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New Jazz Conceptions (Limited Edition)

New Jazz Conceptions (Limited Edition)

March 14, 2006
4.4 out of 5 stars 12 customer reviews

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3:53
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4:00
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1:36
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3:51
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2:34
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5:08
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1:18
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4:44
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1:59
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11
7:31
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8:08
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Product Details

  • Original Release Date: March 14, 2006
  • Release Date: March 14, 2006
  • Label: Concord Records, Inc.
  • Copyright: (C) 2004 Fantasy, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 49:26
  • Genres:
  • ASIN: B000UBHXHW
  • Average Customer Review: 4.4 out of 5 stars 12 customer reviews
  • Amazon Best Sellers Rank: #174,786 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Top Customer Reviews

By Giuseppe C. HALL OF FAMETOP 500 REVIEWERVINE VOICE on December 26, 2001
Format: Audio CD
Bill's first album under his own name, recorded when he was 26, is of primary value to the Evans' collector, who can read about the album's background in Peter Pettinger's "How My Heart Sings." More than the personal expression of the artist, it's a revealing, extrovertish "statement" by the newest young pianist on the block, eager to prove he's a major contender in a field of few giants and many pretenders.
Evans' own composition, "Five," disguises rhythmic complexity within a simple Monkish melody. And on another original, "Displacement," his breathless, dazzling bebop lines evoke the melodic/rhythmic complexity of Bud Powell played in the flawless, incisive technical manner of Lennie Tristano. By contrast, the two takes of "No Cover, No Minimum," a simple blues in G, find Bill struggling a bit to contain his technique sufficiently to produce a Horace Silver double-time feel.
But there's also some hint of what's to come--Bill's "Waltz for Debbie," played more floridly here than on the later recordings, and "My Romance," which he would return to again and again during the final year of life.
An album such as this exposes the rugged machinery, the technical mastery, that serves as a foundation for many of the most original creative artists--from Coltrane to Schoenberg to Picasso. It's that rock-solid inner core that permits the groundbreaking artist to expose his vulnerability and at the same time inspires our trust.
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Format: Audio CD
I love upbeat, energetic playing and this instantly engaging CD is crammed full of it. The muscular playing and energy level of many songs equals or even surpasses that of Portrait Jazz and Live and Montreux. Paul Motian (legendary drummer on Portrait, Explorations and Village Vanguard) delivers with typical flair, while Teddy Kotick spends much more time in the background more than Evans' later bass players. Although I enjoy Scott Lafaro's frequent and lengthy solos, the much smaller dose of bass solos on Conceptions makes it much more enjoyable for me than listening to Eddie Gomez go on and on. Being a 1956 recording, New Conceptions lacks slightly in clarity compared to later works, but does not detract at all from the listener experience.

It would be unfair to say that Evans' technique on Conceptions lacks in any way - the "Bill Evans" sound is unmistakable, though influences show up much more clearly here than in later recordings. His characteristic syncopations are already operating in full force in the appropriately titled, "Displacement". The dense and sometimes dissonant harmonies are a bit more obvious on this recording that on later Evans recordings. Although some (like "Five") sometimes bring Thelonious Monk to mind, Evans' rougher textures are not introduced quite so abruptly as Monk's, so they are not as startling. Evans' solos and solo intros (like the intros to "Conception" and "Speak Low") have flourishes that suggest the influence of Bud Powell, one of Evans' heros. Again, Evans shows more restraint that his predecessor, leaving out the more manic fills than Powell often included. The two bonus cuts of "No Cover, No Minimum" offer something a little different: Evans injecting his jazz and classical influences (and Mexican Hat Dance) into the blues.
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Format: Audio CD Verified Purchase
Bill Evans "New Jazz Conceptions" is a very strong debut Album. It is one of the most energetic Bill Evans records that I've heard, which may have been a result of his youth, especially if you compare it to "Everybody Loves Bill Evans" which is also a fabulous record but a bit more typical of the introspective Bill Evans style we all know and love.

A great bonus with the added solo works, as well as Evans' work with 2 guitarists makes this album certainly a joy, and a great deal!
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Format: Vinyl Verified Purchase
Well packaged. Lightning shipping. Friendly seller. Enjoyable LP showing Bill Evans in process of finding his own style. Some cuts clearly imitative of Monk. B side much more familiar to Evans fans, but both enjoyable and clean.
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You may not want to trust this review. I am a very biased Bil Evans fan, and will pretty much say that it is all great. Well, because it is. This is no exception. If you are a Bill Evans collector, fan, follower, etc. - worth buying. If you are new to Bill Evans, first buy "Explorations" and "Everybody Digs Bill Evans". Then you will find that you want more, and this is another good one. Or, if you really want to trust me about Bill Evans, I have very simple advice; Put every Bill Evans album that you can find on Amazon that was recorded prior to 1965 in your shopping cart and buy them all.
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Format: Audio CD
I was first exposed to Evans through his work with Miles Davis, particularly the classic "Kind of Blue", on which his contribution equals or exceeds that of Davis himself. This is a fine album, and might be a highlight in the discography of a lesser keyboardist. But by Evans' standards, this album pales in comparison to those that would soon follow, including "Everybody Digs...", "Portrait in Jazz" and "Waltz For Debby". This should not be your first Bill Evans purchase, but you will appreciate it's historical significance if you are an Evans fan.
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