| | Bill Evans Trio / Lee Konitz / Warne Marsh Crosscurrents CD Bill Evans Trio / Lee Konitz / Warne Marsh Discography of CDs
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Digitally remastered by Phil De Lancie (1992, Fantasy Studios, Berkeley, California).
Evans first performed with saxophonists Lee Konitz and Warne Marshe in 1959, fresh from his legendary work with Miles Davis. Though it took nearly two decades before the three collaborated again, this 1977 effort resounds with spontaneity and freshness as well as a warmth and familiarity that makes for some rewarding interaction. The cool West coast sound of Konitz blends well with Evans' sensitive, sophisticated harmonies. When longtime Evans bassist Eddie Gomez makes his presence felt, as on his solo for "Eiderdown," he proves himself to be the essential active ingredient that prods Evans along to a more visceral interplay with the two saxophonists. Three previously unreleased alternate takes, chosen by original album producer Helen Keane, spice up the package.
Recorded at Fantasy Studios, Berkeley, California on February 28 and March 1 & 2, 1977. Includes liner notes by Helen Keane.
Full performer name: Bill Evans Trio/Lee Konitz/Warne Marsh.
Bill Evans Trio: Bill Evans (piano); Eddie Gomez (bass); Eliot Zigmund (drums).
Personnel: Bill Evans (piano); Lee Konitz (alto saxophone); Warne Marsh (tenor saxophone); Eliot Zigmund (drums).
Recording information: Fantasy Studios, Berkeley, CA (02/28/1977-03/02/1977).
Unknown Contributor Roles: Eddie Gomez ; Eliot Zigmund; Bill Evans .
Additional personnel: Lee Konitz (alto saxophone); Warne Marsh (tenor saxophone). Bill Evans Trio / Lee Konitz / Warne Marsh Crosscurrents Songs Crosscurrents Music Review Purchase Crosscurrents CD To buy, Click on price to add to cart | Paul Butterfield Blues Band CD (1965)
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The terms "swing era" and "big-band era" are often used interchangeably, which makes sense because swing and big bands have often gone together -- often, but not always. During jazz's pre-bebop years, there were plenty of small groups that played swing. And after World War II, bop had the occasional big band. Assembled by Bluebird/RCA in 2002, Big Band: Swingin' Through the Night is primarily a compilation of big-band swing. The CD spans 1933-1954, and about 80 percent of these big bands embrace swing. The oldest track is Cab Calloway's 1933 smash "Minnie the Moocher," and the most recent is the Sauter-Finegan Orchestra's 1954 recording "The Loop." Although swing is dominant, "The Loop" and Dizzy Gillespie's 1947 recording of Tadd Dameron's "Good Bait" are perfect examples of big bands playing bop. Overall, the material is excellent -- gems by Benny Goodman ("King Porter Stomp"), Duke Ellington ("Don't Get Around Much Anymore"), and Glenn Miller ("Little Brown Jug") are swing heaven. But regrettably, a number of other things bring the disc's rating down. First, RCA doesn't list all the musicians for each track, only select players, arrangers, and soloists. Second, the sound quality isn't up to RCA's usually high standards. Songs that have sounded great on other Bluebird/RCA compilations (thanks to digital remastering) sound a lot scratchier and noisier here. And Bunny Berigan's sublime 1937 smash "I Can't Get Started" is butchered; RCA only provides about 60 percent of the performance and cuts the song off abruptly, which is ridiculous because Swingin' ...
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