Search - Bill Evans :: At Shelly's Manne Hole

Well-played but somewhat tepid (on the other hand...)

Samuel Chell | Kenosha,, WI United States | 05/05/2007

(5 out of 5 stars)

"[I heard an identified pianist playing "All the Things You Are" on Bob Parlocha's jazz show, immediately recognized the unmistakable, inimitable touch of Bill (all ten fingers applying equal pressure! the richness of the textures, the complexity of the rephrased original, the sheer vintage of the sound itself a joy beyond verbal expression. The intricate phrasing so eloquent and concise that the overdone warhorse of a jazz vehicle became a world-class thoroughbred. Then I discovered I had the album in my collection (along with all of Bill's others) and had written the following, less-than-rave review. (Is there ever such a thing as too much of a good thing? I don't know, but I'm adding the 5th star.)]



For that small group of Evans' detractors that finds the earlier Vanguard sessions overly impressionistic, non-definitive and effete, this recording may be the antidote. It's quite mainstream (i.e. Bud Powell-derived) piano compared to the more introspective, poetic Evans' trio comprising LaFaro and Motian. The opener, "Isn't It Romantic," is a pure blowing track, with Israels and Bunker laying down the 4/4 walking carpet underneath Bill's swinging single-note right-hand lines. "Swedish Pastry," a staple of the beboppers, feels almost retro coming from Bill. His soloing on "Blues in F" should at least serve as a "so there, shut up already!" kind of response to those critics who have suggested he couldn't play blues.



For a live date, and an original Riverside session at that, there's a lack of energy, or presence, especially compared to the earlier Vanguard sessions or any of the recordings that have emerged of Bill's playing during his final year. The "unapproved" "Last Waltz" and "Consecration" box sets are absolutely electrifying compared to this date.



The audio is certainly "professional," though reducing the bass, bringing up the drums, and letting in a bit more crowd ambience would definitely have made a positive difference. Also, I'm surprised to hear some traces of the bottled-up, mono-dimensional "Van Gelder piano" on a Riverside session, as though the piano is too closely miked and deprived of some of the overtones essential to a natural, "open" sound. Finally, the amount of solo space given Israels seems overly generous, anticipating Evans' next ensemble, facetiously billed by some critics as "The Eddie Gomez Trio."



Once you've discovered the towering genius of the "real" Bill Evans, both early and late, it's easy to become so spoiled that nothing less will do. Herbie and Chic, Keith and Brad don't compare, and there are occasions such as this when even Bill doesn't live up to himself.



[I suddenly realize that I've been talking about the 2005 remastered edition rather than this 1991 version, which is likely to have a truer bass sound, permitting the listener to distinguish clearer pitches. Hang on to your "non"-remastered copy.]"