Another Time: The Hilversum Concert
| Another Time: The Hilversum Concert | ||||
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| Live album by Bill Evans | ||||
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Publication |
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| Label (s) | Resonance Records | |||
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Format (s) |
CD |
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Title (number) |
9 |
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running time |
47:42 |
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Zev Feldman , Bert Vuijsje, Frank Jochemsen, Jan Van Schellen Dropvat, Joop De Roo |
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Another Time: The Hilversum Concert is a jazz album by Bill Evans , which was recorded in front of an audience on June 22, 1968 in a recording studio of the Dutch radio in Hilversum and was released on September 1, 2017 by Resonance Records . It was the third resonance release of historical recordings by the pianist, beginning in 2012 with Live at Art D'Lugoff's Top of the Gate (with Eddie Gomez and Marty Morell ) and Some Other Time: The Lost Session from the Black Forest (2016).
background
The only official Bill Evans album during Jack DeJohnette's six-month membership in his trio was for a long time the At the Montreux Jazz Festival , published by Verve . Resonance Records tripled the number of available recordings for the trio of Bill Evans, Eddie Gomez and Jack DeJohnette with the release of Another Time: The Hilversum Concert . One week after the performance at the Montreux Jazz Festival on June 15 and only two days after recording in the Black Forest on June 20, 1968 (content of another resonance release called Some Other Time: The Lost Session from the Black Forest ), it was Hilversum -Concert a document from a concert on the same European tour. After returning to the United States, Evans, Gomez and DeJohnette performed at New York's Village Vanguard on August 23 . Young drummer DeJohnette would soon join Miles Davis ' band in November 1968 .
The trio was recorded in front of a studio audience in the North Holland city of Hilversum. Some Other Time , which was recorded two days earlier in Germany, is an unsupervised studio work.
Track list
- Bill Evans: Another Time: The Hilversum Concert (Resonance Records - HLP-9031)
- You're Gonna Hear from Me ( André Previn , D. Previn) 4:30
- Very Early (Evans) 5:14
- Who Can I Turn To? (Anthony Newley, Leslie Bricusse) 5:36
- Alfie ( Burt Bacharach / Hal David ) 5:29
- Embraceable You ( George Gershwin / Ira Gershwin ) 5:05
- Emily ( Johnny Mandel , Johnny Mercer ) 4:22
- Nardis ( Miles Davis ) 8:34
- Turn Out of the Stars (Evans) 4:53
- Five (Evans) 2:26
reception
Victor Aaron wrote in Something Else !, all the pieces that are played in this set are typical Evans numbers, but “Nardis” is the standout track of the concert, and not just because it is one of Evans' signature tunes. Here it is also due to the fact that DeJohnette receives an extensive solo room, which shows most clearly what he has contributed to the ensemble that is unique to him. Gomez comes first and that's enough for the price of admission, especially for his courageous handover to Evans. A short time later, DeJohnette takes command, showing a Joe Morello-esque ability to play the gaps between the beats and the beats themselves, slowly drifting away from the melody until Evans' re-entry signals one final time around the choir .
At the start of the program, Gomez's famous singing bass can be heard immediately on You're Gonna Hear From Me, but DeJohnette's multi-faceted cymbal parts lurk just below the surface. Evans and Gomez have a lively dialogue on 'Very Early' while tied to the harmonies. This hallmark of an Evans trio is limited by another hallmark: the highly poetic bass solo. “Where Can I Turn To?” Follows in a similar pattern: Evans bows with a descending run on a superbly rhapsodic solo. Evans slows the heartwarming ballad play of "Alfie," while DeJohnette's brooms naturally fit into Gomez's concise pattern. The pace of 'Embraceable You' jumps right in the middle of Gomez's spotlight. “Turn Out The Stars” is another example of the special telepathy between Gomez and Evans, according to the author, but DeJohnette had already deciphered her Simpaticos in this short time and can participate in the conversation as a peer.
