Maybe I should.
I know he had some kind of spiritual epiphany that he wanted to share with the world hence A Love Supreme. I do wonder though if what followed became a bit self indulgent?
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Tune?..This is Jazz!..
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On CD
Tracks 1-6
Charlie Parker - alto sax
Hank Jones - piano
Teddy Kotick - bass
Max Roach - drums
Tracks 7-13
Charlie Parker - alto sax
Al Haig - piano
Percy Heath - bass
Max Roach - drums
Tracks 1-6 recorded December 30th,1952 in New York
Tracks 7-13 recorded August 4th,1953 in New York
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DR 17 (!)
Keith Jarrett piano
Gary Peacock bass
Paul Motian drums
Recorded September 16, 1992 at the Deer Head Inn
Engineer: Kent Heckman
Produced by Bill Goodwin
„By the fall of 1992, Keith Jarrett had already spent 30 years as a notable jazz performer. What better way to celebrate than to return to this record’s eponymous venue in his birthplace of Allentown, Pennsylvania for a once-in-a-lifetime gig? Switching out his usual go-to, Jack DeJohnette, for Paul Motian (no stranger to Jarrett, with whom he’d worked in the 70s), the trio works wonders with the new colors the latter provides. Peacock and Jarrett are both verbose players who manage never to step on each other’s toes. With Motian backing them, they take longer pauses for reflection, listening to the wind as it blows through their leaves. His presence and panache are as palpable as the prevalence of alliterations in this sentence, bringing an irresistible brushed beat to the squint-eyed groove of Jaki Byard’s “Chandra.” That hook keeps us sharp to improvisatory angle and inspires some youthful banter from Peacock, who feeds off those drums like Christmas. Motian excels further in the balance of fire and ice that bubble throughout “You And The Night And The Music.” The band also dips into Miles Davis-era waters with glowing renditions of “Solar” and “Bye Bye Blackbird.” Atop quilted commentaries from the man at the kit, Jarrett’s unpacking of these timeless melodies is the cherry on the sundae. Sweet toppings also abound in the laid-back “Basin Street Blues,” in which, with closed eyes and an open heart, Peacock finds the perfect resolution for Jarrett’s uncontainable fire. All three musicians up the ante in “You Don’t Know What Love Is.” Jarrett negotiates its changes like breathing while Peacock and Motian speak in vocabularies just beyond the radar of feasibility. Before we know it, we’re caught up in a joyous surge and relaxation. By ending with “It’s Easy To Remember,” the trio saves its finest translucent china for last.
The value of ECM as a live archive is proven beyond the shadow of a doubt in this recording. This is where it’s at.“
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If only he didn’t squeak along to every piece.
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This is one of my favourite Jarrett albums (I love the squeaking too!). Jarrett is 75 on Friday.
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All the Bill Evan’s Trio recordings with bassist Scott LeFaro are unarguably classics.
After the tragic death of Scott LeFaro aged just 25 Bill Evan’s reportedly went into a state of shock and didnt play for some time after.
Bill Evan’s reformed the trio, replacing Scott LeFaro with Chuck Israels and Larry Bunker on drums.
This live album on OJC/Riverside CD is a favourite of mine, lovely sound and performance and as far as I’m aware the only other Live recording after The Village Vanguard recording (Waltz For Debby, Sunday At The Village Vanguard)
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There is also this which I owned and sold it’s a rather strange recording done by a radio station using microphones it was then ‘lost’ and rediscovered a couple of years ago.
Parts of it the audience overpowers the music and in others a single instrument is very pronounced so it’s a difficult listen
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There are many many Bill Evans live albums released after the 1961 VV set, including a further set at the VV, recorded 17-18 August 1967, released under the title California Here I Come. There were also different trios. If you’re interested in studying the music of Bill Evans, I recommend you get a copy of Peter Pettinger’s book to guide your journey:
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Quite a bargain this when it was released in 2017 a mono reissue remastered at Kevin Grays’s Cohearant studios and pressed at RTI. I got a little while after release for £15 but it’s gone up a bit since then.
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Rather stunning playing from Jim Hall. Great album.
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Another not very well known excellent remaster from Cohearant Studios a 2010 U.S release. Copies go for a bit more now but again it was about £15 on release. If you are looking for a copy of this incredible record you could do worse.
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Another very good and reasonably priced reissue of Kind of Blue is this 2013 mono copy remastered at Stirling Sound and pressed by RTI.
I have 6 vinyl copies of Kind of Blue unfortunately not a 6 eye amongst them the earliest is an Orange CBS from the early 70’s which is very good but my best copy is the MOFI 45rpm box set which is excellent.
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I know it’s disconcerting sometimes but a genius all the same his live version of Somewhere Over the Rainbow at La Scala (I think) is beautiful as is his version of Danny Boy.
I have two versions of Danny Boy by Bill Evans, one on Empathy, the other on Time Remembered. The latter version is an emotional tour de force - utterly gorgeous.
I have around 50 albums by Bill Evans, but am not aware of a recording of Somewhere Over the Rainbow, but then he did record prolifically.
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I thought you where talking about Keith Jarret when you said,
''if only he didn’t squeak along." As I can’t imagine Bill Evans sqeaking along to anything so I think we perhaps we got our wires crossed
Above is Keith Jarret’s version of S O T R though this is from Tokyo not the La Scala version I have.
I’m not aware of a Bill Evans version of Somewhere Over The Rainbow though no doubt he would have played it beautifully.
I too have Empathy great record and great cover too and beautiful version of Danny Boy, I’ll have to check ou the other version you mention.