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gypsy tail windLarry Young was only 23 and 24 years old when these recordings were made. He would soon be known as one of the great organ players of his time, and indeed, all time. The son of a professional organist, he played piano and organ from early childhood. Indeed, his first serious piano teacher, after his father, had been a student of Bartók and Dohnanyi at the Franz Liszt Academy in Budapest. The influence of this teacher, Olga Von Till, might explain Young’s penchant for harmonic structures based on fourths and his use of pentatonic scales – both characteristic of the strains of Hungarian folk music found in the music of Bartok, Dohnanyi and their compatriot, Kodaly; structures that were unusual in jazz at the time.
Krass. Habe ich noch nie gehört!
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Ohne Musik ist alles Leben ein Irrtum.Highlights von Rolling-Stone.de„I Put A Spell On You“ von Screamin‘ Jay Hawkins: Horror-Heuler
Queen: Darum war ihr Live-Aid-Konzert nicht wirklich spektakulär
25 Jahre „Parachutes“ von Coldplay: Traurige Zuversicht
Paul McCartney kostete „Wetten dass..?“-Moderator Wolfgang Lippert den Job
Xavier Naidoo: Das „Ich bin Rassist“-Interview in voller Länge
Die 75 schönsten Hochzeitslieder – für Kirche, Standesamt und Feier
Werbungist ja überhaupt nicht mein spezialgebiet, deshalb kann ich den wert für die versammelte retrogemeinde hier schlecht einschätzen
–jedenfalls hat ein herr david niven seit den 20ern jazzplatten gesammelt, diese in den 80ern für seine kinder auf tape überspielt (horror) & dabei noch mit einleitungen versehen – jetzt ist das ganze wiederum digitalisiert und ziemlich toll aufbereitet & steht zur verfügung – ein archiv des frühen jazz.
hier steht was über das projekt und hier ist das archiv. knock yourself out.
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soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
vorgartenist ja überhaupt nicht mein spezialgebiet, deshalb kann ich den wert für die versammelte retrogemeinde hier schlecht einschätzen
–jedenfalls hat ein herr david niven seit den 20ern jazzplatten gesammelt, diese in den 80ern für seine kinder auf tape überspielt (horror) & dabei noch mit einleitungen versehen – jetzt ist das ganze wiederum digitalisiert und ziemlich toll aufbereitet & steht zur verfügung – ein archiv des frühen jazz.
hier steht was über das projekt und hier ist das archiv. knock yourself out.
Zwar nicht so ganz meine „Ära“ aber von sammlerischen und auch archivarischen Aspekt schon sehr beeindruckend ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Hatte ich vor ein paar Jahren rein zufällig mal mitgekriegt, aber nur Lester Young begutachtet … muss ich die nächsten Tage mal wieder anschauen.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbavorgarten… jedenfalls hat ein herr david niven seit den 20ern jazzplatten gesammelt, diese in den 80ern für seine kinder auf tape überspielt (horror) & dabei noch mit einleitungen versehen – jetzt ist das ganze wiederum digitalisiert und ziemlich toll aufbereitet & steht zur verfügung – ein archiv des frühen jazz. …
Ich bin kein Hardcore Fan, aber Fan, finde die Sache toll.
Werde mir das Archiv ansehen. Danke für den Tipp. Ich habe das Niven-Archiv vor einigen Monaten entdeckt und war vom Umfang stark beeindruckt. Als Hardcore-Fan für frühen Jazz möchte ich mich nicht bezeichnen, höre aber auch gerne mal Satchmo, Pres, Bird usw. – und natürlich den Duke.
Die Beschreibung der Digitalisierung liest sich wie aus einem HiFi-Magazin der 90er Jahre. Dabei muss man aber leider den notgedrungenen Qualtitätsverlust der gesamte Aufnahmekette betrachten: Schallplatte —> Tapedeck —> PC (analoger Aux-In). In vielen dieser Aufnahmen hört man sporadische Band-Dropouts und Gleichlaufschwankungen. Bei einigen Kassetten habe ich den Eindruck, dass die Bandaufnahme über Mikrofon erfolgte. Wenn ich allein nur einige Ellington-Aufnahmen mit identischen Sessions eines Spotify-Streams vergleiche, dann ist der Qualitätsverlust deutlich zu hören. Wenn ich dazu noch die vorhandene orginale CD-Pressung höre, habe ich keine weitere Lust mehr, tiefer in das Nieven-Archiv zu hören.
