BILL EVANS PORTRAIT IN JAZZ RIVERSIDE LP 1959
£
28
$
37
£ 28
Sold For
Jan 17, 2010
Sold Date
Jan 10, 2010
Start Date
£ 5
Start price
10
Number Of Bids
Great Britain
Country Of Seller
eBay
Auctioned at
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Description
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Only rare records
Classical, Rock, Jazz, Avant-Garde, Psych, Folk, Soundtrack & Ethnic ...
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BILL EVANS TRIO
PORTRAIT IN JAZZ
RLP 12-315
BILL EVANS PIANO
SCOTT LAFARO BASS
PAUL MOTIAN DRUMS
NYC, DECEMBER 28, 1959
Come Rain Or Come Shine
Autumn Leaves
Witchcraft
When I Fall In Love
Peri's Scope
What Is This Thing Called Love?
Spring Is Here
Someday My Prince Will Come
Blue In Green
ORRIN KEEPNEWS- PRODUCER
IACK HIGGINS - ENGINEER
GEORGE HORN - MASTERING
In 1958, Evans was hired by Miles Davis, becoming the only white member of his famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans' introspective scalar approach to improvisation deeply influenced Davis' style. At the time, Evans was playing block chords, and Davis wrote in his autobiography, "Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got, was like crystal notes or sparkling water cascading down from some clear waterfall." Additionally, Davis said, "I've sure learned a lot from Bill Evans. He plays the piano the way it should be played."
Evans' desire to pursue his own projects as a leader (and increasing problems with drug use) led him to leave the Davis sextet in late 1958. Shortly after, he recorded Everybody Digs Bill Evans, documenting the previously unheard-of meditative sound he was exploring at the time. However, he came back to the sextet at Davis' request to record the jazz classic Kind of Blue in early 1959. Evans' contribution to the album was overlooked for years; in addition to cowriting the song "Blue in Green", he had also already developed the ostinato figure from the track "Flamenco Sketches" on the 1958 solo recording "Peace Piece" from his album Everybody Digs Bill Evans. Evans also penned the heralded liner notes for Kind of Blue, comparing the improvisation of jazz to Zen art. By autumn of 1959, he had started his own trio.
At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group has since become one of the most acclaimed piano trios—and jazz bands in general—of all time. With this group, Evans' focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation and blurred the line between soloist and accompanist. The collaboration between Evans and talented young bassist LaFaro was particularly fruitful, with the two achieving an unprecedented level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings drawn from the same recording date, and they are routinely named among the greatest jazz recordings of all time.
In addition to introducing a new freedom of interplay within the piano trio, Evans began to explore extremely slow ballad tempos and quiet volume levels, which had previously been virtually unknown in jazz. His chordal voicings became more impressionistic, reminiscent of classical composers such as Debussy, Ravel, Scriabin, and Satie; also, he was moving away from the thick block chords he often utilized when playing with Davis. His sparse left-hand voicings supported his lyrical right-hand lines, as much a product of the influence of jazz pianist Bud Powell as of any classical composer.
Like his contemporary Miles Davis, Evans had begun to pioneer the style of modal jazz, favoring harmonies that helped avoid some of the idioms of bebop and other earlier jazz. In tunes like Time Remembered, the chord changes more or less absorbed the derivative styles of bebop and instead relied on unexpected shifts in color. It was still possible (and desirable) to make these changes swing, and a certain spontaneity appeared in expert solos that were played over the new sound. Most composers refer to the style of Time Remembered as "plateau modal," because of its frequent juxtaposition of harmony.
Original white/blue DG UK pressing on the Riverside record label released in 1959. Catalogue number RSP 12-315, complete with UK Purchase Tax stamp (see photo).
The record plays as EX+ with no pops no hiss no repeats no skips. THere are a couple of very light tics at the end of track one but absolutely nothing serious. There is a hairline but played with a slightly heavier stylus weight this does not sound but please be aware of it. Record still has its original sheen.
The sleeve has some wear along the edges but no writing no creases and no tears so overall VG+.
Both labels are in excellent condition with just a few barely discernable wispy spindle marks.
THESE RECORDS ARE GRADED *AURALLY AND VISUALLY.
ANY QUESTIONS PLEASE ASK
THE PHOTO IS OF THE ACTUAL ITEM
VERY IMPORTANT. please read ALL of the following BEFORE BIDDING:-
*I GRADE BY WHAT THE RECORD SOUNDS LIKE AND WHAT THEY LOOK LIKE
IF YOU DISAGREE WITH ANY OF THESE TERMS PLEASE DON'T BID
All our items are 100% guaranteed (full refund less shipping if not as described).
Guarantee & Grading Notes
I take great care in grading my records and value my reputation as an honest and friendly trader on Ebay. Should you feel that I have incorrectly described the condition, I offer a 'no quibble' refund up to the final bid price. I regret that I am unable to offer refunds for postage and packing.
NEAR MINT audio inspection has revealed no scratches or scuffs on the playing surface. The record may have been played but is undamaged. The jacket will be clean and unmarked with only the slightest wear.
EXCELLENT audio inspection has revealed no sounding scratches on the playing surface, but there may be a few light crackles. The jacket might have slight wear and/or creasing or fading.
VERY GOOD audio inspection has revealed some light scratches and/or heavier scuffs - if these sound I will mention this in the listing.
POSTAGE WILL BE COMBINED TO SAVE ON COSTS
UK POSTAGE IS FREE 2ND CLASS EACH EXTRA LP IS £1.50
EUROPE POSTAGE IS £4.50 EACH EXTRA LP IS £1.50
REST OF THE WORLD POSTAGE IS £8.00 EACH extra lp is £3.00
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