The Complete 1961 Village Vanguard Recordings [Box set] [Live]

Amazon.com essential recording
Coltrane had only recently moved to the Impulse label when producer Bob Thiele decided to set up recording equipment for performances at the Village Vanguard in November 1961. It was a crucial period in Coltrane's artistic development, as his music assumed apocalyptic power and controversy swirled around his expanded band and marathon performances. The band ranges from a trio with bass and drums for the extended tenor workouts like "Impressions" and "Chasin' the Trane"; to an octet on some versions of "India," where Coltrane's soprano swirls through the throbbing drones and percussion. Among the sidemen are the multireed player Eric Dolphy and drummer Elvin Jones, Coltrane's most inspiring partners, while guests include Ahmed Abdul-Malik on tamboura and Garvin Bushell, a veteran of Jelly Roll Morton's bands, on contra-bassoon. There are more than four hours of music here, with multiple versions of core repertoire and almost every instant packed with passion and invention. These are among the greatest recordings of Coltrane's career. --Stuart Broomer

The Complete 1961 Village Vanguard Recordings,John Coltrane,Grp Records,Avant-Garde Jazz,Box Sets (Audio Only),Jazz,Jazz Music,Modal Music,Pop,Post-Bop

Average customer rating: A piece of history It's like being there A superb collection Excellent What's All the Fuss About?

The Complete Village Vanguard Recordings, 1961 Bill Evans Manufacturer: Riverside ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Similar Items: Thelonious Monk Quartet with John Coltrane at Carnegie Hall Moon Beams Explorations Portrait in Jazz Everybody Digs Bill Evans ASIN: B000AMJEKA Release Date: 2005-09-13

Tracks:

1. Spoken Introduction
2. Gloria's Step (Take 1, Interupted)(First U.S. Release)
3. Alice In Wonderland
4. My Foolish Heart
5. All Of You (Take 1)
6. Announcement And Intermission
7. My Romance (Take 1)
8. Some Other Time
9. Solar

Tracks:

1. Gloria's Step (Take 2)
2. My Man's Gone Now
3. All Of You (Take 2)
4. Detour Ahead (Take 1)
5. Discussion Repertoire
6. Waltz For Debby (Take 1)
7. Alice In Wonderland (Take 2)
8. Porgy (I Loves You, Porgy)
9. My Romance (Take 2)
10. Milestones

Tracks:

1. Detour Ahead (Take 2)
2. Gloria's Step (Take3)
3. Waltz For Debby (Take 2)
4. All Of You (Take 3)
5. Jade Visions (Take 1)
6. Jade Visions (Take 2)
7. ...A Few Final Bars

Amazon.com

Bill Evans, with virtuoso bassist Scott LaFaro and drummer Paul Motian, reinvented the jazz piano trio, creating stunning contrapuntal dialogues that merged luminous lyricism with layers of complex, elusive harmonies, its moments of limpid beauty suddenly giving way to surging rhythms. The trio's finest recorded moments, these performances were captured just 10 days before LaFaro's death in a car accident. The original releases--Sunday at the Village Vanguard and Waltz for Debby--are celebrated masterpieces. This three-CD set is a brilliant reissue--almost a revision--of that material, with superb sound from the newly remastered original tapes and all of the music presented in the sequence of the original five sets, adding a previously unissued take of "Gloria's Step," spoken introductions, and the band's incidental conversation. For those who know this music, it's a chance to hear it in a fresh way; for new listeners, it will come as a revelation at a bargain price. --Stuart Broomer

Customer Reviews:

A piece of history.......2007-06-27

For your ears only.....some people think that Bill evans is a "nice musician" Like its musac in an elevator. Listen to "my foolish heart" with headphones on, eyes closed, cranked! Let yourself get inside the music...listen to the subtleness of his playing...let it take you on a journey. This song, I think, shows the essence of bill evans. Scott lafaro and evans together is a killer combo, unfortunately there is not much out there from their short collaberation. This makes this 3 disc set a must own!

