{"id":8103,"date":"2017-01-09T21:10:39","date_gmt":"2017-01-10T05:10:39","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8103"},"modified":"2017-01-09T21:10:39","modified_gmt":"2017-01-10T05:10:39","slug":"monday-recommendation-bill-evans-lost-sessions","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/01\/monday-recommendation-bill-evans-lost-sessions\/","title":{"rendered":"Monday Recommendation: Bill Evans Lost Sessions"},"content":{"rendered":"<p><strong>Bill Evans<\/strong>, <em><a href=\"http:\/\/amzn.to\/2iYgidI\"target=\"_blank\">Some Other Time: The Lost Sessions From The Black Forest<\/a><\/em> (Resonance)<\/p>\n<p>Producer Zev Feldman\u00e2\u20ac\u2122s specialty is discovering previously unreleased music by major jazz artists. In<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Bill-Evans-S.O.T.-.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-8104\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Bill-Evans-S.O.T.-.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Bill-Evans-S.O.T.--150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Bill-Evans-S.O.T.--100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/> 2013 when he visited Villengen, Germany, the home of the former MPS label, he hit the jackpot&#8212;recordings by pianist Bill Evans that had been kept under wraps since they were made in 1968. Evans, bassist Eddie Gomez and drummer Jack DeJohnette had recently triumphed at the Montreux Jazz Festival. In DeJohnette, Evans had a new drummer who was uniquely in tune with what album annotator Marc Myers calls the pianist\u00e2\u20ac\u2122s \u00e2\u20ac\u0153percussive poet\u00e2\u20ac\u009d phase.  By this time Gomez had been with Evans for two years. Compatibility verging on ESP is tangible in their duo performances, notably \u00e2\u20ac\u0153It Could Happen to You.\u00e2\u20ac\u009d But it\u00e2\u20ac\u2122s the three-way conversations that pull the listener most deeply into the music. DeJohnette\u00e2\u20ac\u2122s firm, understated percussive asides in this \u00e2\u20ac\u0153new\u00e2\u20ac\u009d album inspire some of Evans\u00e2\u20ac\u2122s best playing. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bill Evans, Some Other Time: The Lost Sessions From The Black Forest (Resonance) Producer Zev Feldman\u00e2\u20ac\u2122s specialty is discovering previously unreleased music by major jazz artists. In 2013 when he visited Villengen, Germany, the home of the former MPS label, he hit the jackpot&#8212;recordings by pianist Bill Evans that had been kept under wraps since [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8104,"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":[5],"tags":[],"class_list":{"0":"post-8103","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-recommendations","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8103","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=8103"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8103\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8104"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8103"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}