Customer Reviews

Tokyo Concert

5 star:		(7)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Traditionally, the most historically significant period of Bill Evans' career was from the late 50s to the early 60s, when bassist Scott LaFaro was in his trio with Paul Motian. This is probably accurate, since that trio totally revolutionized what was acceptable for piano trio, with its floating time and the use of bass as an equal melodic voice. But one thing evident when listening to that trio and then to later editions of the band after LaFaro had tragically been killed in a car accident is that Evans hadn't reached his full, majestic potential as a commanding pianist until those later groups. His new level of command is actually evident in recordings a year after LaFaro's death, like "How My Heart Sings." Part of this, I'm sure, has something to do with compensating for the loss of LaFaro's voice in the dialogue; Chuck Israels was not as busy a bass player so that band was much more about Evans' own playing.

The present band, with Evans, bassist Eddie Gomez, and drummer Marty Morell, finds Evans about ten years later, more commanding than ever on the piano, but with a bassist whose voice is nearly as prominent as LaFaro's, though not quite as busy. As important as "Sunday at the Village Vanguard" and "Explorations" are to the piano trio lineage, I like this group's music better. This album documents a live concert somewhat early in the group's career, and the results are absolutely brilliant. The material is a mix of great melodicism and an energy not present in Evans' playing until this point in his career (or slightly before, check out "California Here I Come" with Gomez and drummer Philly Joe Jones). Evans is in top form and is a commanding presence, while Gomez is warmer and more melodic than any bassist I can think of, while also displaying great inventiveness and virtuosity. Marty Morell, while no Philly Joe Jones or Jack DeJohnette (his two predecessors in this group) has a sense of swing that perhaps matches Evans' own unique way of swinging better than either of those two. My personal favorite tune on here is LaFaro's "Gloria's Step," revisited from the first trio's days, but done faster and with a chilling intensity. After Evans introduces part of the theme by himself, the band lurches as Gomez and Morell come in on the bridge in one of those "whoa" moments which make jazz as spontaneous and special as it is.

This album is fully accessible to anyone as Bill Evans is never sonically offensive. If you like this, check out "Since We Met," the other pinnacle of this same edition of the trio, recorded at the Village Vanguard. The two albums are similar and equally brilliant.

This CD reissue features Eddie Gomez on bass, Marty Morrell on drums and of course, Bill Evans on piano. The set represented here is of the highest calibre. Highlights include "Gloria's Step" and a swinging "On Green Dolphin Street". Also present is one of Evans most favoured standards, "My Romance" however the tune is let down by a poor bass solo by Gomez. Overall, this disc represents Bill Evans at his finist during 1969. Highly Recommended.

This live album is a MUST have for fans of Bill Evans, but jazz fans in general.

Not only is Bill on top of his game here, the drumming of Morrell and bass playing of Gomez, you could say, almost steal the show.

A terrific collection of songs and a great recording as well.

Buy it!

I keep returning to this album time and time again. I think it is the tight interplay that the trio had honed by this time after working together for about 3 and a half years. The sound quality is especially good and each member of the trio is in peak form. For all you bassists this album is a chance to study the great Eddie Gomez who gets a solo on almost every song and takes the melody to the challenging Twelve Tone Tune Two or T.T.T.T. This tune is a finger buster and must be heard to be believed. Bill is playing with more aggresive drive then usual especially on Gloria's Step. The trio as a whole really shines on the Kern standard Up with the Lark. My favorite tune on this album is the Bobby Gentry tune Mornin Glory where Bill and Eddie are at their most lyrical. I realy wish they would releash the tunes that didn't make the album which include Waltz for Debby, Emily and Twelve tone tune. Overall I recommend this album to anyone who digs piano jazz at its highest level.

This CD reissue features Eddie Gomez on bass, Marty Morrell on drums and of course, Bill Evans on piano. The set represented here is of the highest calibre. Highlights include "Gloria's Step" and a swinging "On Green Dolphin Street". Also present is one of Evans most favoured standards, "My Romance" however the tune is let down by a poor bass solo by Gomez. Overall, this disc represents Bill Evans at his finist during 1969. Highly Recommended.

Morning'Glory has become one of my favorite tunes of all time, the trio has an energized feel here specially with Eddie Gomez shinning through it all; the playing is crisp and inventive for the period. Marty Morell fills in creatively, Mr. Evans as always lets (as his trademark) his left hand off the lower keys and lets the Bass and the drummer to fill in. Beautiful & Creative.

Bill Evans was among those artists who did their very best work in "live" performances, and this Tokyo Concert was one of his very best examples. The trio was really in a groove, together and yet, stretching out and the audience is hanging on every phrase; they really love him. I know all Evans fans have their favorites, but nobody uses those brushes like Marty Morell. P.S. The Tokyo concert was originally recorded by Sony engineers and the sound quality is surprising clear.

I think this album will be head to head with 'Since we meet' album,, on the other side ..'Since we meet' album was more agresive than this.....I would say that this album is more beauty (considering the song and rythmic Marty moorel gave to this album)

"TTTT" - an interesting modified blues composition - using strict 12 tone serial technique, the head is repeated twice...and the harmonic structure is serialized for solos (24 bar form, the 2nd twelve measures inverted!): All Major 7th Chords! Analysis: 1st 4 measures are major 7th chords descending in whole steps: 5th measure make the blues change, then 4 more descending whole steps, cadence, 4 half steps descending; then, 4 major 7th chords ascending, 5th measure make the blues change, 4 more acsending major 7th chords, make the cadence, 4 half steps ascending i.e.,:

//: GM7/FM7/EbM7/DbM7/CM7/BbM7/AbM7/GbM7/BM7/BbM7/AM7/AbM7/ GM7/AM7/BM7 /DbM7/CM7/DM7/EM7/F#M7/BM7/CM7/DbM7/DM7 ://

BRILLIANT!