Danish native Jacob Fischer is a rising star and one of the most in-demand jazz guitarists in Scandinavia and Europe. Born in 1967, the self-taught guitarist began working as a professional when he was 17 years old, and since then has participated in over 200 recordings.
His fifth album as a leader, and his debut from the Japanese label Venus Records, is an ambitious project: A tribute to Bill Evans with a simple trio with Martin Wind on bass and Tim Horner on drums. Their efforts are a success on many levels. On some tracks, they succeed because they use completely different approaches from those used by Evans in his well-known recorded performances. Examples of these include the unsentimental, hard-boiled approach of the opening track and the imaginative collective improvisations on "Nardis"…
Jazz pianist Bill Evans began a quiet revolution in the early 1960s. Before Evans, jazz piano trios spotlighted the pianist while the others essentially accompanied him or her. Evans envisioned a trio where all three musicians were on an equal footing, where they'd truly interact. "Sunday at the Village Vanguard", recorded live in 1961, captures the original Bill Evans Trio at its peak. Drummer Paul Motian plays with grace, subtlety, and restraint that are equal to Evans's, and bassist Scott LaFaro (who also played with Ornette Coleman) has a rapport with the others that seems telepathic. Evans absorbed the bebop approach to the keys but also took inspiration from the suave pianism of Nat "King" Cole and 20th-century classical Impressionism. "Sunday" is piano trio jazz that's executed so beautifully one might not notice how complex it really is.
This Canadian concert was performed shortly before drummer Marty Morell’s departure, and therefore, boasted a well-rehearsed unit. Before Eliot Zigmund’s arrival, Evans would make a duo album with Eddie Gomez entitled Intuition. The concert issued here was one of two performances recorded during that engagement, although not a single tune was played twice. The other concert has been issued on CD under the title of Blue in Green. Our concert, taken from a radio broadcast, has been long unavailable and appears here on CD for the first time ever. As a bonus to this rare concert, we have added the soundtrack from a TV show featuring the same Bill Evans trio, recorded in New York on September 17, 1972.
THE COMPLETE BILL EVANS ON VERVE is an 18-disc, 269-track box set featuring every track that Bill Evans recorded for Verve between 1962 and 1969, including 98 previously-unreleased tracks. It includes a 160-page, full-color book. THE COMPLETE BILL EVANS ON VERVE was nominated for a 1998 Grammy Award for Best Recording Package - Boxed and for Best Historical Album. The 18 CDs in this exhaustive set provide a comprehensive picture of Bill Evans from 1962 to 1969, a period when the pianist was both consolidating his fame and sometimes taking his music into untested waters, from unaccompanied piano to symphony orchestra. His work with multitracked solo piano, originally released as Conversations with Myself and the later Further Conversations with Myself, was the most remarkable new format for his introspective music. It gave Evans a way to be all the pianists he could be at once–combining densely chordal, harmonically oblique parts with surprising, rhythmic punctuation and darting, exploratory runs.
Cardboard sleeve (mini LP) reissue from Bill Evans featuring the high-fidelity SHM-CD format (compatible with standard CD players) and the latest 24bit/96kHz digital remastering. Comes with bonus track(s). Part of a 5-album Bill Evans SHM-CD cardboard sleeve reissue series featuring albums "I Will Say Goodbye," "Alone (Again)," "Intuition," "Re: Person I Knew," and "Jazzhouse." The title refers to the Michel Legrand piece performed twice on the date, and to the fact that pianist Bill Evans was on the verge of switching labels from Fantasy to Warner Bros.