Sunday at the Village Vanguard
is the initial volume of a mammoth recording session by the
Bill Evans Trio
, from June 25, 1961 at New York's
Village Vanguard
documenting
Evans
' first trio with bassist
Scott LaFaro
and drummer
Paul Motian
. Its companion volume is
Waltz for Debby
. This trio is still widely regarded as his finest, largely because of the symbiotic interplay between its members. Tragically,
LaFaro
was killed in an automobile accident ten days after this session was recorded, and
assembled the two packages a few months afterward. While
"Waltz for Debby"
-- in retrospect -- is seemingly a showcase for
' brilliant, subtle, and wide-ranging pianism, this volume becomes an homage, largely, to the genius and contribution of
. That said, however, this were never the point. According to
Motian
, when
built this trio based on live gigs at the
Basin Street East
, the intention was always to develop a complete interactive trio experience. At the time, this was an unheard of notion, since piano trios were largely designed to showcase the prowess of the front line soloist with rhythmic accompaniment. Here, one need listen no further than the elegant and haunting, graceful modal reading of
"My Man's Gone Now"
from
Porgy & Bess
to know that there is something completely balanced and indescribably beautiful in their approach.
's brushes whisper along the ride cymbals and both
and
enter into a dialogue that emerges from a darkly hued minor mode, into the melody and somehow beyond it, into a form of seamless dialogic improvisation to know that in the act of one musician slipping over and under another -- as happens with all three in an aural basket weave -- is something utterly new and different, often imitated but never replicated. But in a sense it happens before this, on
's
"Gloria's Step,"
which opens the recording. His thematic statement includes the briefest intro, hesitant and spacious before he and pianist enter into a harmonic and contrapuntal conversation underscored by the hushed dynamics of
's snare, and the lightning-fast interlocutions of single string and chorded playing of
. The shapshifting reading of
Miles Davis
'
"Solar,"
is a place where angularity, counterpoint, and early modalism all come together in a knotty and insistent, yet utterly seamless blend of post-bop aesthetics and expanded harmonic intercourse with
, whose work, while indispensable in the balance of the trio, comes more into play here, and is more assertive with his half-time accents to frame the counterpoint playing of
. This is a great place to begin with
. ~ Thom Jurek