Bill Evans Trio: Bill Evans (piano); Scott LaFaro (bass); Paul Motian (drums). Recorded at Reeves Sound Studios, New York, New York on December 28, 1959. Originally released on Riverside (1162). Come Rain Or Come Shine 2. Autumn Leaves - (take 1) 3. Autumn Leaves - (mono, bonus track) 4. Witchcraft 5. When I Fall In Love 6. Peri's Scope 7. What Is This Thing Called Love? Spring Is Here 9. Someday My Prince Will Come 10. Blue In Green - (take 3) 11. Blue In Green - (take 2, bonus track) SEE. Intel(r) management engine interface - free software and shareware. Evans had met LaFaro at an audition for Chet Baker a couple of years earlier. He had not been very favorably impressed at the time by LaFaro's rather effusive, show-offish nature. Born in Newark, New Jersey in 1936, he was, after all, still young. But when the two began to work together with Motian, Evans' respect for the 23-year-old bass player grew rapidly. “He and Paul and I agreed without speaking a word about the type of freedom and responsibility we wanted to bring to bear upon the music, to get the development we wanted without putting repressive restrictions upon ourselves,” Evans himself reported. It is worth noting that the tendency towards a freer approach to trio playing, his idea of a sort of collective 'three-way improvisation', came to Evans, at least in part, from his reflections on classical music; (remember that at that time the bass and drums usually had a pretty static role as simple support to the piano). In fact, as Evans noted, “in a classical composition you don’t hear a part remain stagnant until it becomes a solo. 2 Replace the card retention bracket, ensuring that: • The guide clamp is aligned with the guide notch. • The top of all cards and filler brackets are flush with the alignment bar. How to install second hard drive dell xps 8300 user. Explore the page to download mp3 songs or full album zip for free. There are transitional development passages. A voice begins to be heard more and more and finally breaks into prominence;” and, as if to prevent a possibly too sharp break with tradition, he added: “Especially, I want my work - and the trio's if possible to sing. I want to play what I like to hear. I am not going to be strange or new just to be strange or new. ![]() If what I do grows that way naturally, that'll be OK. But it must have that wonderful feeling of singing.”Singing is a way of being still, we are reminded by Vladimir Jankelevitch, and the silence is itself a constitutive element in audible music. These profound truths are made real in the work of the Evans/LaFaro/Motian trio which, aside from Davis, Lester Young and maybe some coolsters like Lee Konitz, had few precedents in jazz. This music had always been extroverted, communicative and open to the world outside, but in the late 50s it seemed to be expressing a need to withdraw into the artist's most ineffable and interior world. Bill Evans, his music, and even his characteristic physical posture became a visual symbol of this trend: all curled up over the piano he looked like one trying to grasp the intimate nature of the instrument and his own as well. After Kind Of Blue, Evans recorded with Lee Konitz and Jimmy Giuffre, took part in the recording of John Lewis' sound track for Robert Wise's film Odds Against Tomorrow, and recorded many times with Tony Scott.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |