I'm not sure it's the best, but it certainly is one of the great jazz recordings of all time. Aside from the usual superb playing by Evans, that recording captures the sound and feeling of the Village Vanguard like no other that I have heard. I had the privilege of hearing Evans three times at the Vanguard, and have been there probably somewhere around twenty times over the years to hear other artists, so the characteristic sound of that club is familiar to me. It's really spooky how a recording can take you back to a particular venue if it's done right. The only problem for me with that recording, and it's a very minor one, is that at the Vanguard the piano is on the left as the audience faces the musicians. On "Waltz For Debby" one gets the perspective of the club from the bandstand facing the audience; in other words the piano is on the right. By the way and speaking of drummers, the last time I heard Evans he was auditioning drummers. That night Bob Moses and Joe LaBarbera took turns. To me LaBarbera was far superior in that setting; very intuitive and with a wonderful touch. Great brushes too. Regards.
Calling all Recording Engineers
I am a jazz fan and alot of the CD's I have were origionally recorded in the late 1950's and early 1960's. I have quite a few CD's from the Bill Evans Trio, Art Blakely, Miles etc. that were recorded in this time period and they are absolutely superb, far superior to some CD's I have that were recorded recently. I would have thought that with today's digital recording techniques, this would not be possible. I am simply curious why and thank you all in advance for your explanations.
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- 11 posts total
- 11 posts total