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The intimate interplay between bassist Scott LaFaro and pianist Bill Evans is more dynamic, ranging from soft exchange to an intense crescendo of dialogue. This is the second production from the venerable Sunday Vanguard sessions. While both recordings are recommended, I give a slight preference to this set. There is hardly an equal in jazz to the relation between the skill and sensitivity of these two players, and it is one that recalls the pairing of Dave Brubeck and Paul Desmond on their most exciting performances. Highly recommended.
Unfortunately, on this CD and its companion, SUNDAY AT THE VILLAGE VANGUARD, the piano is plagued by distortion.I tried to pick out the songs with less distortion for the purpose of making a mix, but I realized I would always be listening for distortion, so I put them away.It's a pity, because the session took place ten days before Scott LaFaro's death, and the recording of his bass is superb.If you're willing to overlook the buzzing of the distortion in the piano, buy them both. The musicianship is extraordinary.
. that so many people rate this album so highly. I don't like the format of the repeated alternate takes, and I don't like the constant background noise of clinking glasses, chatter, and so on. I guess it would make decent background music for a cocktail party and would probably be of great interest to fellow musicians who are interested in Evans's piano technique, but this is an album that I have had for years, and it hardly ever gets played--never, actually.At the time that I bought it I was under the impression that this was a great, essential album, but I don't think it is.
This is a great Bill Evans album and a must for any serious jazz enthusiast, but, rather than buy this album, I recommend The Complete Village Vanguard Recordings, 1961. That way, for just a little more money, you get all the recordings on this album, plus the outtakes, alternate takes, and a host of other songs that do not appear on this classic jazz album.
Thus we hear Waltz for Debbie-Waltz for Debbie-Detour Ahead-Detour Ahead-My Romance-My Romance, each about seven minutes long. Only one star for Waltz for Debbie. Using the "Random Play" option doesn't help because the ratio of alternate takes is so high your just as likely to hear the same track three or four times in a row. This is a sublime album and deserves all the accolades it gets but Orrin Keepnews managed to blow it. Not only does he add three alternate takes but instead of tacking them on at the end he plays them in succession and then runs those three back to back. Musicians wouldn't play a set like this. The album was perfect at about 45 minutes.
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