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The CD is AAD, so the original analog mix has been transfered to CD, which is my personal favorite process of doing the job regarding old recordings, if you don't mind some backround noise, which I find quite romantic. This is one of the best recordings I own (and I do own quite a few.). The music is fantastic and you get totally transfered into the live happening. I can't stop listening to this. Just great. Most certainly one of my top 10 CDs. Too bad it took me so long to discover it.
Hallowed live recordings from a positively synergistic trio unfortunately plays out more in historical context from its scarcity of variety.
He uses only brushes the whole set, but he never misses a beat. I was blown away at the near-telepathic interplay and virtuostic playing all around. I , like many others, stumbled upon this album several years ago knot knowing what to expect. Just listen to Alice in wonderland when he follows bill's improvised lines PERFECTLY and kicks back in to the 3/4 feel with ease. I wanted to throw in my two cents here, having read that Paul Motain is kind of "in the background" for this album. I have to disagree. Glorias Step also has great examples of the interplay in the rhythm section. Also, I think that he didn't really "play out" because Scott was playing the role of rhythm and lead (somewhat), so steady hands on the traps were needed.Anywhoo, if you are a Bill Evans fan, a rhythm junkie, a bassist, or just a casual listener looking to expand your library, this is a GREAT choice.
At a time when many drummers would state the beat, Motian would imply it in his own way as Elvin Jones would in the famous Coltrane quartet. Anyone interested in the evolution of the jazz piano trio should purchase this album for it captures the great Bill Evans at the peak of his powers along with the late legendary bassist Scott LaFaro. But this trio set the mode for other future trios to come since the bass also now had a voice rather than customarily maintaining a pulse. Recorded in September of 1961 at the Village Vanguard, the trio's interplay is indeed telepathic but unfortunately several days later, Scott LaFaro would be tragically killed in an auto accident. Before I forget, let's not forget the contributions of drummer Paul Motian to this trio. LaFaro's influence would spread to other heavyweights bassists such as Richard Davis, Gary Peacock, Eddie Gomez, Dave Holland and Miroslav Vituous, several of which who also played in Miles Davis' bands. This album along with the trios of Bud Powell on Blue Note & Verve should be added to any essential jazz lists of important trios.
Recorded in June, 1961 this album set at that time the standard for the piano-bass-drums jazz trio - a standard that has still not been surpassed. It is essential to any collection of jazz, or music for that matter.
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