EVANS, Bill Archives - Guerssen Records https://wpguerssen-test.odoo.rgbconsulting.com/artist/evans-bill/ Guerssen Records Tue, 01 Apr 2025 15:33:32 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.3 https://wpguerssen-test.odoo.rgbconsulting.com/wp-content/uploads/2022/04/cropped-isotip-32x32.png EVANS, Bill Archives - Guerssen Records https://wpguerssen-test.odoo.rgbconsulting.com/artist/evans-bill/ 32 32 Conversations With Myself https://wpguerssen-test.odoo.rgbconsulting.com/product/conversations-with-myself/ Thu, 26 Oct 2023 22:00:00 +0000 https://wpguerssen-test.odoo.rgbconsulting.com/product/conversations-with-myself/ That Bill Evans ventured into overdubbed pianos for this session was in 1963 a historic occasion. Overdubs were seldom in the age of Rudy Van Gelder- and Orrin Keepnews-produced sessions, which were sacrosanct in their on-the-spot nature. But by 1963 it was clear that very, very few people could play the way Evans did. Once he had himself to play along with, it was abundantly clear why he was so singular a musical mind. The melodies here fit together like two sets of fingers making a cradle, and Evans dances the lines, flows them irregularly, and entangles them so as to paint himself into constant binds. Then he escapes the binds, as artfully as he had done on Sunday at the Village Vanguard and Waltz for Debby with the legendary trio of himself, bassist Scott LaFaro, and drummer Paul Motian. This is rightly one of jazz piano's most enchanted recordings. --Andrew Bartlett

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]]> That Bill Evans ventured into overdubbed pianos for this session was in 1963 a historic occasion. Overdubs were seldom in the age of Rudy Van Gelder- and Orrin Keepnews-produced sessions, which were sacrosanct in their on-the-spot nature. But by 1963 it was clear that very, very few people could play the way Evans did. Once he had himself to play along with, it was abundantly clear why he was so singular a musical mind. The melodies here fit together like two sets of fingers making a cradle, and Evans dances the lines, flows them irregularly, and entangles them so as to paint himself into constant binds. Then he escapes the binds, as artfully as he had done on Sunday at the Village Vanguard and Waltz for Debby with the legendary trio of himself, bassist Scott LaFaro, and drummer Paul Motian. This is rightly one of jazz piano’s most enchanted recordings. –Andrew Bartlett

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]]> You Must believe In Spring (Blue&Doublemint) https://wpguerssen-test.odoo.rgbconsulting.com/product/you-must-believe-in-spring-bluedoublemint/ Sun, 26 Jan 2025 23:00:00 +0000 https://wpguerssen-test.odoo.rgbconsulting.com/product/you-must-believe-in-spring-bluedoublemint/ Reissue including 2 bonus tracks ! You Must Believe in Spring has been recorded with bassist Eddie Gómez and drummer Eliot Zigmund in August 1977 and released in February 1981, shortly after Evans's death in September 1980. Unlike most posthumous releases of the pianist's recordings, this material had been authorized by Evans for release. It has aptly been described as "one of Bill Evans' most beloved recordings and features possibly the best-sounding audio of any album he ever did." It was Evans's first album for his new label, Warner Brothers, but it was also the last one with his longtime bassist Gómez, who left to pursue other musical projects.

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]]> Reissue including 2 bonus tracks ! You Must Believe in Spring has been recorded with bassist Eddie Gómez and drummer Eliot Zigmund in August 1977 and released in February 1981, shortly after Evans’s death in September 1980. Unlike most posthumous releases of the pianist’s recordings, this material had been authorized by Evans for release. It has aptly been described as “one of Bill Evans’ most beloved recordings and features possibly the best-sounding audio of any album he ever did.” It was Evans’s first album for his new label, Warner Brothers, but it was also the last one with his longtime bassist Gómez, who left to pursue other musical projects.

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