BILL EVANS TRIO | Orig 1956 NEW JAZZ CONCEPTIONS |
$
26
Favourite Auctions
To save auctions to your favourites, please login
If you don't have an account, please register
Description
This is an original (1956) U.S. Pressing on the RIVERSIDE jazz label. (RLP-12-223). Deep Groove pressing; vinyl has that substantial weight; labels nice, clean, and bright showing barely any wear; vinyl glossy, plays with full sonic MONO playback on my Thorens TT. Fills the room with clean and crisp piano, bass, and thunderous drums--excellent staging- sounds like stereo! from this mono pressing-really and enjoyable set and plays at full volume-, some occasion undertones of surface noise on the later tracks only of Side ONE (expect some ticks and pops that are soon OVERCOME by the piano, bass ,and snare drumming) on quieter passages from very slight surface marks on mostly noted under light on Side ONE (you'll see a slight squiggly line a cross a few tracks)- Nothing that remotely detracts from this hard to come by original . Overall, we are talking about a vinyl exceptionally clean VG+ or better LP here - you'll see the gloss right away. Outstanding thunderous drums solo by Paul Motian, not long, but punctuated perfectly--
The Cover: VG+ (all seams tight; typical shelf-wear only; NO inscriptions; NO writings; NO names; NO 'Scotch taped seams" - a clean , original cover with superb liner notes of this September 18 and 27 1956 Jazz NYC session - Bill Evans' Trio first on Riverside..
This groundbreaking recording was the first to feature then-unknown Bill Evans as a leader (amazing, isn't --now that we know who he is..), and it also introduced a trio format of piano, bass, and drums, which would become Evans's standard format for playing and
recording. NEW JAZZ CONCEPTIONS, recorded when Evans was just 26, merges his articulate, vigorous playing with the music of fellow Tony Scott Quartet musicians Teddy Kotick on bass and the extroverted Paul Motian on drums.
The album's FOUR ORIGINAL compositions include "Five," a witty, complicated song which makes clever use of the chords from "I Got Rhythm," and the disjointed, slightly off-kilter "Displacement," a study in a common Evans theme of playing against the meter and around the beat of a composition. The most remarkable material is the wonderfully eloquent piano solo, "Waltz for Debby," written for Evans's niece, which became perhaps the most renowned classic of his musical career.
Shipped U.S. Media Rate (in new 200lb test record box and cardboard insert) INTERNATIONAL via U.S. First Class AIRMAIL
price rating
