Today we celebrate the birth of Bill Evans. A fitting album of his to enjoy, and one of my personal favorites, is one that marks somewhat of a rebirth for Evans on the jazz scene, “The Tokyo Concert“. This prodigious album was recorded January 20, 1973 at Yubin Chokin Hall in Tokyo. Bill Evans’ second great trio is in tow with Eddie Gomez on double bass and Marty Morell on drums. Critically acclaimed, this concert was described by Evans’ producer, Helen Keane, as a perfect one.
Bill Evans Trio with Herb Geller at the NDR Jazz Workshop, 1972. The NDR Jazz Workshop was a concert series established 1958 by public German broadcaster Norddeutscher Rundfunk.
The rebirth comes in the form of Evans’ personal appearance and material. He was described by Kiyoshi Koyama, a noted Japanese jazz critic, as wearing a tailored black tuxedo with a bright pink dress shirt. Evans was known to only wear dark colors, never drawing attention to himself. His change in outward appearance seems to coordinate with his new association with the Fantasy label, a relationship that would prove fruitful.
For a better understanding of the man behind the music, I recommend reading “Bill Evans: How My Heart Sings,” a biography by Peter Pettinger on Yale University Press.
Aside from his appearance he brought new material to the stage that night—”Mornin’ Glory,” “Up with the Lark,” Yesterday I Heard the Rain,” “When Autumn Comes,” “T.T.T.T.,” and “Hullo Bolinas” were all new additions. Along with Evans’ staples like “Gloria’s Step” and “My Romance” this album is really well rounded with typically introspective ballads, swinging burners and extended solos.
Bill Evans Trio, 1974 (From left: Eddie Gomez, Bill Evans, Marty Morell)
Packed with lilting, joyous songs like Bobbie Gentry’s “Mornin’ Glory” and Jerome Kern’s “Up With the Lark” it’s hard not to sit through repeat listenings. The trio operates in unison and lives up to their storied past throughout this outing. A very unique composition to note is “T.T.T.T. (Twelve Tone Tune Two)” which describes the work in that it consists of 12 measures utilizing the 12-tone scale. It was quite a feat to get through this demanding track in one take—especially for Eddie Gomez’s role on double bass.
So, if you’re a Bill Evans novice, a longtime fan of his first trio or just haven’t had the pleasure of listening to this gem—do so, it would be a great tribute to a jazz giant and gentleman.
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After suffering the impacts of the pandemic, namely unemployment and quarantine, I, like many others, have afforded myself some time. And time is definitely something one can use more of when collecting jazz. So, with this extra time at home I’ve been able to take stock of my personal collection. To be fair, it’s not one of those vast collections where you need a separate listening room or zip code to appreciate. It’s relatively modest but stocked with artists and labels that I believe merit repeated listening.
Like many other collectors, my entrée into Hard Bop was Art Blakey and the Jazz Messengers on Blue Note Records. My first jazz album purchase was “At the Cafe Bohemia – Volume One”. I have to confess, not knowing much about the genre at the time and being a designer, I chose it simply for its typographic cover—a decision I never regretted. Thank you, John Hermansader.
As for the actual recordings, I’m one of those collectors who, for the most part, sticks to certain labels for the bulk of his collection. ECM and Blue Note Records are great examples of this approach. Rule of thumb, if you find one or two artists you really enjoy on one label there’s a good chance you’ll find more—appreciation through chance discovery. Although with certain artists, Bill Evans for example, labels matter less. If you follow an artist throughout his or her career you’ll find that oftentimes they skip around—usually pursuing the best contract or more creative freedom.
A true visionary in every sense of the word, Miles Davis trailblazed the far reaches of jazz. His second great quintet, including Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams, represents the quintessential modern jazz group in my book—conceptual, explorative and intelligent.
As with Bill Evans, you’ll find a fanbase that rallies around a particular period in the recording career of an artist. Take the distinguished career of Miles Davis, there are diehard fans of Miles’ first great quintet and their associated record label, Prestige. Others may gravitate toward Miles’ second great quintet on Columbia Records or his later electric outings on the same label. John Coltrane is another artist who produced many divided camps. He had a successful early solo career on Prestige and Blue Note, then moved to Atlantic with his first great quartet in the early-60s, and then Impulse! Records in the mid-60s which found him exploring more avant-garde avenues with personnel that would prove to be in flux.
