Album Info
| Artist: | Bill Evans |
| Album: | Montreux II - Recorded Live At The Montreux Festival, 1970 |
| Released: | Europe, 14 Jun 2024 |
Tracklist:
| A1 | Introduction | 1:12 |
| A2 | Very Early | 5:26 |
| A3 | Alfie | 5:29 |
| A4 | 34 Skidoo | 6:34 |
| B1 | How My Heart Sings | 4:26 |
| B2 | Israel | 4:13 |
| B3 | I Hear A Rhapsody | 5:53 |
| B4 | Peri's Scope | 6:27 |
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Description
"Montreux II" is a live album by the renowned jazz pianist Bill Evans, recorded at the Montreux Jazz Festival in 1970. This album captures Evans in a trio setting, featuring Eddie Gómez on bass and Marty Morell on drums. Known for his lyrical and introspective style, Evans delivers a performance that is both technically impressive and emotionally resonant.
The album opens with "Very Early," a composition by Evans that showcases his ability to blend complex harmonies with a delicate touch. The interplay between Evans and Gómez is particularly noteworthy, as they weave intricate musical dialogues throughout the piece. Morell's drumming provides a subtle yet dynamic foundation, allowing the piano and bass to explore a wide range of textures and moods.
One of the standout tracks on the album is "34 Skidoo," a lively and rhythmically engaging piece that highlights the trio's cohesive interplay. Evans' improvisational skills are on full display here, as he navigates the tune's shifting time signatures with ease. Gómez's bass lines are both melodic and propulsive, driving the music forward while complementing Evans' piano work.
"Montreux II" also features a beautiful rendition of "I Hear a Rhapsody," a standard that Evans transforms into a deeply personal statement. His interpretation is marked by a sense of introspection and longing, qualities that are hallmarks of his style. The trio's performance is both sensitive and powerful, capturing the emotional depth of the piece.
The album closes with "Nardis," a composition by Miles Davis that Evans made his own through numerous performances over the years. This version is particularly compelling, as it showcases the trio's ability to build tension and release through dynamic shifts and intricate interplay. Evans' solo is a masterclass in jazz improvisation, blending technical prowess with emotional expression.
Critically, "Montreux II" was well-received, with many praising the trio's synergy and Evans' masterful playing. The album is often noted for its clarity of sound, capturing the nuances of the live performance with remarkable fidelity. This clarity allows listeners to fully appreciate the subtle interactions between the musicians, as well as the individual contributions of each member of the trio.
While "Montreux II" may not have achieved the same level of fame as some of Evans' other recordings, such as "Waltz for Debby" or "Sunday at the Village Vanguard," it remains an important part of his discography. The album provides a snapshot of Evans' artistry during a period of transition, as he continued to evolve his sound and explore new musical territories.
In terms of historical significance, "Montreux II" captures a moment in time when Evans was experimenting with different trio configurations and expanding his musical vocabulary. The album reflects his ongoing commitment to pushing the boundaries of jazz, while remaining true to his unique artistic vision.
Overall, "Montreux II" is a testament to Bill Evans' enduring legacy as one of the most influential jazz pianists of the 20th century. The album offers a glimpse into his creative process and showcases the remarkable talents of his trio. For fans of Evans and jazz enthusiasts alike, "Montreux II" is a must-listen, providing both a rich listening experience and a deeper understanding of Evans' musical genius.
