Bill Evans Trio -At The Montreux Jazz Festival[APE]

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资源信息： 专辑英文名: At The Montreux Jazz Festival 歌手: Bill Evans Trio 音乐风格: 爵士 资源格式: APE 发行时间: 1969年 地区: 德国 语言: 英语 概述:

出品厂牌：Verve Records 唱片编号：V6-8762 唱片介质：Speakers Corner 180g 音乐风格：Jazz, Audiophile 专辑时长：58:27 min 专辑介绍： 企鹅爵士评鉴三星半★★★☆推荐 这张一九六八年的现场录音专辑精彩地收录了许多比尔·艾文斯(Bill Evans, 1929-1980)一生传奇的演奏生涯中最具动能且令人兴奋的演出片段，尤其是他与贝斯手艾迪·葛美兹(Eddie Gomez)及鼓手杰克·狄乔内(Jack deJohnette)三人之间充满创意与默契的互动演奏，更是让人惊叹叫绝。这张曾获得1968年格莱美奖最佳爵士器乐演奏专辑收录了多首典雅精致的抒情爵士经典曲目，同时也是此三重奏的唯一录音。 Grammy Winner: 代码 Bill Evans, artist. Jazz Best Instrumental Jazz Performance - Small Group Or Soloist With Small Group 1968 - 11th Annual GRAMMY Awards Bill Evans At The Montreux Jazz Festival Bill Evans Trio

1968年Bill Evans Trio在Montreux Jazz Festival演奏现场 Album Intro: 引用 Audiophile ears listening to these nine titles will be surprised by the unique musical empathy of this piano-bass-percussion trio. This is also unusual given the fact that the Casino in Montreux is not exactly famous for its acoustics. Older jazz fans will discover previously unheard nuances in the interplay, and younger people, who have come to love jazz through the music of Esbjorn Svensson or Brad Mehldau in particular, will surely be amazed that such excellent and popular live numbers were recorded and pressed in vinyl in 1968. All the titles are full of fire and elegance, are rich in harmony, surprising twists and turns of rhythm and complicated changes of tempo. Eddie Gomez, who had been a member of the trio for two years at the time of recording, is far more than just a new face; and the drummer Jack DeJohnette, who often seems surprised by the changes, is an ideal partner for Bill Evans. The aggressiveness of the bass sound leads the introverted Bill Evans to new pastures: sometimes his playing is even full of exuberance and joy, as is particularly apparent in the 'children’s song' "Someday My Prince Will Come", where he creates a more mellow mood than is found on other recordings. The audience at this 1968 Montreux Jazz Festival concert was fully aware of the intensity of the interplay between the musicians and leapt from their seats to applaud frenetically, which both surprised and inspired the three. All in all, this is an outstanding production, especially now that the sound has been enhanced to satisfy today’s discerning listener. Reviews: 引用 ~Allmusic.com rating: 4 out of 5 Stars Bill Evans, with bassist Eddie Gomez and his drummer of the period Jack DeJohnette (just prior to him joining Miles Davis), is in excellent form on this recording. Evans performs two of his originals (including "One for Helen" which was dedicated to his longtime manager Helen Keane), Denny Zeitlin's "Quiet Now," Earl Zindars' "Mother of Earl" and a few of his favorite standards, tunes that are generally ballads and harmonically rich. The interplay between Evans and Gomez was growing month-by-month (the bassist had been with him for almost two years at this point) and is the main reason to acquire this record although DeJohnette does offer some stimulating support. ~CDUniverse.com (handily justifying its being awarded a Grammy for Best Instrumental Small Group Jazz Performance). Drummer Jack DeJohnette, at the beginning of his career ascension, spent only a year with Evans. His playing at this performance embraces the rich trio format that Evans developed, wherein each of the three are of seemingly equal voice. Listening to this set, one is hard pressed to identify any one musician as being in support of the others; rather, they are in tandem or in conversation. The previously unissued "Quiet Now" joins "I Loves You Porgy" as gorgeously emotive meditation for solo piano. ~Amazon.com This, the shortest-lived of Evans' trios, was also one of the best, specifically because of the presence of Jack DeJohnette, one of the baddest drummers of the last 40 years. He is a far cry from the quiet, withdrawn drums of Paul Motian, and he lights a fire under this trio that Evans hadn't had for a few years. Eddie Gomez is quite a musician as well, though his bass sounds rather quiet, and he is often heard slapping the big lady to get more out of her. He is, to be absolutely clear, no Scott LaFaro, though he is a stronger player than Gary Peacock, Evans' previous bassist. Gomez has lightning fast chops, and we find him soloing during other guys' solos, in the tradition of LaFaro, but without the same subtlety. All these complaints sort of fall away, however, on the rendition of "Embraceable You", which is essentially an extended Gomez solo. Though he seems to lose himself a couple of times (or maybe it's just me he loses), he plays with such speed and such intensity that it becomes difficult to nitpick about issues of style. The other highlights include "A Sleepin' Bee" and Miles Davis' "Nardis." Evans' playing, as always, is out of this world. Credits Bill Evans - piano Eddie Gomez - double bass Jack DeJohnette - drums Recording: June 1968 at the Casino de Montreux, Switzerland, by Pierre Grandjean and Jean-Claude Martin Production: Helen Keane

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