Empathy (Remastered) Bill Evans & Shelly Manne

• 1 The Washington Twist 06:31
• 2 Danny Boy 03:44
• 3 Let's Go Back To The Waltz 04:33
• 4 With A Song In My Heart 09:13
• 5 Goodbye 05:11
• 6 I Believe In You 05:59
• Total Runtime 35:11

Info zu Empathy (Remastered)

Dieses Album entstand durch das zufällige Zusammentreffen verschiedener Umstände. Shelly Manne & His Men traten im Village Vanguard in New York auf und teilten sich die Bühne mit dem Bill Evans Trio. Mit Riversides Genehmigung den Pianisten teilnehmen zu lassen, arrangierte Creed Taylor eine Session in Rudy Van Gelders Studio, wobei sowohl Manne als auch Evans gleichrangige Leader waren. Manne's Bassist Monty Budwig machte das Trio komplett.

Für Evans war das eine Möglichkeit, das, was sonst seine tägliche Arbeit ausmachte, mal zwanglos und freizügig hinter sich lassen zu können, denn hier war er unabhängig von den selbst gesetzten musikalischen Beschränkungen für sein eigenes damaliges Trio. Mit dem Ergebnis, dass sein Spiel leichter, freier und entspannter erscheint als es seit längerer Zeit gewesen war. Das Album beginnt mit einer lebhaften Version von Irving Berlins 'The Washington Twist' aus dem erfolglosen 'Mr. President', für das Budwig, Evans und Manne in gleichem Maße Beifall gezollt wurde. Manne verbringt die meiste Zeit damit, Evans zu einem gedämpfteren und präziseren Spiel zu bringen, als es dessen Gewohnheit war.

Ein anderes recht unbekanntes Werk von Berlin, 'Let's Go Back To The Waltz', ist völlig beherrscht von Evans lyrischem Spiel. Das längste Stück dieser Platte ist eine kühne, beinahe ironisch überspitzte Version von 'With A Song In My Heart' mit einer leichten Akkordphrasierung, die den Aufnahmestil dieser Platte in besonderer Weise charakterisiert.

Bill Evans, Klavier
Monty Budwig, Bass
Shelly Manne, Schlagzeug

Recorded in New York, Aug. 14, 1962
Produced by Creed Taylor

Digitally remastered

Bill Evans
is an internationally recognized five-string banjo life force. As a performer, teacher, writer and composer, he brings a deep knowledge, intense virtuosity and contagious passion to all things banjo, with thousands of music fans and banjo students from all over the world in a music career that now spans over thirty-five years.

Bill's banjo artistry is best experienced in live performance and on his recordings Fine Times At Fletcher's House with Fletcher Bright (2013), In Good Company (2012), let's do something with Megan Lynch (2009), Bill Evans Plays Banjo (2001) and Native and Fine (1995). Bill successfully bridges traditional and contemporary sounds and playing techniques, creating a new music that is firmly within the bluegrass tradition but draws upon a broad knowledge of classical, jazz and world music, drawing upon his experiences as a graduate student in Music at the University of California, Berkeley and as the associate director of the International Bluegrass Music Museum.

Bill is also an expert player of mid-19th century minstrel banjo and late 19th and early 20th century classic banjo styles, authentically performing these styles on historical instruments. He brings all of these diverse musical performing interests together in his solo concert The Banjo in America.

In the last two years, Bill has toured throughout the United States, Canada, England, and Germany and toured Russia for the U. S. State Department. Recent appearances include A Prairie Home Companion with Garrison Keillor and performances with the San Francisco Symphony. From festival to folk society stages, to universities and performing arts centers, The Banjo in America has earned standing with a dazzling display of banjo artistry of unparalleled historical depth geared towards entertaining general audiences.

Bill is the author of Banjo For Dummies, the most popular banjo book in the world. Banjo For Dummies is now in its second edition and has been translated into French and Portuguese. This year, Bill is preparing a companion volume Bluegrass Banjo For Dummies. In addition, Bill hosts six critically acclaimed instructional DVDs for AcuTab Publications, Homespun Tapes and the Murphy Method and he is also the co-author of Mel Bay’s best-selling Parking Lot Pickers Songbook: Banjo Edition.

With banjo legend Sonny Osborne, Bill hosts the NashCamp Banjo Camp each fall in Fairview, Tennessee. Now in its 13th year, this camp is the premiere bluegrass banjo camp in the world and has featured J. D. Crowe, Jens Kruger, Bill Emerson, Ron Block, Kristin Scott Benson, Rob McCoury, Tony Trischka, Alan Munde, Ned Luberecki, Charlie Cushman, Pete Wernick and Frank Neat, among others.

Bill has also been a mainstay at many other banjo and bluegrass music camps over the last fifteen years, including multiple appearances at Sore Fingers Bluegrass Week (England), Bluegrass Camp Munich (Germany), the Midwest Banjo Camp (Michigan), Steve Kaufman’s Acoustic Music Camp (Tennessee) and the California Bluegrass Association’s Music Camp.

Bill has probably taught more one-on-one banjo lessons than anyone else in the world. His list of students is impressive: Chris Pandolfi (The Infamous Stringdusters), Jayme Stone, Greg Liszt (Crooked Still, the Deadly Gentlemen), Wes Corbett and Erik Yates (Hot Buttered Rum.) However, Bill is equally adept at instructing the older adult learner whose goal is to have fun in a jam session or local band.

At any one time in his home near Richmond, California, Bill teaches between forty and sixty students, in addition to maintaining a steady international touring schedule. In addition, Bill teaches the most popular bluegrass ensemble classes in the San Francisco Bay Area at the Freight and Salvage Coffeehouse and he is on the faculty of the California Jazz Conservatory.

Dieses Album enthält kein Booklet