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Bill Evans - Portrait In Jazz (1959) Genre: Jazz

Amazon.com:

Lyric and thoughtful, pianist Bill Evans proved an urbane bridge between the early bop style of Bud Powell and playful funk of Horace Silver, and the later, modern approach of pianists like Herbie Hancock, Chick Corea, and Keith Jarrett (indeed, Jarrett went as far as to record with Evans's backup band of drummer Paul Motian and bassist Gary Peacock). Evans's second album as a leader, Portrait in Jazz combines a pair of originals--"Blue in Green" and "Peri's Scope"--with a handful of show tunes and standards, including a version of "Someday My Prince Will Come" that pre-dates Miles Davis's adaptation. With a preference for irregular phrasing and a taste for unusual chord spellings, Evans was frequently able to recast old chestnuts and tired warhorses into new gems and spirited charges, as he does here with "Witchcraft," "Spring Is Here," and "When I Fall in Love." And although he recorded in many different formats throughout his career, including duets with himself, the power and beauty of Evans's trios helped him lay a special claim to that grouping. --Fred Goodman

Reviewer:

Portrait in Jazz was the first of only four (official) albums made by what Evans fans know as "the first trio" - the one with Scott La Faro and Paul Motian - which introduced a new approach to the music of a jazz piano trio. Whereas the conventional trio tended to feature the pianist as a 'star soloist' with bass and percussion essentially as 'accompanists' with a fixed and limited role, Evans, La Faro and drummer Paul Motian aimed to develop more of a sense of equal and spontaneous interplay. Scott La Faro was the left man in the left place: his virtuoso technique and strong musical personality enabled him to play the more active, assertive (but compatible) role Evans wanted for the group. By the time this trio played its famous sessions at The Village Vanguard (Live at the Village Vanguard and Waltz for Debby) this 'collective improvisation' was well developed. Portrait in Jazz being the first album by the trio, the roles within the group are sometimes still fairly conventional, with bass and drums functioning as a `rhythm section' with the pianist spotlighted as `leader'. However, there's a strong sense of discovery and enthusiasm which, I think, gives the music a greater freshness and vitality than the subsequent albums by this trio and it's those qualities, along with the sensitive, alert musicianship of the trio which makes this one of the most absorbing and enjoyable of Evans's many albums.

Part of its appeal is also the excellent choice of material, but much of the interest lies in what Evans in particular does with it. Often this is mainly a matter of the unusual chord voicings and adjustments of rhythm and phrasing he gives to a familiar tune, which open up wider harmonic and rhythmic perspectives for improvising. You hear this from the opening bars of the first number, "Come Rain or Come Shine" and it's evident also in the slower ballads, a haunting version of "Spring is Here" and a probing reading of "When I fall in Love". Notice for example how, on the latter very familiar tune, Evans's slightly 'off-centre' harmonies create a different kind of emotional tone from the suave, sentimental one which singers usually give it. Among the other high spots are the famous up-tempo version of "Autumn Leaves", with its infectious swing and lively interplay between piano and bass, similarly propulsive readings of "What is this Thing Called Love" and "Some Day My Prince Will Come" and a marvellous "Blue in Green" on which the rapport between Evans and his partners is especially close.

This is a classic piano jazz album, and one that never seems to lose its freshness. Highly recommended.

Cduniverse.com:

PORTRAIT IN JAZZ introduced the justly acclaimed Bill Evans Trio, the innovative little group featuring bassist Scott LaFaro and drummer Paul Motian that would forever change standards of jazz playing, introducing a new kind of swing based on a flexible sense of time and interplay. Evans had already established himself on EVERYBODY DIGS BILL EVANS and, of course, the Miles landmark KIND OF BLUE. Now it was time to share the wealth.

PORTRAIT IN JAZZ represents the beginning of this process, which wouldn't see full flower till the freewheeling Village Vanguard sessions more than a year later. In the meantime there are energetically abstract takes on "Come Rain Or Come Shine" and "What Is This Thing Called Love?" as well as two equally fine takes of "Autumn Leaves"--one is a CD bonus track--on which Evans swings his heart out. The disc closes with two takes of the delicately somber "Blue In Green," a collaboration with Miles also featured on KIND OF BLUE and a welcome reminder of Evan's considerable skills as a composer.

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Solidez y espontaneidad... Considerado el pianista mas influyente de los ultimos 50 años, este album refleja fielmente el trabajo y la interaccion de un trio que modifico para siempre la historia del jazz moderno. Submitted by juanjosespinelli (Buenos Aires, Capital Federal, Argentina)

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Bill Evans Trio:

Bill Evans (piano);

Scott LaFaro (bass);

Paul Motian (drums).

Recorded at Reeves Sound Studios, New York, New York on December 28, 1959. Originally released on Riverside (1162).

Tracks:

1. Come Rain Or Come Shine

2. Autumn Leaves - (take 1)

3. Autumn Leaves - (mono, bonus track)

4. Witchcraft

5. When I Fall In Love

6. Peri's Scope

7. What Is This Thing Called Love?

8. Spring Is Here

9. Someday My Prince Will Come

10. Blue In Green - (take 3)

11. Blue In Green - (take 2, bonus track)

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