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Whether it owes to the intimate pairing, he and Hall’s brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation – such is the level of introspective depth and quietly shaded interplay throughout. These cookies are strictly necessary for the operation of the site, you can disable them by changing the settings of your browser but you will not be able to use the site normally.

For me it's up there with the Hall, Baker, Desmond recordings, my all time favourite before Undercurrent. Mobile Fidelity Sound Lab has been the undisputed pioneer and leader in audiophile recordings since the company's inception in 1977. Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. 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.

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. 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. The results of these sessions were quite the opposite, though, thanks to the tranquil and poetic use of space which gives Undercurrent its uniquely relaxed, and relaxing, quality. On Skating in Central Park that chiming guitar sound becomes a dominant feature and, set against it, Evans is wittily wistful and melancholy, each piano note precise and clear cut until he smoothly recedes into the background and lets Hall take centre stage.

As Hall's solo gets under way Evans provides a pointillistic background that grows in intensity, urging on the guitarist, who replies with increasing heat before passing things off to Evans and getting into some spirited comping of his own.The user is informed that they have the possibility of configuring their browser so that they are informed of the receipt of cookies, and may, if they wish, prevent them from being installed on their hard drive. 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.

If it was hard to believe earlier that there weren’t three players, here it’s difficult to accept there’s more than one, so unified and harmonious are Hall and Evans in their playing. Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. There is more variety than expected on the fine set with some cookers, ballads, waltzes, and even some hints at classical music.Dream Gypsy shows them separating again, fashioning fragments and jigsaw puzzle-pieces of a tune, scattering them for the listener to assemble. DOL do not indicate the source of their recordings, but on my system this LP, and the others I have, sound much like older CDs. We will introduce you exclusively to Duologi finance products provided by Specialist Lending Ltd t/a Duologi through the Deko platform.

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.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. This is the epitome of a jazz duo, two artists collaborating at the highest level to create musical art. This reissue does an outstanding job of reducing noise from the master tapes — now well over fifty years old — without sacrificing musical detail. Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York’s Village Vanguard with his trio. A mixture of ballads and standards, "Undercurrents" is recommended for those who wish to explore the lighter side of Evans.

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