Lorenzovic

The last period of Bill Evans, among the most beautiful music I have ever listened to. If you don't know him, I recommend "I Will Say Goodbye," same lineup and, I believe, the same year of recording and release.

Eh... I have around seventy BE records; I'm really just a little bit short, aside from the box sets. Do you think I have it? ;) (wink)
(My collection on the site is quite random; I have about 4,000 jazz CDs...)
Thanks for the appreciation!

I’m listening to it again these days. Indeed, the audience seems disinterested in what is happening. It is said to be the greatest piano trio of modern jazz.
Indeed, La Faro's skill and the synergy between the three musicians is formidable.
Yet, this music doesn't manage to evoke the same emotions as the last trio, the one with Gomez.
I’m aware that I’m blaspheming, I say it with embarrassment, but this Evans somewhat bores me.
I spend my time trying to understand why it doesn’t grab me the way Evans does in "I will say goodbye" or the latest "Paris concert". Evans’s improvisation feels like it has a...brake on (I can’t find a better way to explain it), compared to the exciting "singability" of his solos nearly twenty years later.
I would be very curious to know what you think. Best regards.

Well, personal tastes are beyond reproach, in my opinion. Even absolutely, although deep down a little devil keeps suggesting to me that anyone who doesn't share my tastes is simply crazy! (Heh, heh, just kidding...) Just imagine when it comes to the same important artist, who usually has gone through phases that may or may not correspond to our subjective sensibilities. Specifically, I continue to think, like many, that the best and most innovative products of BE in piano trio remain those unfortunately ephemeral ones made with LaFaro and Motian. In particular, in this record, with all the technical flaws of the recording, mostly due to the bassist's death. Let me explain: since it was no longer possible to record studio albums, it makes sense that the high-level testimonies left were those from the Vanguard, a magical and super promising moment. Roughly speaking, I would say that in "Waltz," the most well-crafted ballads were included (even though "Porgy" was not included in the LP, almost certainly for space reasons), while in "Sunday" the more upbeat or thoughtful pieces ended up. And it is precisely in the ballads that, in my opinion, the greatness achieved by the trio is most felt, in addition to what they could have realized later. The grand breath of pieces like "My Foolish Heart," "Some Other Time," and "Porgy" are there to testify to it. PS: it's true, perhaps the maximum essence of the magic trio lies precisely in the interplay, while in the one with Gomez and Zigmund the melodies are perhaps more appealing. It's also true that the piano-bass dialogue was at the center of the pianist's attention, and in this regard, one must not forget the work with Chuck Israels (who also had the great merit of waking Evans from the shock of LaFaro's loss) and the very last trio with Marc Johnson, which you also mention. Indeed, many critical voices argue that this last formation had all the cards to further renew the glories of the trio, which once again was not possible. PS: if you haven't read it already, I recommend Enrico Pieranunzi's beautiful essay on BE (Ritratto di artista con Pianoforte), which professionally explores these topics. Thanks again for your appreciation!