Bill Evans

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.

Another Bill Evans compilation from the Verve label. How many stars you think it deserves depends how much you want this selection rather than the albums (all available at the time of writing) from which they come. The tracks are from sessions recorded between 1962 and 1968. If this seems a limited scope, in fact one of the potential attractions of the disc is the variety of the material, representing Evans in solo, duo, trio and overdubbed settings as well as with orchestral accompaniment. Another potential attraction is the range of musicians, including an intriguing line-up of bassists and drummers and, on one track, guitarist Jim Hall.

Newly discovered live performance by Bill Evans Trio, featuring Eddie G¢mez - bass & Eliot Zigmund - drums. The previously unreleased concert took place on June 20, 1975, at Oil Can Harry's, Vancouver, BC. Captured for radio host Gary Barclay, it was aired on his popular CHQM jazz show. For nearly half a century, the tapes lay forgotten - until now. Thanks to audio restoration by Plangent Processes & mastering by Paul Blakemore, it sounds just as fresh today as it did in 1975.

After providing an abundance of hard-edged, aggressive jazz-funk and jazz-rap on Live and Escape, Bill Evans surprised his followers by being so relaxed on Starfish and the Moon. This excellent, highly melodic CD was hailed as "Bill Evans' acoustic album," which was misleading because Starfish has its share of keyboards and synthesizers as well as electric bass and electric guitar. But it is accurate to say that the rap-free Starfish uses more acoustic instruments and less amplification than one had come to expect from the soprano and tenor saxophonist, who favors subtlety on such introspective, lyrical jazz-pop as "The Last Goodbye," "Something In the Rose" and "I'll Miss You." Even when he gets into a funk-minded groove on "Whiskey Talk" and "Shady Lady," Evans is moody and evocative rather than intense…

The Bill Evans Trio's 1973 concert in Tokyo was his first recording for Fantasy and it produced yet another Grammy-nomination for the presentation. With bassist Eddie Gomez and drummer Marty Morell, this LP mixes offbeat songs with overlooked gems, familiar standards, and surprisingly, only one Evans composition, the demanding "T.T.T.T. (Twelve Tone Tune Two)." Bobbie Gentry's "Mornin' Glory" was an unusual choice to open the performance and seems a bit conservative for Evans. The adrenaline picks up considerably with his midtempo waltzing take of Jerome Kern's "Up with the Lark" and a driving "My Romance." Evans also revisits the twisting Scott LaFaro tune "Gloria's Step," which showcases both Gomez and Morell. The closer, "On Green Dolphin Street," is given a slight bossa nova flavor and isn't nearly as aggressive as most of the pianist's live recordings of this popular standard…

The Bill Evans Trio's 1973 concert in Tokyo was his first recording for Fantasy and it produced yet another Grammy-nomination for the presentation. With bassist Eddie Gomez and drummer Marty Morell, this LP mixes offbeat songs with overlooked gems, familiar standards, and surprisingly, only one Evans composition, the demanding "T.T.T.T. (Twelve Tone Tune Two)." Bobbie Gentry's "Mornin' Glory" was an unusual choice to open the performance and seems a bit conservative for Evans. The adrenaline picks up considerably with his midtempo waltzing take of Jerome Kern's "Up with the Lark" and a driving "My Romance." Evans also revisits the twisting Scott LaFaro tune "Gloria's Step," which showcases both Gomez and Morell. The closer, "On Green Dolphin Street," is given a slight bossa nova flavor and isn't nearly as aggressive as most of the pianist's live recordings of this popular standard…

Bill Evans and his 1965 trio (which also includes bassist Chuck Israels and drummer Larry Bunker) meet a symphony orchestra conducted and arranged by Claus Ogerman. They perform adaptations of six classical themes plus a pair of Evans compositions ("Time Remembered" and "My Bells") but, as one might expect, the strings weigh down the music and Evans' improvisations are somewhat buried beneath the unimaginative arrangements.