HiFi Critic

I mentioned before the sterling work of the 2xHD team in uncovering and restoring lost masterpieces from the past, and this is a prime example.

The “dream team” Bill Evans Trio, recorded at an intimate gig in The Netherlands in the summer of 1968. Just two days after the famous Some Other Time session in Germany. Whereas that was a proper studio session, what we have here is an enthusiastic but very polite audience who clap in all the right places but are clearly enthralled by the performance of Evans, bassist Eddie Gomez and drummer Jack DeJohnette.

Recorded at the NRU Studio in Hilversum, this is a free-ranging performance by three musicians at the top of their game. Captured using what was then state of the art analog recording techniques.

Whether or not you’re a fan of trio Jazz, I think you will find it hard not to be grabbed by the intimacy and enthusiasm of this set. Coming in at just over three quarters of an hour, it has that rare, but wonderful “you are there” feel.

Andrew Everard

All About Jazz

“As charmed good-luck magnets go, producer Zev Feldman is the jazz world’s equivalent of the guy who keeps winning the lottery year after year. He and Resonance Records specialize in finding and curating unreleased gems to share with the wider world—not dodgy bootlegs, but quality material in terms of content and sound—and giving each discovery the respect it deserves. For such a legendary and extensively recorded artist as Bill Evans who’s been gone almost four decades, it’s easy to suspect all the Good Stuff is already out there, but you never know when the obvious assumption will be wonderfully proven wrong.

Resonance’s treatments of Evans began with a from-the-attic 1968 tape released as Live at Art D’Lugoff’s Top of the Gate (a performance with Eddie Gomez and Marty Morell). Lightning struck again with Some Other Time: The Lost Session from the Black Forest, the pianist’s only studio recording during the six-month stretch when Jack DeJohnette occupied the drum chair. Perhaps it’s only natural then, if extraordinarily fortunate, that a respectful enthusiast sought them out when looking to share another unheard recording made for Dutch public radio two days later. Lovingly presented with the blessing of Evans’ estate, label and bandmates, Another Time is another gem of a find and a delight for committed and casual listeners alike.

The setting was an intimate studio in front of a small and traditionally respectful European audience, but the trio’s performance is as sprightly and animated as that of a club date. Evans remains sophisticated and beautifully melodic as always, spinning his trademark chordings right from the first weaving harmonics of “You’re Gonna Hear from Me.” At the same time he’s unmistakably energized by his cohorts, who coast at an infectious and spirited level throughout the set. DeJohnette’s spry cymbal splashing and clattering rolls are tasteful enough to suit the tone of the show, while still showing the busy rhythmic sense that would get him drafted by Miles Davis for some much louder electric work in the next couple years. His bright fills propel the gang through a dynamic “Nardis” and a rousing finale of “Five” with a playful sense of fun; those points sound like they could have made the beginning of a cooking mid-set stretch, but sadly this broadcast’s 48-minute running time doesn’t allow for more extensive explorations.

While Gomez admits to being a bit discontented with his bass tone and “Embraceable You” intro solo, the rendition here swings beautifully, and he stands out in spots like “Who Can I Turn To?” as well. He had been a factor in this phase of Evans’ rhythmically focused late-career development for almost two years at this point, and the pair’s comfortable rapport is a prime example of why they remained productive partners for almost a decade more. “When we later went on to [a residency at London’s] Ronnie Scott’s club… that’s when it really opened up,” the bassist hints during the album’s extensive and thoughtful liners (another noteworthy asset to the package). It’s most disappointing that there aren’t any similarly high-quality tapes of their later run known to exist, but that makes it no less a pleasure to hear this particular group bursting with freshness and inspiration straight from the beginning of their brief time together. If Another Time turns out to be the last we hear from them, it will still shine as another highlight of the Evans catalogue not to be missed.”

Geno Tackara - Source

Wall Street Journal

“During the musical discourse between Mr. DeJohnette and Evans, we hear clearly the sound that Evans wanted on drums going forward. Another Time is a frighteningly flawless and dynamic work by Bill Evans.”

Marc Myers - Source