Bill Evans - At Shellys ManneHole (9 tracks) +Album Reviews

Not as Lofty, But Still Great

M. Allen Greenbaum | California | 04/24/2001

(4 out of 5 stars)

"For a CD that opens with "Isn't It Romantic," this is a relatively sparser, more aggressive Evans album. Compared to "Waltz for Debbie," for example, you won't hear as much of the soaring notes and atmospheric, delicate harmonies for which he is so famous. That said, it is still a fabulous CD, and just shows a different side of Evans.Evans plays a wonderful collection of (mostly) standards, swinging on "The Boy Next Door (5:26)," with a nice bass solo by trio member Chuck Israels and some lilting runs by Evans. In the group, bass is emphasized more than drums (or just recorded better). There are several bass solos (e.g., on "Wonder Why," "Our Love is Here to Stay", and "All the Things You Are," to name a few) by the excellent Israels, but be forewarned if that's not your thing. Larry Bunker's drumming is very good, but sometimes nothing special. "Swedish Pastry (5:55)" is a good example of the slightly different approach on this CD; Evans' boppish attack recalls the great Bud Powell. It also features an excellent Max Roach-like approach by Bunker. "Out Love is Here to Stay (4:51)" stays fairly close to the melody, but Evans' swinging style and assertive comping by Israels and Bunker keep it moving. He takes Monks' "'Round Midnight (9:07)" at a slow pace, alternating brooding tones with lighter single-note runs. I enjoyed the Israels/Evans duo on this very much. "All the Things You Are" (the almost obligatory bonus CD track) begins somewhat intellectual and studied, then somehow accomplishes a playful/abstract mood. The final cut "Blues in `F' (5:44)" is vintage Evans, with excellent comping by Israels and Bunker. As with some of the other songs, there's too little of Evans' playing--but he's a master when he plays.The audience offers polite applause: neither detracting nor adding much to this live set. Recording quality is very good, and there are excellent liner notes by Chuck Israels. By the way, other than the famous "Village Vanguard" CDs, this 1963 set is the only live recording Evans made for Riverside (and also the last he made for the financially strapped company.) I think this is an excellent album for Evans fans who want a taste of something different (and especially for those who like a lot of excellent bass work). Probably not "essential," but worth getting if you love this man's incredible work!"

Lesser known treasure...

Larkenfield | 04/02/2005

(5 out of 5 stars)

"I've heard a number of great Bill Evans albums over the years (great being his overall norm) and I was immediately attracted to this recording because Evans sounds so completely relaxed, laid-back and at ease at the piano, yet rises to the occasion with his sparkling, cascading technique when needed... In short, he seems to be having a good time and that usually means a good time for the listener... In addition, this is a beautifully balanced set with a satisfying blend of classics, ballads, and blues... all played in front of a modest but appreciative audience. I believe some of the magic is because of the warm acoustics at Shelly's Manne-Hole and a piano that seems to be capable of luscious sonorities and responds so well to Evan's superb touch. It seems like he really enjoyed playing it, and the feeling comes through his performance as he sounds so completely at home. This album plays well for active listening... or to set a sophisticated mood for an evening with someone special. I've enjoyed it countless times."

Beautifully played and recorded , with a true live feel

A C SHIELDS | melbourne , australia | 08/31/2005

(5 out of 5 stars)

"Jazz fans love to pick out which groups were 'classic' and which weren't and this can go on for ever - suffice it to say this group was very effective .

Bill Evans the pianist has been so influential that to play something in his sort of style has become a sort of language in itself . If you are a drummer like myself, you will learn a lot about how to accompany in a trio - in particular, how to play brushes on ballads.

This album gives you a taste of a much better than average working trio who are in tune with each other , as is required for the best music to be created .

If you know the tunes , you will enjoy the record more .

The recording sounds extremely true to life and this helps draw the listener in .

I recommend it highly - if you like it , more selections from the date can be found on another CD called TIME REMEMBERED .

I own both the albums and will continue to enjoy them always .

I encourage those who love the sound of the piano in an intimate setting to purchase this ."

Well-played but somewhat tepid (on the other hand...)

Samuel Chell | Kenosha,, WI United States | 05/05/2007

(5 out of 5 stars)

"[I heard an identified pianist playing "All the Things You Are" on Bob Parlocha's jazz show, immediately recognized the unmistakable, inimitable touch of Bill (all ten fingers applying equal pressure! the richness of the textures, the complexity of the rephrased original, the sheer vintage of the sound itself a joy beyond verbal expression. The intricate phrasing so eloquent and concise that the overdone warhorse of a jazz vehicle became a world-class thoroughbred. Then I discovered I had the album in my collection (along with all of Bill's others) and had written the following, less-than-rave review. (Is there ever such a thing as too much of a good thing? I don't know, but I'm adding the 5th star.)]

For that small group of Evans' detractors that finds the earlier Vanguard sessions overly impressionistic, non-definitive and effete, this recording may be the antidote. It's quite mainstream (i.e. Bud Powell-derived) piano compared to the more introspective, poetic Evans' trio comprising LaFaro and Motian. The opener, "Isn't It Romantic," is a pure blowing track, with Israels and Bunker laying down the 4/4 walking carpet underneath Bill's swinging single-note right-hand lines. "Swedish Pastry," a staple of the beboppers, feels almost retro coming from Bill. His soloing on "Blues in F" should at least serve as a "so there, shut up already!" kind of response to those critics who have suggested he couldn't play blues.

For a live date, and an original Riverside session at that, there's a lack of energy, or presence, especially compared to the earlier Vanguard sessions or any of the recordings that have emerged of Bill's playing during his final year. The "unapproved" "Last Waltz" and "Consecration" box sets are absolutely electrifying compared to this date.

The audio is certainly "professional," though reducing the bass, bringing up the drums, and letting in a bit more crowd ambience would definitely have made a positive difference. Also, I'm surprised to hear some traces of the bottled-up, mono-dimensional "Van Gelder piano" on a Riverside session, as though the piano is too closely miked and deprived of some of the overtones essential to a natural, "open" sound. Finally, the amount of solo space given Israels seems overly generous, anticipating Evans' next ensemble, facetiously billed by some critics as "The Eddie Gomez Trio."

Once you've discovered the towering genius of the "real" Bill Evans, both early and late, it's easy to become so spoiled that nothing less will do. Herbie and Chic, Keith and Brad don't compare, and there are occasions such as this when even Bill doesn't live up to himself.

[I suddenly realize that I've been talking about the 2005 remastered edition rather than this 1991 version, which is likely to have a truer bass sound, permitting the listener to distinguish clearer pitches. Hang on to your "non"-remastered copy.]"

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