By Pablo Gorondi
BRecords) “On A Monday Evening” is the first release of a 1976 recording by the Bill Evans Trio, an autumn concert in Wisconsin that finds the influential pianist and his partners in outstanding form.
Sharing the stage with bassist Eddie Gomez and drummer Eliot Zigmund on Evans originals like “Sugar Plum” and “Time Remembered” or standards like “All of You” and “Someday My Prince Will Come,” the leader and his ensemble’s improvisational brilliance makes this release well worth discovering. Recorded at the University of Wisconsin’s Madison Union Theater by radio DJs who interviewed Evans then, the sound is well-balanced, surprisingly good mono and feels intimate despite the large auditorium.
The impact of Bill Evans on jazz pianists and beyond — from Keith Jarrett to Lyle Mays to Fred Hersch — has been described as “overpowering.” From his contributions to Miles Davis’ “Kind of Blue” to his groundbreaking trio with Scott LaFaro and Paul Motian, Evans innovated, fascinated and entertained in large measure.
Gomez, who spent over a decade with Evans, and Zigmund, whose tenure in the 1970s was shorter but also well regarded, provide not only imaginative support but also exceptional creative skills developing deep musical feedback with the ringing tones of Evans’ piano. On the bowed (or arco) bass solo on “All of You,” Gomez occasionally makes his instrument sound like a saxophone.
Over the nearly 47 minutes in this set, Evans, Gomez and Zigmund add a precious chapter to their high-caliber legacy.
“On A Monday Evening”
“Das Lied von der Erde” (Sony Classical)
Placido Domingo sang it with Bo Skovhus. Fritz Wunderlich with Christa Ludwig. And now Jonas Kaufmann with ... Jonas Kaufmann!
Gustav Mahler wrote “Das Lied von der Erde” (“The Song of the Earth”) in 1908-9 as an orchestral setting of six songs adapted from ancient Chinese poems. The Austrian composer intended the vocal parts to be taken by a tenor and mezzo-soprano (or tenor and baritone), alternating throughout the hour-long piece.
Fit
(Fantasy
Dozens of distinguished artists have teamed up for recordings over the years. But apparently never did one singer see fit to take on both vocal parts himself. Until Kaufmann. “During performances I’ve often wondered why one needs two singers,” the German tenor remarks in the album notes. Also, he confessed, “I’m so fond of the songs for lower voice that I get very jealous when listening to my baritone or mezzo colleagues.”
From some singers this might sound like a frivolous ego trip, but not with a consummate artist like Kaufmann. Just as one would expect, his singing on this album is beautiful and at times deeply moving. The tenor throws himself energetically into the strenuous exertions of the opening drinking song, and summons a melting tenderness for the extended closing song, “Der Abschied” (“The Farewell”) with its haunting final repetitions of the word “ewig’ (“forever.”)
Yet there’s an inevitable lack of vocal contrast from song to song that keeps the work from realizing its full, shattering potential. Kaufmann’s voice has darkened somewhat over the years, so that in the tenor songs he sounds almost baritonal (though the requisite high notes are hardly stinted), while in the other songs he lacks the depth of resonance that baritones bring.
All in all, an interesting experiment but not one likely to be repeated anytime soon or to take the place of other, more traditional versions. The Vienna Philharmonic is conducted by Jonathan Nott.
“Tribute To Ndiouga Dieng” (World Circuit Records)
Senegal’s Orchestra Baobab honors a former bandmate on “Tribute to Ndiouga Dieng,” a spicy mix of African and Cuban tempos with no rust and a fluctuating pulse.
Relying on two-saxophone leads and kora player Abdoulaye Cissoko to partially fill in for Barthelemy Attisso — their long-time guitarist now busy with a legal career — the orchestra’s seemingly effortless ability to create irresistible dance rhythms remains intact even after a 10-year pause.
Dieng died in November 2016 but his son Alpha has been recruited to sing his songs. Regular vocalists Balla Sidibe, also on timbales, and Rudy Gomis continue their strong work, joined in exciting guest spots by Cheikh Lo and West African megastar Thione Seck, also a Baobab alumni, who reprises “Sey,” a dance-floor classic.
Formed in 1970, the band’s career was revived by the re-edition of its mouthwatering, hip-shaking “Pirates Choice,” and they got back together in 2001. This is just their third album since that return — after the Grammy-nominated “Specialist In All Styles” from 2002 and 2007’s “Made in Dakar” — and it’s a wonderful addition to their rich catalog.
It’s subtlety and insinuation as much as the actual tick-tick-tock of the percussion and Charlie Ndiaye’s velvety bass guitar that complete the seduction, as the band disguises its achievements with all the skills of a suave lover. Or, in this case, a whole orchestra of them!
Drake’s album “More Life” spent a second week at the top of the Billboard 200 chart on Monday, keeping Britain’s Ed Sheeran in second place while musician Trey Songz debuted at No. 3, according to figures from Nielsen SoundScan.
The Canadian singer-songwriter sold another 225,000 units of “More Life,” which last week set a new record for streaming and proved the biggestselling album in the United States since Drake’s last release, “Views,” in 2016.
The Billboard 200 album chart tallies units from album sales, song sales (10 songs equal one album) and streaming activity (1,500 streams equal one album).
Sheeran’s album “Divide” pulled in some 98,000 more units in its fourth week of release, and the musician’s single “Shape of You” added another 85,000 units to keep its place at the top of the digital songs chart.
Trey Songz’s album “Tremaine” was the only other new release to debut in the Top 10, selling 67,000 units to take the No. 3 spot on the Billboard 200. (Agencies)