All of this goes through Bill Evans himself, a model of consistent, exemplary performance regardless of the personal demons he was fighting at the time. Apparently in mid-1968 he was in good shape with his rhythm section , which for the first time was as strong as the classic Scott LaFaro / Paul Motian line- up that he had directed seven years earlier. The combination of a fully developed recording makes Another Time: The Hilversum Concert into a “new” Bill Evans album, the author sums up, “which is also to be recommended for reasons that go far beyond cataloging alone.”
In his review of the album for Fono Forum, Karl Lippegaus preferred the Hilversum recording to the MPS session ( Some Other Time: The Lost Session from the Black Forest ); In these MPS sessions, Jack DeJohnettss' “groundbreaking game would unfortunately hardly be blended into the background”. In contrast, Lippegaus praised the playing of Gomez and DeJohnette from the present album; "Jack and Eddie cleverly hide their comments on Bill Evans' 'Very Early' in the“ fills, ”the gaps that one leaves to the other." Bill Evans may have been considered introverted, "the author continued," but on good evenings he developed a wonderful drive on the piano ”, whereby a certain routine becomes noticeable here. In “Who Can I Turn To” DeJohnette doesn't play the rhythm straight through, but dances around the melody before he quietly marks the tempo, only on the large cymbal, as he did in his playing in the Keith Jarrett Standards Trio from the 1980s . Burt Bacharach's theme melody for the film “Alfie”, originally played by Sonny Rollins , was made for Evans: “Waltz rhythm and that bitter sweetness that characterizes many of his own pieces. No sound seems superfluous, no solo too long, everything exactly proportioned ”. The wood-dry bass tone characterizes George Gershwin's "Embraceable You" throughout .
LLoyd Sachs said in JazzTimes that with so many previously unreleased trio recordings by Bill Evans hitting the shelves and the "clouds", it is permissible to ask whether another archival discovery really adds to the legacy of the piano icon Add important things - especially since the latest concert "Another Time: The Hilversum Concert" two more resonance sets from 1968, Live at Art D''Lugoff's Top of the Gate and Some Other Time: The Lost Session from Black Forest and Fantasys On a Monday Evening from 1976 available. The answer in this case is a resounding yes, according to the author, for both the complete and the imperfect. Apart from Verve's LP Bill Evans at Montreux Jazz Festival , which won a Grammy in 1969, and a few rarities, Some Other Time and Another Time are the only recordings documenting Evans' short-lived trio with bassist Eddie Gomez and Jack DeJohnette. But more important is that you have to dig deep into Evans canon to find a set that turns out like another time. The recording shows "a side of Evans that some listeners may not be familiar with - or are not familiar enough with."
“Although few artists matched the heightened romance he brought to melodies like his beautiful waltz 'Emily', he was also able to master the most impulsive, hard-nosed swing . 'Embraceable You' and the Broadway classic 'Who Can I Turn?' - two of the last sounds you would expect as an up-tempo vehicle - tear off. He beats the bet with his nose and speeds through the traffic with hard turns like his hero Bud Powell, ”praised Lloyd Sachs.
The interpretation of "Nardis", a long test for Evans' various trios, also shows the kinetic power of his playing. Again this composition, which is attributed to Miles Davis , but actually comes from him, for “deep, drawn-out, thoughtful reflections.” Where he otherwise uses this piece as a vehicle for building tension and letting go, it would be “an explosive one Statement of the subject. In Hilversum he comes to the melody in a brutal way and gives a neat twist before lavishly falling into the limelight on DeJohnette, whose well-structured beats and sheer variety of melodic effects are a debt to the great Ed Blackwell of New Orleans. "
“Evans obviously thrives on the novelty of this band, which doesn't have the interactive brilliance of its groundbreaking trio with Scott LaFaro and Paul Motian, but has a light-hearted chemistry. DeJohnette's peppy vitality makes Evans soar, even if Gomez's sonic weight justified the attack. Gomez, who came aboard in 1966, says Evans had to force him to play his extended solo on 'Embraceable You'. We are happy that he followed the instructions. Gomez's play is of an animated 3D quality with its dazzling brilliance. “Gomez's harsh tones sometimes steal a little too much focus on the left stage, and DeJohnette's drumming could be brought a little forward in the mix. But the vibrancy of the trio carries the day and in some ways the subtle imbalances make the recording more vivid than technically purer live recordings: you feel like you are there. The album fulfills the promise of the classic Resonance label to offer extraordinary sound. In Evans' discography, the recording is "much more than just the icing on the cake."
