Category: SACD

Title: Bill Evans – You Must Believe In Spring (1980) [Japanese Limited SHM-SACD 2011]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

This well-rounded set (released posthumously) features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as “We Will Meet Again,” Jimmy Rowles’s classic “The Peacocks” and the “Theme from M*A*S*H.” It’s a solid example of the great pianist’s artistry.

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Title: Bill Evans Trio – Waltz for Debby (1961) [Hybrid-SACD ReIssue 2002]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Years ago, having heard this was one of the best jazz records ever, I bought the CD, finding it indifferently mastered and mildly boring. In view of the high regard for this recording, I have retried it every now and then, reestablishing the same impressions. The SACD reincarnation transformed all this. Listening to the same music has become infinitely more involving, a sensual experience. Yes, the recording has its very apparent shortcomings: the piano, slightly coarse, comes out of the right speaker only; the drums and the somewhat bigger-than-life double-bass come from the left speaker only; there is hardly any middle, except for audience noises. However, what presence and tangibility! In spite of these shortcomings and being “only stereo”, this is still one of the best-sounding SACDs I have had the pleasure of hearing. Actually, audience noises and clicking of glasses only add to the feeling of “being THERE”, much more so than, say, in the audiophile classic Jazz at the Pawnshop, Vol. 1 – Arne Domnerus in its newer (2005) remastering. Recommended! SA-CD.net
review by Thom Jurek 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.” There is a kind of impressionistic construction to his harmonic architecture that plays off the middle registers and goes deeper into its sonances in order to set into motion numerous melodic fragments simultaneously. The rhythmic intensity that he displayed as a sideman is evident here in “Milestones,” with its muscular shifting time signature and those large, flatted ninths with the right hand. The trio’s most impressive interplay is in “My Romance,” after Evans’ opening moments introducing the changes. Here Motian’s brushwork is delicate, flighty and elegant, and LaFaro controls the dynamic of the tune with his light as a feather pizzicato work and makes Evans’ deeply emotional statements swing effortlessly. Of the many recordings Evans issued, the two Vanguard dates and Explorations are the ultimate expressions of his legendary trio. allmusicguide

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Title: Bill Evans Trio – Waltz For Debby (1962) [Japanese Limited SHM-SACD 2014]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Waltz for Debby is a live album by jazz pianist and composer Bill Evans and his Trio consisting of Evans, bassist Scott LaFaro, and drummer Paul Motian. his album is widely considered to be one of the best in the Evans canon, and the type of emotive interplay between the musicians that at some points seemed almost deconstructed has served as a model for piano trio play.

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.” There is a kind of impressionistic construction to his harmonic architecture that plays off the middle registers and goes deeper into its sonances in order to set into motion numerous melodic fragments simultaneously. The rhythmic intensity that he displayed as a sideman is evident here in “Milestones,” with its muscular shifting time signature and those large, flatted ninths with the right hand. The trio’s most impressive interplay is in “My Romance,” after Evans’ opening moments introducing the changes. Here Motian’s brushwork is delicate, flighty and elegant, and LaFaro controls the dynamic of the tune with his light as a feather pizzicato work and makes Evans’ deeply emotional statements swing effortlessly. Of the many recordings Evans issued, the two Vanguard dates and Explorations are the ultimate expressions of his legendary trio.

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Title: Bill Evans Trio – Waltz for Debby (1961) [Hybrid-SACD ReIssue 2002]
Genre: Jazz
Format: SACD ISO