Respekt vor diesem Riesenaufwand und als informelles Archivmaterial durchaus brauchbar.
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bepesch
Die Beschreibung der Digitalisierung liest sich wie aus einem HiFi-Magazin der 90er Jahre. Dabei muss man aber leider den notgedrungenen Qualtitätsverlust der gesamte Aufnahmekette betrachten: Schallplatte —> Tapedeck —> PC (analoger Aux-In). In vielen dieser Aufnahmen hört man sporadische Band-Dropouts und Gleichlaufschwankungen. Bei einigen Kassetten habe ich den Eindruck, dass die Bandaufnahme über Mikrofon erfolgte. Wenn ich allein nur einige Ellington-Aufnahmen mit identischen Sessions eines Spotify-Streams vergleiche, dann ist der Qualitätsverlust deutlich zu hören. Wenn ich dazu noch die vorhandene orginale CD-Pressung höre, habe ich keine weitere Lust mehr, tiefer in das Nieven-Archiv zu hören.vielen dank für die einordnung, das klingt alles sehr plausibel. wenn die sachen in besserer qualität problemlos zu beosrgen sind, lohnt sich dieses archiv höchstens zum reinhören – und als studie einer obsession…
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Bill Evans – Some Other Time: The Lost Session from the Black Forest
DELUXE 2-CD SET AND DIGITAL EDITION AVAILABLE APRIL 22, 2016
SPECIAL LIMITED EDITION HAND-NUMBERED 2-LP SET MASTERED BY BERNIE GRUNDMAN AND PRESSED ON 180-GRAM VINYL BY RECORD TECHNOLOGY, INC. AVAILABLE SATURDAY APRIL 16, 2016 FOR RECORD STORE DAY
NEVER-BEFORE-RELEASED 1968 STUDIO ALBUM BY LEGENDARY PIANIST BILL EVANS IN TRIO, DUO AND SOLO SETTINGS WITH JAZZ GREATS EDDIE GOMEZ AND JACK DEJOHNETTE
RECORDED BY HANS GEORG BRUNNER-SCHWER AND JOACHIM-ERNST BERENDT AT MPS STUDIOS, VILLINGEN, GERMANY IN THE BLACK FOREST
Unique studio recording made on June 20, 1968, five days after the Bill Evans Trio’s triumphant performance at the Montreux Jazz Festival
Only the second album — and the only studio album — to feature the Bill Evans Trio with brilliant drummer, Jack DeJohnette, and great bassist and Evans Trio veteran, Eddie Gomez .
Los Angeles, CA. March 18, 2016 – Resonance Records is pleased to announce the release of Bill Evans Some Other Time: The Lost Session From the Black Forest, a previously unknown and extremely rare studio album by the Bill Evans Trio recorded on June 20, 1968 by legendary German jazz producers Hans Georg Brunner-Schwer and Joachim-Ernst Berendt. Resonance will release this album — which has never before been issued in any form — on Saturday April 16, 2016 in a special limited-edition hand-numbered two-LP set on Record Store Day, and will release a deluxe two-CD set and a digital edition on April 22, 2016.
Zev Feldman of Resonance Records may just be the world’s greatest jazz detective He is quickly developing a reputation as the Indiana Jones of jazz. His uncanny ability to unearth hidden treasures — recordings no one has heard; indeed, recordings that no one imagined existed — is unmatched today. Once again, Feldman’s dogged determination in the pursuit of great jazz recordings combined with label head George Klabin’s unstinting support has borne fruit in the discovery and release of this remarkable new Bill Evans album, Some Other Time: The Lost Session From the Black Forest.
Resonance Records is thrilled to bring this important addition to Bill Evans’s legacy to the world, a recording that constitutes the only existent studio recording of the Bill Evans Trio in the iteration that featured drummer Jack DeJohnette together with bassist Eddie Gomez, a version of Evans’s trio that only existed for six months in 1968.
