SHELLY MANNE / BILL EVANS w/ Monty Budwig empathy NM HARD POST BOP BEBOP JAZZ LP
  £   19
  $   25

 


£ 19 Sold For
Jan 16, 2020 Sold Date
Jan 6, 2020 Start Date
1 Number Of Bids
  Netherlands Country Of Seller
eBay Sold at
 
 
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Description

SHELLY MANNE / BILL EVANS with Monty Budwig empathy
Rare original German pressing on the Verve label (V6-8497) from 1962. This archive keeper copy comes from the collection of a former recordshop employee that only played his records once to record them. Hence the 

Condition:
The record and the laminated sleeve are in NEAR MINT condition.

EMPATHY Post bop Jazz - Shelly Manne/ Bill Evans with Monty Budwig on Verve reel to reel tape - YouTube

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[isdntekvideo] Recorded in New York, Aug. 14, 1962.  A Hard Bop, Jazz Combo with Bill Evans, Eddie Gomez, Shelly Manne, & Monty Budwig
Tracklist: The Washington Twist Danny Boy Let's Go Back To The Waltz With A Song In My Heart Goodbye I Believe In You Credits Bass – Monty Budwig Drums – Shelly Manne Engineer [Recording] – Rudy Van Gelder Photography By [Cover] – Harris Haft Piano – Bill Evans
Producer – Creed TaylorAllMusic Review by Dave Nathan: This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Getting Riverside's permission to let the pianist participate, Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio. This was a busman's holiday for Evans, who was freed from the musical parameters he had set for his then-current trio. The result is that his playing seemed lighter, freer, and more relaxed than it had for a while. The album kicks off with a jaunty version of Irving Berlin's "The Washington Twist" from the unsuccessful Mr. President, with Budwig sharing the honors with Evans as much as Manne. Manne spends most of his time driving Evans into more diminished and sharper playing than was usually Evans' wont. Another relatively unfamiliar Berlin work, "Let's Go Back to the Waltz," gives full reign to Evans' lyricism. The longest tune on the set is an audacious, almost lampooned version of "With a Song in My Heart" with light chordal phrasing that pretty much characterized much of the tone coming from this session. Listening to these three, it's clear that everyone was having a good time and simply enjoying being relieved of their duties with their regular combos, even if for just one day.
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