(jazzplanet) Bill Evans The Interplay Sessions (remaster)(eac Flac Cue)(uf)(tnt)

Bill Evans - The 'Interplay' Sessions (2007 Remaster)

Artist: Bill Evans

Album Title: The 'Interplay' Sessions

Recording Date Jul 16, 1962-Aug 22, 1962

Audio CD (September 25, 2007)

Number of Discs: 1

Format: Original recording remastered

Label: Milestone

reissue 2007

Genre: Jazz

Styles: Modal Music, Cool Jazz

Source: Original CD

Scans Included

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Size Torrent: 503 Mb

Tracks List

1 You and the night and the music

7:05 anno: 1962

Arthur Schwartz [autore] - Howard Dietz [autore] - Bill Evans [piano] - Freddie Hubbard [tr] - Jim Hall [guit] - Percy Heath [bass] - Philly Joe Jones [drums]

2 When you wish upon a star

5:44 anno: 1962

Ned Washington [autore] - Leigh Harline [autore] - Bill Evans [piano] - Freddie Hubbard [tr] - Jim Hall [guit] - Percy Heath [bass] - Philly Joe Jones [drums]

3 I'll never smile again

6:33 anno: 1962

Ruth Lowe [autore] - Bill Evans [piano] - Freddie Hubbard [tr] - Jim Hall [guit] - Percy Heath [bass] - Philly Joe Jones [drums]

4 Interplay

8:14 anno: 1962

Bill Evans [autore] - Bill Evans [piano] - Freddie Hubbard [tr] - Jim Hall [guit] - Percy Heath [bass] - Philly Joe Jones [drums]

5 You go to my head

5:03 anno: 1962

Haven Gillespie [autore] - J.Fred Coots [autore] - Bill Evans [piano] - Freddie Hubbard [tr] - Jim Hall [guit] - Percy Heath [bass] - Philly Joe Jones [drums]

6 Wrap your troubles in dreams (and dream your troubles away)

6:23 anno: 1962

Ted Koehler [autore] - Billy Moll [autore] - Harry Barris [autore] - Bill Evans [piano] - Freddie Hubbard [tr] - Jim Hall [guit] - Percy Heath [bass] - Philly Joe Jones [drums]

7 Loose bloose

7:07 anno: 1962

Bill Evans [autore] - Bill Evans [piano] - Zoot Sims [sax] - Jim Hall [guit] - Ron Carter [bass] - Philly Joe Jones [drums]

8 Time remembered

6:02 anno: 1962

Bill Evans [autore] - Bill Evans [piano] - Zoot Sims [sax] - Jim Hall [guit] - Ron Carter [bass] - Philly Joe Jones [drums]

9 Funkallero

6:13 anno: 1962

Bill Evans [autore] - Bill Evans [piano] - Zoot Sims [sax] - Jim Hall [guit] - Ron Carter [bass] - Philly Joe Jones [drums]

10 My bells

5:24 anno: 1962

Bill Evans [autore] - Bill Evans [piano] - Zoot Sims [sax] - Jim Hall [guit] - Ron Carter [bass] - Philly Joe Jones [drums]

11 There came you

5:52 anno: 1962

Bill Evans [autore] - Bill Evans [piano] - Zoot Sims [sax] - Jim Hall [guit] - Ron Carter [bass] - Philly Joe Jones [drums]

12 Fudgesickle built for for

4:31 anno: 1962

Bill Evans [autore] - Bill Evans [piano] - Zoot Sims [sax] - Jim Hall [guit] - Ron Carter [bass] - Philly Joe Jones [drums]

13 Fun ride

5:15 anno: 1962

Bill Evans [autore] - Bill Evans [piano] - Zoot Sims [sax] - Jim Hall [guit] - Ron Carter [bass] - Philly Joe Jones [drums]

Personnel:

Bill Evans Piano

Ron Carter Bass

Jim Hall Guitar

Percy Heath Bass

Freddie Hubbard Trumpet

Philly Joe Jones Drums

Zoot Sims Sax

Listen to all

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Biography

Born August 16, 1929, in Plainfield, NJ

Died September 15, 1980, in New York, NY

Bill Evans was born in Plainfield, New Jersey on August 16, 1929 and began his music studies at age 6. Classically trained on piano; he also studied flute and violin as a child. He graduated with a degree in piano performance and teaching from Southeastern Louisiana College (now University) in 1950, and studied composition at Mannes College of Music in New York. After a stint in the Army, he worked in local dance bands, and with clarenetist Tony Scott, Chicago-area singer Lucy Reed and guitarist Mundell Lowe, who brought the young pianist to the attention of producer Orrin Keepnews at Riverside Records.

