Democracy in Action: Bill Evans at the Village Vanguard | Waltz For Debby
The 2023 OJC Reissues Hit the Sweet Spot
Review: Bill Evans Trio Sunday at the Village Vanguard (Craft/OJC 2023)
Thanks to the folks at Craft Recordings for the early look at the OJC edition of Bill Evans Trio Sunday At the Village Vanguard. I've discussed these recordings often, and their well-deserved status as foundational titles in any jazz library is undeniable. This album and its fraternal twin Waltz For Debby (which OJC already knocked out of the park a few months back), contains some of the greatest live jazz ever recorded, musically and sonically. The new Craft OJC pressing does SATVV justice as well, and it's the one I'd recommend. First, I compared it to the 2011 OJC release. That cut is push. The 2023 is pull. By that, I mean that the older 2011 mastering gets right up in your grille relative to Kevin Gray's new 2023 cut, which brings the room to life. I mean, this trio is RIGHT THERE. The 2011 has more bite but a bit less realism. That's a preference, not a judgment—the 2011 leans slightly more on the instruments than the 2023, which provides a better sense of the entire stage. The Complete VV box shootout wasn't as dramatic until I cranked the volume, and then it was no contest. The new OJC is a masterclass in nuance, insisting on your attention and then freeing you to lose yourself in the experience. The great sound is paired with quality packaging—sharp and detailed matte artwork and a tip-on jacket. The grey OJC obi with credits and Downbeat review also keeps the bar code off the back cover—a subtle touch, but sometimes, it's the little things. Is this the ULTIMATE edition? I can only speak for myself, but I'm done chasing the dragon regarding SATVV and WFD. Here's a terrible analogy: anti-virus software. When I see the language claiming effectiveness of ~99.86% of all viruses, I wonder, "Why 99.86%? Why stop there?" Maybe it's statistics based on new viruses vs software iteration, or perhaps that's what the legal team said to claim. But maybe the costs, resources, time, and associated efforts to reach 99.87% are ASTRONOMICAL vs the incremental benefit. Just sayin'.
From the Archives: Bill Evans Trio Waltz For Debby (Craft/OJC 2023)
Originally published to Instagram July 9, 2023
Waltz For Debby and companion LP Sunday at the Village Vanguard are essential titles in any jazz library, from newbie to veteran. However, those fortunate to own a copy already and are contemplating an upgrade may want to consider my thoughts after an extensive comparison—a wildly enjoyable listening session! My vinyl listening rig is a Rega Planar 3 turntable fitted with a Groovetracer sub-platter, stock Rega glass platter, and Ortofon Bronze cartridge. The preamp is a Furutech ADL GT40, and it’s connected via SKW BG-04S cables to Piega 501W speakers. This 2023 OJC pressing is flawless, the sound spectacular, and as far as my ears are concerned, it is the definitive vinyl edition. I’ve compared it to the 1992 Analogue Productions 33 1/3 mastered by Doug Sax and the 2002 Analogue Productions 45 RPM 2 X LP mastered by Steve Hoffman/Kevin Gray. The 2023 cut is as good or better than both—“better” depends on your listening preferences, rig, and room. I’m enjoying a slight but perceptible increase in the clarity and separation between instruments on the 2023 cut. Scott LaFaro’s bass is better defined and resonates pleasingly to the ear. That said, my claim that the 2023 edition is the winner is indeed a photo finish: you’d need to be intentionally comparing or doing A/B testing to highlight the differences, and that’s not entertainment—that’s work! Besides, with the AP33 creeping towards $200 and the AP45 $400 on the secondary market, the $38 2023 OJC is a no-brainer—especially for one of the most outstanding and influential jazz records ever made. The cover art silhouette detail and background color have varied from ivory to near purple over the years, so it’s difficult to judge which of my three best reflects the original release. Still, the back cover liner note text/Evans photo on the new OJC is *FAR* superior to either of my AP editions, with crisp detail and smooth font edges that make the others look a bit shoddy—well done, Craft—looking forward to more of the OJC series!
From the Archives: Bill Evans Trio The Complete Village Vanguard Recordings, 1961 (Riverside Recordings 2005)
Originally published to Instagram June 25, 2023
Sixty-two years ago, Bill Evans's "classic trio"—Evans on piano, Scott LaFaro on bass, and Paul Motian on drums—reached their apex with Waltz for Debby and Sunday at the Village Vanguard. Their groundbreaking approach was so seismic in obliterating traditional piano trio roles that the aftershocks continue to be felt decades later across all genres of music where improvisation has a role. The democratization of the group transformed the traditional leader->supporting players' orientation to a murmuration; when a flock of birds flies with such intricately coordinated movements and directional shifts, they appear to be operating as a hive mind.
The results of their work—two studio LPs and these VV recordings—are some of my library's most-played and most-recommended albums. The allure of this music is irresistible. You don't need to be a musician or write and defend a thesis on how the trio's unified harmonic and rhythmic vehicles for expression expanded the conversational possibilities in jazz improvisation to *ADORE* the music of the Bill Evans Trio. I know squat about music theory, don't play an instrument, and couldn't swing if I was in a hammock. But these Village Vanguard recordings—collected in the box pictured here or as the individual records WFD and SATVV—put a smile on my face whenever I spin them. As I've explored the various trios that Evans formed after LaFaro's death—a tragedy occurring just ten days after the Vanguard recordings—few had hinted at the possibilities that the classic trio was devouring before they even rolled out of bed. That said, the more time I spend with Evans's final trio with bassist Marc Johnson and drummer Joe LaBarbera, I find their work comes close to invoking similar (but different) wizardry. More on their music and recordings soon. In the meantime, I recommend this excellent essay from Ted Gioia on Bill’s final days:
The murmuration imagery is perfect.
LInk to Craft Recordings is broken.