The Squid's Ear Magazine


Evans, Bill Trio: At The Village Vanguard 1961, Revisited (ezz-thetics by Hat Hut Records Ltd)

Reissuing and remastering two seminal albums on the Riverside label from pianist and composer Bill Evan's trio with double bassist Scott LaFaro and drummer Paul Motian — Sunday At The Village Vanguard and Waltz for Debby — yielding jazz standards and helping define the modern jazz trio through impressive technical underpinnings and lyrical sophistication.
 

Price: $18.95



Quantity:

In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 2.00 units

Sample The Album:





product information:

Personnel:



Bill Evans-piano

Scott LaFaro-double bass

Paul Motian-drums


Click an artist name above to see in-stock items for that artist.




UPC: 752156115922

Label: ezz-thetics by Hat Hut Records Ltd
Catalog ID: ezz-thetics 1159
Squidco Product Code: 33575

Format: CD
Condition: New
Released: 2023
Country: Switzerland
Packaging: Cardboard Gatefold
Recorded at The Village Vanguard, in NYC, in June 25th, 1961.

Recorded at The Village Vanguard, New York City, June 25, 1961.



Recorded at The Village Vanguard, New York City, June 25, 1961.

Sunday at the Village Vanguard originally released in 1961 as a vinyl LP on the Riverside label with catalog code RLP 376.
Waltz for Debby originally released in 1962 as a vinyl LP on the Riverside label with catalog code RLP 9399.

Descriptions, Reviews, &c.

"Liner notes generally avoid referencing current affairs, for the good reason that what is front page news when the notes are being written may be gone and forgotten by the time the album is released. But there are exceptional circumstances, and here is one of them.

On his father's side, Bill Evans was of Welsh heritage, and on his mother's side, Russian, or rather Ukrainian, the two countries during his lifetime often being conflated as a result of Ukraine's on-off history as a Russian-Soviet vassal state. We are concerned here, as you may have surmised, with Evans' Ukrainian heritage. He wrote that he would have liked to explore this at first hand, and he had two opportunities to do so, during proposed visits to the Soviet Union with his trio in the years before Ukraine regained its independence in 1991.

But fate intervened on both occasions. The first was in 1969, and Evans was actually going through departure protocols at Kennedy Airport, bound for Moscow, when he was busted for possession of heroin. He spent a day or two in jail before his manager, Helen Keane, got him released on bail and booked on a get-out-of-jail-free methadone programme. It is fortunate, perhaps, that Evans did not make it to Moscow, to be busted there, for the Soviet Union's narcotics laws were as barbarous then as Russia's are now.

The second opportunity came in late 1980. But in response to the Soviet Union's bloody invasion of Afghanistan just a few weeks before the planned visit, Evans felt compelled to withdraw. In an open letter to Down Beat magazine, he set out the arguments for and against fulfilling the engagement. After acknowledging that there was a case for taking his cultural message to the Soviet Union, in tacit solidarity with regime opponents, he concluded the letter thus: "[But] to perform there voluntarily, after all, is to walk passively in the atmosphere of the degradation of the human spirit. My gesture will have little or no significance, but I follow my code and am at peace with myself." A few weeks later, Evans passed.

As history relates, beautiful music has sometimes been created by monstrous men. But even so, as is also the case with Evans' close contemporary, sometime colleague, and fellow shaman, John Coltrane, it is impossible to conceive of Evans' music being created by anyone bereft of moral integrity and love of humanity. The same might be said of jazz's first globally acknowledged shaman, Louis Armstrong, of whom Duke Ellington said: "He was born poor, died rich, and never hurt anyone along the way." Evans was not born poor, and heroin and cocaine ensured he did not die rich, but he too never hurt anyone along the way (other than himself).

There are numerous stories testifying to Evans' good character, both from fans who rocked up to ask for his autograph between sets, and were invariably treated with courtesy, and from people who knew him well and for long periods. Two such testimonies will suffice. In 1989, Orrin Keepnews, for seven years Evans' producer at Riverside, and later his producer at Milestone, who had worked with a broad spectrum of the human species, wrote: "Bill Evans was an honorable man and a sincerely dedicated artist - pretty remarkable accomplishments for a junkie. He kept his promises, performed as scheduled, and without exception came up with musically sound and valid concepts."