The often imitated Bill Evans has made his way back into my collection for over twenty years. One can easily hear echoes of Evans in the works of many contemporary artists. His years on the Riverside label with his first trio are still one of my favorite periods of his—romantic, subtle and introspective. If you’re not already familiar with Evans, try spinning a couple of his critically-acclaimed albums, “Portrait in Jazz” (1960) and “Sunday at the Village Vanguard” (1961).
If you’re a completist, like myself, you’ll collect from every recording period of a favorite artist—oftentimes picking and choosing particular albums based on year recorded, personnel or audio fidelity. Bill Evans, one of my perennial favorites, definitely falls into the multi-period, multi-label category. His first trio on the Riverside label, featuring Scott LaFaro on bass and Paul Motian on drums, defined the gold standard for jazz trios. A deft and cohesive unit famous for anticipating each others’ actions. After the untimely death of bassist, Scott LaFaro (one of my personal jazz heroes), Bill Evans began to move around with solo and trio stints on Verve, Blue Note, Fantasy and Warner. There are hardcore first trio fans who only swear by the early Riverside recordings as a measure of Bill Evans’ improvisational genius. As for myself, I can appreciate all his outings, be it solo, trio or third stream. If you find an artist who really hits a chord you’ll follow him or her anywhere.
If you’re a completist, like myself, you’ll collect from every recording period of a favorite artist—oftentimes picking and choosing particular albums based on year recorded, personnel or audio fidelity.
Keith Jarrett, a virtuoso pianist with an uncanny ability to improvise lengthy solo concerts, gained his global following on the ECM label. Although he led groundbreaking groups, including his long-lived trio, he became best known for his solo output. His massive “Sun Bear Concerts” 1978 box set, showcasing over six-and-a-half hours of very personal music, is an achievement hard to be matched by any performing artist, past or present.
By following an artist from one label to another one can also experience the creative growth an artist achieves. Some Coltrane fans lament his move to Impulse! Records as it would eventually showcase his interest in spiritualism and the avant-garde which, regrettably, shed some of his followers who were only interested in his modal music. Another artist who would truly come into his own because of his association with a particular label is Keith Jarrett. His early career as sideman to jazz masters Art Blakey, Charles Lloyd and Miles Davis on various labels would eventually jettison him to a famed solo career starting at Atlantic Records in the late-60s. But it wasn’t till his move to ECM in 1971, for an astonishing 49-year partnership, where he would flourish and rise to international fame with unprecedented live solo recordings such as Solo Concerts: Bremen and Lausanne(1973), The Köln Concert(1975), The Sun Bear Concerts(1976/78), and Concerts: Bregenz/München (1982).
So, be it artist-centric or label-centric, starting and maintaining a jazz collection will always prove fruitful, especially if the listener devotes time to enjoy the fruits.
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An unassuming mid-century bungalow in southwest Houston holds a jazz horde to be reckoned with. Local musician, photographer and jazz aficionado, Lindy Pollard, has turned his small but tasteful home into a living jazz museum. Some 5,000 titles grace his walls in custom-built shelving installed by the owner and his brother. Upon entering this treasure trove a visitor is oftentimes overwhelmed at the sheer volume. His collection spans decades as well as formats. Pollard will occasionally spin an LP but the bulk of his collection is of the compact disc variety. As neat and precise as the surroundings with its modern appointments, each album is arranged alphabetically by artist and is easily accessible. Pollard is quite literally ensconced in jazz whenever he sits to listen to one of his recordings or play with his cats. Seven-foot tall, vintage Klipsch speakers anchor his living room and offer a surround sound experience to be coveted by any audiophile. It’s safe to say this Houston native will never run out of things to listen to. His musical tastes run the gamut, from Brazilian jazz to vintage ECM releases to hard bop staples. Row upon row of out-of-print and rare releases sit waiting for an eager listener to happen by. Just standing amidst the volumes makes a jazzophile feel anxious.
Upon entering this treasure trove a visitor is oftentimes overwhelmed at the sheer volume.
