Some Other Time (The Lost Session from the Black Forest) Remaster Bill Evans with Eddie Gomez & Jack DeJohnette
- 1You Go to My Head04:58
- 2Very Early05:12
- 3What Kind of Fool Am I?05:21
- 4I'll Remember April04:08
- 5My Funny Valentine06:58
- 6Baubles, Bangles and Beads04:38
- 7Turn Out the Stars04:56
- 8It Could Happen to You03:58
- 9In a Sentimental Mood04:18
- 10These Foolish Things04:14
- 11Some Other Time05:28
- 12You're Gonna Hear From Me03:32
- 13Walkin' Up04:10
- 14Baubles, Bangles and Beads04:51
- 15It's All Right With Me (Incomplete)03:45
- 16What Kind of Fool Am I?02:51
- 17How About You03:59
- 18On Green Dolphin Street04:33
- 19Wonder Why04:13
- 20Lover Man (Oh, Where Can You Be?)03:49
- 21You're Gonna Hear From Me (Alternate Take)03:24
Info for Some Other Time (The Lost Session from the Black Forest) Remaster
Some Other Time: The Lost Session From the Black Forest is a newly unearthed studio session from the iconic pianist Bill Evans featuring bassist Eddie Gomez and drummer Jack DeJohnette. Recorded on June 20, 1968, nearly 10 years after the legendary Kind of Blue sessions with Miles Davis and a mere five days after the trio's incredible Grammy award-winning performance at the Montreux Jazz Festival, this is truly a landmark discovery for jazz listeners worldwide. Available in high-resolution audio as double album sets, and containing over 90 minutes of music, this is the only studio album in existence of the Bill Evans trio with Gomez and DeJohnette. Some Other Time was recorded by the legendary MPS Records founder and producer Hans Georg Brunner-Schwer along with writer/producer Joachim-Ernst Berendt at the MPS studios in the Black Forest (Villingen, Germany). Includes a 40-page book with new historical essays by jazz journalist Marc Myers and German jazz historian Friedhelm Schulz; producer Zev Feldman; new interviews with Gomez and DeJohnette; plus rare and previously unpublished photos from the archives of photographers David Redfern, Jan Persson, Giussepe Pino, Hans Harzheim and German Hasenfratz.
„There was big excitement about us going to the studio. This record represents a time and space where he was exploring new approaches to standard repertoire rhythmically and harmonically.“ (Jack DeJohnette)
„Every time he touched the piano, he touched my heart and he played with a sound that was just a gorgeous sound and he always was so expressive in his playing.“ (Eddie Gomez)
Bill Evans, piano
Eddie Gomez, bass
Jack DeJohnette, drums
For the 2xHD transfer of this recording, the original 1/4”, CCIR master tape was played on a Nagra-T modified with high-end tube playback electronics, wired with OCC silver cable from the playback head direct to a Telefunken EF806 tube. The Nagra T has one of the best transports ever made, having four direct drive motors, two pinch rollers and a tape tension head. We did an analog transfer for each high-res sampling
2xHD is proud to be associated with Resonance Records on this exceptional project.
Born William John Evans
in Plainfield, New Jersey, on August 16, 1929, Bill Evans died on September 15, 1980. The famed jazz pianist first won the Down Beat International Jazz Critics Poll in the New Star Piano category in 1958 and went on to win the poll several times thereafter, culminating in his posthumous induction into the magazine's Jazz Hall of Fame in 1981. He won seven Grammys for his recordings—Conversations with Myself (1963), The Bill Evans Trio Live at the Montreux Jazz Festival (1968), Alone (1970), two for The Bill Evans Album (1971), and I Will Say Goodbye and We Will Meet Again (1980)—and was posthumously awarded the Grammy Lifetime Achievement Award in 1994.
Bill Evans began studying piano at the age of six and later took up both flute and violin. He received a music scholarship to Southeastern Louisiana College, graduated in 1950, and joined Herbie Fields's band the same year. A year later, he was drafted. He played flute in the Fifth Army Band at Fort Sheridan, spending his nights playing jazz piano in Chicago clubs. Released from the army in 1954, he began playing jazz in New York, where he joined the group of clarinetist Tony Scott.
That was the era of so-called 'Third Stream' music, the attempt at a fusion of jazz and classical music spearheaded by John Lewis of the Modern Jazz Quartet, and the composer Gunther Schuller. Evans, with his classical training and jazz experience, was a natural for this music. Many of the Third Stream records and concerts of the time featured Evans, with his piano solo on the recording of George Russell's 'All About Rosie' a notable standout.
In 1959, Evans made the one step sure to bring him wider attention: he replaced Red Garland as pianist with the enormously influential Miles Davis Sextet, which, at the time, included John Coltrane and Cannonball Adderley. Davis had felt that too many chords were cluttering up music; he wanted to work with scales and modes. Evans, partially influenced by Lennie Tristano, had been working along the same lines, and the result was one of the most influential albums ever made, Davis's Kind of Blue.
That same year, Evans formed his own trio. What he had in mind was not a piano with bass and drum accompaniment but a group in which all three voices would be as equal as possible. When he found the remarkable young bassist Scott LaFaro and drummer Paul Motian, that ideal was nearly achieved, but soon after, while make a classic series of landmark recordings at the Village Vanguard in New York, LaFaro was killed in an automobile accident. Thereafter, Evans worked with some of the finest bass players in jazz: Chuck Israels, Gary Peacock, Eddie Gomez, Michael Moore.
The Bill Evans Trio continued with bassist Michael Moore and Philly Joe Jones on drums. The first Bill Evans album for Warner Bros., however, in 1978, was a solo outing in the tradition of his earlier albums Conversations with Myself and Further Conversations with Myself. On the album, New Conversations, Evans solos and, through multi-tracking, accompanies himself on acoustic and electric keyboards. He went on to record three more records for the label: Affinity, We Will Meet Again, and You Must Believe in Spring.
In June 1980, three months before Evans's untimely death, bassist Marc Johnson and drummer Joe LaBarbera joined the 51-year-old pianist for four nights at New York's Village Vanguard. Evans intended to release a double LP culled form these sessions, and he supervised the initial mixing and editing of the tapes. It would take more than 15 years before this material would become available, in an exhaustive, chronologically sequenced six-CD set, on Warner Bros., titled Turn Out the Stars: The Final Village Vanguard Recordings. Jazz critic Gary Giddins hailed the unearthed work as 'an important find-the most lyrical of improvisers was revitalized by a new trio in his favorite jazz club.' The 2009 Nonesuch reissue contains the original packaging and liner notes, as well as the complete 1996 set.
Evans, whose soft, intricate, rhapsodic improvisations became the performance standard for his time, once said, 'I think jazz is the purest tradition in music this country has had. It has never bent to strictly commercial considerations and so it has made music for its own sake. That's why I'm proud to be part of it.'
In the liner notes to Evans's Warner Bros. label debut, New Conversations, Nat Hentoff wrote, 'Evans has become so deeply influential a force in jazz by sheer force of integrity.' Miles Davis, characteristically direct, once said of Evans: 'He plays the piano the way it should be played.' (Source: Warner Music)