Live at Art D'Lugoff's Top of The Gate [2CD]

Modern Jazz / Pianistyka Jazzowa
premiera polska: 2012-12-06
kontynent: Ameryka Północna
kraj: USA
opakowanie: digipackowe etui
opis:
Po raz pierwszy wydany koncert Bill Evans trio z Greenwich Village, NYC 23 październik 1968 w składzie:
Bill Evans: Piano
Eddie Gomez: Bass
Marty Morell: Drums

Audiofilskie, kolekcjonerskie wydawnictwo - limitowana edycja 2CD, master przez Bernie'go Grundmana.

Dołączony 28 stronicowy booklet z opisem sesji i fotografiami legendarnych artystów - Tom Copi, Jan Persson, Raymond Ross, Fred Seligo i Herb Snitzer.

Płyta otrzymała świetne recenzje w opiniotwórczych mediach jak Stereophile, JazzTimes, Allaboutjazz, The Wall Street Journal czy Jazz Weekly.

W październiku 1968 roku znakomite trio pianisty Billa Evansa z basistą Eddie Gomezem i perkusistą Marty Morellem zagrało w Greenwich Village dwa koncerty, które po ponad czterdziestu latach zostały po raz pierwszy wydane.

Album zawiera materiał, który do tej pory został zaprezentowany jedynie na antenie stacji radiowej WKCR-FM Uniwersytetu w Kolumbii. Podczas koncertów muzycy wykonali szereg standardów, autorstwa m.in. Theloniousa Monka, Burta Bacharacha, Billa Evansa, Duke’a Ellingtona, Jerome'a Kerna, czy Cy Colemana.

All About Jazz
[. . .] The lineup that night consisted of three musicians in their prime: Evans, bassist Eddie Gomez and drummer Marty Morell. Evans had, reportedly, kicked his drug habit during this period, and this was thought by many to be his most stable and, certainly, longest-lasting group. This trio was together until 1975. The LP/CD shows Evans in both swinging and contemplative modes and highlights the trio's superb interaction. Gomez had been with Evans since 1966, while Morell came aboard in 1968, Gomez was a master improviser, while Morell was an energetic, straight-ahead drummer, always keeping the trio on track. Along with the leader, both contribute masterful solos here. Each disc features one complete set, including two versions of three songs. There is one original, the rest are jazz standards and familiar show tunes.[. . .] To be sure, there are the trademark elegant Evans' takes, particularly on "My Funny Valentine" and "Emily." We can be thankful, indeed, that Klabin had the foresight to pack away these tapes to be opened now. This package includes a 27-page booklet, some vintage photographs and essays by producer Zev Feldman, jazz critic Nat Hentoff and vibraphonist Gary Burton.
By LARRY TAYLOR

Stereophile
[. . .] Musically, any unreleased, undiscovered Bill Evans is an event of note-and especially this year, which marks the 83rd anniversary of his birth (Evans died in 1980, at 51). On these two discs, in a fortuitous conflux as the sound quality improves, so does the intensity of Evan's playing. Crowd noise is kept to a minimum throughout. The 180 gram, Bernie Grundman mastered, RTI-pressed LPs are incredibly quiet. [. . .]
by Robert Baird

The Wall Street Journal
[. . .] All of Evans's poetic qualities are here. The new LPs/CDs feature the evening's two sets, just as they were heard that night. Evans makes exceptional use of left-hand pedal tones while unleashing suspenseful, springing lines with his right. You also hear bassist Eddie Gomez and newly arrived drummer Marty Morell working to jell around the pianist's conversational playing style.

"Bill was particularly energetic that night, and there was a lot of exploration and excitement by the trio," Mr. Morell said. "I had just joined, so what you hear is us getting to know each other musically." As for that enterprising college student and budding engineer, George Klabin, he now owns Resonance Records [. . .]
by Marc Myers

JazzTimes
[. . .] There are some deep love letters in these two sets. But even on a piece as crystalline as the final track, “Here’s That Rainy Day,” Evans builds passionate urgency. By 1968, especially in a live setting, he was a less introverted pianist than the one who made the iconic Village Vanguard recordings seven years earlier. Eddie Gomez, in his second year of an 11-year tenure as Evans’ bassist, is fast and flamboyant. Drummer Marty Morell never solos. He was brand new with the trio, understandably tentative but already sensitive with his energy [. . .]
By Thomas Conrad

Jazz Weekly
[. . .] This tiny label has been putting out some extremely impressive and important archival material lately. Freddie Hubbard and Wes Montgomery were recently featured, and now this one with Bill Evans’ 1968 trio with Eddie Gomez/b and Marty Morell/dr really puts them on the map. Not only have all of these discs been obscure, but they’ve been sessions from important points in each artist’s career. In this case, it was the very beginning of Evans’ trio that had Morell join into the team. Evans and Gomez had played with a rotation of drummers ranging from Philly Joe Jones to Jack DeJohnette, and this gig in New York might be the first session with the regular working team, right at about the time of their What’s New album. Probably due to the fact that he was the new kid on the block, Morell mostly stays in the background as a supporter, while Gomez and Evans take the lion’s share of the solos. This fact also results in most of the songs clocking in between 4-6 minutes, so concision is a major factor here. So is the song selection, LOTS of standards, with only “Turn Out The Stars” being an original during the two sets of this double cd set. Evans was in an assertive stage in his career at the close of the 60s, so takes of “Emily” and “Yesterdays” are a bit bolder than you might expect from Evans’ fingers, but it works well here, with some nice sparks flying during “California Here I Come” and a swinging “Witchcraft.” There is a little repetition of material between sets, but , hey, it’s BILL EVANS for Pete’s sake, so you’re going to be fine. A real nice addition to your piano trio collection. [. . .]
By George W. Harris

Editor's info:
Deluxe two CD set from the Jazz legend containing two previously unreleased live sets recorded in Greenwich Village on October 23, 1968. This double disc set includes two complete, never before released concerts. Contains 28-page booklet with essays by Nat Hentoff, Gary Burton, Eddie Gomez, Marty Morell, George Klabin & Art D'Lugoff's son Raphael D'Lugoff. Booklet also includes iconic photos by Tom Copi, Jan Persson, Raymond Ross, Fred Seligo, and Herb Snitzer and interesting historical documents includes contracts, postcards, family photos, and more.

muzycy:
Bill Evans: Piano
Eddie Gomez: Bass
Marty Morell: Drums

utwory:
CD1:
Emily
Witchcraft
Yesterdays
Round Midnight
My Funny Valentine
California Here I Come
Gone With The Wind
Alfie
Turn Out The Stars

CD2:
Yesterdays
Emily
Round Midnight
In A Sentimental Mood
Autumn Leaves
Someday My Prince Will Come
Mother of Earl
Here's That Rainy Day

wydano: 2020
nagrano: Recorded October 23, 1968, Greenwich Village, NYC by George Klabin.

more info: www.resonancerecords.org