Customer Reviews

The Ivory Hunters

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Brookmeyer never unpacks his valve trombone, and teams up with Bill Evans on piano. Recorded one afternoon in 1959, Brookmeyer offers a staight-ahead, technically rich piano style that contrasts with the more laid back, spontaneous, and lyrical one that became the hallmark of Bill Evans.

At the time of this recording, Brookmeyer was an established trombonist with several records to his name. Evans was emerging as a phenomonal pianist, having just joined the Miles Davis quintet in 1958.

The tracks recorded were standards (someone liked Gershwin), with the faster paced ones (Honeysuckle Rose) spotlighting Brookmeyer and the slower paced ones (The Man I Love) allowing Evans to show his stuff. Typical of the stereo style of the day, Brookmeyer is heard on the left channel and Evans on the right, with Percy Heath on bass and Connie Kay on drums mixed across both channels.

This is a "must have" CD for jazz enthusiasts because of the unusual instrumentation, and as a point of reference in the developing career of Bill Evans.

Actually Mr. Brookmeyer's first instrument IS piano. He studied piano & composition at the Kansas City Conservatory of Music. He took up the valve-trombone in the early fifties.

This is a curious yet very satisfying and fun record too often neglected or glossed over by Evans fans and scholars. Recorded in March 1959 -- just twelve days in NYC after the first "Kind of Blue" sessions fort Miles -- Bill is joined by veteran jazz trombonist Bob Brookmeyer -- here on piano.

It's a fun, inventive romp through seven durable pop standards, and reveals a quite adventurous Evans and a surprisingly good Brookmeyer. ("Surprisingly", since piano is not his first instrument). Brookmeyer, of course, went on to be a consummate arranger, leader of one of most exciting big bands in jazz today, and of course, always a very thoughtful and creative trombonist.

The two-piano arrangements are calculated for who does what and when, and the contrasts between the two keyboards are a great example of two learned musicians who rarely clash, yet are willing to take chances and revel in the process. The MJQ rhythm section of Percy Heath and Connie Kay keep a nice non-interference backing, and hearing Bill with someone else on piano is quite an experience. Mr. Brookmeyer more than holds his own, providing sturdy, yet often uncompromising voicings, inspired fills and flowing lines for Bill's intelligent solos and chording-- and Bill returns the favor, being rhythmically playful, yet giving great support and adding some playful comments as Brookmeyer gets more than just a few good licks in.

One has to wonder if any of this was an impetus for four years later, when Bill recorded his first "Conversations" album (which won the Grammy ), overdubbing himself on three tracks.

Every tune here is a highlight, and the performances upbeat and diverse, so it's more than just a fun ride. This record seems to go in and out of print, so pick it up -- a worthy Evans recording, even though at a steep import price.

The packaging is anomalous and the price is high, but no less unusual is the music, which is also of a surprisingly high quality. Brookmeyer is a good enough pianist to make the comparison with Bill rewarding and instructive. They take turns playing melodies and bridges, then trade whole choruses as well as phrases. In each case, Bill admittedly plays with greater precision, more focused tone, and hipper left-hand voicings, but Brookmeyer holds up his end thanks to his harmonic savvy and finger technique (most arrangers who play piano fail when it comes to digital dexterity). The rhythm section is the MJQ minus Bags.

It's a pity to feel exploited by Japanese record producers charging triple for American music. On the other hand, maybe they understand the worth of some things better than we.