Pollard’s dining room, one of many rooms surrounded by his massive collection.
Having grown up in the 50s Pollard has held such virtuosos as Paul Desmond and Sonny Stitt in high regard. As we talked about the artists that fill his walls, he fondly remembers attending a Paul Desmond concert as a young sax student back in 1963. He recalls racing a classmate backstage to grab one of Desmond’s used reeds — one man’s treasure. His enthusiasm for jazz hasn’t wained one bit over the years. Having so many titles at his disposal helps to maintain a learning environment. “There’s always something new on a recording you haven’t heard before,” Pollard points out.
Agharta, 1975. Miles Davis is a staple in Pollard’s collection.
Aside from being a long-standing Bayou City multi-reedist Pollard is also an accomplished jazz photographer and graphic artist. Boasting several hundred originals, he has attended countless venues showcasing some of the most notable icons in the history of the genre. Many images catch artists in candid and even reflective poses. Artists such as Miles Davis, Chet Baker and Duke Ellington are only some of the mainstays you’ll see in his portfolio. His love for the artform is apparent in his attention to detail — each shot a special moment in jazz history. His photos have been exhibited at local galleries over the years to much acclaim. As of recent, Pollard has taken up nature photography as well. With trips to state parks, and even to his own backyard, he has begun to fill new photo albums with his boyish love of nature.
Despite being ensconced by CDs, Pollard still likes to spin vinyl.
Having visited this personal jazz vault several times over the years I never tire at slowly perusing the titles, wishing today’s circumstances would still allow me to do the same at local retail outlets—those were the days.
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This isn’t jazz, it’s war. On February 10, 1964 Art Blakey enlisted the aid of a special ops unit for his trailblazing mission — Free For All. This edition of the Jazz Messengers was the quintessential hard bop lineup and the perfect team for the job. The frontline was a heavily-armed triple threat consisting of Freddie Hubbard on trumpet, Wayne Shorter on tenor sax and Curtis Fuller on trombone. Cedar Walton on piano, Reggie Workman on bass and Art Blakey on drums brought up the rear and had the near impossible task of grounding this tour de force. Blakey was a well-known beast on the skins — infamously destroying drum kits on stage — and was relentless on the Shorter-penned title track, which opens the album. There’s no slow build here, it’s an all-out assault from the word go. Blakey pounds away with everything at his disposal while the frontline crashes through the gate as if charging a bunker amid heavy shelling. With Blakey’s detonations blasting all around, each horn takes an extended solo while weaving through their fearless leader’s tumult. After a glorious 11-minute show of bravado from all parties the finale ends with a classic example of Blakey’s pure adrenal rush on the kit — a thunderous roar followed by a single hit on the hi-hat and then peaceful silence. An outright classic and well worth the price of admission.
Free For All, 1964. For all its bravado and firepower there is an overarching sense of control and forward motion on this Jazz Messengers album.
By this outing, Shorter was at the very top of his creative game and shortly after he would be on his way to joining the fabled Miles Davis Quintet as its principal composer. On this album we have two great works by Shorter — displaying his versatile style in all its glory. The second track, “Hammer Head”, another Shorter original, is cooler than the bombastic opener and moves with a well-defined swagger. This is classic Blakey material where his famous press rolls and shouts introduce soloists who take the floor with commanding flair.
The third track, “The Core”, is a Hubbard original and another cooker. This piece is a great example of Hubbard’s writing ability and another great showcase for the raw power behind this seamless unit. I’ve always been of mind that Hubbard played to his full creative potential as a sideman at Blue Note rather than session leader. His outings on both the Atlantic and CTI labels in the late-60s and early-70s have always been go-to listening to these ears.
I’ve always been of mind that Hubbard played to his full creative potential as a sideman at Blue Note rather than session leader.
The last track, a Clare Fischer composition, will throw you for a loop. Suddenly, and most dramatically, a truce is called and “Pensativa” is the white flag. This laid-back bossa tune would be right at home on a Hank Mobley album of the same period. It clocks in at just under 8-and-a-half minutes and is a sheer joy to listen to. We finally hear the bright, clarion call of Hubbard’s pristine trumpet and Blakey’s effortless timekeeping. “Pensativa” balances out this amazing album to create a truly unique recording — one which rewards fans with new insights upon repeat listenings.
