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Bill Evans Trio: Sunday At The Village Vanguard

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Bill Evans

 
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Bill Evans Trio: Sunday At The Village Vanguard
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A flawless set from a masterful trio, shaded by tragedy.

  • We Say...

    Review by Thomas Bartlett

    Conventional wisdom, which in this case may be right, holds that Bill Evans' storied career peaked on June 25, 1961, a date that yielded two live records, Sunday at the Village Vanguard and Waltz for Debby, the final two documents of Evans' first, and best, trio, with bassist Scott LaFaro and drummer Paul Motian. In the two years he'd been playing with Evans, LaFaro had opened up new possibilities for the jazz bass, playing with a harmonically oblique, melodically flexible style that was, at the time, unprecedented. Ten days after this record was made he died, just 25 years old.

    Sunday at the Village Vanguard may be the ultimate monument to LaFaro's talent; it features two of his compositions, "Gloria's Step" and "Jade Visions," and he plays lengthy and dazzling solos on nearly every track. It's not just LaFaro who was playing well, though — the whole trio was in top form for this date, a delicately balanced unit anchored weightlessly by Motian's ever-shifting, reactive timekeeping, with Evans' limpid, impressionistic harmonies floating above like clouds. There are no missteps in this set, but a highlight is the dark, mournful reading of Gershwin's "My Man's Gone Now."

  • They Say...

    Review by Thom Jurek, All Music Guide

    Sunday at the Village Vanguard is the initial volume of a mammoth recording session by the Bill Evans Trio, from June 25, 1961 at New York's Village Vanguard documenting Evans' first trio with bassist Scott LaFaro and drummer Paul Motian. Its companion volume is Waltz for Debby. This trio is still widely regarded as his finest, largely because of the symbiotic interplay between its members. Tragically, LaFaro was killed in an automobile accident ten days after this session was recorded, and Evans assembled the two packages a few months afterward. While "Waltz for Debby" -- in retrospect -- is seemingly a showcase for Evans' brilliant, subtle, and wide-ranging pianism, this volume becomes an homage, largely, to the genius and contribution of LaFaro. That said, however, this were never the point. According to Motian, when Evans built this trio based on live gigs at the Basin Street East, the intention was always to develop a complete interactive trio experience. At the time, this was an unheard of notion, since piano trios were largely designed to showcase the prowess of the front line soloist with rhythmic accompaniment. Here, one need listen no further than the elegant and haunting, graceful modal reading of "My Man's Gone Now" from Porgy & Bess to know that there is something completely balanced and indescribably beautiful in their approach. Motian's brushes whisper along the ride cymbals and both Evans and LaFaro enter into a dialogue that emerges from a darkly hued minor mode, into the melody and somehow beyond it, into a form of seamless dialogic improvisation to know that in the act of one musician slipping over and under another -- as happens with all three in an aural basket weave -- is something utterly new and different, often imitated but never replicated. But in a sense it happens before this, on LaFaro's "Gloria's Step," which opens the recording. His thematic statement includes the briefest intro, hesitant and spacious before he and pianist enter into a harmonic and contrapuntal conversation underscored by the hushed dynamics of Motian's snare, and the lightning-fast interlocutions of single string and chorded playing of LaFaro. The shapshifting reading of Miles Davis' "Solar," is a place where angularity, counterpoint, and early modalism all come together in a knotty and insistent, yet utterly seamless blend of post-bop aesthetics and expanded harmonic intercourse with Motian, whose work, while indispensable in the balance of the trio, comes more into play here, and is more assertive with his half-time accents to frame the counterpoint playing of Evans and LaFaro. This is a great place to begin with Evans.

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