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Undercurrent

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To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. LondonJazz is a not-for profit venture, but may occasionally take on work as a paid publicist and/or sell advertising packages. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. 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. 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.

Some reissues include four bonus tracks, including two alternate takes and previously unheard versions of "Stairway to the Stars" and "I'm Getting Sentimental Over You.Evans and Hall had first recorded together in July of 1959, during the making of John Lewis’ LP Odds Against Tomorrow, and the two musicians also participated on Gunther Schuller’s Jazz Abstractions (recorded in December of 1960). The cover of the album doesn’t feature any names or even a title, just a mysterious black and white photograph of a woman floating, Ophelia-like, in dark water.

A mixture of ballads and standards, "Undercurrents" is recommended for those who wish to explore the lighter side of Evans. 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. I am slowly building up my jazz collection, which includes classics from Coltrane, Miles Davis, Mingus, Adderley and others. Evans' underlying playing is complete mastery and when he takes the lead Hall somehow makes the guitar sound like a bass and drums!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. While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording.

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. There have been a fair number of releases of Undercurrent on vinyl over the years, but Pure Pleasure’s 180 gram audiophile incarnation is the first to combine notably high quality sound with packaging that does justice to the eerie, enigmatic beauty of the original. Bill Evans and Jim Hall in particular were kindred spirits, sharing a love of chamber jazz, and Hall had already demonstrated his skill in Jimmy Giuffre’s trio. Jim Hall had already long been an admirer of Bill Evans when the two men convened in April 1962 under the auspices of United Artists to record this remarkable duet album. The record is noise free, but does an impressive job of capturing musical nuance and delivering a deep emotional experience.In his November 26, 1962 review for DownBeat magazine jazz critic Pete Welding states: "This collaboration between Evans and Hall has resulted in some of the most beautiful, thoroughly ingratiating music it has been my pleasure to hear. While Evans managed to sit down for a few one-off takes between LaFaro’s passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording.

I'm glad to have it in my collection, but I will view it as a placeholder until a better pressing comes along. Il disco da il meglio di se soprattutto in formato vinile e risulta estremamente appetibile anche per i non addetti ai lavori o chi semplicemente cerca un jazz elegante e magistrale. 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. This reissue does an outstanding job of reducing noise from the master tapes — now well over fifty years old — without sacrificing musical detail.I assume that there are shortcomings in the original recording, but I can't help but feel that more could be gotten out of this record. 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. 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. 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.

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