Customer Reviews

Portrait in Jazz

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Portrait in Jazz was the first of only four (official) albums made by what Evans fans know as "the first trio" - the one with Scott La Faro and Paul Motian - which introduced a new approach to the music of a jazz piano trio. Whereas the conventional trio tended to feature the pianist as a 'star soloist' with bass and percussion essentially as 'accompanists' with a fixed and limited role, Evans, La Faro and drummer Paul Motian aimed to develop more of a sense of equal and spontaneous interplay. Scott La Faro was the right man in the right place: his virtuoso technique and strong musical personality enabled him to play the more active, assertive (but compatible) role Evans wanted for the group. By the time this trio played its famous sessions at The Village Vanguard (Live at the Village Vanguard and Waltz for Debby) this 'collective improvisation' was well developed. Portrait in Jazz being the first album by the trio, the roles within the group are sometimes still fairly conventional, with bass and drums functioning as a `rhythm section' with the pianist spotlighted as `leader'. However, there's a strong sense of discovery and enthusiasm which, I think, gives the music a greater freshness and vitality than the subsequent albums by this trio and it's those qualities, along with the sensitive, alert musicianship of the trio which makes this one of the most absorbing and enjoyable of Evans's many albums.

Part of its appeal is also the excellent choice of material, but much of the interest lies in what Evans in particular does with it. Often this is mainly a matter of the unusual chord voicings and adjustments of rhythm and phrasing he gives to a familiar tune, which open up wider harmonic and rhythmic perspectives for improvising. You hear this from the opening bars of the first number, "Come Rain or Come Shine" and it's evident also in the slower ballads, a haunting version of "Spring is Here" and a probing reading of "When I fall in Love". Notice for example how, on the latter very familiar tune, Evans's slightly 'off-centre' harmonies create a different kind of emotional tone from the suave, sentimental one which singers usually give it. Among the other high spots are the famous up-tempo version of "Autumn Leaves", with its infectious swing and lively interplay between piano and bass, similarly propulsive readings of "What is this Thing Called Love" and "Some Day My Prince Will Come" and a marvellous "Blue in Green" on which the rapport between Evans and his partners is especially close.

This is a classic piano jazz album, and one that never seems to lose its freshness. Highly recommended.

All of Bill Evans' Riverside recordings are, in my opinion, classics - yes, even the 'alternate takes'. What make the alternate takes valuble to me is the chance to hear the sidemen (Scott LaFaro on bass and Paul Motian on drums) explore different melodies and solos. "Autumn Leaves" is a case in point here. As a musician myself, it is fascinating to hear the subtle differences between the stereo and mono takes and the different ideas by all three players. I must disagree with the previous reviewer who thinks that the "bonus" tracks are invalid both as music and marketing. Originally, when first reissued on a double LP entitled "Spring Leaves" - containing both single LPs "Explorations" recorded in 1961, and "Portrait in Jazz" recorded in 1959 - the "bonus" tracks were simply called "previously unissued", and included both the mono version of "Autumn Leaves" as well as a version of "The Boy Next Door". This was not a marketing ploy, as the double LP was very fairly priced and contained enough material without the added tracks. It was done for historical purposes and cleared by the artist. The stereo equipment had malfunctioned on the one - we will never know whether or not Bill Evans was or was not satisfied with the take, but it is true that Evans was not fully satisfied with "The Boy Next Door" and it was not included in the single LP "Explorations". Later, though, Evans would look back and be less critical, allowing these to be released as part of that Milestone "twofer". He also states plainly in the liner notes that he feels both of these LPs to be some of his best work. I concur. There is not one single track on "Portraits in Jazz" that dips below the highest standard. The near-telepathic communication between Evans and LaFaro has been well documented and is clearly heard on all tracks. Also, Paul Motian should never be underestimated, as his tastefullness is beyond question on this and every other recording with Evans and LaFaro. I do miss the 'alternate take' , momo, of "Spring Leaves" on my single LP of Portraits I Jazz - which is in much better shape than the Milestone 'two-fer. I will say this: I cherish the Milestone re-issue because of the liner notes, which contain much information about both the men, the music, and a lengthy conversation with Evans regarding the time and the feelings associated with all the recordings. The 2-record set was released in 1976 and produced, as were the original single LPs, by Orrin Keepnews.

