Front row table at the Village Vanguard

There have probably been more reissues of this 1961 Riverside recording than any other jazz record in history. There\'s your standard aluminum CD, the Fantasy OJC budget LP, Analogue Productions\' 180g LP, the JVC XRCD, and Analogue Productions\' hybrid SACD. Who\'s buying these? The same fans of the record who must have it in every format? A new generation of fans, simply buying on the latest tech format? I haven\'t an answer, but Acoustic Sounds\' Chad Kassem seems to feel that yet another edition -- 2 LPs at 45rpm -- will sell, and I wouldn\'t bet against him. There have probably been more reissues of this 1961 Riverside recording than any other jazz record in history. There's your standard aluminum CD, the Fantasy OJC budget LP, Analogue Productions' 180g LP, the JVC XRCD, and Analogue Productions' hybrid SACD. Who's buying these? The same fans of the record who must have it in every format? A new generation of fans, simply buying on the latest tech format? I haven't an answer, but Acoustic Sounds' Chad Kassem seems to feel that yet another edition -- 2 LPs at 45rpm -- will sell, and I wouldn't bet against him.

The funny thing is, this is not what I would call an "audiophile" recording: an enormous drum kit is spread across the soundstage, the slightly boxy sounding piano hugs the right channel, the bass is not quite hard left and there's kind of a sonic no-man's land between the speakers, though the subtle ambience of the Vanguard holds the picture together.

What makes the recording work is its smooth, unforced quality, its purity and especially its intimacy. Hearing every last detail of Paul Motian's complex, fluid cymbal work from up-close is a sonic highlight, as is the feel and texture of Scott LaFaro's fingers on the bass. This 45rpm edition presents the most flattering, revealing, and clear rendering of Evans' piano that I've heard yet. And if you're into eavesdropping on the audience, hearing every plate of burger and fries being dropped on the "table, and listening to the cash register ring, this is the version you want! I've been listening to that woman near the stage coughing through "My Foolish Heart" for more than 30 years. I think I now know how much phlegm she brought up.

Ah, but I dump on audiophiles. The music is extremely well served by this edition. It has an openness and physical scale that the 33 1/3 LPs lack and a crystalline clarity, airiness and sense of depth not even the excellent sounding SACD can touch. And as I said, the piano has never sounded this good tonally and texturally. It's as if whole cardboard boxes have been removed... the fine condition of the master tape is amazing considering it's over forty years old and has been used so many times.

As for the music oh yes! This is a music review: like whatKind of Blue does for "modal" jazz, this set and Live at The Village Vanguard (also reissued at 45rpm as part of this series) culled from the same live performances, documents a timeless template for what a piano anchored trio could achieve as well as highlighting the creative virtuosity of the 3 players. Unlike so much contemporary jazz, there's nothing medicinal or "intellectual" about this music. It's romantic, lyrical, optimistic, and yes, beautiful. It's also thoughtful, intricate and introspective. It lifts the spirits without pandering to them. No wonder this and Live at the Village Vanguard remains such enduring favorites.

Analogue Productions puts it all on 2 double sided 45rpm LPs that fit into an expanded single sleeve. Not as "purist" as Classic's single sided 45s, each packed in its own jacket, but less expensive and it takes up less room on your crowded and growing LP shelves. Who ever thought we'd be saying "growing" and "LPs" in the same sentence in 2003?

IsWaltz For Debby on 2 LPs worth $50? That's up to you, but if you love this music and have a turntable, these LPs sound best. Comparing the SACD to the LP for sonic superiority is not really possible since the SACD was mastered by the great Doug Sax at The Mastering Lab, and obviously, two different venues will yield two different sounds. The SACD is somewhat warmer and softer sounding than the 45rpm LPs. There's not nearly as much "lift" to the top end, nor as much "detail," and the piano sounds a bit boxy - as I'm used to hearing it.

I couldn't tell you which sounds closer to the master tape - the 45rpm LPs or the SACD - because I haven't heard it, and anyway, what the master tape sounds like depends on the playback equipment in the mastering studio, as much as the sound you'll hear from these LPs will be dependent upon your playback system. The SACD and XRCD editions include 4 bonus alternative takes, so maybe you'll need both analog and digital versions. Hardcore Evans fans unfamiliar with Herbie Mann & the Bill Evans Trio's Nirvana album (Atlantic SD 1426 LP) ought to seek it out. Not a great recording (I think the late engineer Tom Dowd was overrated) - you have to put up with occasional overload distortion on the piano and cymbals - it is still an understated, all too short late night mood enhancer with a stripped down version of Erik Satie's "Gymnopedie" that's sure to please.

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COMMENTS
mommyiloveyou's picture

I am looking for a copy of this record that is featured in here but it is not available in the local mall, does anyone have one, please do inform me by posting message here. - Scott Safadi

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