Bill Evans was also recorded at the Village Vanguard in 1967 with Eddie Gomez on bass and Philly Joe Jones on drums, released as California Here I Come. The same music is available on the 22 disc Verve set (The Complete Bill Evans on Verve), which includes many pieces recorded at the same venue, which were omitted on the CHIC album. It may not be the original trio with Scott LaFaro and Paul Motian, but Eddie Gomez, for sure, is another exceptional talent with whom Bill had a similar musical connection.
This one and Waltz for Debbie were recorded at the same stint. They are spectacularly sounding live recordings. They are best heard on vinyl. If youâre lucky enough to have scored the MoFi one-step, then youâre in sonic nirvana. Otherwise the 45rpm releases come close. The fact that the instruments are panned towards one side or the other reflect the true nature of the live setup and therefore sound very natural. Close your eyes and youâll feel youâre in that room at the time. The soundstage, noise from patrons, cash till, glasses and of course, the sublime music of this trio. I canât comment on the particular CD you have though.
They are up against AOC occasional cortex quoting Milton Keynes.
We have to keep this thread on topic else will be in the padded cell
Regardless, be safe NYâers and everyone since we are all in it together!
Although your post starts âThis oneâŚâ, it should be clarified that you cannot be replying to my post, which immediately precedes yours. For clarity, Sunday at the Village Vanguard and Waltz for Debby were both taken from the sessions of 25 June 1961, the complete set of which is the subject raised by the OP.
California Here I Come was recorded six years later at the same venue, but obviously with a different trio.
Sorry, yes, I was replying to the original post.
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