In 1995, Helen Keane, Evans' collaborator from 1963 until he passed in 1980, described him with an economy of words of which Evans the pianist would have approved: "Bill was a gentle person, but very strong."

Keane was talking about Evans' moral strength, but she could equally well have been referring to the way he, like Coltrane and Armstrong, rose above the hostility he faced at points in his career, and how he responded with equanimity even to personal attacks. In 1958, for instance, Evans spent around seven months in Miles Davis' sextet, where he frequently encountered what he called "silent treatment" from audiences who objected to a white man replacing Red Garland in the otherwise African American line-up. Evans' solos would be met with tepid applause or silence. It must have been hurtful, but Evans, who in the late 1950s lived with an African American woman (Peri Cousins, the dedicatee of his tune "Peri's Scope"), endured.

Evans took criticism on the chin, too. Paul Motian once remarked on how hard Scott LaFaro could be on Evans: "If he didn't think the music sounded right, if it was good but not perfect, he'd say to Bill, 'Man, you're just fucking up the music. Go look at yourself in the mirror.'" Whether LaFaro was referring to Evans' playing or his physical condition - by 1960, heroin had already ravaged his once athletic body - is not clear. But again, Evans endured.

Mention of Motian and LaFaro brings us to this disc, perhaps belatedly. But what more needs to be said about the music? What more, usefully, can be said about it? It is as close to perfection as makes no difference, and as close to immortality, too, and if you are still reading these notes, you will not need to be told why."-Chris May, June, 2023.



This album has been reviewed on our magazine:

The Squid
The Squid's Ear!

Artist Biographies

"William John Evans (August 16, 1929 - September 15, 1980) was an American jazz pianist and composer who worked primarily as the leader of his trio. His use of impressionist harmony, interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continues to influence jazz pianists today.

Born in Plainfield, New Jersey, United States, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, in New York City, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album ever.

In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, two albums were recorded at an engagement at New York's Village Vanguard jazz club, Sunday at the Village Vanguard and Waltz for Debby; a complete set of the Vanguard recordings on three CDs was issued decades later. However, ten days after this booking ended, LaFaro died in a car accident. After months of seclusion, Evans reemerged with a new trio, featuring bassist Chuck Israels. In 1963, Evans recorded Conversations with Myself, a solo album produced with overdubbing technology. In 1966, he met bassist Eddie Gómez, with whom he worked for the next 11 years. During the mid-1970s Bill Evans collaborated with the singer Tony Bennett on two critically acclaimed albums: The Tony Bennett/Bill Evans Album (1975) and Together Again (1977).

Many of Evans's compositions, such as "Waltz for Debby" and "Time Remembered", have become standards, played and recorded by many artists. Evans received 31 Grammy nominations and seven awards, and was inducted into the DownBeat Jazz Hall of Fame."

-Wikipedia (https://en.wikipedia.org/wiki/Bill_Evans)
7/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Rocco Scott LaFaro (April 3, 1936 - July 6, 1961) was an American jazz double bassist known for his work with the Bill Evans Trio. LaFaro broke new ground on the instrument, developing a countermelodic style of accompaniment rather than playing traditional walking basslines, as well as virtuosity that was practically unmatched by any of his contemporaries. Despite his short career, he remains one of the most influential jazz bassists, and was ranked number 16 on Bass Player magazine's top 100 bass players of all time."

-Wikipedia (https://en.wikipedia.org/wiki/Scott_LaFaro)
7/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Stephen Paul Motian (March 25, 1931 - November 22, 2011) was an American jazz drummer, percussionist, and composer. Motian played an important role in freeing jazz drummers from strict time-keeping duties.

He first came to prominence in the late 1950s in the piano trio of Bill Evans, and later was a regular in pianist Keith Jarrett's band for about a decade (c. 1967-1976). Motian began his career as a bandleader in the early 1970s. Perhaps his two most notable groups were a longstanding trio of guitarist Bill Frisell and saxophonist Joe Lovano, and the Electric Bebop Band which featured the drummer working mostly with younger musicians doing interpretations of bebop standards.