Evans' first album was New Jazz Conceptions in 1956, which featured the first recording of his most loved composition, "Waltz for Debby". It's follow-up, Everybody Digs Bill Evans was not recorded for another two years; the always shy and self- deprecating pianist claiming he "had nothing new to say." He gradually got noticed in the NYC jazz scene, for his original piano sound and fluid ideas, when in 1958, Miles Davis asked him to join his group (which also featured John Coltrane and Cannonball Adderley) He stayed for nearly a year, touring and recording, and subsequently playing on the all-time classic Kind of Blue album -- as well as composing "Blue in Green", now a jazz standard. His work with Miles helped solidify Bill's reputation, and in 1959, Evans founded his most innovative trio with the now-legendary bassist Scott LaFaro and with Paul Motian on drums. The trio concept of equal interplay among the musicians was virtually pioneered by Evans, and these albums remain the most popular in his extensive catalog. They did two studio albums together in addition to the famous 'live" sessions at NYC's Village Vanguard in 1961. LaFaro's tragic death in a car accident a few weeks after the Vanguard engagement -- an event which personally devastated Bill -- sent the pianist into seclusion for a time, after which he returned to the trio format later in 1962, with Motian again, and Chuck Israels on bass.

His 1963 Conversations With Myself album , in which he double and triple-tracked his piano, won him the first of many GrammyÂ® awards and the following year he first toured overseas, playing to packed houses from Paris to Tokyo, now solidifying a worldwide reputation. The great bassist Eddie Gomez began a fruitful eleven year tenure with Bill in 1966, in various trios with drummers Marty Morell, Philly Joe Jones, Jack DeJohnette and others -- contributing to some of the most acclaimed club appearances and albums in Evans's career. His recorded output was considerable -- (for Riverside, Verve, Columbia, Fantasy and Warner Bros) over the years, and he also did sessions (especially early on) with some of the top names in jazz. Musicians like Charles Mingus, Art Farmer, Stan Getz, Oliver Nelson, Jim Hall, George Russell, Shelley Manne, Toots Theielmans, Kai Winding /J.J. Johnson, Hal McKusick and others all featured Evans. In the seventies, he recorded extensively-- primarily trio and solo piano now and then, but also including several quintet albums under his own name as well two memorable dates with singer Tony Bennett.

His last trio was formed in 1978, featuring the incomparably sensitive Marc Johnson on bass and drummer Joe LaBarbera, which rejuvenated the often-ailing pianist, who was elated with his new line-up, calling it "the most closely related" to his first trio (with LaFaro and Motian). He suffered yet more family problems and upheavals in his personal life, (often due to bouts with narcotics addiction) and yet brought a new dynamic musical vitality, a surer confidence, fresh energy and even more aggressive interplay to the trio's repertoire. Evans' health was deteriorating, however, though he insisted on working until he finally had to cancel midweek during an engagement at Fat Tuesday's in New York. A few days later, he had to be taken to Mount Sinai Hospital on September 15, 1980, where he died from a bleeding ulcer, cirrhosis of the liver and bronchial pneumonia . He is buried next to his beloved brother Harry, in Baton Rouge, Louisiana.

While Evans was open to new musical approaches that would not compromise his musical and artistic vision -- such as his occasional use of electric piano, and his brief associations with avant-garde composer George Russell -- he always insisted on the purity of the song structure and the noble history of the jazz tradition. It was a point the highly articulate Evans was quite forthcoming about in the various interviews he gave throughout his career. Consistently true to his own pianistic standards, he continued to enhance his own singular vision of music until the very end.

In his short life, Bill Evans was a prolific and profoundly creative artist and a genuinely compassionate and gentle man, often in the face of his recurring health problems and his restless nature. His rich legacy remains undiminished, and his compositions have enjoyed rediscovery by jazz players and even some classical musicians. Even twenty-five years after his passing, Bill Evans' music continues to influence musicians and composers everywhere and all those who have been deeply touched by his expressive genius and sensitive, lyrical artistry.