Years ago, having heard this was one of the best jazz records ever, I bought the CD, finding it indifferently mastered and mildly boring. In view of the high regard for this recording, I have retried it every now and then, reestablishing the same impressions. The SACD reincarnation transformed all this. Listening to the same music has become infinitely more involving, a sensual experience. Yes, the recording has its very apparent shortcomings: the piano, slightly coarse, comes out of the right speaker only; the drums and the somewhat bigger-than-life double-bass come from the left speaker only; there is hardly any middle, except for audience noises. However, what presence and tangibility! In spite of these shortcomings and being “only stereo”, this is still one of the best-sounding SACDs I have had the pleasure of hearing. Actually, audience noises and clicking of glasses only add to the feeling of “being THERE”, much more so than, say, in the audiophile classic Jazz at the Pawnshop, Vol. 1 – Arne Domnerus in its newer (2005) remastering. Recommended! SA-CD.net
review by Thom Jurek 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.” There is a kind of impressionistic construction to his harmonic architecture that plays off the middle registers and goes deeper into its sonances in order to set into motion numerous melodic fragments simultaneously. The rhythmic intensity that he displayed as a sideman is evident here in “Milestones,” with its muscular shifting time signature and those large, flatted ninths with the right hand. The trio’s most impressive interplay is in “My Romance,” after Evans’ opening moments introducing the changes. Here Motian’s brushwork is delicate, flighty and elegant, and LaFaro controls the dynamic of the tune with his light as a feather pizzicato work and makes Evans’ deeply emotional statements swing effortlessly. Of the many recordings Evans issued, the two Vanguard dates and Explorations are the ultimate expressions of his legendary trio. allmusicguide

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Title: Bill Evans Trio – Sunday At The Village Vanguard (1961) [2002, Analogue Productions Stereo SACD]
Genre: Jazz
Format: SACD ISO

Most of the APO analog to DSD conversions are great, but this one is probably the best from a sonic perspective. And if you like jazz trio’s with articulate bass playing and a clear and purposeful piano technique, then you are in for a treat. This is a live recording set at the New York Village Vanguard jazz club with accompanying audience ‘participation’, though that never distracts. The Stereo separation is rather absolute left/right, with the piano in the right speaker and the rest in the left. There is virtually no center image. It is said that the interaction with his rhythmn section and the prominent place he gives them is a hallmark of the Bill Evans Trio. The bass of Scott LaFaro gets the same attention here as Bill Evans’ piano. Every song is rich in texture and communicates the enormous skills of each of the players. There are many tempo changes and the playing just demands your attention. This is not one for background music, it’s far too interesting for that. Unfortunately LaFaro died in a car accident ten days after this recording – one of the reasons for featuring him so prominently here. A second album was cut of this session. So if you want to re-live that afternoon on June 25, 1961, you have no choice to buy ‘Waltz For Debbie’ as well – some choice === One of the finest sounding Jazz SACDs in my collection. Expensive now (cira 2013), but it is a must have SACD. At first I thought there was a pressing error/glitch on one track, but I double checked the OJC Red Book and it is there as well. Every system update reveals more information from this stunning SACD. It will hurt when you shell out the bucks for it today unless you can get a good deal, but man is it so worth it! Highest recommendation. sa-cd.net

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Title: Bill Evans Trio – Moon Beams (1962) [2002, Analogue Productions Stereo SACD]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Review by Thom Jurek Moonbeams was the first recording Bill Evans made after the death of his musical right arm, bassist Scott LaFaro. Indeed, in LaFaro, Evans found a counterpart rather than a sideman, and the music they made together over four albums showed it. Bassist Chuck Israels from Cecil Taylor and Bud Powell’s bands took his place in the band with Evans and drummer Paul Motian and Evans recorded the only possible response to the loss of LaFaro — an album of ballads. The irony on this recording is that, despite material that was so natural for Evans to play, particularly with his trademark impressionistic sound collage style, is that other than as a sideman almost ten years before, he has never been more assertive than on Moonbeams. It is as if, with the death of LaFaro, Evans’ safety net was gone and he had to lead the trio alone. And he does first and foremost by abandoning the impressionism in favor of a more rhythmic and muscular approach to harmony. The set opens with an Evans original, “RE: Person I Knew,” a modal study that looks back to his days he spent with Miles Davis. There is perhaps the signature jazz rendition of “Stairway to the Stars,” with its loping yet halting melody line and solo that is heightened by Motian’s gorgeous brush accents in the bridge section. Other selections are so well paced and sequenced the record feels like a dream, with the lovely stuttering arpeggios that fall in “If You Could See Me Now,” and the cascading interplay between Evan’s chords and Israel’s punctuation in “It Might As Well Be Spring,” a tune Evans played for the rest of his life. The set concludes with a waltz in “Very Early,” that is played at that proper tempo with great taste and delicate elegance throughout, there is no temptation by the rhythm section to charge it up or to elongate the harmonic architecture by means of juggling intervals. Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader. allmusicguide There is a storyline running through this and the other two Evans album – also reviewed here – that provides depth to the music. It’s of course about LaFaro, but there is more. When Bill Evans does ballads I always feel he is talking, and that takes listening to him to a different level. It’s not only a fine flowing, elegant piano piece – but let’s not forget the sensitive contributions of Chuck Israels on bass and Paul Motian on drums. It has that something extra that is difficult to put into words. It invites you to really listen and it takes the ballad out of the realm of background music. Analogue Productions has produced some of the best sounding piano on SA-CD, and this one is no exception. If you want to listen to Bill Evans’ story you owe it to yourself to buy all three discs (‘Saturday At The Village Vanguard’ and ‘Waltz For Debbie’ are the other two). sa-cd.net

