{"id":7241,"date":"2016-01-14T14:59:13","date_gmt":"2016-01-14T22:59:13","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7241"},"modified":"2016-01-14T15:00:20","modified_gmt":"2016-01-14T23:00:20","slug":"bill-evans-after-lafaro","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/01\/bill-evans-after-lafaro\/","title":{"rendered":"Bill Evans After LaFaro"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/01\/Bill-Evans-looking-down.jpg\" alt=\"Bill Evans looking down\" width=\"200\" height=\"157\" class=\"alignleft size-full wp-image-7242\" \/>To follow up on the post in the previous exhibit about the Bill Evans documentary, let\u00e2\u20ac\u2122s revisit the 1962 Evans trio with bassist Chuck Israels and drummer Paul Motian. This clip seems to be from Italian television. Evans\u00e2\u20ac\u2122s harmonic chance-taking, rhythmic force and quick reactions to Motian\u00e2\u20ac\u2122s accents suggest that&#8212;at least for this performance&#8212;the pianist had recovered from the shock of losing bassist Scott LaFaro in a car wreck the previous year, and that Israels was fully on board as LaFaro&#8217;s successor. The piece is Dave Brubeck\u00e2\u20ac\u2122s \u00e2\u20ac\u0153In Your Own Sweet Way.\u00e2\u20ac\u009d <\/p>\n<div align=\"center\"><iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/6Gm4tmltjwQ?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<div>\n","protected":false},"excerpt":{"rendered":"<p>To follow up on the post in the previous exhibit about the Bill Evans documentary, let\u00e2\u20ac\u2122s revisit the 1962 Evans trio with bassist Chuck Israels and drummer Paul Motian. This clip seems to be from Italian television. Evans\u00e2\u20ac\u2122s harmonic chance-taking, rhythmic force and quick reactions to Motian\u00e2\u20ac\u2122s accents suggest that&#8212;at least for this performance&#8212;the pianist [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-7241","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7241","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=7241"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7241\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7241"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7241"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7241"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}