________________________________________________________________________________________

review

The Interplay Sessions, recorded by a pair of Bill Evans-led quintets, decades later stands as some of Bill Evans' most enigmatic and unusual music in makeup as well as execution. Recorded by Orrin Keepnews between July and August of 1962, the second quintet date remained unreleased until 20 years later -- after Evans' death -- as part of a double LP. On CD, both sessions were released as part the Original Jazz Classics editions by Fantasy, the first as Interplay, the second as Loose Bloose. This is the first time the complete sessions have been together on CD, replicating the LP release. Up until 1962, Evans recorded primarily as a leader in the piano trio format and not with horns. (He was a seminal part of Miles Davis' Kind of Blue sessions, and was on Cannonball Adderley's debut in 1958 and a duet recording with Jim Hall called Intermodulations in 1959.) His musical relationship with bassist Scott LaFaro produced only four recordings (two of them taken from live dates at the very end of LaFaro's life -- he was killed in an auto accident in 1959), but they remain some of the most profoundly communicative and intuitive in the jazz canon. According to Keepnews' notes in 1961, Evans became despondent and wondered if he would work again. He went into seclusion for a period. He also had "health" problems -- i.e., a severe case of narcotics addiction. He emerged again in the summer of 1962 and produced four and a half albums' worth of solo, trio, and quintet sessions. (He needed cash, and in order to be responsible, Keepnews, who signed the checks at Riverside, needed to put material in the can to justify paying him.)

The Interplay quintets are comprised of a pair of different sessions: both featured Hall on guitar and Philly Joe Jones on drums. The July 1962 sessions (which came out as Interplay on OJC) included a very young Freddie Hubbard from the Jazz Messengers and bassist Percy Heath from the Modern Jazz Quartet. The August sessions included saxophonist Zoot Sims in Hubbard's place, and bassist Ron Carter. The tunes with Hubbard are the most revelatory, in that Evans had a more blues-based approach to playing: harder, edgier, and in full flow, fueled in no small part by Hall, who is at his very best here, swinging hard whether it be a ballad or an uptempo number. Hubbard's playing, on the other hand, was never so restrained as it was here. Using a mute most of the time, his lyricism is revealed to jazz listeners for the first time -- with Art Blakey it was a blistering attack of hard bop aggression. This, however, was a program of standards from the '30s and '40s, most of which Hubbard wasn't familiar with; he slipped into them quite naturally without the burden of history -- check his reading and improvisation on "When You Wish Upon a Star." Ironically, it's on the sole original, the title track, where the band in all its restrained, swinging power can be best heard, though the rest is striking finger-popping hard bop jazz, with stellar crystalline beauty in the ballads.

The latter session with Sims and Carter stands in sharp contrast to those recorded a month earlier. For starters, this one is made up of all-original material. Secondly, it sticks closer to the hard bop format and walks a thin line between Evans' elegant sense of balladry -- as influenced by Debussy and Darius Milhaud -- and his tougher, leaner, hard-swinging approach to the hard bop blues. It begins with "Loose Bloose" and a standard blues vamp, with beautiful solos by Hall and Sims following in gorgeous steamy form. Evans' chords here shift to his more ornate side, but he's in the cut time-wise. This is in sharp contrast to the ballad "Time Remembered," which is languid, mysterious, and full of sheer elegance by way of what is not "said." "Funkallero" contains one of sharpest, steamiest solos ever by Hall, before coming to a nearly rapturous second head that is harmonically extrapolated from the first. This session is the vastly underrated of the two, and perhaps it lies in some of the strangeness in some of these compositions: check the classical counterpoint in the melody of "Fudgesickle Built for Four," where Hall, Evans, and Sims all engage in a triangulated exchange of counterpoint as an intro, or the haunting, very slowly developing "There Came You," which, until heard closely, can resemble a kind of lounge jazz -- but Sims (playing his best Ben Webster) offers what's hidden inside and Evans plays atmospherically during his solo. In sum, this complete edition of The Interplay Sessions is a welcome addition to the compact disc shelf of any Evans fan, but also because it has been preserved as originally released in America.