The Bill Evans Trio
Concord Music Group is proud to announce the forthcoming vinyl reissue of Bill Evans’ The Complete Village Vanguard Recordings, 1961, one of the greatest live jazz recording sessions of all time. Pressed on 180-gram vinyl, the four LPs are packaged with a 12-page booklet, complete with new liner notes by reissue producer Bill Belmont, as well as the original liner notes by the producer of the initial recordings, Orrin Keepnews. Reproductions of Keepnews’ session annotations and ph… MORE
MORE RELEASES FROM 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… More
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
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.