Bill Evans Valtz For Debby

Monica Zetterlund & Bill Evans - Waltz for Debby (1964) {Philips–Universal 510268-2 rel 2001}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 187 Mb | MP3 @320 -> 81 Mb
Full Artwork @ 300 dpi (png) -> 74 Mb | 5% repair rar
© 1964, 2001 Philips / Universal Music AB | 510 268-2
Jazz / Vocal Jazz / Modal Jazz / Piano

This 1964 date places the Swedish jazz vocalist Monica Zetterlund alongside the Evans Trio (with Chuck Israels on bass and Larry Bunker on drums). Still, the match is seemingly perfect. Evans' lyricism is well suited to a breezy, sophisticated songstress like Zetterlund. There is an iciness on this recording, but it is difficult to decipher if it is in the performance or in the engineering where she seems to be way out in front of the band, when she was really in the middle of all the musicians in the studio.

Bill Evans - Waltz For Debby, The Complete 1969 Pescara Festival (2004) {Lone Hill Jazz LHJ10156}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 194 Mb | MP3 @320 -> 145 Mb
Full Artwork @ 300 dpi (jpg) -> 12 Mb | 5% repair rar
© 1969, 2004 Lone Hill Jazz | LHJ10156
Jazz / Cool / Post Bop / Modal Music / Piano

On July 18, 1969, Evans took his trio with Eddie Gomez and Marty Morell to Italy in order to inaugurate the Pescara festival located on the Adriatic coast. The group was recorded live on eleven tracks that were supposed to be broadcast for radio only. But much to the chagrin of Evans and his manager, the concert was released as limited edition on two Japanese CDs. This release contains Bill Evans' Peccary Festival performance, marking the first time all of these songs are found on one disc.

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. Evans chose the material here, and, possibly, in some unconscious way, revealed on these sessions - and the two following LaFaro's death (Moonbeams and How My Heart Sings!) - a different side of his musical personality that had never been displayed on his earlier solo recordings or during his tenures with Miles Davis and George Russell: Evans was an intensely romantic player, flagrantly emotional, and that is revealed here in spades on tunes such as "My Foolish Heart" and "Detour Ahead"…

In between stints recording for the Riverside or Fantasy labels, Bill Evans worked for the Verve label and produced music that was either more challenging or, in this case, mellower. This collection emphasizes the more romantic side of the pianist, in either trio contexts or with a lone additional accompanist, primarily guitarist Jim Hall. There is a single orchestrated selection, Evans' own "Time Remembered," and the rest are small-ensemble ballad standards that stand the test of time. Only one of the other remaining numbers, "Turn Out the Stars," is composed by Evans, and a bit of Bach is included. This is perfect after-hours seduction or dinner music that fans of Evans can easily appreciate, while others can just play the CD and let the gentle evening unfold.

Bill Evans At Town Hall (1966). This LP is a superior effort by Bill Evans and his trio in early 1966. The last recording by longtime bassist Chuck Israels (who had joined the Trio in 1962) with Evans (the tastefully supportive drummer Arnold Wise completes the group), this live set features the group mostly performing lyrical and thoughtful standards. Highlights include "I Should Care," "Who Can I Turn To," and "My Foolish Heart." The most memorable piece, however, is the 13-and-a-half-minute "Solo: In Memory of His Father," an extensive unaccompanied exploration by Evans that partly uses a theme that became "Turn Out the Stars"…