It's like being there.......2007-05-12

I was lucky enough to hear Bill Evans, Paul Motian and Scott LaFaro in person at the Vanguard. This recording is the next best thing to being there because you hear everything the recordng engineer heard. Being there was unforgettable. Evans is the Chopin of America, in my opinion, except Chopin didn't swing or (to my knowledge) improvise. This group of sidemen constituted Evans' best trio ever.

A superb collection.......2007-05-10

This set was my first introduction to Bill Evans...and what an introduction. A marvelous album in so many ways. Even if you are not a jazz fanatic, this is one box set to own.

Excellent.......2007-04-14

Execellent, both as an introduction or if you've been listening to jazz for a while. Only gets better over time.

What's All the Fuss About?.......2007-03-02

I came at this album kind of backwards - I first listened to CDs of Evans playing with Tony Bennett, then solo, then live at Montreux with Eddie Gomez and Jack DeJohnette (trying to hear him at his most upbeat). I knew that this was one of the most revered albums in jazz, but I couldn't help but wonder what the fuss was all about. How much better could it be?

Much better. First, the recording quality on this album blows away the Montreux album. Yes, there's glasses clinking and occasional chit-chat, but it tells part of the story, as does the enemic applause. The bass tone is clear and full. The cymbals are not oppressive. It is amazing what such a meager recording setup can achieve in the right hands. If you have fear based on other bad jazz recordings, have no fear here.

Then there's the players. Bill Evans is Bill Evans - he has his good days and bad days, and most players people long in vain to live up to his bad days. And this was a good day, indeed. Then there's Scott LaFaro on bass. You really have to hear him play to appreciate just how much better than just about everyone else he was. He is busy yet tasteful, innovative and compelling to listen to. It would be a rare player indeed to come even close. Then there's Motian on drums. Based on other things I heard, I expected him to sit back, keep the beat and stay out of the way. He keeps the lid on the volume, but he plays with a control and intensity that keeps you on the edge of your seat. Unlike Jack DeJohnette, his timing syncs up precisely with Evans. His contribution to this trio should not be underestimated.

Then there are the songs. Each song is like an artichoke - dig a little deeper and you get a brand new flower. My favorites include Milestones with the upbeat drums and tasty chord voicings, the sweet playing on Alice and Wonderland, and the bass harmonics on Some Other Time, but there are so many good parts, and no weak ones. I'm sure my take will change over time as I become more familiar with the songs.

Finally, the context of the recording plays a big part in my overall impression. The small bits of applause add some irony to this recording - who knew that that this largely ignored day-in-the life of three underappreciated musicians would spawn albums, articles, and new jazz players for decades to come? The knowledge of LaFaro's impending death, his strained relationship with Evans, Evans' drug problems, Evan's profound grief at the death of LaFaro, and the fact that Evans is now gone all color my experience of this recording significantly. This album is a microcosm of the many tragedies and occasional triumphs in the strange and sometimes wonderful world of jazz. And a truly fine listening experience.

Average customer rating: Thank you . . . Upon revisiting the Village Vanguard Yes, the greatest live recording ever (at least to me) SACD - DVD audio Availability Good Choice

The Complete 1961 Village Vanguard Recordings John Coltrane Manufacturer: Grp Records ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Bebop & Post-Bop | Compilations | Jazz | Styles | Music Modern Postbebop | Live Albums | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music General | Jazz | Box Sets | Stores | Music GRP | Verve Music Group | Specialty Stores | Music Similar Items: Live at Birdland COLTRANE The Classic Quartet: Complete Impulse! Studio Recordings Thelonious Monk Quartet with John Coltrane at Carnegie Hall One Down, One Up: Live at the Half Note The Complete Africa/Brass Sessions ASIN: B000003NA3 Release Date: 1997-09-23

Tracks:

1. India (A)
2. Chasin' The Trane (A)
3. Impressions (A)
4. Spiritual (A)
5. Miles' Mode (A)
6. Naima (A)

Tracks:

1. Brasilia (A)
2. Chasin' Another Trane (B)
3. India (B)
4. Spriritual (B)
5. Softly As In A Morning Surise (B)

Tracks:

