Customer Reviews

Paris Concert 2

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3 star:		(1)
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In the interview concluding this album, Evans underscores his preference for musicians who have woodshedded, paid their dues, given their all for the art as opposed to the naturally gifted and fame-minded. Consider this album the consummation of Evans' musical journey, as inspired and impassioned as the Requiem Mozart composed on his death bed. It reveals the pianist at the height of his powers--creatively, spiritually, even physically. I have a slight preference for Edition One because of the inclusion of "I Loves You Porgy," an untouchable, unforgettable solo performance. But both editions contain Evans' most passionate and sustained lyrical "singing" on record. This recording should quickly silence any criticism of Evans' music as self-indulgent, tentative, or impressionistic.

The second volume in the series and a worthy successor very much the equal. Again a feast for mind and heart, I actually prefer this Edition. "Re: A Person I Know" is extraordinary, probably his best redition of the piece, just as you are sighing in appreciation at the sheer beauty of this piece he hits you with "Gary's Theme". Evans is one of the true masters of the ballad and it's exploration. "Laurie" is yet another simply amazing ballad. "Nardis" starts out as a study on piano, with Evans improvising almost leading you astray, you are lost in these wonderful thoughtful exploration of this Miles Davis classic, and then suddenly the trio comes in and suddenly it's an upbeat vehicle with Marc Johnson taking an outstanding solo with absolutely no excess as does Joe La Barbera, a fine and underrated drummer. With Evans passing we lost a master at the height of his power. The potential of this trio is on exhibit here. Another thing in favor of this recording is that the audience came to listen, no excessive plates clattering, complete snippets of conversations, just a stellar performance by one too soon gone from us. This CD should also have been cast in gold along with Edition one.

This and Volume 1 are must haves. Check out Bill's intro on Nardis - completely in time, yet unprecedented rhythmic displacement.

The whole recording is this good. IMHO, some of the best, most moving Bill ever.

The Paris Concerts are two of my favorite Bill Evans albums. In my opinion, he is at the very top of his game on these recordings and I especially like the way that Marc Johnson and Bill Evans play together. It is reminiscent of the early Scott LaFaro recordings, but even better. There is a depth and sensitivity here that represents a very mature Bill Evans at the height of his ability. In short, these are both pure magic.

This recording is an example of Bill's last trio at the height of their power. It is also an example of Bill's emotional range expressed without reservation or apology. The edgy and swinging version of "34-Skidoo" makes an interesting comparison to the original version, recorded with an earlier trio at Montreux. In contrast, "Waltz For Gary" shows Evans at his most lyrical and uncompromising. It must also be added that the album has even greater gravitas now, with all of the additional "unofficial" recordings of this band, many of which result in an uneven listening experience due to performance (piano tuning) and fidelity issues.

This record, and it's accompaniment 'Edition 1' are must-have for any seroius Evans fan. On both these records, the playing returns to the level of excitement seen on his early trio dates with the Joneses (Philly Joe, Sam) and Paul Chambers.

Gone are the snorious (sic) alternate tracks, and the audience noise that mar Evans' 'middle-career' recordings. More impressive, though is that these sessions date from 1979, when much of the audience for acoustic jazz could be fit into a medium-sized venue.

Buy it - this is the master at his best...

Unlike Edition One, this CD features mostly Evans originals. The close-mic'ed piano has an up-front, bright sound that almost sounds recorded in a carpeted studio. The bass has so much tone and sustain that it nearly duplicates a fretless bass guitar. The drums have a full, but natural sound.

Evans sticks closer to the written notes on Edition Two, leaving more sonic room for the band to noodle around than in Edition One. The result approaches the "good old days" with Scott LaFaro, except that Evans' playing is busier. Even his accompaniments on bass solos do more flips and turns than they did before.

Then there's Nardis. . .Evans contorts this song well beyond recognizability in an epic piano solo, then the band joins in. Everyone takes a "just me" solo and the song goes places that Miles Davis never dreamed of at a scorching tempo. Try to listen and not be amazed.

The Village Vanguard recordings are more subdued and "cool", but the group work on Paris Concert, Edition Two proves that Evans saved some of his best days for last.

This record, and it's accompaniment 'Edition 1' are must-have for any serious Evans fan. On both these records, the playing returns to the level of excitement seen on his early trio dates with the Joneses (Philly Joe, Sam) and Paul Chambers.

Gone are the snorious (sic) alternate tracks, and the audience noise that mar Evans' 'middle-career' recordings. More impressive, though is that these sessions date from 1979, when much of the audience for acoustic jazz could be fit into a medium-sized venue.

Buy it - this is the master at his best...

... that changed the way I approached listening to music. Of course since then the final Village Vanguard sets were released which are equally as well executed. This is Bill Evans at his pinnicle. It's just so sad that he had so little time left. He was musically on his way to the stratosphere.

This is the second volume of what was originally a two record set released after Evan's untimely death in 1980. Both volumes document Bill's last working trio, which he compared favorably to his "classic" trio with Scott LaFaro and Bill Motion. Both volumes are essential. The performances are crisp, well recorded and remastered, and containing a quality that is completely intoxicating to the ear. I perfer this volume slightly over the first, as it contains a 17 minute workout of the Miles Davis composition, "Nardis", which Bill used as a signature piece throughout his career. This version features Bill's extended introduction, which builds over several minutes until the band joins in and take it even further collectively. As a single representation of the final trio at work, this concert, on Volumes One and Two, might be the best, IMHO. Highly recommended.