Feldman discovered this previously unknown recording by chance. In April, 2013 in Bremen, Germany at the jazzahead trade conference, he happened to meet a son of late great German jazz producer, Hans Georg Brunner-Schwer (familiarly known as HGBS), the founder of the legendary jazz label, MPS. While comparing notes with the younger Mr. Brunner-Schwer, Feldman discovered that HGBS’s family had in its archive an unreleased studio album by the Bill Evans Trio featuring Eddie Gomez and Jack DeJohnette.
After hearing one track on a car stereo in the parking lot outside the convention hall, Feldman was bound and determined to acquire the album for Resonance. He was convinced the world had to hear this music, which represents an under-documented chapter in Bill Evans’s creative journey. Bill Evans studio albums are rare in themselves and this particular make-up of the Evans trio, which was only together for six months, had never recorded in the studio; the only recording of this particular group that’s been available is a live concert recording made at the Montreux Jazz Festival five days earlier that was released on Verve.
This album sat virtually unnoticed for nearly fifty years in part because of the way it came into existence in the first place. It had been recorded on the spur of the moment. Noted German Jazz producer and writer Joachim-Ernst Berendt had heard the Evans Trio’s performance at the Montreux Festival and was so impressed, he urged both HGBS and Bill Evans’s manager, Helen Keane, to bring the trio to HGBS’s MPS studio in Villingen in the Black Forest to record between tour stops during June of 1968. The hastily thrown-together recording agreement provided that no release could be made without certain approvals. After all, Bill Evans was under contract to another label. As time passed, contractually, no one seemed to have picked up the ball, so nothing happened. So the tapes sat. And they sat out-of-sight, out-of-mind in an archive in the Black Forest, a location far from Bill Evans’s and Helen Keane’s normal ambit. After some years with the tapes all but forgotten, the principals all died. Evans, Helen Keane and Berendt were all gone by 2000, and HGBS passed away in 2004. By then, the album had become, in effect, a forgotten historical relic.
Fast forward to 2013 and enter premier jazz detective Zev Feldman, who never loses an opportunity to explore what unknown recordings may exist when he meets someone with a connection to jazz. He met a member of the Brunner-Schwer family and with a little digging and a lot of determination, he found himself on the trail of another historically significant unknown jazz recording begging to be released.
It wasn’t a simple matter to bring this music to the public, but once Feldman knew this album existed, he was unflagging in his determination to make it happen. When he finally heard the entire album, he describes the experience as revelatory: „It blew my mind to hear it. THIS was why George [Klabin] sent me half way around the world to Germany: to search out rare recordings like THIS.“ After several trips to Europe to shepherd the project forward, in 2015, deals were finally struck with all the necessary parties and Resonance was able to move forward with the release.
Bill Evans is one of the most influential pianists in the history of jazz. In his essay for the album package, journalist, author and jazz historian Marc Myers describes Evans’s career as comprising four distinct periods or stylistic phases. The first of these Myers describes as Evans’s „jazz apprentice years,“ a period that extended from 1953 to 1961, during which time, he performed often as a sideman, but also began recording as a leader. The second period, which Myers styles Evans’s „swinging romantic“ period spanned from 1961 through 1966, where he began to come into his own as a force in jazz. This was followed by a period Myers calls Evans’s „percussive poet“ phase, which Myers maintains was propelled by the introduction of bassist Eddie Gomez into Evans’s musical milieu. The percussive poet period lasted until 1978. Myers refers to Evans’s artistic phase during the last four years of his life — from 1978 to 1982 — as his „lost soul“ years.
This album captures Bill Evans at an important, yet relatively under-recorded time in his career. Myers describes it as an important document that sheds light on Evans’s transition from swinging romantic to percussive poet.
And although Eddie Gomez was to remain a colleague of Bill Evans’s for many years and a collaborator with him on numerous recordings, because of the discovery of this album featuring the Evans trio with the addition of Jack DeJohnette, Myers believes that there is now a much more solid basis for considering this brief association as an important chapter in the Evans saga. Myers writes:
[INDENT] The material also brings into relief Evans’s all-too-brief encounter with Mr. DeJohnette, a member of Evans’s trio for just six months in 1968. During that time, his tender, kinetic drumming style caught Evans’s ear, educating him on the interplay possible when percussive figures are feathery and challenging.