Motian was born in Philadelphia, Pennsylvania, and raised in Providence, Rhode Island. He is of Armenian descent. After playing guitar in his childhood, Motian began playing the drums at age 12, eventually touring New England in a swing band. During the Korean War he joined the Navy.

Motian became a professional musician in 1954, and briefly played with pianist Thelonious Monk. He became well known as the drummer in pianist Bill Evans's trio (1959-64), initially alongside bassist Scott LaFaro and later with Chuck Israels.

Subsequently, he played with pianists Paul Bley (1963-64) and Keith Jarrett (1967-76). Other musicians with whom Motian performed and/or recorded in the early period of his career included Lennie Tristano, Warne Marsh, Lee Konitz, Joe Castro, Arlo Guthrie (Motian performed briefly with Guthrie in 1968-69, and performed with the singer at Woodstock), Carla Bley, Charlie Haden, and Don Cherry. Motian subsequently worked with musicians such as Marilyn Crispell, Bill Frisell, Leni Stern, Joe Lovano, Alan Pasqua, Bill McHenry, Stéphan Oliva, Frank Kimbrough, Eric Watson and many more.

Later in his career, Motian became an important composer and group leader, recording initially for ECM Records in the 1970s and early 1980s and then for Soul Note, JMT, and Winter & Winter before returning to ECM in 2005. From the early 1980s he led a trio featuring guitarist Bill Frisell and saxophonist Joe Lovano, occasionally joined by bassists Ed Schuller, Charlie Haden, or Marc Johnson, and other musicians, including Jim Pepper, Lee Konitz, Dewey Redman and Geri Allen. In addition to playing Motian's compositions, the group recorded tributes to Thelonious Monk and Bill Evans, and a series of Paul Motian on Broadway albums, featuring original interpretations of jazz standards.

Despite his important associations with pianists, Motian's work as a leader since the 1970s rarely included a pianist in his ensembles and relied heavily on guitarists. Motian's first instrument was the guitar, and he apparently retained an affinity for the instrument: in addition to his groups with Frisell, his first two solo albums on ECM featured Sam Brown, and his Electric Bebop Band featured two and occasionally three electric guitars. The group was founded in the early 1990s, and featured a variety of young guitar and saxophone players, in addition to electric bass and Motian's drums, including saxophonists Joshua Redman, Chris Potter, Chris Cheek, and Tony Malaby, and guitarists Kurt Rosenwinkel, Brad Shepik, Wolfgang Muthspiel, Steve Cardenas, Ben Monder, and Jakob Bro.

In 2011 Motian featured on a number of new recordings, including Live at Birdland (with Lee Konitz, Brad Mehldau and Charlie Haden), Samuel Blaser's Consort in Motion, No Comment by Augusto Pirodda, and Further Explorations with Chick Corea and Eddie Gómez. Bill McHenry's Ghosts of the Sun was released - by coincidence - on the day of Motian's death. Motian's final album as bandleader was The Windmills of Your Mind, featuring Bill Frisell, Thomas Morgan and Petra Haden.

Motian died on November 22, 2011 at New York's Mount Sinai Hospital of complications from myelodysplastic syndrome."

-Wikipedia (https://en.wikipedia.org/wiki/Paul_Motian)
7/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Gloria's Step 6:10

2. My Man's Gone Now 6:20

3. Solar 8:48

4. Alice In Wonderland 8:33

5. All Of You 8:17

6. Jade Visions 3:45

7. My Foolish Heart 4:52

8. Waltz For Debby 6:55

9. Detour Ahead 7:33

10. My Romance 7:10

11. Some Other Time 5:01

12. Milestones 6:33

Related Categories of Interest:


Hat Art
Improvised Music
Jazz
Melodic and Lyrical Jazz
Piano Trio (Piano Bass Drums)
Trio Recordings
NY Downtown & Metropolitan Jazz/Improv
New in Improvised Music

Search for other titles on the label:
ezz-thetics by Hat Hut Records Ltd.


