Bill Evans Portrait In Jazz Rar Zip Files

One of the two most important associations in the early development of the incredible talent of Bill Evans was undoubtedly his nine-month 1958 stay with the Miles Davis Sextet that also included John Coltrane and Cannonball Adderley. The other was the year-and-a-half span in which Scott LaFaro was the bassist in Bill\'s newly-formed trio and they developed their remarkable creative rapport, working towards what Evans termed \'simultaneous improvisation.\' Portrait in Jazz was the first of four albums by the Evans/LaFaro/Motian team; in it can clearly be heard the exciting sound of new ideas being born. ”
“Orrin Keepnews\' commentary (from his new liner notes): “This turned out to be the easiest Bill Evans record session I was ever involved in. The trio\'s initial working repertoire consisted entirely of material that he wanted to record but had not yet attempted; I probably would have preferred having more than two originals, having not yet fully realized that his ability to reconstruct and revitalize old and often over-familiar standards was one of his more important contributions to the jazz vocabulary.”

One of the two most important associations in the early development of the incredible talent of Bill Evans was undoubtedly his nine-month 1958 stay with the Miles Davis Sextet that also included John Coltrane and Cannonball Adderley. The other was the year-and-a-half span in which Scott LaFaro was the bassist in Bill\'s newly-formed trio and they developed their remarkable creative rapport, working towards what Evans termed \'simultaneous improvisation.\' Portrait in Jazz was the first of four albums by the Evans/LaFaro/Motian team; in it can clearly be heard the exciting sound of new ideas being born. ”
“Orrin Keepnews\' commentary (from his new liner notes): “This turned out to be the easiest Bill Evans record session I was ever involved in. The trio\'s initial working repertoire consisted entirely of material that he wanted to record but had not yet attempted; I probably would have preferred having more than two originals, having not yet fully realized that his ability to reconstruct and revitalize old and often over-familiar standards was one of his more important contributions to the jazz vocabulary.”