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Wow, I have had a tough time with this one. Although 1959 was certainly a watershed year for Jazz, 1958 wasn’t too shabby either. A Great Day in Harlem, the famous photo taken by Art Kane, was captured in 1958. (And yes, this photo is hanging in my living room). Many pivotal albums were released in 1958, including these personal favorites:
Deeds, Not Words Max Roach’s innovative piano-less group that featured Ray Draper on tuba and a stunning, 20 year old Booker Little on trumpet. My mom bought this for me when I was a teenager and that was the start of my fascination with Booker.
Somethin’ Else Miles Davis’, er, Cannonball Adderley’s sublime Blue Note album which offers the definitive, most swinging-est versions of “Autumn Leaves” and “Love For Sale”.
Moanin’If you had to choose one Jazz Messenger’s album that encapsulated all of Art Blakey’s mission as a musician, this wouldn’t be a bad choice.
Cool Struttin’ Man, Sonny Clark swung hard. Love that guy. He was out of the Bud Powell school with a lighter touch and infused his solos with blues and wit.
Looking Ahead One of Cecil Taylor’s first forays into the New Thing.
Milestones An absolute classic. Trane, Miles, and Cannonball as a front line… Wow. The title track foreshadows Modal Miles.
Anyways, my choice for 1958 is Porgy & Bess, Miles Davis’s second of three collaborations with Gil Evans in a large ensemble setting. (I’m cheating on this one… Porgy and Bess was actually released in 1959 but recorded in 1958. The field for 1959 is too crowded).
Miles Davis at the Porgy & Bess sessions, 1958
Miles Ahead (1957) augmented the Birth of the Cool’s nonet into a full-blown big band, allowing Miles to pontificate against an obtuse instrumental backdrop.
Sketches of Spain (1960) was, at the time of its release, a radical departure from jazz convention and stirred up controversy about what was and wasn’t jazz.
Porgy and Bess falls in the middle of Miles Ahead and Sketches of Spain chronologically and musically. Gershwin’s conglomeration of the American Folk tradition and European Classical harmony made a perfect musical playground for Evans. His complex yet melodic voicings, brought to life by a top-notch group, laid the foundation for Miles to advance his pioneering style away from Bebop and into the Unknown. Evans also captures the drama of the opera in his adaptation, along with Miles as the lead soloist. Both Evans and Davis were fascinated with the nascent modal innovations of George Russell, and although Milestones captured some of what was to come in Kind of Blue, I feel like Porgy and Bess is the first full realization of the modal approach in Jazz.
“Buzzard Song”, “Summertime”, and “It Ain’t Necessarily So” are clear historical favorites from this album. For me, from a strictly musical standpoint, “Gone” and “Prayer” are the standout tracks. “Gone” opens with ragged but spirited ensemble passages sandwiched between brilliant drum fills from Philly Joe Jones. The centerpiece of the song is Miles blowing chorus after chorus over a minor mode with Philly Joe and Paul Chambers. The absence of a chordal instrument doesn’t hinder Miles at all; instead, he sheds his old Bebop skin and emerges a new man. Prayer builds from a mournful blues statement from Miles into a wailing climax. (I always love how Cannonball plays during the crescendo; his levels are so high he must have freaked out the recording engineers). Prayer is a radical departure from the Head-Solo-Head structure of most jazz songs from then and now, with the ensemble building organically together with Miles’s melodic improvisations.
The absence of a chordal instrument doesn’t hinder Miles at all; instead, he sheds his old Bebop skin and emerges a new man.
Porgy and Bess is a beautiful masterpiece and a lasting monument to Gil and Miles, whose musical partnership would span several decades, not to mention genres, of Jazz.
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Justin Scoville is a Denver-based trumpeter and jazz blogger.
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An absolute classic. Trane, Miles, and Cannonball as a front line… Wow. The title track foreshadows Modal Miles.
Recorded in 1958 but released in early 1959, this album saw Evans conceptualizing his modal approach in the hypnotic Peace Piece.
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