flexible style that was, at the time, unprecedented. Ten days after this record was made he died, just 25 years old.

I do think that this Decca set is arguably the best compilation reissue of such a bulk of Handel work which has been released in a long time, just in time to commemorate the two hundred fiftieth anniversary of the passing of il caro Sassone. There is a lot in this box, absence of libretti notwithstanding. The enclosed booklet is essential to navigate you through the track listings and timings and little else but a small general essay on GFH.

By John Van Note

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Here is a second volume in Splasc(h)'s '60s jazz reissue series – the first being Mario Schiano's Original Sins featuring material from 1967-1970. The presentation on Ecstatic is somewhat misleading, as Gruppo Romano Free Jazz is really just Schiano with many of the ensemble players from the first volume: namely Giancarlo Schiaffini on trombone, ocarina, and baritone flugelhorn; Schiano on alto and soprano saxophone; Marcello Melis on bass and toy guitar; and Franco Pecori on drums…

A highly individual composer, Ernest Bloch did not pioneer any new style in music but spoke with a distinctive voice into which he could assimilate folk influences, 12-tone technique, and even coloristic quarter tones. In a stylistically atomized century his interests were universal, and his music was both beloved by the public and inspirational for a younger and more academically oriented generation. His father was the quintessential Swiss, a well-off manufacturer of watches and clocks, including cuckoo clocks. Ernest had a diverse musical training that included advanced violin training, study of eurhythmics with Émile Jacques-Dalcroze; he traveled from Switzerland to Belgium, Munich, and Paris in …….
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