1. Chasin' The Trane (B)
2. Greensleeves (B)
3. Impressions (B)
4. Spiritual (C)
5. Naima (C)
6. Impressions (C)

Tracks:

1. India (C)
2. Greensleeves (C)
3. Miles' Mode (C)
4. India (D)
5. Spiritual (D)

Amazon.com essential recording

Coltrane had only recently moved to the Impulse label when producer Bob Thiele decided to set up recording equipment for performances at the Village Vanguard in November 1961. It was a crucial period in Coltrane's artistic development, as his music assumed apocalyptic power and controversy swirled around his expanded band and marathon performances. The band ranges from a trio with bass and drums for the extended tenor workouts like "Impressions" and "Chasin' the Trane"; to an octet on some versions of "India," where Coltrane's soprano swirls through the throbbing drones and percussion. Among the sidemen are the multireed player Eric Dolphy and drummer Elvin Jones, Coltrane's most inspiring partners, while guests include Ahmed Abdul-Malik on tamboura and Garvin Bushell, a veteran of Jelly Roll Morton's bands, on contra-bassoon. There are more than four hours of music here, with multiple versions of core repertoire and almost every instant packed with passion and invention. These are among the greatest recordings of Coltrane's career. --Stuart Broomer

Customer Reviews:

Thank you . . . .......2006-05-19

To the reviewer "Rose: Jazz Fan", thank you so much for reminding me that this set contains an incredible version of "Softly, As in a Morning Sunrise". McCoy Tyner is unbelievable on it , and the drummer (Elvin Jones? Roy Haynes? I don't remember)uses brushes during Tyner's part beofre switching to sticks when Coltrane comes in. It's the most hard-driving swing I've ever heard. I used to listen to this set several times a week during the late '70's, when in college. My vinyl copies are worn and scratchy sounding, which is why I haven't listened to it much in the past 25 or so years. But just thinking about this music now makes the hair stand up on the back of my neck. It's amazing stuff.

Upon revisiting the Village Vanguard.......2006-04-18

Over the past couple days I listened to this for the first time in years. I listened to the Crescent album a few months ago and that was the first and only Coltrane (in terms of one of his own albums) I'd listened to in years. No real reason why I hadn't listened to him hardly at all for so long, I just hadn't.

It turns out I had forgotten how great a set this is. I always loved it, and I remembered loving it, but it's really been knocking me out these past 2 days. A ton has been written about Coltrane himself, and much more will be written in the future. Too little is said about the rest of the band. I think you could not care for Coltrane himself all that much and still love this music. Recorded on 11/1/61, 11/2/61, 11/3/61 and 11/5/61, the bands here (mainly McCoy Tyner, Jimmy Garrison, Reggie Workman, Elvin Jones and Eric Dolphy) are fantastic. When a Coltrane solo ends, there is no letdown. This is some of McCoy's finest playing ever... much better than on other peoples' Blue Note albums. Garrison, Workman and Jones get it going on in a major way here. Really that is what this set is about for me more than anything... rhythm. It's impossible for me to sit still during this stuff. A churning, pumping cyclone of sound, that's what this band is.

The Indias and Miles' Modes alone would be enough to counterbalance this album even if the rest of the stuff were only worthy of one star, which is not the case. And of course this makes me miss Eric Dolphy, as usual. I'm not sure I'll ever stop wondering what could have been. =(

Yes, the greatest live recording ever (at least to me).......2006-04-04

Well, at the risk of sounding like a "babbling, nonsensical cultist writing reams of gibberish" (as reviewer John Grabowski put it), I do think that the music assembled for this box set is the greatest live recording ever. Or at least greatest to my ears based on my own limited experiences.

While I can't compete with the eloquence or humor of the review I quoted from, I completely disagree with some of the points made. Sketches not worked out? Solos going nowhere that should be "pruned to 5 minutes"? In need of "focused concentration"?

