Bill Evans Live At Art D'Lugoff's Top Of The Gate 180g 45rpm 3LP
Michael Fremer Rated 10/11 Music, 8/11 Sonics!
Stereophile Recording of the Month, July 2012! Five stars for Performance and two stars for Sonics!
A newly unearthed discovery of Bill Evans recorded in Greenwich Village, NYC on October 23, 1968! 2 Complete Never Before Released concerts! Featuring Eddie Gomez on Bass & Marty Morell on Drums! Hand-Numbered, Limited Edition! 45rpm 180 Gram Triple Vinyl!
Mastered by Bernie Grundman & Pressed at RTI!
"The nimble touches all around and fast pacing throughout make this a lighter than air experience—one that’s consistently buoyant but never frothy or light weight. Highly recommended for Evans fans who will treasure that something this musically significant unexpectedly shows up all these years later." - Michael Fremer, www.analogplanet.com, 10/11 Music, 8/11 Sonics!
"With the release of this and, earlier this year, Wes Montgomery's Echoes of
Indiana Avenue, Resonance Records has been transformed from a mid-level jazz
label signing new artists to a splashy reissue house specializing in unearthing
previously unheard live sessions." - Robert Baird, Stereophile Magazine,
July 2012, pg 113
"...This bit of buried treasure, while never unlistenable, has been rendered
in sound that is, at times, very good. The two-star sonics rating, which may
seem shocking for a "Recording of the Month", is an average - while the sound
quality rates a single star in the opening, it's nearly up to four stars by Disc
Two. The long-ago sounds of these two live sets of the Bill Evans trio playing
mostly standards, recorded in a long-gone Greenwich Village club, Top of the
Gate (it was literally above the better-known Village Gate jazz club), are, if
not the holy grail, then a very gilded cup." - Robert Baird, Stereophile
Magazine, July 2012, pg 113
Recorded at 45rpm for superb sound quality, this hand-numbered, limited edition 180-gram 12" 3LP Box Set features selections of rare recordings from October 23, 1968 in Greenwich Village at the famous jazz club Top of the Gate hosted by the legendary Art D’ Lugoff. The only Evans recording released from The Village Gate, this album contains all previously unheard performances which were recorded and mixed live, providing stellar sound & clarity.
"You're about to be transported to October 23, 1968, to Greenwich Village in New York City. Jazz in the 1960s was one of the music's greatest eras, and thanks to a gentleman named George Klabin, we have this important document of one of its leading talents. George was only 22 years old at the time, full of passion and engineering skill, when he took advantage of an offer by Evans' longtime manager, Helen Keane, to record Bill's new trio. George aired these two fully recorded sets of music one time on his radio show on Columbia University's WKCR-FM, and these tapes have been stored away all these years until now.
Top of The Gate, was the upstairs room to D'Lugoff's legendary space, The Village Gate. Evans was playing for a four-week engagement at the club. During this week while Evans was playing upstairs, The Thelonious Monk Quartet & The Charles Lloyd Quartet played the downstairs Village Gate stage on a double-bill.
These days, it's not uncommon for a live recording to surface where one microphone was used, often stashed somewhere in the back of the room (or even hidden), often yielding horrendous sound. What we have here though is completely different. Klabin positioned microphones on each player. The concerts were mixed live, providing a superior source of the highest quality sound. In fact, these recordings are among the best sounding Evans recordings ever made. In Addition, the performances contain some of the greatest playing ever documented by this trio.
Collectors will find it interesting to note the historical significance of this collection of songs. This recording of "My Funny Valentine" is Evans' first documented trio version of the song. "Here's That Rainy Day" is possibly Bill's earliest recording of the composition. "Yesterdays" is his first trio and his first documented live version of the song. This rendition of "Witchcraft" is Bill's only recording of it other than his 1959 studio version on Portrait In Jazz. This may also be Evans first trio version of "Mother Of Earl." Aside from the songs, this is Bill Evans' only known recording made at "The Gate" (the other club, whose deep association with Evans is often forgotten.)
In 2008 when starting at Resonance, I was made aware of these rare gems in Klabin's archives. Upon starting at the label we were determined to find a way to bring this music to the world. It's been a long road, working on all of the necessary clearances (unlike some other labels or tape proprietors who just "put it out"). Through the process, we've had the good fortune of working with Evan Evans (Bill's son), Eddie Gomez, Marty Morell, and Art D'Lugoff's son, Raphael. We'be provided writings and photographs that provide perspective into this golden era.
This project, aside from being a tribute to the great Bill Evans, also celebrates the memory of one of New York City's greatest jazz impresarios, Art D'Lugoff. It was D'Lugoff's vision to create a destination for great music (not just jazz, but even folk, world music, spoken word and Off-Broadway productions). We owe tremendous gratitude to him for having the insight to book Mr. Evans, but more importantly, for all he did to support this great music." - Zev Feldman, February 2012
"Bill was the Chopin of jazz. I loved him and respected him as a person as well as a musician; he was a great artist." - Jimmy Rowles
"With the passage of time, Bill Evans has become an entire school unto himself for pianists." - Richard S. Ginell
"Musically, any unreleased undiscovered Bill Evans is an event of note - and
especially this year, which marks the 75th anniversary of his birth (Evans died
in 1980, at 51). On these two discs, in a fortuitous conflux as the sound
quality improves, so does the intensity of Evan's playing. Crowd noise is kept
to a minimum throughout. The 180 gram, Bernie Grundman mastered, RTI-pressed LPs
are incredibly quiet." - Robert Baird, Stereophile Magazine, July 2012, pg
"...Never the flashiest nor the loudest player, Evans had a quiet grace and
an exquisite impressionistic touch that to this day remain unequaled...
Condemned by some jazz fans as too laid-back and too self-referential, Evans,
who played on Miles Davis's Kind of Blue and even wrote that album's liner
notes, was a musician of uncommon gifts - as is proved yet again by this
extremely welcome artifact." - Robert Baird, Stereophile Magazine, July
2012, pg 113
"...[P]ossibly the best of the many live recordings the iconic pianist made... Klabin's close miking gives us great presence; I can't think of another record where one hears the interplay between Evans and the long-serving Gomez so clearly." - Duck Baker, The Absolute Sound, October 2012
• Limited Edition
• 3LP Box Set
• 180g Vinyl
• Lift-Off BoxHand-Numbered 13" x 13" by Ross-Ellis
• Pressed at RTI
• Mastered by Bernie Grundman
• Includes 4-panel 12" x 12" Version of the CD Booklet with Pictures of the Musicians and Related Documents
• All Previously Unheard Performances
• The Only Evans Recording Ever Released from The Village Gate
• Features Rare Tracks (in some cases recorded live with the Bill Evans trio for the very first time)
• Remastered from Original Tapes
• Recorded & Mixed Live, providing stellar sound & clarity
• Featuring Eddie Gomez-Bass & Marty Morell-Drums
Bill Evans, piano
Eddie Gomez, bass
Marty Morell, drums
LP 1 - Side A:
3. Yesterdays LP1 - Side B:
1. 'Round Midnight
2. My Funny Valentine
3. California Here I Come LP2 - Side C:
1. Gone With the Wind
3. Turn Out the Stars
LP2 - Side D:
3. In a Sentimental Mood LP3 - Side E:
1. 'Round Midnight
2. Autumn Leaves LP3 - Side F:
1. Someday My Prince Will Come
2. Mother of Earl
3. Here's That Rainy Day