Some Other Time (The Lost Session from the Black Forest) Remaster Bill Evans with Eddie Gomez & Jack DeJohnette

Cover Some Other Time (The Lost Session from the Black Forest) Remaster

Album info

Album-Release:
1968

HRA-Release:
21.04.2016

Label: 2xHD - Naxos

Genre: Jazz

Subgenre: Free Jazz

Album including Album cover Booklet (PDF)

?

Formats & Prices

FormatPriceIn CartBuy
FLAC 192 $ 17.50
FLAC 96 $ 17.50
DSD 64 $ 21.00
  • 1You Go to My Head04:58
  • 2Very Early05:12
  • 3What Kind of Fool Am I?05:21
  • 4I'll Remember April04:08
  • 5My Funny Valentine06:58
  • 6Baubles, Bangles and Beads04:38
  • 7Turn Out the Stars04:56
  • 8It Could Happen to You03:58
  • 9In a Sentimental Mood04:18
  • 10These Foolish Things04:14
  • 11Some Other Time05:28
  • 12You're Gonna Hear From Me03:32
  • 13Walkin' Up04:10
  • 14Baubles, Bangles and Beads04:51
  • 15It's All Right With Me (Incomplete)03:45
  • 16What Kind of Fool Am I?02:51
  • 17How About You03:59
  • 18On Green Dolphin Street04:33
  • 19Wonder Why04:13
  • 20Lover Man (Oh, Where Can You Be?)03:49
  • 21You're Gonna Hear From Me (Alternate Take)03:24
  • Total Runtime01:33:16

Info for Some Other Time (The Lost Session from the Black Forest) Remaster

Some Other Time: The Lost Session from the Black Forest ist ein Album von Bill Evans. Es ist das einzige Studioalbum des Pianisten mit seinem (kurzlebigen) Trio aus Eddie Gomez und Jack DeJohnette. Es wurde am 20. Juni 1968 im Studio der Musik Produktion Schwarzwald (MPS) in Villingen-Schwenningen aufgenommen und erschien am 22. April 2016 auf dem Reissue-Label Resonance Records.

Jack DeJohnette äußerte sich in einem Interview, das in den Liner Notes des Albums dokumentiert ist: „Da hat eine große Freiheit in Bills Spiel geherrscht, das von dem Schlagzeuger und Bassisten erwartete, in ähnlicher Weise zu klingen. Weil Bill seine Arrangements immer in der gleichen Weise spielte, machten Eddie und ich Permutationen um die Arrangements, um sie frischer wirken zu lassen.“ (Im Original there was a lot of freedom Bill’s way of playing expected of the drummer and the bassist to make it sound different every time. Because when Bill played his arrangements, he played them almost the same every time. So Eddie and I make permutations around the arrangements to keep them fresh.) Die Aufnahmen würden einen „Raum und Zeit darstellen, in der Evans in rhythmischer und harmonischer Weise neue Herangehensweisen an das Standard-Repertoire erkundete.“ Evans habe in die Session viele neue Stücke eingebracht, die das Trio zuvor noch nie gespielt hatte. Außerdem gebe es in einigen Stücken einen andersgearteten (stärkeren) Anschlag von Bill Evans, was wohl daran lag, dass der Pianist sich erst mit dem ungewohnten Steinway-Flügel im MPS-Studio vertraut machen musste.

Joachim-Ernst Berendt hörte das Bill Evans Trio bei seinem Auftritt auf dem Montreux Jazz Festival und war davon derart beeindruckt, dass er Hans Georg Brunner-Schwer und Bill Evans’ Managerin Helen Keane überzeugen konnte, dem Pianisten während seiner Tournee im Juni 1969 die Gelegenheit für Aufnahmen im MPS-Studio zu geben. Da jedoch Vertragsverpflichtungen bestanden (Evans war bei Warner Brothers unter Vertrag), kam eine Veröffentlichung der Studioaufnahmen des Jazzpianisten Bill Evans mit dem Bassisten Eddie Gomez und dem Schlagzeuger Jack DeJohnette in Villingen-Schwenningen im MPS-Studio im Juni 1968 nicht zustande; die Bänder gerieten bald im MPS-Archiv in Vergessenheit. Evans, Helen Keane und Berendt starben vor 2000, und nach Brunner-Schwers Tod im Jahr 2004 war die Session ein „vergessenes historisches Relikt“. Der Produzent des Labels Resonance Records, Zev Feldman, lernte bei einem Besuch der Jazzahead in Bremen den Sohn Brunner-Schwers kennen und stieß über diesen auf die bislang unveröffentlichten Tondokumente, die Brunner-Schwer und Berendt produziert hatten

Bill Evans, piano
Eddie Gomez, bass
Jack DeJohnette, drums

For the 2xHD transfer of this recording, the original 1/4”, CCIR master tape was played on a Nagra-T modified with high-end tube playback electronics, wired with OCC silver cable from the playback head direct to a Telefunken EF806 tube. The Nagra T has one of the best transports ever made, having four direct drive motors, two pinch rollers and a tape tension head. We did an analog transfer for each high-res sampling

2xHD is proud to be associated with Resonance Records on this exceptional project.