I can't think of any music that more easily defines "focused concentration" than what's recorded here. I've never seen nor heard a group of musicians putting themselves so fervently into their music as the Coltrane quartet does here. I hear relentless searching that makes most so-called experimental music sound like a joke. With Giant Steps and the rest of the sublime Atlantic recordings Coltrane had already created music that is, I think, about as technically complex as jazz music gets, and Coltrane could have easily continued on this path for a lifetime. But here he begins to move in a different more viseral direction that would consume him for the rest of his tragically brief life. And it's impossible for me to imagine musicians more in tune with what he wants than those here, who all take solo after solo at a level of intensity that sends shivers up my spine. When I listen to these recordings I hear the Coltrane quartet (and Dolphy, maybe especially Dolphy) working on a level that I cannot comprehend or describe. This music is - even to an agnostic like myself - absolutely spiritual. And yes, based upon my of course subjective viewpoint, to me these CDs do in fact qualify as the greatest live recording ever.

SACD - DVD audio Availability.......2006-03-24

Does anyone know whether this set will become available on SACD or DVD Audio format? How would you contact GRP records to ask? I only give it four stars until multichannel format appears.

Good Choice.......2006-01-26

This album has the best recorded version of "Softly as in a morning sunrise" (with quite possibly my favorite McCoy solo) that has ever been rendered and for that alone I have to give it 5 stars! However there was a 2 record set (issued back in the days of records) that also had this version on it along with my favorite things, after the rain and the beautiful Mal Waldron ballad Soul Eyes and I must say I believe that collection to be far superior (as well as far less expensive) to this if you could somehow find it.

Average customer rating:

The Complete Village Vanguard Recordings, 1961 Bill Evans Manufacturer: Jvc Victor ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B000HA48EM Release Date: 2006-10-02

Tracks:

1. Spoken Introduction
2. Gloria's Step [Take 1, Interrupted][Alternate Take]
3. Alice in Wonderland [Take 1]
4. My Foolish Heart
5. All of You [Take 1]
6. Announcement and Intermission
7. My Romance [Take 1]
8. Some Other Time
9. Solar

Tracks:

1. Gloria's Step [Take 2]
2. My Man's Gone Now
3. All of You [Take 2]
4. Detour Ahead [Take 1]
5. Discussing Repertoire
6. Waltz for Debby [Take 1]
7. Alice in Wonderland [Take 2]
8. Porgy (I Loves You, Porgy)
9. My Romance [Take 2]
10. Milestones

Tracks:

1. Detour Ahead [Take 2]
2. Gloria's Step [Take 3]
3. Waltz for Debby [Take 2]
4. All of You [Take 3]
5. Jade Visions [Take 1]
6. Jade Visions [Take 2]
7. ...A Few Final Bars

Average customer rating: GREATEST PIANO JAZZ RECORDING EVER! Answer to Sean's questions and comments I think it's worth it Jazz's Perfect Afternoon

The Complete Village Vanguard Recordings, 1961 Bill Evans Manufacturer: Jvc Victor ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Modern Postbebop | Live Albums | Jazz | Styles | Music Cool Jazz | Live Albums | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B0000677SN

Tracks:

1. Spoken Introduction
2. Gloria's Step [Take 1, Interrupted][Alternate Take]
3. Alice in Wonderland [Take 1]
4. My Foolish Heart
5. All of You [Take 1]
6. Announcement and Intermission
7. My Romance [Take 1]
8. Some Other Time
9. Solar

Tracks:

1. Gloria's Step [Take 2]
2. My Man's Gone Now
3. All of You [Take 2]
4. Detour Ahead [Take 1]
5. Discussing Repertoire
6. Waltz for Debby [Take 1]
7. Alice in Wonderland [Take 2]
8. Porgy (I Loves You, Porgy)
9. My Romance [Take 2]
10. Milestones

Tracks:

1. Detour Ahead [Take 2]
2. Gloria's Step [Take 3]
3. Waltz for Debby [Take 2]
4. All of You [Take 3]
5. Jade Visions [Take 1]
6. Jade Visions [Take 2]
7. ...A Few Final Bars

Customer Reviews:

GREATEST PIANO JAZZ RECORDING EVER!.......2005-08-17

This is a must buy, however, it will be issued in the United States through Universal on September 13, 2005 for far less than this. 3RCD-4443-2 is the catalog number. Enjoy!

