The Bill Evans Trio
LOS ANGELES, Calif. - Concord Music Group will release five new titles in its Original Jazz Classics Remasters series. Enhanced by 24-bit remastering by Joe Tarantino, several bonus tracks on nearly each disc (some previously unreleased) and new liner notes providing historical context to the original material, the series celebrates the 60th anniversary of Riverside Records, the prolific New York-based label that showcased some of the most influential jazz artists and recordings of the 1950s … MORE
MORE RELEASES FROM THE BILL EVANS TRIO
Concord Music Group is launching five new titles in its Very Best Of jazz series, which showcases some of the very best tracks culled from the… More
Concord Music Group releases three new titles in its Original Jazz Classics Remasters series. Enhanced with 24-bit remastering by Joe Tarantino… More
The second album by the original Bill Evans group was recorded after the pianist, bassist Scott LaFaro, and drummer Paul Motian had spent a year… More
Each title in the series features 24-bit remastering, original AND new liner notes, fully restored artwork, and bonus tracks (when available). More
This is the last album Bill Evans made for his first label. The fact alone would give this at least historical significance; and there is surely… More
Conventional wisdom, which in this case may be right, holds that Bill Evans' storied career peaked on June 25, 1961, a date that yielded two live… More
The Final Recordings Live at Keystone Korner, September 1980 The Last Waltz is a profoundly… More
Bill Evans (1929-1980) and Stan Getz (1927-1991) were, after Evans's ex-employer Miles Davis, the great romantic improvisers of the postwar era… More
ABOUT THE BILL EVANS TRIO
As early as 1956, Bill Evans was hearing in his mind the kind of trio he would like to have, a band in which everyone was simultaneously free and together, in which time was understood but not always strictly played. In 1959, with his longtime colleague Paul Motian and the young bassist Scott LaFaro, he at last had a trio in which everyone felt his way of playing time. Furthermore, LaFaro was compatible with Evans's advanced harmonic ideas, capable of complementing and enhancing the pianist's sophisticated chord voicings.
By early 1961, the trio had realized Evans's vision to the point where their music seemed the product of one mind, so uncanny was their empathy. Evans's explorations of the possibilities of the song form advanced jazz as an art and made his group one of the most influential in the music's history.