[Up until now, the only commercially available recordings of Evans and DeJohnette have been scarce]; hardly enough to evaluate Mr. DeJohnette’s contribution to the trio or his influence.
With the addition of The Lost Session From the Black Forest, we have a more complete picture of Mr. DeJohnette’s impact. During the musical discourse between Mr. DeJohnette and Evans, we hear clearly the sound that Evans wanted on drums going forward. In short, Mr. DeJohnette’s swarm of gentle, abstract snare figures and pesky cymbal rustlings created a dramatic and provocative backdrop without encroaching on Evans’s lyrical narrative.
In his essay included in the album package, Friedhelm Schulz, the current managing director of HGBS Studios, makes some observations regarding the significance of Bill Evans recording in MPS’s Villingen studio with HGBS. Schulz writes:
[INDENT] In 1968 Bill Evans already had the delicate, sophisticated, searching approach that was his trademark and which established his reputation as an exceptional pianist and a star on the piano jazz horizon. No pianist before him had such expressive power and such varied moods and feelings as Evans. Perfectly and appropriately complementing his sensitivity were bassist Eddie Gomez and drummer Jack DeJohnette. Now Evans was in the Black Forest, where beginning in the early ‘60s, Oscar Peterson played regularly in the living room of producer Hans Georg Brunner-Schwer, a man who had a reputation for innovative recording techniques. Even Duke Ellington had come there and was persuaded to record a spontaneous session in 1965 in the same living room.
Bill Evans Some Other Time: The Lost Session From the Black Forest, was produced by Zev Feldman along with executive producer George Klabin. Sound restoration is by Fran Gala and Klabin. The exceptional package was designed by Burton Yount.
Producer Zev Feldman adds, “At Resonance we’re thrilled to be able to share this important new document with the world, one that sheds new light on a previously little-known phase in Bill Evans’s career. That it was recorded at the historic MPS studio by the great Hans Georg Brunner-Schwer makes it all the more special for me as I’ve been a big fan of MPS, SABA and HGBS for as long as I’ve been collecting records. This just might be one of the most exciting experiences in my production career so far. When we sought out to assemble the package I felt we also needed to create one of the nicest packages in Evan’s discography. I’ll leave that to the fans but I feel we accomplished just that with this newly unearthed gem. Lastly, I want to thank everyone who made it happen, especially the Bill Evans Estate, the Brunner-Schwer family, Friedhelm Schulz, Eddie Gomez, Jack DeJohnette, and finally above all, I want to thank George Klabin who made it all possible.”
The most recent Bill Evans release from Resonance, 2012’s Live at Art D’Lugoff’s Top of the Gate, has sold over 30,000 copies worldwide.
CD Track Listing
Disc One
You Go To My Head (4:58)
Very Early (5:12)
What Kind of Fool Am I? (5:21)
I’ll Remember April (4:08)
My Funny Valentine (6:58)
Baubles, Bangles & Beads [Duo] (4:38)
Turn Out The Stars (4:56)
It Could Happen To You (3:58)
In A Sentimental Mood (4:18)
These Foolish Things (4:14)
Some Other Time (5:28)Disc Two
You’re Gonna Hear From Me (3:32)
Walkin’ Up (4:10)
Baubles, Bangles & Beads [Trio] (4:51)
It’s Alright With Me [Incomplete] (3:45)
What Kind Of Fool Am I? (2:51)
How About You? (3:59)
On Green Dolphin Street (4:33)
Wonder Why (4:13)
Lover Man (Oh, Where Can You Be?) (3:49)
You’re Gonna Hear From Me [Alternate Take] (3:24)Resonance Records continues to bring archival recordings to light. Headquartered in Beverly Hills, CA, Resonance Records is a division of Rising Jazz Stars, Inc. a California 501(c) (3) non-profit corporation created to discover the next jazz stars and advance the cause of jazz. Current Resonance Artists include Richard Galliano, Polly Gibbons, Tamir Hendelman, Christian Howes and Donald Vega. www.ResonanceRecords.org
http://www.sunnykilogram.com/projects/dd/bill-evans/email.html
_____________________________Hörprobe:
https://soundcloud.com/resonancejazz/sets/bill-evans-some-other-time-you/s-25lYL--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
gypsy tail wind
Bill Evans – Some Other Time: The Lost Session from the Black Forest
Würde sogar mich den alten Bill Evans Skeptiker womöglich interessieren ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)
das nächste Album aus Forrest Westbrooks Archiv, diesmal steht er selbst im Zentrum….
