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Track List
01) Gloria's Step (take 2)
02) Gloria's Step (take 3)
03) My Man's Gone Now
04) Solar
05) Alice in Wonderland (take 2)
06) Alice in Wonderland (take 1)
07) All of You (take 2)
08) All of You (take 3)
09) Jade Visions (take 2)
10) Jade Visions (take 1)
01) Gloria's Step (take 2)
02) Gloria's Step (take 3)
03) My Man's Gone Now
04) Solar
05) Alice in Wonderland (take 2)
06) Alice in Wonderland (take 1)
07) All of You (take 2)
08) All of You (take 3)
09) Jade Visions (take 2)
10) Jade Visions (take 1)
6:09
6:56
6:24
8:56
8:32
7:03
8:20
8:04
3:50
4:08
Data Complete
70%
Total Rating
70%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1961
Jazz
Cheerful
Jazz
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Album
0 copies
Album Description
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Recorded on June 25, 1961, Bill Evans' Sunday at the Village Vanguard set new limits for the piano trio. Drummer Paul Motian and bassist Scott LaFaro accompany the masterful and introspective Bill Evans, and this album marks the last performance of this particular ensemble. LaFaro was killed in a car accident ten days after the recording. Each member of the group plays with such freedom that each stands out while simultaneously communicating with and supporting each other.
Moving away from the bebop approach to improvisation, Evans deals as much with harmonic colors and classical-influenced textures as he does with weaving linear melodies. Rhythmically he takes risks as well. Particularly on Miles Davis’ tune "Solar," his phrases stretch over the bar lines. He holds on to motives, allowing them to develop, and draping his ideas loosely over the short twelve-measure form, giving it an expansive feel.
LaFaro’s improvisations are virtuosic and light, and they dart in and out of Motian’s pulse. When he is not soloing, his bass lines are restless and imaginative, filled with a youthful energy that seem constantly verging on discovery. He rarely “walks” a consistent pulse, as bass players traditionally would have.
Motian provides the center around which Evans and LaFaro orbit. While they test how far outside of the groove they can stray, he pulls them back with a subtle yet steady pulse. His simple approach provides a degree of levity and joy, especially on the blissful “Alice in Wonderland.”
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Available in:
Recorded on June 25, 1961, Bill Evans' Sunday at the Village Vanguard set new limits for the piano trio. Drummer Paul Motian and bassist Scott LaFaro accompany the masterful and introspective Bill Evans, and this album marks the last performance of this particular ensemble. LaFaro was killed in a car accident ten days after the recording. Each member of the group plays with such freedom that each stands out while simultaneously communicating with and supporting each other.
Moving away from the bebop approach to improvisation, Evans deals as much with harmonic colors and classical-influenced textures as he does with weaving linear melodies. Rhythmically he takes risks as well. Particularly on Miles Davis’ tune "Solar," his phrases stretch over the bar lines. He holds on to motives, allowing them to develop, and draping his ideas loosely over the short twelve-measure form, giving it an expansive feel.
LaFaro’s improvisations are virtuosic and light, and they dart in and out of Motian’s pulse. When he is not soloing, his bass lines are restless and imaginative, filled with a youthful energy that seem constantly verging on discovery. He rarely “walks” a consistent pulse, as bass players traditionally would have.
Motian provides the center around which Evans and LaFaro orbit. While they test how far outside of the groove they can stray, he pulls them back with a subtle yet steady pulse. His simple approach provides a degree of levity and joy, especially on the blissful “Alice in Wonderland.”
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