Bill Evans' Fantasy recordings of 1973-1979 have often been underrated in favor of his earlier work but, as this remarkable nine-CD set continually shows, the influential pianist continued to grow as a musician through the years while holding on to his original conception and distinctive sound. The collection has all of the 98 selections recorded at Evans' 11 Fantasy sessions, including nine numbers from a previously unreleased 1976 concert with his trio. In addition, Evans' appearance on Marian McPartland's Piano Jazz radio program is tacked on as a bonus and it is actually among McPartland's finest shows, a fascinating hour of discussion and music with Evans.
Portrait In Jazz (1960). The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of "Autumn Leaves." Other than introducing Evans' "Peri's Scope," the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as "Come Rain or Come Shine," "When I Fall in Love," and "Someday My Prince Will Come" (which preceded Miles Davis' famous recording by a couple years) are full of subtle and surprising creativity. A gem…
Bill Evans features five separate performances by one of the most revered pianists in music history. This collection covers an 11-year span, highlighting Evans’ ever-deepening artistry as he performs with four different all-star rhythm sections, including the stunning duo of bassist Niels-Henning Ørsted Pedersen and drummer Alan Dawson. This DVD includes for the first time on home video Evans’ renditions of the rarely performed “Sareen Jurer,” “Blue Serge” and “Twelve Tone Tune Two.” Among the many surprises in this collection is a live performance of “My Melancholy Baby” with saxophonist Lee Konitz.
Sting - After disbanding the Police at the peak of their popularity in 1984, Sting quickly established himself as a viable solo artist, one obsessed with expanding the boundaries of pop music. Sting incorporated heavy elements of jazz, classical, and worldbeat into his music, writing lyrics that were literate and self-consciously meaningful, and he was never afraid to emphasize this fact in the press.
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.