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soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
redbeansandrice
das nächste Album aus Forrest Westbrooks Archiv, diesmal steht er selbst im Zentrum….
Sehr interessant, thnx für den Hinweis ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)redbeansandrice
das nächste Album aus Forrest Westbrooks Archiv, diesmal steht er selbst im Zentrum….
Wollte ich auch noch mitteilen … gestern kam ja der Newsletter, sind auch sonst wieder schöne Sachen dabei.
The Remarkable Forrest Westbrook – His Trio & Quintet (Previously Unreleased Recordings)
Fresh Sound Records
Reference: FSRCD 890Pianist Forrest Westbrook (1927-2014) has remained under the radar for years, not only for most jazz fans, but also for critics and many of his peers. Leslie Westbrook, Forrest’s eldest daughter, had this to say about his lack of fame: “My father was very modest, never promoted himself, and was very reluctant to record.”
The jazz world got an indication of what had largely escaped its notice during Westbrook’s life, when his dazzlingly accomplished and swinging piano emerged last year on a previously unissued, superb session with the late Carmell Jones, recorded during August 1960, when the great trumpeter was on the cusp of his early fame on the West Coast. Now, the impressive extent of Westbrook’s imaginative grasp, individuality and technical accomplishment is further confirmed with this release of more recordings from that era, featuring this truly remarkable pianist at the head of a trio completed by bassist Bill Plummer and drummerMaurice Miller, and leading on a quintet date with bassist Gary Peacock replacing Plummer and Bill Schwemmer in for Miller.
01. I’m Getting Sentimental Over You (Bassman-Washington) 10:20
02. In Your Own Sweet Way (Dave Brubeck) 9:10
03. Buzzy (Charlie Parker) 10:30
04. I Love You (Cole Porter) 12:27
05. Shine on Harvest Moon (Norwoth-Bayes) 6:38
06. Effa (unknown) 7:30Tracks #1-5: FORREST WESTBROOK TRIO
Forrest Westbrook, piano; Bill Plummer, bass; Maurice Miller, drums.
Recorded at Forrest Westbrook home-studio, Santa Monica, CA, 1958Track #6: FORREST WESTBROOK QUINTET
Dick Hurwitz, trumpet; Dave Madden, tenor sax; Forrest Westbrook, piano Gary Peacock, bass; Bill Schwemmer, drums.
Recorded at Forrest Westbrook home-studio, Santa Monica, CA, 1960Produced for CD release by Jordi Pujol
Hi Fi · 24-Bit Digitally Remastered
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
gypsy tail windWollte ich auch noch mitteilen … gestern kam ja der Newsletter, sind auch sonst wieder schöne Sachen dabei ….
und welche
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
Falls ma des do no net erwähnt hobn :teufel: :
http://www.resonancerecords.org/release.php?cat=HCD-2017
interessante Begleitpartie mit Vaughan`s Langzeitpianist Carl Schroeder und Walter Booker + Jimmy Cobb als Rhythmusrückgrat ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
Falls ich das hier nicht übersah :
Sonny Rollins Trio & Horace Silver Quintet – Swiss Radio Days Vol. 40 – Zurich 1959
Sonny Rollins with his Trio (Henry Grimes on bass and Pete La Roca on drums) * – and pianist Horace Silver with his Quintet (Blue Mitchell on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass and Louis Hayes on drums)
I Remember You 06:45 *
I’ve Told Every Little Star 06:30 *
It Could Happen To You 03:25 *
Oleo 03:15 *
Will You Still Be Mine? 04:15 *Nica’s Dream 07:55
Cool Eyes 07:00
Shirl 05:20
Ecaroh 05:40
Señor Blues 08:05--
"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)
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