Geno Thackara schroeb in All About Jazz , “As an enchanted lucky magnet , producer Zev Feldman is the equivalent of the jazz world to the man who wins the lottery year after year. He and Resonance Records specialize in finding and curing unreleased gems to share with the whole world - not seedy bootlegs, but high quality material in terms of content and sound - and giving every discovery the respect it deserves earned. from the Black Forest in June of the same year, Lightning struck again. This was the pianist's only studio recording during the six months that Jack DeJohnette occupied the drum chair. Perhaps it is only natural, if extraordinarily happy, that a respectful enthusiast sought it out when two days later he slated for another outrageous recording for Dutch public radio. Another Time is lovingly presented with the blessing of Evans' estate, label and bandmates and is another jewel and a great delight for committed and casual listeners. "
“The setting was an intimate studio in front of a small and traditionally respectful European audience, but the trio's performance is as exciting and lively as that of a club date. As always, Evans remains refined and beautifully melodic, twisting his signature chordings straight from the first web harmonies of 'You Gonna Hear from Me'. At the same time, he's unmistakably aroused by his cohorts, who sail at an infectious and spirited level throughout the set. DeJohnette's zippy cymbal play is tasteful enough to match the tone of the show while still showing the full rhythm that invites him to some louder electrical work over the next few years from Miles Davis. His bright fills drive the gang through a dynamic 'Nardis' and with 'Five' a rousing finale, with a playful sense of fun. "
While Gomez admits to being a little dissatisfied with his bass tone and his intro to "Embraceable You", the playback here swings beautifully. Gomez at the time had been a factor in this phase of Evans' rhythmic focus on developing his later career for nearly two years, and the couple's comfortable relationship is a prime example of why they remained productive partners for nearly a decade, says the author. On the other hand, it is very disappointing that there are no similarly high-quality tapes, but it is no less gratifying to hear that this particular group is bursting with freshness and inspiration from the beginning of their short time together. "Should Another Time turn out to be the last we hear from you, it will still shine as another highlight of the Evans catalog that you shouldn't miss," the author concludes.
In 2018 the album was nominated for the JJA Awards of the Jazz Journalists Association in the category Republication of the Year , but was subject to Les Liaisons Dangereuses 1960 by Thelonious Monk . In the National Public Radio's Jazz Critics Poll , the album took second place in the Rara Avis category in 2017.
Web links
- Information and video documents for the album at Resonance Records
- Album Another Time on Allmusic (English). Retrieved March 25, 2019.
Individual evidence
- ↑ a b c d Victor Aaron: Another Time: The Hilversum Concert. Something Else !, August 23, 2017, accessed March 25, 2019 .
- ↑ Tom Lord , Jazz Discogropahy (online)
- ↑ a b c d e f Lloyd Sachs: Bill Evans: Another Time: The Hilversum Concert (Resonance). JazzTimes, July 9, 2017, accessed March 25, 2019 .
- ↑ Discographic information at Discogs
- ^ Karl Lippegaus: Ill Evans Trio: Another Time. Fono Forum, February 1, 2017, accessed March 21, 2019 .
- ↑ a b c Geno Thackara: Bill Evans: Another Time: The Hilversum Concert. All About Jazz, June 3, 2017, accessed March 21, 2019 .
- ↑ 2018 nominees at JJA Awards
- ^ Francis Davis: The 2017 NPR Music Jazz Critics Poll. NPR, December 20, 2017, accessed March 31, 2019 .