Here is just a partial list of the names of jazz legends (some appearing solely as sidemen/accompanists): Art Hodes, Sidney Bechet, Mezz Mezzrow, Willie “The Lion” Smith, James P. With exceptions for Ellington, Basie, Armstrong and a few others, The Black and White label was motivated in putting the jazz titans of this era together in groupings for approximate (4-6 tracks), the time length of a 78 rpm album. What makes this massive 11 CD set so valuable, and historically significant, is that in barely seven years they recorded most everyone not exclusively tied to a major label. This stuff hadn’t been done yet until Don started playing them.” – Billy Taylor They were long phrases and new ways of using harmonies so that they sounded like the dominant melody. What I mean by pre-bop is he was playing things that led up to bebop. He was head and shoulders above everyone else. Don was trying to do that on the tenor back then. They both had heard Art’s seamless runs on the piano. He and Coltrane had the same idea for the same reason. He was trying to make the tenor saxophone sound like Art Tatum. He was way ahead of Coltrane on those sheets of sound. What the Europeans heard him play was the beginning of what John Coltrane and others like him eventually did. He did something that was unbelievable in terms of really playing and showing the Europeans that the music was moving forward. Live at the Village Vanguard Vol.Pianist Billy Taylor waxes poetic in a JazzWax article on the importance of Don Byas and what he meant to not only tenor saxophonists but to improvisors in general on any instrument.Paul Motian and the Electric Bebop Band (1992).It Should've Happened a Long Time Ago (1984)." Blue in Green" ( Miles Davis, Bill Evans) – 5:25." Someday My Prince Will Come" ( Frank Churchill, Larry Morey) – 4:57." Spring Is Here" ( Richard Rodgers, Lorenz Hart) – 5:09." What Is This Thing Called Love?" ( Cole Porter) – 4:36." When I Fall in Love" ( Victor Young, Edward Heyman) – 4:57." Witchcraft" ( Cy Coleman, Carolyn Leigh) – 4:37." Autumn Leaves" ( Joseph Kosma, Jacques Prévert, Johnny Mercer) – 6:00." Come Rain or Come Shine" ( Harold Arlen, Johnny Mercer) – 3:24.But what makes Evans extra-extra-special is the way his playing drags you in and shares the vulnerability at its core. At its least great, it is merely brilliant. A gem." Danny Eccleston of Mojo wrote: "Portrait In Jazz - Evans' fifth record as a band leader - gets you every which way. LaFaro and Motian were nearly equal partners with the pianist in the ensembles. the influential interpretations were far from routine or predictable at the time. Reviewing it for Allmusic, music critic Scott Yanow wrote of the album: ". Reception Professional ratings Review scores It is one of Evans' more up-tempo and swinging albums (the presence of several ballads notwithstanding). Most noticeably, LaFaro's bass is promoted from a mere accompanying instrument to one of almost equal status to the piano (though not to the extent that it would be on later albums such as Sunday at the Village Vanguard). It is the first of only two studio albums to be recorded with his famous trio featuring bassist Scott LaFaro and drummer Paul Motian.Įight months after his successful collaboration with Miles Davis on the album Kind of Blue, Evans recorded Portrait in Jazz with a new group (the Bill Evans Trio) that helped change the direction of modern jazz. Portrait in Jazz is the fifth studio album by American jazz pianist Bill Evans as a leader, released in 1960.
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