Late

Hey, that's great news!

I wondered about that one too. I have a feeling it's a re-do ... but hope that I'm mistaken.

More enja reissues.

Very much agree. The final Village Vanguard recordings are amazing, as are the Keystone Korner recordings ... with only (roughly) two weeks to live? In his final trio, Evans seemed to be opening up to more discordant sounds.

Agreed. For years, I only listened to Evans from (about) 1955-1966. Those, of course, are classic years, and the Riverside albums are iconic. But when I finally started listening to the final trios, I realized how much I'd been missing out. Evans really was in peak form in the late 70's.

Yes, you're right. hbbfam — that 1967 Vanguard material is really good. It was originally a 2-LP set, but it fits on a single compact disc. (Maybe you have it?) I have the Japanese SMH-CD edition, and the sound is unusually good for live material. I think it was Eddie Gomez's first appearance as part of the trio, and Philly was (somewhat) guesting. Regardless, his ears were fully attuned to what Evans was playing! Now that I think about it, while Evans is certainly a piano trio icon, I sometimes think he was more comfortable in a(n implied) duo setting. He did record with Gomez (minus Morell) in a duo setting, and the 1967 Vanguard material (while Gomez is of course playing as part of the trio) almost feels like duo work with Philly Joe Jones. When I listen to that disc, I hear Evans and Philly "talking" to each other, while Gomez is filling spaces in between. But that's just the way I'm hearing it these days — not a demonstrative observation. I've really come to love late-period Evans, which, many years ago, I shrugged off as simply more of the same. It's not. (Oh — and I wouldn't classify 1967 as "late-period." I'm actually thinking of the trio with Johnson and LaBarbera. I love that trio, but still can't say I "know" their work.)

Hut Note!

Uh ... ?

Oops. Scratch that. Not THIS Friday ... (I got the notifications mixed up with David Sedaris' new book.)

I was just listening last night to California, Here I Come from 1967 with Philly Joe. It's weird how Philly anticipates Evans' figures at times, and then plays the figure WITH Evans ... live. I've read about LaFaro and Evans' "telepathy" many times, but I think it actually existed with Philly and Bill. Philly seems, at first, an unlikely drummer for Bill Evans, but he's actually near perfection. You can hear Eddie Gomez (admittedly just starting with the band) out of sorts at times.

Would be great to hear that Village Theater (different than the Gate?) recording, presuming a private tape does exist (or existed). Would also be wonderful to have some of the missing (late period) tapes somehow surface. I guess it's not out of the question these days. There are probably (?) other Joe Brazil scenarios out there. I guess we'll be hearing the Seattle recording by Friday? (At least according to Amazon delivery notifications.)

Turned down low, this is a surprisingly good album to play at 6 in the morning. Red's voicings in 1962 seem a little different than in his 50's work. Ed Powell, an engineer whose name I don't notice often, is also to be commended for the excellent sound. Jazzland, not Prestige, but a fine fine album.

From the hathut website: "You have experienced our growing number of Revisited issues on ezz-thetics. We have more plans for this series, but need your support by donations in the existing difficult times of the COVID-19 pandemic. Your contribution is highly welcome and will be honored by more upcoming new CDs by new artists, but also from artists we have already presented but need to be completed by additional CDs. Please click on „Donate" to get connected with the PayPal system for your donation. We plan further CD releases of the series Revisited, for which we offer a participation that the CD of your choice will be personalized with your name. This could read like: A… B… made a financial contribution to the release of this CD. In addition, we offer you CDs free of charge to your address. If you'd like to follow this concept, please contact by revisited.ezz-thetics@bluewin.ch for further information about a possible realization." So it sounds like, with an ample enough donation, and with Werner's consent, you can get a producer credit for a reissue of your choice. Maybe hathut can be the label to reissue Bill Barron's Motivation! Seriously. What other titles would fit with the Revisited concept? If they're going to reissue Coltrane's 1961 Village Vanguard recordings (kind of a waste, in my opinion), they could dig deeper and reissue some of the unreleased Half Note recordings, or other previously bootlegged live work. And that's just Coltrane ...

I have that particular (U.S.) Evans disc, but haven't heard its German or Japanese counterparts. However, I think your assumption is probably on the mark judging by the sound of the U.S. disc. The same is true (I think) for the first U.S. edition of East Broadway Rundown. There was a short period of time (late 80's) where U.S. editions (in jewel cases) used the original cover art and Impulse! logo, and sounded very close to their Japanese counterpart.

Those are my two favorites as well. As for conductors for those symphonies, I like: • Symphony No. 2 - Klemperer • Symphony No. 9 - Bernstein (Columbia) I've actually never heard Boulez conduct Mahler, so I'm probably missing out there.

Agreed. Would have been great to be there in person.

Aha! And Zev Feldman claims he's the jazz detective!

Great album. My first Nelson purchase (before Blues And The Abstract Truth)! I like Nelson's elegance juxtaposed with Dolphy's abandon.

I haven't picked up this latest Japanese edition. Thoughts from those who have?

I hope you have this set on your radar, released this May ...

I'd buy that.

Finally got around to sleuthing out which live date I thought Morell sounded good on. It's this one from 1974: This was recorded live for CBC radio; it's an excellent recording, even if Gomez seems miked just a little too close at times. Morell is more aggressive than usual, which is why I took notice. When he trades fours with Evans on the opener "One For Helen," he has some good ideas, but I will say the execution feels a little stiff — he plays right on, and sometimes slightly ahead of, the beat. The album, which I think presents Evans at a highpoint in the 70's, won't change anyone's opinion of Morell. But he IS locked in with Gomez, which is nice, and Evans takes more chances than usual. Of those I've heard, I'd say this is one of Evans' best live recordings from the mid-70's. Oh, and the cover drawing is by Tony Bennett!

Listened to the tracks last night where Nelson is part of a quintet on Red Garland's Soul Burnin'. Recommended.

If this current reissue of Sun Ship uses the 2011 Japanese remastering, Coltrane fans will want to hear it. It's the best-sounding version to my ears — much better than the complete U.S. edition. It also follows Ed Michel's (minor and tasteful) edits, which tighten the album.

Very excited to hear this release. I wonder if Ravi will bring to light any of the "lost" recordings from 1967 (assuming there are tapes lying in boxes within boxes inside a trunk up in the attic behind Ray Draper's first tuba).