Recommended & Related Releases:
Other Recommended Releases:
Coleman, Ornette
Free Jazz To Ornette! Revisited
(ezz-thetics by Hat Hut Records Ltd)
Exploring further the concepts of free jazz, saxophonist Ornette Colemans back-to-back 1961 & 62 albums find the composer and innovator in a ground-breaking double quartet that includes Eric Dolphy, Don Cherry & Freddie Hubbard, Scott LaFaro & Charlie Haden, and Billy Higgns & Ed Blackwell; then with quintet with Scott LaFaro temporarily taking Charlie Haden's chair.
Evans, Bill (w/ LoFaro / Motian)
The Legendary Trio At Birdland 1960 Revisited
(ezz-thetics by Hat Hut Records Ltd)
Unofficial jazz documentarian Boris Rose captured these recordings on reel-to-reel tape of the Bill Evans Trio in 1960, an artistically fulfilling concert at Birdland in NYC and a rare recording of this particular trio with bassist scott LaFaro and drummer Paul Motian; originally issued in 1992 on the Cool & Blue label, here properly restored and remastered.
Evans, Bill (Evans, Hall, Peacock, Motian, Israels, Bunker)
Duos With Jim Hall & Trios '64 & '65, Revisited [2 CDs]
(ezz-thetics by Hat Hut Records Ltd)
Three configurations of sophisticated duos & trios from four remastered albums recorded between 1962 and 1966 by pianist Bill Evans: first in duos with guitarist Jim Hall (Undercurrent); then with his trio of bassist Gary Peacock & Paul Motian (Trio 64); then with bassist Chuck Israels & drummer Larry Bunker (Trio 65); and last full circle to 1966, again with Jim Hall (Intermodulation).
Brown, Marion
Gesprachsfetzen & In Sommerhausen
(Moosicus)
Working with German jazz and "third stream" musician, vibraphonist & composer Gunter Hampel, New York alto saxophonist Marion Brown is heard in two live recordings from 1968 & 1969 in Munchen, Germany and Wurzburg, in quintet and sextet configurations with superb supporting musicians including Steve McCall (drums), Ambrose Jackson (trumpet), Daniel Laloux (bass) and Jeanne Lee (voice).
Mingus, Charles
At Antibes 1960, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Restoring and remastering the 1979 Atlantic album Mingus at Antibes from bassist & composer Charles Mingus, an extraordinary concert from the 1960 Antibes Jazz Festival with the masterful sextet of Eric Dolphy on alto sax & bass clarinet, Ted Curson on trumpet, Booker Ervin on tenor saxophone, and Dannie Richmond on drums, with Bud Powell or Mingus himself on piano.
Dixon, Bill w/ Archie Shepp, 7-Tette and Orchestra
Revisited
(ezz-thetics by Hat Hut Records Ltd)
Reissuing three essential album from trumpeter Bill Dixon's work in the 60's, first his 1962 album with saxophonist Archie Shepp in configurations of trio & quartet; then Dixon's septet album from 1964 in two compositions; and his orchestra album from 1967, showing the evolution of the trumpeter's work, approach to soloing, and his unique sense of orchestration.
Parker, Charlie
At Birdland 1950 "Revisited"
(ezz-thetics by Hat Hut Records Ltd)
A remarkable feat of remastering, sound restoration and pitch correction from the tapes of this June 1950 radio broadcast at Birdland in NYC, finding the exceptional quintet of jazz pioneers led by alto saxophonist Charlie Parker in superb form, with Fats Navarro on trumpet, Bud Powell on piano, Curley Russell on double bass and Art Blakey on drums.
Gillespie, Dizzy & Charlie Parker
Live, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Three essential concerts remastered, from the legacy of be-bop trailblazers, trumpeter Dizzy Gillespie and alto saxophonist Charlie Parker, with Don Byas, Al Haig piano, Curley Russell, Max Roach & Sidney Catlett at Town Hall 1945; with John Lewis, Al McKibbon & Joe Harris at Carnegie Hall 1947; and with Bud Powell, Tommy Potter & Roy Haynes at Birdland 1951.
Thornton, Clifford / Arthur Jones Trio
Ketchaoua / Scorpio
(ezz-thetics by Hat Hut Records Ltd)
Two powerfully intense 1969 free jazz recordings by American ex-patriots, saxophonist Arthur Jones and cornetist Clifford Thornton, recorded days apart in the same studio and released on BYG Records, Jones this reissue's connection with his own trio, and joining Thornton for four uniquely configured sessions that include Archie Shepp, Grachan Moncur III, Dave Burrell, and Sunny Murray.
Davis, Miles w/ Tadd Dameron
Revisited
(ezz-thetics by Hat Hut Records Ltd)
