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Hallowed live recordings from a positively synergistic trio unfortunately plays out more in historical context from its scarcity of variety.
Glorias Step also has great examples of the interplay in the rhythm section. He uses only brushes the whole set, but he never misses a beat. Just listen to Alice in wonderland when he follows bill's improvised lines PERFECTLY and kicks back in to the 3/4 feel with ease. I , like many others, stumbled upon this album several years ago knot knowing what to expect. Also, I think that he didn't really "play out" because Scott was playing the role of rhythm and lead (somewhat), so steady hands on the traps were needed.Anywhoo, if you are a Bill Evans fan, a rhythm junkie, a bassist, or just a casual listener looking to expand your library, this is a GREAT choice. I wanted to throw in my two cents here, having read that Paul Motain is kind of "in the background" for this album. I was blown away at the near-telepathic interplay and virtuostic playing all around. I have to disagree.
At a time when many drummers would state the beat, Motian would imply it in his own way as Elvin Jones would in the famous Coltrane quartet. LaFaro's influence would spread to other heavyweights bassists such as Richard Davis, Gary Peacock, Eddie Gomez, Dave Holland and Miroslav Vituous, several of which who also played in Miles Davis' bands. Anyone interested in the evolution of the jazz piano trio should purchase this album for it captures the great Bill Evans at the peak of his powers along with the late legendary bassist Scott LaFaro. But this trio set the mode for other future trios to come since the bass also now had a voice rather than customarily maintaining a pulse. This album along with the trios of Bud Powell on Blue Note & Verve should be added to any essential jazz lists of important trios. Recorded in September of 1961 at the Village Vanguard, the trio's interplay is indeed telepathic but unfortunately several days later, Scott LaFaro would be tragically killed in an auto accident. Before I forget, let's not forget the contributions of drummer Paul Motian to this trio.
It is essential to any collection of jazz, or music for that matter. Recorded in June, 1961 this album set at that time the standard for the piano-bass-drums jazz trio - a standard that has still not been surpassed.
On this album, his rendition of Miles Davis' Solar can only be described as "Way out there." What intrigues me about the piano playing of Bill Evans is that he brought a hard driving attitude to classical forms. I can't imagine Evans' playing ever sounding out-dated.
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