Undercurrent

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At the time it was as distinctive as the record it contained, indicating — as far as jazz was concerned — we really were no longer in Kansas. Indeed, even the album’s cover – an iconic photograph by Toni Frissell – exhibits the surreal, almost-hallucinogenic properties of the fare contained within. Whether it owes to the intimate pairing, he and Halls' brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation, such is the level of introspective depth and quietly shaded interplay throughout.

I am slowly building up my jazz collection, which includes classics from Coltrane, Miles Davis, Mingus, Adderley and others.Dream Gypsy shows them separating again, fashioning fragments and jigsaw puzzle-pieces of a tune, scattering them for the listener to assemble. A mixture of ballads and standards, "Undercurrents" is recommended for those who wish to explore the lighter side of Evans. I have only recently discovered this album which is true masterpiece of duet playing, of two highly skilled jazz musicians listening to each other with intensity. The jacket of this album is not glossy and succeptible to smudges from picking it up with dirty hands, or ink transfer if stacked against other records. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite.

The results of these sessions were quite the opposite, though, thanks to the tranquil and poetic use of space which gives Undercurrent its uniquely relaxed, and relaxing, quality. The pleasure of these eight cuts (two of them previously unreleased, all of them recorded over two days in the spring of 1962 in New York) lies in the sense of overhearing a private conversation between two particularly thoughtful people. We will introduce you exclusively to Duologi finance products provided by Specialist Lending Ltd t/a Duologi through the Deko platform. I was chilling to this disc the other day, nodding my head to this oh-so-natural music and wishing I had half of Evans' talent.

There are a few exceptions, though--the blues come gleaming through on the limber "I'm Getting Sentimental Over You" and the more reflective "Romain. Questo disco rappresenta una pietra miliare nella storia del jazz e rappresenta ai massimi livelli la capacità di interplay e di arrangiamento di due musicisti straordinari, quali Evans e Hall, che condividono la stessa idea di suoni. Già la perfetta fattura e la cura nel dettaglio dell'intera copertina lascia presagire qualcosa di eccellente che si comprende appieno dopo aver ascolto anche solo il primo brano del side 1. Later, the album was reissued on the Blue Note label; both Blue Note and United Artists Records have been part of the same catalog for many decades. Audio Venue Ltd, t/a Audio Venue is a credit broker, not a lender and is authorised and regulated by the Financial Conduct Authority (FRN 738562).

There is more variety than expected on the fine set with some cookers, ballads, waltzes, and even some hints at classical music. Even though it only features two instruments for the whole duration, it never ever becomes one-dimensional or repetetive.Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York’s Village Vanguard with his trio. Mobile Fidelity Sound Lab has been the undisputed pioneer and leader in audiophile recordings since the company's inception in 1977. I was fortunate to find a VG copy of this early pressing which cleaned up beautifully, no crackles nor surface noise of any kind. In tackling standards such as Rodgers and Hart's ' My Funny Valentine ' and the Broadway classic ' Darn That Dream ' as well as the Hall original ' Romain ', the pair traverses complex harmonies with the astute elegance of a figure skater.

Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Miles Davis’s Kind of Blue is a hard act to follow, but when compelled to find something to succeed it in a late night listening session, there is one distinctly worthy contender, Undercurrent, featuring one of Kind of Blue’s pianists in a starring role beside a jazz guitar great.At times, Evans and Hall go for broke on a hard-swinging romps, yet it’s their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record’s title. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty. Evans is long gone and Hall much more recently but thankfully they made this iconic recording and wrapped it in a timeless vacuum that transcends all those years since its brilliant creation.