Intermodulation

Bill Evans, Jim Hall | Format: Audio CD

Product Details

• Audio CD (October 25, 1990)
• Number of Discs: 1
• Label: Polygram Records
• ASIN: B00000476A
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
• Amazon Best Sellers Rank: #22,975 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

27 of 28 people found the following review helpful:

4.0 out of 5 stars Together Again, June 9, 2004

By 

MikeG (England) - See all my reviews

This review is from: Intermodulation (Audio CD)

The first Evans-Hall duo album, Undercurrent, was too good to be a one-off and so a few years later they made this follow-up. Whether it's as good as Undercurrent is a matter of opinion. Both artists are in good form, which you might think is recommendation enough: and I do prefer the way in which the recording separates guitar and piano between the two stereo channels, unlike Undercurrent, which rather oddly seems to place the guitar in front of the piano in the overall 'sound picture'. However, there's a degree less warmth and depth in the recording than on Undercurrent and it may be this that makes the playing on Intermodulation seem a bit more detached and cerebral.

There are good things here, though. I like the oblique approach to " I Get a Kick out of You", which begins with a nicely shaped improvised chorus from Hall on the familiar chord sequence and only directly states the tune (on the piano) at the end. Both artists seem to play with more relaxation and assurance at this kind of up-tempo on Intermodulation, although on both albums, most of the pieces are slower-paced. Of the slower pieces, "My Man's Gone Now" is particularly successful: the sombre, bluesy melody from Porgy and Bess bringing out the more emotive side of their playing. There's some committed playing on the two ballad originals, although Hall sounds rather tentative, and tonally bland, on Evans's "Turn Out the Stars", perhaps because of a lack of familiarity with the piece. Both artists play atmospherically on Hall's "All Across the City" - as they did, even more impressively on Hall's "Romain" on Undercurrent.

If you don't have either of these duo albums, Undercurrent is the one to try first. Intermodulation, with its well-balanced programme of interestingly chosen material makes a good sequel, although its playing time is short for a CD. Undercurrent, with its `bonus' tracks is better in quantity as well as quality.

24 of 25 people found the following review helpful:

5.0 out of 5 stars Improvisation at its Highest Level, February 10, 2000

By 

Todd J. Lorenz (Orinda, California) - See all my reviews

This review is from: Intermodulation (Audio CD)

I first heard this album as a high school study in 1970 and was absolutely astonished at the level of interaction between the two musicians. It has been my favorite CD for the 30 year since. The highly creative introductory variation of 'I Got You Under my Skin'by Jim Hall is a lot of fun. I Loves You Porgy is the most haunting version I have ever heard. Ogerman's Jazz Samba is a very upbeat tune that pulls you out of the blues. I play this CD for people who think they don't like jazz - everyone loves these tunes. The complexity of interaction between Evans and Hall on this CD is a classic and not to be missed.

4 of 4 people found the following review helpful:

4.0 out of 5 stars A classic, now only available as an import. Why?, July 3, 2004

By 

JayMusic "jaymusic" (NJ, United States) - See all my reviews

This review is from: Intermodulation (Audio CD)

This album is one of the acknowledged classic jazz duo recordings by two of the music's great influences. Why it is now only available as an import is a mystery.

Recorded in 1966 -- four years later after their first duo album, "Undercurrent" -- this meeting of these two unique jazz minds is a pleasure. Evans now-classic composition "Turn Out the Stars" makes its first appearance on record here; another highlight is "Angel Face" -- wherein a solo fragment Evans played here was later was made into the main melodic motif of the pianist's "Sugar Plum" in 1971.

Bill especially liked "Jazz Samba" from this album, saying that "We could not have got the same result with a full rhythm section. It's hard to get that buoyant moving feeling..."

In playing jazz, guitar and piano have long had a somewhat difficult time working in empathy with each other -- especially in a duo format without the framework of bass and drums -- both instruments can muddy up the other's middle range. This album (as well as their previous session) should be "lesson #1" in how to do so effectively.