Contrary to the views of some Evans' devotees, not all of his recordings are uniformly excellent. Much of the material from the middle of his career, especially, suffers from a kind of overly busy virtuosity and sterile, introspective approach to the same material. But this album measures up well against the best Evans' recordings--the early Vanguard sessions as well as the late Paris concert. In fact, it's a "studio" version of the same telepathic trio recorded live on the Vanguard session. But here the piano's sonorities are fuller, richer, and Evans' solo voice is more prominently featured. In fact, I find this the best album to use when demonstrating Bill's special genius to "outsiders." "Come Rain or Come Shine," the very first tune, showcases his luminous tone and clustered left-hand voicings; "Autumn Leaves," the second tune, beautifully illustrates the "democratic" role of each of the three players, alternating ensemble polyphony with straight-ahead 4/4 swing. For the collector who's already acquired "Live at the Vanguard" and "The Paris Concert," this is certainly worth considering as the next addition to a collection of Evans' best recorded work.

PORTRAIT IN JAZZ, like all the material recorded by the transcedental trio of Evans/LaFaro/Motian, is timeless and crucial. Scott LaFaro would tragically die in a car accident immediately following the legendary Village Vanguard dates that produced SUNDAY AT THE VILLAGE VANGUARD and WALTZ FOR DEBBY, arguably robbing Evans of his single greatest accompanist. Together, these two musicians could propel each other through their playing to reach a point of absolute synergy that forever changed the nature of jazz trio piano. One note of interest for those with exposure to Evans only through KIND OF BLUE - Evan's own performance of BLUE IN GREEN is here, further illustrating how pivotal Evan's role was on that landmark Miles Davis session. EXPLORATIONS is also essential. One note on the Amazon review, though - this was not his 2nd record date as a leader, it was his 3rd. People often overlook his first Riveside album from 1956, NEW JAZZ EXPLORATIONS, but it contains many seeds of what would soon develop under Miles's guidance.

If you are having any doubts about buying this cd, put your mind to rest and just buy it. It is the best trio cd in the world. Incredibly swinging, lyrical, innovative, and adventurous. There is no way you will regret buying this cd. It is definetly on my desert island list. Just buy it. Go ahead, your life will be better as a result.

I thought I knew Evans' music pretty well, but this disc (which I, too, sought out after hearing Paul Motian recommend it in his "Fresh Air" interview) came as something of a revelation.

Rarely have I heard Evans play with so much energy. Some of his lines here even call to mind Bud Powell, who is not someone I would ordinarily associate with Evans. His whole approach on this disc - attack, development of ideas, use of dissonance - is more aggressive than on most of his other recordings.

This energy, though, doesn't come at the expense of lyricism. This CD has more than its share of heartbreakingly beautiful moments. Is there any ballad more affecting than (in Evans' hands) "When I Fall In Love"?

Much has been written about the Bill Evan's genius, and this album is an early document of it.

His interpretations of standards are superb, always (like Ella Fitzgerald) gracefully capturing the essence of the song. And his two compositions are classic examples of Evans's poignant, elegant approach.

I think album is most special because of the unique relationship between Evans and bassist Scott Lefaro. Their 'musical conversation' on "Autumn Leaves" goes way beyond traditional soloing. Lefaro's playing here cannot be overstated, and I think he solos as well (or better) as any bassist of his generation. Who knows what his contributions could have been if it wasn't for his untimely death.

I'll be brief: Bill Evans is, in my esteem, the most devastatingly moving piano player ever to walk this earth. He is at his absolute best here, full of subtle, deep emotional expression and swinging hard with the rhythm section, often at the same time. Evans, LaFaro and Motian are simply unmatched in their cohesiveness and supreme ability to listen and respond instantly to one another's improvisational threads and evolving harmonic and melodic ideas. "Portrait in Jazz" is an absolute necessity for anyone who loves Bill Evans, or anyone who wants to understand why so many of us do.

The artistic greatness of Bill Evans resides in his spelling treatment of the piano. He not only plays the keyboard; he plays with the instrument and certainly he would seem to establish with it a sort of spiritual connection making of it an extension this inner thoughts and moods.

That's why there have been so many versions about his compositions and however, just a few have been able to perform and express with such kind of feeling and inspiration the core of his compositions.

This is at least to my view, the main reason I recognize in him the essence of the genius. As Midas King all what he played it was pure gold.

...after Newport and "Kind of Blue." Evans' spare, minimalist instrumentation left you wanting more of his music. And here you get more -- and less: a trio, with Evans' chord/silence/chord style leaving you hanging on every note. "Blue in Green" is great, his stake on authorship of the song; only a few "Autumn Leaves" have been as colorful and mellow; "Someday My Prince Will Come," predated Miles' version and influenced in subtly; and Evans does delicate things to the old standby "What is this thing called love?"

I'd buy it if I were you.