Between his work with Charlie Parker and before his own personal success, trumpeter Miles Davis joined the influential ensemble of pianist, composer and arranger Tadd Dameron, heard in six large ensemble pieces at New York's Royal Roost in 1949, and then in a quintet at the Paris Festival International De Jazz the same year, in both hearing a unique and confident facet to Miles' playing.
Davis, Miles Quintet
2nd Sessions 1956, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Recorded in the same October 1956 Rudy Van Gelder sessions that are heard on Miles Davis' Cookin' and Steamin' albums, these alternate takes with his quintet of John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on double bass and Philly Joe Jones on drums give us a unique view on the consistency and strength of the famous and foundational hard bop band.
Monk, Thelonious
Celebrating 75 Years Of His First Recordings
(ezz-thetics by Hat Hut Records Ltd)
The foundational work of composer and pianist Thelonious Monk is heard in these six remastered studio sessions for Blue Note Records recorded between 1947 to 1952, performing twenty three original compositions in bands from trios to sextets with a who's who of emerging jazz leaders including Art Blakey, Max Roach, Lou Donaldson, Kenny Dorham, and Milt Jackson.
Silver, Horace Quintet
Live New York, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Recorded around the time of his most famous records, Song For My Father and The Cape Verdean Blues, lyrical hard bop/Blue Note pianist and composer Horace Silver's band is heard live at The Half Note in NYC and at "The Cork & Bib" on Long Island with his spectacular band including trumpeters Carmell Jones & Woody Shaw and saxophonist Joe Henderson.
Davis, Miles Quintet (w/ Coltrane / Kelly / Chambers / Cobb)
Live Europe 1960, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Culled from two concerts on Norman Granz's Spring 1960 European tour, Miles' seminal 50s band was on the point of dissolution, Coltrane soon to leave to form his own classic quartet, and the distinction between the old and new is evident in Coltrane's expansive and intricate soloing over standards and Kind of Blue material including "So What" or "On Green Dolphin Street".
Coltrane, John
Favorites Live (Naima / My Favorite Things 1963 / A Love Supreme 1965) Revisited
(ezz-thetics by Hat Hut Records Ltd)
Well-recorded performances of Coltrane's most noted works--"Naima", "My Favorite Things" and "A Love Supreme"--in superb concerts from Berlin in 1963 and Antibes in 1965 with his classic quartet of pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones, revealing the expansion and freedom these compositions receive through the flexibility of live performance.
Coltrane, John Quartet
Song Of Praise, Live New York 1965 Revisited
(ezz-thetics by Hat Hut Records Ltd)
Recorded during an extended stay at the Half Note in NYC from saxophonist John Coltrane's Quartet with pianist McCoy Tyner, double bassist Jimmy Garrison and drummer Elvin Jones, originally recorded for radio broadcast, here reissued and resequenced to demonstrate Coltrane's evolution in presentation & performance, while also mapping a future to his music.
Coltrane, John
Chasin The Trane, Revisited
(ezz-thetics by Hat Hut Records Ltd)
The 4-night engagement at the Village Vanguard in November 1961 with sidemen Eric Dolphy, McCoy Tyner, Reggie Workman, Jimmy Garrison & Elvin Jones resulted in saxophonist John Coltrane's 1962 "Live at the Village Vanguard" album, his evolving freedom surprisingly divisive and even decried as "anti-jazz", here reissued and remastered with a bonus version of "Spiritual".
Bley, Paul Trio
Touching & Blood, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Reissuing two essential and innovative piano trio albums: Paul Bley Trio's 1965 album Touching with Bley on piano, Kent Carter on double bass and Barry Altschul on drums, plus the title track from the 1967 Bley album In Haarlem - Blood with Altschul and Mark Levinson taking the double bass roll, performing compositions by Paul Bley, Carla Bley and Annette Peacock.
Lossing, Russ / Ed Schuller / Paul Motian
As It Grows
(Hatology)
Composer and pianist Russ Lossing explores the eloquence of silence as his music grows out of silence and the space between thought and gesture in this trio with Ed Schuller (bass) and Paul Motian (drums).
Adkins, Michael Quartet
Rotator
(Hatology)
New York tenor saxophonist and composer Michael Adkins with his quartet including Paul Motian on drums in a set of 9 original compositions.



