The Bill Evans Trio
Conventional wisdom, which in this case may be right, holds that Bill Evans' storied career peaked on June 25, 1961, a date that yielded two live records, Sunday at the Village Vanguard and Waltz for Debby, the final two documents of Evans' first, and best, trio, with bassist Scott LaFaro and drummer Paul Motian. In the two years he'd been playing with Evans, LaFaro had opened up new possibilities for the jazz bass, playing with a harmonically oblique, melodically flexible style that was, at … MORE
DOWNLOADS FROM THE BILL EVANS TRIO
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Solar from the album Sunday At The Village Vanguard
MORE RELEASES FROM THE BILL EVANS TRIO
The Final Recordings Live at Keystone Korner, September 1980 The Last Waltz is a profoundly… More
Bill Evans (1929-1980) and Stan Getz (1927-1991) were, after Evans's ex-employer Miles Davis, the great romantic improvisers of the postwar era… More
This is the second of two Riverside albums made up of selections recorded by the classic Bill Evans/Scott LaFaro/Paul Motian trio at their… More
In 1974, Bill Evans recorded again at the Village Vanguard, the scene 13 years earlier of his glorious trio performances with bassist Scott LaFaro… More
This is the last album Bill Evans made for his first label. The fact alone would give this at least historical significance; and there is surely… More
Here are 13 beauties, taken from the 12-disc Bill Evans: The Complete Riverside Recordings and available for the first time in a single… More
Bill Evans was left reeling by the accidental death of his brilliant bassist Scott LaFaro in mid-1961 and didn't feel ready to record with his new… More
Bill Evans’s return to full activity in 1962 came almost a year after his celebrated trio recordings at the Village Vanguard. Just ten days… More
ALSO FROM THE BILL EVANS TRIO
| Portrait In Jazz [Keepnews Collection] | CD / MP3 $8.98+ |  |
| I Will Say Goodbye | CD / MP3 $8.88+ | |
ABOUT THE BILL EVANS TRIO
As early as 1956, Bill Evans was hearing in his mind the kind of trio he would like to have, a band in which everyone was simultaneously free and together, in which time was understood but not always strictly played. In 1959, with his longtime colleague Paul Motian and the young bassist Scott LaFaro, he at last had a trio in which everyone felt his way of playing time. Furthermore, LaFaro was compatible with Evans's advanced harmonic ideas, capable of complementing and enhancing the pianist's sophisticated chord voicings.
By early 1961, the trio had realized Evans's vision to the point where their music seemed the product of one mind, so uncanny was their empathy. Evans's explorations of the possibilities of the song form advanced jazz as an art and made his group one of the most influential in the music's history.