Today marks the release of Bill Evans: Some Other Time (Resonance), a much-anticipated two-CD set that's easily the most important discovery of new Evans studio recordings since 2001 and the issuing of Tenderly, which was recorded in 1956 and '57 at Don Elliott's home studio. Over the years, there have been plenty of remarkable discoveries of live Evans recordings—including Live at Art D'Lugoff's Top of The Gate, Live at Lulu White's and The Secret Sessions. But none compare to a full-fledged Evans studio recording session, where the quality of the piano, its tuning and studio acoustics and miking are all controlled for maximum impact. This album is the historic jazz recording to beat this year.
To be above board, I wrote the new album's main liner notes, which was an honor. But I don't make a dime on sales nor do I have anything to gain by telling you how good this album is, other than to hip you to music that is truly gorgeous. It also should be noted that I only write the liner notes to albums when I truly love the music inside and I pass on the rest. It's a firm rule.
The music on Some Other Time was recorded on June 20, 1968—five days after the same musicians performed at the Montreux Jazz Festival. The results of that concert appearance appear on Bill Evans At The Montreux Festival (Verve).
The material in the new set is vital for several key reasons: First, it features drummer Jack DeJohnette, who previously had only been heard with Evans and bassist Eddie Gomez on a few recordings, including Montreux and a Secret Session live date at New York's Village Vanguard in August '68. Second, the album provides us with musical information that fleshes out Evans's stylistic transition from his "swinging romantic" years to his "percussive poet" phase. Third, Evans here recorded in one of Europe's finest studios—MPS in Villingen, Germany. Fourth, we hear Evans in three different configurations: solo, due and trio. The reasoning for this isn't quite clear. And last, the sound is amazing.
What we do know is the reason why MPS didn't release an album or albums from the tapes: Evans was signed to Verve at the time. Since Evans was well aware of his contractual status and obligation, one can only assume the recording was made exclusively for cash, to document the group privately with the expressed understanding that the results wouldn't' be released.
On these 21 tracks, we hear Evans deliver one penetrating interpretation after the next. We also hear Gomez functioning as Evans's heart beat and DeJohnette's shimmering cymbals and restless drums playing a more distinct conversational role, influencing Evans's approach on the keyboard. The song choices also are strong. We hear tunes such as Baubles, Bangles and Beads and What Kind of Fool Am I as well as rarities like These Foolish Things, (the first time Evans recorded the song) and It Could Happen to You (which he recorded only once before). [Photo above, from left, Eddie Gomez, Jack DeJohnette and Bill Evans in 1968, courtesy of Resonance Records]
Most of all, there's a relaxed, almost liquid quality about Evans's playing. In Germany's Black Forest in 1968, we hear Evans performing in a studio for sophisticated fans and themselves rather than employers. A final word must be said in praise of set producer Zev Feldman, who worked tirelessly to bring this project to market using his charm, passion and judgment. Applause, as well, for executive producer George Klabin, whose sound restoration with Fran Gala is impeccable. Sames goes forJohn Koenig, the album package editor, and all the others who made this release possible.
Imagine! A never-before heard high-end Bill Evans studio album. Inconceivable, but true.
JazzWax tracks: You'll find the two-CD set of Bill 
JazzWax clip: To give you a sense of the music on the album, here's Baubles, Bangles and Beads...
from JazzWax http://ift.tt/1YJXjir
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