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An immortal best-of collection album from the [Bill Evans Original Trio], recognized as 'the greatest piano trio in jazz history' and 'the epitome of jazz trio aesthetics'!,
This 2CD set features 27 best tracks by the [Bill Evans Piano Trio], composed of Bill Evans, 'the Chopin of jazz,' the prematurely deceased genius bassist Scott LaFaro, and drummer Paul Motian. This trio achieved the ultimate ensemble, realizing and setting the standard for the finest interplay in jazz history, profoundly influencing many musicians thereafter.
Included are “My Foolish Heart,” a track Murakami Haruki favored most in his [Jazz Essay], an Academy Award-nominated song from the film [The Unforgiven] frequently and joyfully performed by Bill Evans, impressive for its polyrhythmic technique emerging mid-melody, maintaining a slow, snail-like tempo yet pulsating with clear rhythms and gentle waves, reaching the pinnacle of lyricism with emotional tension; “My Romance,” a song from the musical film [Jumbo] also used as background music for [Ralph Lauren Perfume], where the piano trio's ensemble performance delivers a delightful swing and showcases its poetic beauty; “How Deep Is The Ocean?”, a masterpiece by Irving Berlin introduced on the radio rather than stage or film, featured in the movie [The Jimmie Dolan Story], with an aesthetically pleasing bass and drum performance harmonizing with the clear piano over a melody as beautiful as the lyrics, presenting the essence of a love ballad;
the immortal jazz standard “Someday My Prince Will Come,” the theme song from the Disney animated film [Snow White], featuring classical-esque phrasing in its intro and bass and drumming interacting almost on par with the piano; “Detour Ahead,” a jazz standard highlighted by Scott LaFaro's bass solo; “Autumn Leaves,” an immortal chanson masterpiece by Yves Montand, with Bill Evans' elegant piano solo, where each note seems to diffuse a fragrance, and Scott LaFaro's warm bass work shining through, featured in the films [Gates of Night] and [Midnight Garden]; “Milestones,” one of the first songs to introduce modal jazz based on modes, reinterpreted by Bill Evans from a Miles Davis composition; “Come Rain or Come Shine,” a jazz standard from the film [Leaving Las Vegas], rich in harmonic foundation and widely loved by swing bands and improvisers, showcasing a creative interpretation that makes it sound almost entirely different from the original;
“Blue In Green (Take 3),” one of Miles Davis' masterpieces that evokes a melancholic autumn atmosphere, where Bill Evans transforms the mood of the song, revealing a charm beyond the original and the true essence of the Bill Evans Trio's performance; "Spring Is Here," a song from the film of the same name [Spring Has Come], notable for its unique harmonic sense and Bill Evans' signature piano jazz style and sophisticated interpretation, beloved by jazz enthusiasts; “Israel,” a minor blues song that opened new harmonic horizons in jazz standards; "Elsa," a waltz ballad with Bill Evans' characteristic dreamy tone; “Alice In Wonderland,” a waltz-style jazz standard from the Disney animated film [Alice in Wonderland], with a charming melody and harmony, and a beautiful yet explosive coordination of individual piano trio performances, like colorful fireworks; “Witchcraft,” featured in the fantasy films [Hocus Pocus], [Who Framed Roger Rabbit?], and [Fifty Shades of Grey];
“When I Fall In Love,” the theme song from the film [Sleepless in Seattle], a big hit sung by Nat King Cole, starting with Bill Evans' solo piano intro, creating a romantic and contemplative atmosphere; “Nardis,” a Miles Davis composition that Bill Evans enjoyed playing throughout his life, best showcasing the flawless ensemble and original trio's interplay over a melancholic minor melody; "All of You,” from the film [Silk Stockings], where the piano leads with a lush melody line, but the trio's inspired performance is chilling; “I Wish I Knew,” from the musical film [Diamond Horseshoe], a slow-tempo ballad where the trio freely enjoys playing, changing the rhythm like car gears; “Beautiful Love/Five (Closing Theme),” from Woody Allen's film [Crimes and Misdemeanors], Bill Evans' neat swing interpretation of a somewhat dark and bitter original;
“What is This Thing Called Love?”, one of Cole Porter's most frequently performed songs, originally written for the musical [Wake Up and Dream], featuring Bill Evans' stylistic characteristics and a vibrant swing feel; “Sweet and Lovely,” from the musical film [Two Girls and a Sailor], with an impressive arrangement where a non-melodic intro seamlessly connects to the theme, and Bill Evans' improvisation is unique, with the piano and bass improvising as a duo, conversing; “Haunted Heart,” a beautiful ballad inserted into the Broadway musical [Inside U.S.A.], offering a taste of Bill Evans' distinctive ballad performance; “Gloria's Step,” where the perfectly synchronized trio's smooth interplay is truly seamless and rhythmically alive; “My Man’s Gone Now,” an aria from the film [Porgy and Bess], where Scott LaFaro's genius is felt in the nuance of his bass string plucking, his vibrant bass work, and bow feel;
“Jade Visions,” a slow and lyrical piece where Scott LaFaro's bass solo work is even more poignant, and the entire trio delivers a thoroughly restrained performance; “Solar,” where the interplay of bass work, piano, and drumming is so perfect it can no longer be replicated; and “Peri's Scope,” a song Bill Evans wrote for his first girlfriend, Peri Cousins, which has a uniquely upbeat rhythm with characteristic syncopation that sounds delightful every time it's heard.
Author: Bill Evans Trio
Publisher: Warner Music Korea