Digitally remastered


Born William John Evans
in Plainfield, New Jersey, on August 16, 1929, Bill Evans died on September 15, 1980. The famed jazz pianist first won the Down Beat International Jazz Critics Poll in the New Star Piano category in 1958 and went on to win the poll several times thereafter, culminating in his posthumous induction into the magazine's Jazz Hall of Fame in 1981. He won seven Grammys for his recordings—Conversations with Myself (1963), The Bill Evans Trio Live at the Montreux Jazz Festival (1968), Alone (1970), two for The Bill Evans Album (1971), and I Will Say Goodbye and We Will Meet Again (1980)—and was posthumously awarded the Grammy Lifetime Achievement Award in 1994.

Bill Evans began studying piano at the age of six and later took up both flute and violin. He received a music scholarship to Southeastern Louisiana College, graduated in 1950, and joined Herbie Fields's band the same year. A year later, he was drafted. He played flute in the Fifth Army Band at Fort Sheridan, spending his nights playing jazz piano in Chicago clubs. Released from the army in 1954, he began playing jazz in New York, where he joined the group of clarinetist Tony Scott.

That was the era of so-called 'Third Stream' music, the attempt at a fusion of jazz and classical music spearheaded by John Lewis of the Modern Jazz Quartet, and the composer Gunther Schuller. Evans, with his classical training and jazz experience, was a natural for this music. Many of the Third Stream records and concerts of the time featured Evans, with his piano solo on the recording of George Russell's 'All About Rosie' a notable standout.

In 1959, Evans made the one step sure to bring him wider attention: he replaced Red Garland as pianist with the enormously influential Miles Davis Sextet, which, at the time, included John Coltrane and Cannonball Adderley. Davis had felt that too many chords were cluttering up music; he wanted to work with scales and modes. Evans, partially influenced by Lennie Tristano, had been working along the same lines, and the result was one of the most influential albums ever made, Davis's Kind of Blue.

That same year, Evans formed his own trio. What he had in mind was not a piano with bass and drum accompaniment but a group in which all three voices would be as equal as possible. When he found the remarkable young bassist Scott LaFaro and drummer Paul Motian, that ideal was nearly achieved, but soon after, while make a classic series of landmark recordings at the Village Vanguard in New York, LaFaro was killed in an automobile accident. Thereafter, Evans worked with some of the finest bass players in jazz: Chuck Israels, Gary Peacock, Eddie Gomez, Michael Moore.

The Bill Evans Trio continued with bassist Michael Moore and Philly Joe Jones on drums. The first Bill Evans album for Warner Bros., however, in 1978, was a solo outing in the tradition of his earlier albums Conversations with Myself and Further Conversations with Myself. On the album, New Conversations, Evans solos and, through multi-tracking, accompanies himself on acoustic and electric keyboards. He went on to record three more records for the label: Affinity, We Will Meet Again, and You Must Believe in Spring.

In June 1980, three months before Evans's untimely death, bassist Marc Johnson and drummer Joe LaBarbera joined the 51-year-old pianist for four nights at New York's Village Vanguard. Evans intended to release a double LP culled form these sessions, and he supervised the initial mixing and editing of the tapes. It would take more than 15 years before this material would become available, in an exhaustive, chronologically sequenced six-CD set, on Warner Bros., titled Turn Out the Stars: The Final Village Vanguard Recordings. Jazz critic Gary Giddins hailed the unearthed work as 'an important find-the most lyrical of improvisers was revitalized by a new trio in his favorite jazz club.' The 2009 Nonesuch reissue contains the original packaging and liner notes, as well as the complete 1996 set.

Evans, whose soft, intricate, rhapsodic improvisations became the performance standard for his time, once said, 'I think jazz is the purest tradition in music this country has had. It has never bent to strictly commercial considerations and so it has made music for its own sake. That's why I'm proud to be part of it.'

In the liner notes to Evans's Warner Bros. label debut, New Conversations, Nat Hentoff wrote, 'Evans has become so deeply influential a force in jazz by sheer force of integrity.' Miles Davis, characteristically direct, once said of Evans: 'He plays the piano the way it should be played.' (Source: Warner Music)

Booklet for Some Other Time (The Lost Session from the Black Forest) Remaster

© 2010-2019 HIGHRESAUDIO