One of the great things about legendary pianist Bill Evans is that it’s easy to break down his career in terms of record labels. He “made his name” on Riverside, became a household name on Verve and then ended his career on Fantasy, give or take a few collections of “last concert” recordings with Marc Johnson and Joe LaBarbera. For some strange reason, the recordings in this sumptuous 9 cd boxed set of club, concert and studio recordings have been overlooked. Hopefully, this time around people will give it the attention it deserves.
At this stage in his career, his main compatriot was bassist Eddie Gomez, who is with him on almost all of the recordings here. They did a pair of duet albums which are gloriously sublime, doing wonders with MJQ staples “Milano” and “Django.” Evans’ trio from 73-74 included Marty Morell on drums, captured in performances in Tokyo, Los Angeles and NYC. Well known in concert pieces such as “Gloria’s Step,” Re’ Person I Knew,” “Alfie”and “My Romance” have rich interplay, while a few obscurities such as Steve Swallow’s “Hullo Bolinas” and Cy Coleman’s “See Saw” are rich ringers. A later tior from 1977 has Eliot Zigmund on drums on a studio session that has Evans sounding a bit assertive on “Dolphin Dance.” The most famous session in this catalogue is his summit meeting with Tony Bennett, both who benefit from this gorgeous collection of bel canto standards. Together, they deliver definitive readings of “We’ll Be Together Again,” “Young and Foolish” and a haunting “Some Other Time.” A solo album feels like Evans is revisiting his time with Bennett, as a couple of the tunes pop up again, and Evans seems more romantic than usual.
The real surprises are a pair of small group efforts. From 1976, Evans joins with Harold land/ts, Kenny Burrell/g, Ray Brown/b and Philly Joe Jones/dr for some hip matrial such as “Bass Face,” “Second Time Around” and a drop dead gorgeous “A Child Is Born.” A meeting of West Coast Cool minds surfaces in 1977 when Warne Marsh/ts and Lee Konitz/as join the trio for some rich and textured radings of “Speak Low” and “Eiderdown.” Last, but not least is an interview from 1978 with Marian McPartland which is a revelation of two generations getting together for some music and conversation. A 64 page booklet, with the infamous photo of Bill Evans’ swollen hand at the piano, sets all of the music in its perspective. You can’t go wrong with this collection of an artist who seems to be ignored in these days of modal madness.