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Title: Bill Evans – Trio 64 (1964) [Japanese Limited SHM-SACD 2012]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Joining Bill Evans (piano) on Trio ’64 – his initial three-piece recording for Verve – is the compact rhythm section of Gary Peacock (bass) and Paul Motian (drums). The effort spotlights their communal and intuitive musical discourse, hinging on an uncanny ability of the musicians to simultaneously hear and respond. All the more interesting, Evans had not interacted in this setting before, having most recently worked with Chuck Israels (bass) and Larry Bunker (drums). The personable opener, “Little Lulu,” features the aggregate melodically molding individual and distinct sonic characteristics. Evans’ nimble and emphatic syncopation is not only ably supported, but framed by Peacock’s expressive runs and Motian’s acute sense of timing. “A Sleeping Bee” is one of the collection’s most endearing selections as the groove playfully scintillates surrounding some hauntingly poignant chord changes. Evans bandies back and forth with Peacock, the latter likewise providing a stellar solo. “Always” captures a similar effervescence as the instrumentalists ebb and flow in synchronicity. Since the December 18 session was held the week before Christmas 1963, they fittingly tote out “Santa Claus Is Coming to Town,” creating a minor masterpiece of post-bop from what could easily have started as a spontaneous seasonal suggestion. Noël Coward’s “I’ll See You Again” bears a brisk waltz persona, enabling the unit to fluently weave its offerings without obstructing the otherwise affective tune. Concluding Trio ’64 is Rodgers & Hart’s standard “Everything Happens to Me,” with an unhurried tempo lingering just long enough to embrace the familiar refrain. Evans sparkles, gliding around Peacock’s full-bodied basslines and Motian’s solid yet restrained beat.

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Title: Bill Evans Trio – Portrait In Jazz (1959) [Reissue 2003]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

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.

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Title: Bill Evans Quintet – Interplay (1962) [Japanese Limited SHM-SACD 2011]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Interplay stands as some of Bill Evans’ most enigmatic and unusual music in makeup as well as execution. It was recorded in July 1962 with a very young Freddie Hubbard from the Jazz Messengers, guitarist Jim Hall, bassist Percy Heath, and drummer Philly Joe Jones performing five veteran standards. Evans has a more blues-based approach to playing: harder, edgier, and in full flow, fueled in no small part by Hall, who is at his very best here, swinging hard whether it be a ballad or an uptempo number. Hubbard’s playing, on the other hand, was never so restrained as it was here. Using a mute most of the time, his lyricism is revealed to jazz listeners for the first time — with Art Blakey it was a blistering attack of hard bop aggression. On this program of standards, however, Hubbard slips into them quite naturally without the burden of history — check his reading and improvisation on “When You Wish Upon a Star.” Ironically, it’s on the sole original, the title track, where the band in all its restrained, swinging power can be best heard, though the rest is striking finger-popping hard bop jazz, with stellar crystalline beauty in the ballads.

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