Bill Evans Music

This album requires repeated listening. After a few close listens with good headphones or good speakers, you will finally get a hand of these tunes and be rewarded by the amazing interplay of Bill Evans and Scott Lafaro. Paul Motian is more on the drums and less on the brushes here. Evans and Lafaro both are more extroverted than on the Village Vanguard recordings. Once you get used to the sound quality, these recordings are a treasure. Like a previos person said, it is an acquired taste, and it's more like a document than an album. But nevertheless amazing and worth getting if you truly are a fan.

For our biggest pleasure, here we are with a rare recording which stayed out of sight for a long time. Just a few people could pretend to have heard this magnificent recording by legendary Bill Evans. These sessions at Birdland in march and april 1960 were recorded directly from broadcast at the famous club. Bill Evans (piano), Scott La Faro(bass) and Paul Motian don't need to be introduced. Bill plays like a monster ! To me, he seems freer than on the village vanguard sessions! These sessions are too important to be ignored and the speaker does not interrupt the pianist, and the pieces are not shunted. We owe a big debt to Jordi Pujol (Fresh Sound Label) who signed the liner notes. The sound is okay. Standards are played : Three versions of Autumn Leaves, Our Delight (Tadd Dameron) played at furia speed, Beautiful Love with the wonderful toucher of Bill, Scott La Faro seems to take more risks than on The famous Village Vanguard Sessions the next year. You shall also find superb versions of Speak Low (rendered at a supersonic speed!!!), All of You, Come rain or come shine, Nardis, and Blue in Green (moving). This recording is for completists and all fans of Bill Evans. Magic ! A true moment's happiness. I hesitate though between 4 and 5 stars because of the speaker : it doesn't sound like a record but rather like a document.

Having read the 3 prior reviews, numerous times, I delayed purchasing the album for a couple weeks. That was a mistake (but thankfully not a major one) - I strongly recommend this album. The sound is not nearly as dire as noted in the 2 of the other reviews - better than "ok" in my opinion: the artists work cuts through the chatter in the club easily. R Frederic describes the playing quite well (at least as well as words could possibly capture it) - here we find a more energized approach from the First Trio. LaFaro's explorations and Evans' response are more extroverted (and truly exceptional) - with Motian playing a more rhythmic role than in the Vanguard sessions (not in any way taking away from his masterful playing). This is Bill Evans at his best in 1960 - over a year before the Vanguard June `61 date. To cut through it all - These recordings are the second of only two live recordings of the First Trio at work: Why would there be any debate over the merit of spending ~$30 to own these?

The other reviewers of this CD are far too kind (probably because they would love another great LaFaro/Evans Album) but you can not rate this album highly because the talking among the audience is far too audible. At times I checked and adjusted my stereo, only to conclude that the noise that was distracting me was on the recording.

The sound quality here really does get in the way--how sad to contemplate what would have happened if the trio was properly recorded on this date! That said, once you become accustomed to the background noise and general muddiness the performances really shine through. LaFaro's solos are longer and more intense here than on the Vanguard recordings, and the interplay between the three has never been more evident.

Be warned: Not for the real opera lover, however, this CD gets played more often than some of my operatic sets!
Easy listening and well conceived, the album is great from start to finish. Stand out tracks are Ebben and Addio, as well as a great Ave Maria

this is your typical new age style album. Nothing innovative or ground breaking. Overall, a good above par work. Better then most. Just lacks the originality of a few other artists.

This is by far the most played album in my collection. It has a wonderful melencholic depressive sound with a tasteful percussion. If you follow the lyrics, each track has a separate story that when put together make a complete story, that almost has to be planned, although nothing in the album indicates that Paul Schwartz intended it that way.
This is a truly wonderful album and I suggest it for anyone who likes new age or classical, or who has a depressive streak in their personality.

I have not yet heard this CD. I have all the other's in the Cafe Del Mar series and they are the BEST!! Truly enjoyable music.

I've been a long time fan of Enya and Yani type music, and am always on the scout for a good album of mood music. I heard Aria 2 while browsing a curiosity shop in Downtown Disney and fell in love. I highly suggest this for anyone who likes a melencholy sound mixed with a nice percussion part.

I enjoy all of Rebecca Luker's albums, and this Aria series does not disappoint. It's soothing and relaxing, and her voice is, of course, lovely.

review review review review blah blah blah blah and stuff, man.

I have never liked opera, but this music is a gentle introduction with enough contemporary addition to pique my interest. Very well done. I have also purchased the first Aria CD and also number 3.

This CD speaks to the heart. It expresses powerful emotions of longing, grief, and tenderness. A baring of the soul with such beauty. Clair Marlo's vocals in Lullabye (Sviraj) are absolutely divine. It sends me. Here we are treated to at least three different vocals, not just Rebecca Luker, and they blend and flow so beautifully. It's just wonderful. What a treat. Can't say enough about this CD. I love it.

ARIA volume 1 was certainly a winner and this follow-up CD is fantastic. I liked the first CD so much that every time I went to the record store or online at Amazon I would look to see if Paul Schwartz and written a sequel. Schwartz selects wonderful works from classical music and re-arranges them so that they maintain the essential spirit and intent of the original but are made accessible for the ears of contemporary listeners. Thus, you owe it to yourself to listen to these gems.

Rebecca Luker's super voice is wonderful as she weaves a mystical mood with Monteverdi's Lament of Arianna; Catalani's "Ebben ne Andro Lontano" from La Wally; "Addio" from Verdi's La Traviata; "Barcarolle" from Offenbach's Contes De Hoffman and "Ave Maria" by Caccini. I looked Luker up on the web and found that she has starred in various Broadway productions. Her voice is incredible and Schwartz integrates her angelic sound into the electronic instrumentation. The "Ave Maria" is somewhat odd, with the strong precussions, but the choir and Rebecca Luker keep it within bounds.

This CD differs from the first ARIA in that we are treated to several instrumental works arranged by Schwartz. "Horizon" is a moody composition anchored by viola and cello. "Cantilena" is a piano solo played by Schwartz, a charming piece that echoes back to Verdi's "Addio" as well as the Croatina Lullabye sung by Clair Marlo.

A second outstanding singer, Clair Marlo, delivers "Sviraj, a Croatian Lullabye" which Schwartz offers in two distinct arrangements, once in Croatian and then again in English.

Faure's "Pavane" is very well done with Marc Antoine playing the guitar solo. The work is improvised so that a contemporary jazz interpretation is offered.

Steve Barton's voice, accompanied by the oboe, offers us "Leiermann" from Die Wintereise by Schubert. This is a dreamy sad odd spacey work with lyrics about a freezing ancient shoeless hurdy-gurdy man. The work is full of mystery and retains Schubert's complexity.

Paul Schwartz makes the outstanding compositions of previous generations come alive for contemporary audiences.