Treasures - Solo, Trio & Orchestral Records from Denmark (1965-69)

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This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. type": "paragraph"}, {"id": "Ebt7JZHhcN", "data": {"text": "The beautifully designed triple gatefold LP set showcases previously unpublished photos by Jan Persson from Evans' Danish tours, as well as insightful liner notes by acclaimed author, journalist and Evans scholar, Marc Myers, plus interviews and statements from Danish drummer Alex Riel, music journalist, Danish producer and Evans discographer Peter Larsen, Palle Mikkelborg, Evans' long- time trio-mates - bassist Eddie Gomezand drummer Marty Morell, and pianists Ran Blakeand Matthew Shipp.We start with a trio set from the Copenhagen Jazz Festival (October 1965), with Danish Niels-Henning Ørsted Pederson on bass and American Alan Dawson on drums. It was the year in which Gomez started his long stint as Evans’s bassist, but it sounds almost as if Gomez is the leader, Evans often happy to make space for a bass solo straight after the head and Riel largely in the background – although quite prominent on a relatively short Nardis that closes the set. The second indicator of a worthwhile investment is that the credits in the booklet include two people who worked on ‘sound restoration’ – and given that the recordings are from tapes of sixties radio broadcasts, they’ve done a good job. The beautifully designed triple gatefold LP set showcases previously unpublished photos by Jan Persson from Evans' Danish tours, as well as insightful liner notes by acclaimed author, journalist and Evans scholar, Marc Myers, plus interviews and statements from Danish drummer Alex Riel, music journalist, Danish producer and Evans discographer Peter Larsen, Palle Mikkelborg, Evans' long- time trio-mates - bassist Eddie Gomezand drummer Marty Morell, and pianists Ran Blakeand Matthew Shipp.

Evans seems not to distinguish between notes and chords; they are all a means of expression and reflections of each other. There are some highlights here and there but overall this 3LP set feels a little lackluster and lifeless. Tracks A1 to A3 recorded at the Copenhagen Jazz Festival, Tivolis Koncertsal, Copenhagen, October 31, 1965. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. As a compilation of his finest recordings, it immerses listeners in the magic of Evans' piano playing and provides a privileged insight into his creative world.

It runs counter to some recent Evans reissues by featuring an array of instrumental configurations, and it’s a strong showcase of how he adapted his playing to reflect the settings. The pieces for orchestra were arranged by trumpeter and composer Palle Mikkelborg and recorded in 1969, and included Evans compositions along with this album’s title track, written explicitly for the performance. His quest for harmonic intrigue even led him to record several albums of him accompanying himself, multi-tracking his improvisations so that two or three pianos were heard simultaneously. I'm going to give it another chance - just compared to some of the other jazz RSD releases, this one was one of the most expensive and the least rewarding.

By accepting all cookies, you agree to our use of cookies to deliver and maintain our services and site, improve the quality of Reddit, personalize Reddit content and advertising, and measure the effectiveness of advertising. An official Elemental Music release in collaboration with the Bill Evans Estate, Treasures is truly a ’holy grail’ discovery culled from the private collection of Danish jazz musician Ole Matthiessen and being released for the very first time as a deluxe 2-CD set (A limited edition 180-gram 3-LP set released as an RSD exclusive on April 22nd, 2023). As a user, I have always admired Bill Evans' ability to evoke emotions through his playing, and the "Treasures" album is a testament to this prowess. On one piece, he might leave chasms of silence and finger each note with almost painful delicacy, and on another, his playing might be very dense, as if he’s compelled to explore every structural possibility simultaneously.Read more about the condition New: An item that is still in its original shrink wrap from the manufacturer and the original manufacturer’s seal (if applicable) has not been removed. Mikkelborg’s string arrangements are probably too romantic (or cloying – take your pick) for modern tastes but the big-band arrangements work well, showing Mikkelborg’s indebtedness to Gil Evans – especially on the titular track Treasures, where Mikkelborg’s muted trumpet sounds like a homage to the then very recent Miles Davis / Gil Evans collaborations of 1957–68. Come Rain or Shine’ opens with a piano flourish so alive one almost doesn’t care whether the main melody ever arrives. With Thelonious Monk’s ‘Round Midnight’ – Evans’s approach is drier and more introspective yet keeping the spirit of Monk’s original.

In the edit page, go to the 'Metadata' tab and add your Juno artist, label or release page for listeners to purchase your release / releases.The emotion in his playing comes from that inner world exploration as his fingers match the tone of his piano keys to each emotion his quest uncovers. Overall, the dynamics of the Evans/NHØP/Dawson line-up are more extravert than what one might expect of a Bill Evans trio – for example, the opening Come Rain or Shine is muscular and up-tempo, and Someday My Prince Will Come is cheerful and bold, with Evans playing hard and NHØP delivering a springy yet fluid solo. Danish bassist Niels-Henning Orsted Pedersen and drummer Alan Dawson pick up the vibe and run with it through enduring takes on "Someday My Prince Will Come" and "Beautiful Love.