Village Vanguard session with Bill Evans

Chris, with the LaFaro/Motion trio, Bill Evans was pursuing a style of simultaneous improvisation in a trio setting that went beyond what other musicians had done up to that point. The June 1961 Village Vanguard recording captured a group that had achieved a certain empathy and ability to anticipate where the other musicians were heading in a manner that bordered on the supernatural/telepathic. If you listen to the simultaneously improvised lines in many of these recordings, you will hear a freedom of expression that goes well beyond the typical style of jazz that came before it where you typically have a lead soloist improvising while the other musicians lay back and play fairly predictable lines. Ensemble playing previously tended to be programmed and rehearsed.

This 1961 trio with LaFaro and Motion was IMO successful in achieving Evans's goal, and the trio had just reached its peak when the Village Vanguard performances were recorded. Tragically, the bass player, Scott LaFaro, died in an automobile accident only ten days after the June 1961 performance.

The death of LaFaro cast Bill Evans into a deep depression. Subsequently, his music took on a more dark, introspective quality, and, while his music continued to be great, he never achieved this level of empathy with any other trio until the very end of his life when I believe he came very close with the Marc Johnson (bass) and Joe LaBarbera (drums) trio. Perhaps not coincidentally, there was a second seminal set of recordings that were made at the Village Vanguard in June 1980, less than six months before Bill Evans passed away.

I was going to respond, but what can I say to improve on Cincy Bobs explaination. He really covers all of the bases, I think. I hope this will help you appreciate this music more when you hear it next.

BTW, if you are so inclined, pick up the recording titled Waltz for Debbie...it comes from these sessions. You might even look around and find an Audiophile version, it is widely appreciated.

I can't improve upon what has already been offered here, but I have to wonder if the audience knew what they had experienced after attending this gig, say, discussing the music on their drive home? Generally speaking, was this identified at that time as the classic it has become? I'd like to think it was. Thoughts?

This is an article from "The New Yorker" about the gig.

Miles Davis' take on Evan's playing -- "like crystal notes or sparkling water".

I love both Village and Waltz. You can just feel the cohesiveness and natural flow of the music from these gifted musicians. Plus the music has a very intimate feel and the ambient sounds from the crowd almost makes it feel as if you're there. I have both of these on vinyl and they are essential weekend listening for me.