After the melody is stated, Hall solos for 3 choruses. The performance opens with a one chorus melody statement by Bill Evans supported by Jim Hall in a style that is somewhere between contrapuntal and, at times, functioning a bit like an acoustic bass. Of course, the original version appears on the revered recording with pianist, Bill Evans titled, ' UNDERCURRENT'(Blue Note) which was recorded in the Spring of 1962. It made me immediately feel like I had to go home and re-investigate that recording and that performance. As we sat together talking, John played for me a perfect impression of Jim's melody statement of 'I'm Getting Sentimental Over You.' Then, sometime later during our conversation, John launched into his own fantastic version of Hall's comping on the famous version of the Rodgers & Hart classic standard, ' My Funny Valentine.' He had it completely nailed: the feel, the swing, the sense of a walking bass - well, just everything. Live at the Village Vanguard Vol.One of my earliest memories of exchanges with other guitarists, after having moved to New York at the dawn of the '70s, was sitting together with John Abercrombie and talking about Jim Hall and his style of playing.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.

Blue in green transcription bill evans