Answer to Sean's questions and comments.......2005-03-06

1. Sound Quality
Yes, this boxed set presents MUCH better sound quality than previously released K-2 coded Sunday at Village Vanguard ("SVV") and Waltz for Debby ("WFD") CDs. It is my guess but this is because;
a) This boxed set is produced from the original tapes that were actually used to record sessions at Village Vanguard, not from the master tapes compiled and edited for SVV and WFD. These master tapes are one generation after the original tapes.
b) Those original tapes are in much better shape (perhaps used once for Complete Riverside Recording after the release of SVV and WFD and only partially for later CD issues which added several out-takes from LPs) than those master tapes that were used over and over for a series of past releases of the same materials.

2. Japanese language liner notes
You are not missing anything. The Japanese liner notes are written by a Japanese jazz critic who basically wrote nothing new and prejudiced comments, such as repeatedly referring to an alleged fact that Bill Evans was Jewish (Did anybody know this? I know his ancestors came from Russia) which this critic claims as having influenced his music. Japanese reviewers in AMAZON's Japan site complained about this poorly written review.

3. Price
In Japan, it's about US$50 equivalent of Japanese yen under the current exchange rate. By US standards, I know $80 is a lot. But consider how much money you spend on CDs, only to get disappointed for the most part, this boxed set is worth every penny for serious Bill Evans fans. After all, this is nothing but the dream come true and the whole material presented here more than justifies the extra dollars for being able to capture the perfect afternoon of jazz that the loquacious Village Vanguard audience did not necessary appreciate then but we do now.

4. My own impression
Listening to those familiar tunes in original order presents quite a different impression from SVV and WD. Feels less tense, less contained, even freer, for the lack of better term. Toward the end of Disc 3, you hear Scott LaFaro spontaneously starts playing JADE VISION for the second time, as if he knew by instinct that his days were already numbered and that he did not want to end the performance that soon. A real haunting experience, indeed.

I think it's worth it.......2005-01-13

Charles Ralston's review is exceptionally thorough and helpful, so I will merely add a couple of thoughts to it. First of all, the sound quality here is markedly improved over my old CD copies of this music. (I have not heard the more recent 20-bit mastered versions of "Sunday at the Village Vanguard" and "Waltz for Debby" or the Complete Riverside, so I cannot say how they compare.) The enhanced ambient sound and the additions of between-take chatter combine to create a much greater sense of the recording date and the space itself. If you have ever been to the Vanguard, I suspect you will have your memories of it conjured up as you listen. I have listened to this music for years, and the intimate feel evoked by this recording really adds an amazing dimension for me. Some may find it distracting, of course; it really is a matter of preference. Secondly, as of right now, this is a Japanese import, and I don't know if this is true in all cases, but while the song titles are in English, the actual liner notes are in Japanese. Seems self-evident, right? Just a heads up for anyone who might be suprised or new to buying imports, as I am. It may come out at some point in the U.S. (at half the price, likely), but I came across the comments below from a writer at www.billevanswebpages.com. I have no idea now reliable this information is, but for what it's worth:

"I contacted Fantasy Records, which own the rights to the masters, and got this response from a marketing director: 'There are no plans to release this material in the US.'"

Finally, it was difficult to justify the cost, but if you love this music already, especially if you only have older recordings of it, I suspect you will have no regrets once you hear it.

Jazz's Perfect Afternoon.......2004-05-05

"Jazz's Perfect Afternoon" a review of _Bill Evans: The Complete Live at the Village Vanguard 1961_ ([Tokyo] Japan: Victor Entertainment, 2002), recorded in performance at the Village Vanguard, New York, NY, 25 June 1961, with Bill Evans, piano; Scott LaFaro, bass, and Paul Motian, drums. (VICJ-60951-3) boxed set of 3 compact discs in separate jewel-box cases and a 13 pp. program booklet in English and Japanese. Running times: CD 1 (60951) -- afternoon sets 1 and 2 -- 49:29 with nine tracks; CD 2 (60952) --evening sets 1 and 2 -- 64:21 with ten tracks; CD 3 (60953) -- evening set 3 -- 39:31 with seven tracks.