Customers Who Bought This Item Also Bought:
Taylor, Cecil Unit (w/ Lyons / Silva / Cooper / Murray)
Live At Fat Tuesdays 1980 - First Visit Archive [CD + POSTCARDS]
(ezz-thetics by Hat Hut Records Ltd)
A superb and extended live performance from 1980 at NYC's Fat Tuesday jazz club, from the outstanding sextet of forward-thinking free improvisers, Jimmy Lyons on alto sax, Ramsey Ameen on violin, Alan Silva on double bass & cello, Jerome Cooper on drums & African Balaphone and Sunny Murray on drums, led by Cecil Taylor on piano in an ecstatic concert never previously released.
Mingus, Charles
Presents Charles Mingus To Pre Bird, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Three sides of Charles Mingus in this remastered reissue set: the 1961 Candid album Mingus Presents Mingus with the classic quartet of Eric Dolphy, Ted Curson and Dannie Richmond; then the Mercury release Pre-Bird from the same year, in ensembles performing the music of or influenced by Duke Ellington, along with the ambitious and brilliant through-composed work, "Half Mast Inhibition".
Shorter, Alan
Mephistopheles To Orgasm - Revisited
(ezz-thetics by Hat Hut Records Ltd)
An exemplary set of explorative hard bop compositions from composer/trumpeter Alan Shorter, first Mephistopheles from Wayne Shorter's The All Seeing Eye in an octet with legends Wayne Shorter, James Spaulding, Freddie Hubbard, Grachan Moncur III, Herbie Hancock, Ron Carter & Joe Chambers; and then Alan Shorter's own Orgasm with Gato Barbieri, Charlie Haden, Reggie Johnson, Muhammad Ali & Rashied Ali.
McLean, Jackie
Let Freedom Ring To Destination...Out! - Revisited
(ezz-thetics by Hat Hut Records Ltd)
Remastering and reissuing two vital Blue Note albums from alto saxophonist Jackie McLean: 1963's Let Freedom Ring in a quartet with Walter Davis (piano), Herbie Lewis (double bass) & Billy Higgins (drums); then 1964's Destination... Out! in a quintet with Grachan Moncur III (trombone), Bobby Hutcherson (vibes), Larry Ridley (double bass) and Roy Haynes (drums).
Ayler, Albert (incl. Milford Graves, Cecil Taylor, Jimmy Lyons, Sunny Murray, &c)
More Lost Performances, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Remastering previously unavailable and vital performances from three configurations of saxophonist Albert Ayler's bands, including their 1967 Newport Festival concert with Milford Graves, their performance at John Coltrane's 1967 Funeral at St. Peter's Lutheran Church in NYC, and an incredible 1962 concert with Cecil Taylor's group with Jimmy Lyons and Sunny Murray in Copenhagen.
Coleman, Ornette Trio
At The Golden Circle Stockholm, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Reissuing and remastering both volumes from saxophonist, trumpeter and violinist Ornette Coleman's 1966 Blue Note album of his 1965 performance at the Golden Circle in Stockholm, Sweden in a trio with double bassist David Izenzon and drummer Charles Moffett, two days of exceptional concerts and the first example of Ornette's violin playing on any recording.



The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC