BILL EVANS – The Complete Interplay Sessions
Essential Jazz Classics EJC55640
Bill Evans (piano); Freddie Hubbard (trumpet); Jim Hall (guitar); Percy Heath (bass); Philly Joe Jones (drums)
Recorded New York, July 16 & 17, 1962
Bill Evans (piano); Zoot Sims (tenor saxophone); Jim Hall (guitar); Ron Carter (bass); Philly Joe Jones (drums)
Recorded New York, August 21 & 22, 1962
Bonus Tracks – Jimmy Knepper (trombone); Gene Quill (alto saxophone); Bill Evans (piano); Teddy Kotick (bass); Dannie Richmnond (drums)
Recorded New York, September 1957
Phil Woods (alto saxophone); Benny Golson (tenor saxophone); Sahib Shihab (baritone saxophone); Bill Evans (piano); Oscar Pettiford (bass); Art Taylor (drums)
Recorded New York, November 7, 1957
Lovely to have these sessions once again available, as I have not heard these recordings for some twenty years as my cassette copy has long since been unplayable.
If Evans’s greatest contribution, and what he will long be revered for, are his trio records of the late fifties and early sixties (along with his participation of the classic Kind Of Blue with Miles Davis), then it would be a shame to neglect albums such as these that showed the pianist in altogether modus operandi.
The sleeve notes lead us to believe that this was, as was typical of the time, of hastily convened sessions in order to procure some ready cash for the leader, the music however tells a different story. Throughout the music is pristine and carefully prepared from the choice of material and the head arrangements, to the personnel chosen. It does appear though that Freddie Hubbard was not first choice for the trumpet spot, and only made the gig because Art Farmer was unavailable. Hubbard, it transpires was also too young to know many of the tunes from the thirties that the pianist had chosen and was forced to learn them during the sessions. This he does with much credit, and perhaps as a result of this his solos are remarkably restrained and lyrical. Perhaps the initial lack of familiarity with the songs slowed the somewhat impetuous Hubbard down and his burnished tones sings with a more relaxed line allowing his ideas to flow rather than gush out of his horn. His solo on the opening ‘You And The Night And The Music’ is a model of control and invention, whilst his muted horn on both takes of ‘I’ll Never Smile Again’ is delivered with poise and assurance, despite the obvious nod to Miles’ use of the harmon mute.
The recording with Zoot Sims is a different proposition entirely, with the music leaning more to swing session than the gentlemanly hard bop of the July date. Sims is particularly fine on an attractive ‘My Bells’ and the pairing of Evans and Zoot on the pianist’s ‘Time Remembered’ is exquisite. If the whole lacks the sheer physicality and muscularity of the session with Hubbard there is much to enjoy.
The bonus tracks, all previously issued are indeed a bonus, but the real meat and drink in this fine reissue is of course having the opportunity in hearing Evans’ methods when away from the more familiar trio format that he helped to define. His accompaniment is superlative, and it is interesting that he chose not two horns for the frontline but the use of another chordal instrument in the guitar of Jim Hall. Evans’ has often been accused of the inability to swing hard on up tempo numbers, however a cursory listen to the set featuring the fiery young Freddie Hubbard makes a mockery of such sentiments. Essential listening for anyone interested in the music of Bill Evans.
Reviewed by Nick Lea
Essential Jazz Classics EJC55640
Bill Evans (piano); Freddie Hubbard (trumpet); Jim Hall (guitar); Percy Heath (bass); Philly Joe Jones (drums)
Recorded New York, July 16 & 17, 1962
Bill Evans (piano); Zoot Sims (tenor saxophone); Jim Hall (guitar); Ron Carter (bass); Philly Joe Jones (drums)
Recorded New York, August 21 & 22, 1962
Bonus Tracks – Jimmy Knepper (trombone); Gene Quill (alto saxophone); Bill Evans (piano); Teddy Kotick (bass); Dannie Richmnond (drums)
Recorded New York, September 1957
Phil Woods (alto saxophone); Benny Golson (tenor saxophone); Sahib Shihab (baritone saxophone); Bill Evans (piano); Oscar Pettiford (bass); Art Taylor (drums)
Recorded New York, November 7, 1957
Lovely to have these sessions once again available, as I have not heard these recordings for some twenty years as my cassette copy has long since been unplayable.
If Evans’s greatest contribution, and what he will long be revered for, are his trio records of the late fifties and early sixties (along with his participation of the classic Kind Of Blue with Miles Davis), then it would be a shame to neglect albums such as these that showed the pianist in altogether modus operandi.
The sleeve notes lead us to believe that this was, as was typical of the time, of hastily convened sessions in order to procure some ready cash for the leader, the music however tells a different story. Throughout the music is pristine and carefully prepared from the choice of material and the head arrangements, to the personnel chosen. It does appear though that Freddie Hubbard was not first choice for the trumpet spot, and only made the gig because Art Farmer was unavailable. Hubbard, it transpires was also too young to know many of the tunes from the thirties that the pianist had chosen and was forced to learn them during the sessions. This he does with much credit, and perhaps as a result of this his solos are remarkably restrained and lyrical. Perhaps the initial lack of familiarity with the songs slowed the somewhat impetuous Hubbard down and his burnished tones sings with a more relaxed line allowing his ideas to flow rather than gush out of his horn. His solo on the opening ‘You And The Night And The Music’ is a model of control and invention, whilst his muted horn on both takes of ‘I’ll Never Smile Again’ is delivered with poise and assurance, despite the obvious nod to Miles’ use of the harmon mute.
The recording with Zoot Sims is a different proposition entirely, with the music leaning more to swing session than the gentlemanly hard bop of the July date. Sims is particularly fine on an attractive ‘My Bells’ and the pairing of Evans and Zoot on the pianist’s ‘Time Remembered’ is exquisite. If the whole lacks the sheer physicality and muscularity of the session with Hubbard there is much to enjoy.
The bonus tracks, all previously issued are indeed a bonus, but the real meat and drink in this fine reissue is of course having the opportunity in hearing Evans’ methods when away from the more familiar trio format that he helped to define. His accompaniment is superlative, and it is interesting that he chose not two horns for the frontline but the use of another chordal instrument in the guitar of Jim Hall. Evans’ has often been accused of the inability to swing hard on up tempo numbers, however a cursory listen to the set featuring the fiery young Freddie Hubbard makes a mockery of such sentiments. Essential listening for anyone interested in the music of Bill Evans.
Reviewed by Nick Lea