The original 1961 recording was produced by Orrin Keepnews and engineered by David Jones of Riverside Records. This 2002 analog-to-digital re-mastering, utilizing the 20-bit K2 Super Coding System, was accomplished by Tamaki Beck of FLAIR (JVC Aoyama Studios, Tokyo) with tape research by Stuart Kremsky, CD assembly by Joe Tarantino, production coordination by Bill Belmont, and design by Yoko Nakamura (program booklet, verso title page). Musical selections are arranged in chronological order of their performance.

Listeners familiar with every audible nook and cranny of the original Bill Evans Riverside LPs Sunday at the Village Vanguard and Waltz For Debby, which recordings comprised most of the music made that magical Sunday in New York in early summer 1961, were amazed later in the 1970s with the re-issue of these recordings along with previously un-released takes. In the late 1980s and throughout the 1990s, with the advent of the CD, increased sonority and clarity were noticeable. The present compilation continues in this tradition, revealing to the listener the following new information about this seminal recording:

* For the first time we hear an introduction (presumably by producer Orrin Keepnews) of the musicians and the announcement that all is being recorded.
* For the first time, we hear the first take of LaFaro's `Gloria's Step', the first selection of the first afternoon set, previously un-issued because of the electrical power failure glitch which precluded it from erstwhile releases.
* At the end of the first set we are privileged to listen to Evans' announcement of an intermission followed by discussion of the power failure.
* At the beginning of the second evening set, we hear the musicians discuss the music they are about to perform.
* In addition to the subtlety of Motian's brushwork and LaFaro's strings clacking at times on his instrument's fingerboard, advances in recording technology also amplify the ambient background chatter of the Village Vanguard's loquacious customers and the clinking of glassware reminding us this was but another work day for the Bill Evans Trio.
* Both takes of LaFaro's `Jade Visions' were performed back to back at the end of the third and final evening set, and of this magnificent recording session.
* At the end of the last set we are permitted to eavesdrop on the wrap-up of this all-day recording session, the first (and what turned out to be the only) "live" recording session of the first Bill Evans trio, with a voice (Orrin Keepnews?) saying to Evans, "Hey, ah, Bill, he's [the recording engineer] got a little tape left. Play something else . . . about 30 seconds . . .", and with Evans responding by playing what to my ear sounds like a ten-second Chaplinesque musical allusion amidst laughter which fades to silence.

Orrin Keepnews, in his The View From Within: Jazz Writings, 1948-1987 (New York, Oxford, 1987), a memoir of his years at Riverside Records working with Thelonious Monk, Bill Evans, Cannonball Adderley, McCoy Tyner, and others in the recording studio and on "live" sessions, gives us his recollections of this particular recording session at the Village Vanguard:

Although we [at Riverside Records] were only looking for one album, we felt there would be a better chance of capturing the spontaneous qualities of on-the-job recording in general -- and of this trio in particular -- by being able to make the eventual choice from a larger group of tunes rather than frequently repeating an exact pre-selected repertoire. Thirteen numbers were played in all, five only once, just two as many as three times. Evans was unusually please with the results and -- perhaps also influenced by the realization that this now documented the end of an important stage in his career -- readily agreed to the release of two separate six-tune albums (Sunday at the Village Vanguard, followed by Waltz for Debby). The necessary choices were quite arbitrary; it is clear that nothing played this day was without considerable merit. 'Porgy,' originally omitted for reasons of overall time, was squeezed into an early-70s reissue package, and seven 'rediscovered' alternates filled a mid-1984 album."

Admirers of the Bill Evans Trio will relish listening to this chronological, warts and all, presentation of what Adam Gopnik, in The New Yorker (13 August 2001), called "jazz's perfect afternoon.

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