'Nar-this' by Antonio Sanchez with Brad Mehldau and Matt Brewer from the album 'Three Times Three'. More than a passing resemblance to Nardis.
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Recently managed to find a copy of this wonderful NJO album, S_A:Originally posted by Serial_Apologist View Post
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Well done, JR - the best of the bunch I think, before Ardley went more towards systems music - though I do like "Greek Variations" too. I 've got a track off of that on something, somewhere.Originally posted by Jazzrook View PostRecently managed to find a copy of this wonderful NJO album, S_A:
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Bill Evans Trio live in Ljubljana, 1972 with Eddie Gomez(bass) & Tony Oxley(drums) playing a 15-minute version of 'Nardis':
JRLast edited by Jazzrook; 06-08-18, 09:32.Comment
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Great! I've long wanted to hear that trio with Oxley - several people told me "unfortunately" it had never recorded!Originally posted by Jazzrook View PostBill Evans Trio live in Ljubljana, 1972 with Eddie Gomez(bass) & Tony Oxley(drums) playing a 15-minute version of 'Nardis':
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Probably not worth the wait.Originally posted by Serial_Apologist View PostGreat! I've long wanted to hear that trio with Oxley - several people told me "unfortunately" it had never recorded!
I had no idea that this trio existed. The very notion of Oxley and Evans working together is fascinating and does pique your interest. Unfortunately the trio doesn't really work for me. There is no real rapport between the three musicians and the combination of the pianist and drummer seems incongruous. Shame about the lengthy and dull bass solo. When the band get underway, it is interesting because Oxley is not entirely sympathetic and does not necessarily buy into the leader's concept. I really like the drumming yet they are not exactly compatible. It is nice to hear Evans having his feathers ruffled yet disappointing that he effectively continues to do his usual stuff.
The stuff Evans made in the mid 60s and 70's tend to be soporific and the presence of Tony Oxley is just the kind of player to perhaps inspire something different. For me, Evans is a kind of player who had his own, strict concept and was almost unbending in this respect. In his own way, he was as conservative as someone like Oscar Peterson and quite unable to really subvert his own voice to match differing approaches. In the end, Evans became as stylised as other groups such as the Count Basie orchestra or the MJQ. The piano playing is at its most interesting after the lengthy drum solo with some of the chords being very unlike Evans. After the bowed bass solo, the Evans of old returns for the head. I much prefer the earlier Evans but like the concept of him mixing it with avant garde players, albeit not too successfully.
Oddly enough, Evans biggest critic was Cecil Taylor who famously detested everything the former musician produced. Seeing as Oxley worked with both musicians , it would be fascinating to hear his opinion of working with Bill Evans. It is a shame that no other tracks from this trio exist (the balance of the record features another group) and it is disappointing that the straightened conditions of jazz in the 1970s did not afford Evans greater opportunity to work outside his comfort zone. Sometimes these odd couplings in jazz produce some absolute gems. In this instance it comes across as a mismatch although fascinating.Comment
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There's a Japanese issued CD 'Bill Evans in Yugoslavia - The 1972 Ljubljana Concert' with Gomez & Oxley.Originally posted by Serial_Apologist View PostGreat! I've long wanted to hear that trio with Oxley - several people told me "unfortunately" it had never recorded!
Wish I could find a copy!
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Bill Evans' short-lived trio at the Monterey Jazz Festival, 1968 with Eddie Gomez(bass) & Jack DeJohnette(drums):
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