Bill Evans - Some Other Time (The Lost Session from the Black Forest) (2016)

Coots, Evans, Newley, De Paul, Rodgers, Forrest, van Heusen, Ellington, LINK, STRACHEY, Bernstein, Previn, Wright, Porter, , Bricusse, Lane, Kaper, Brodszky, Davis Ramirez, Sherman

Bill Evans

Eddie Gomez, Jack Dejohnette

This double album includes 93 minutes of never- before-heard studio recordings by the great Bill Evans with captivating performances by Evans in solo, duo and trio settings.  It is one of the most extraordinary musical archeological finds.  The recordings on this album constitute the material from a June 20th, 1968 session recorded by Hans Georg Brunner-Schwer (HGBS) and Joachim-Ernst Brendt in Germany’s Black Forest that was originally intended for release on HGBS’s legendary  MPS label but for some reason were never released.  This is no ordinary recording.  It’s a remarkable document of an under-represented period in the career of one of the icons of Jazz.

2xHD is proud to be associated with Resonance Records on this exceptional project.

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Bill Evans

Evans was born in Plainfield, New Jersey and attended Southeastern Louisiana University. After a period in the Army, he returned to New York in 1955 and began working and recording with Tony Scott and George Russell. His subtly swinging, lucidly constructed solos with these leaders quickly attracted attention, and provided Evans with an opportunity to begin recording under his own name; but he was modest regarding his gifts, and for a time was reluctant to push himself into the limelight. All this changed after he spent several months during 1958 in Miles Davis's band, where he played alongside John Coltrane and Cannonball Adderley as well as the trumpeter and became a central figure in Davis's shift to modal improvisation.

The period with Davis allowed Evans to organize his own trio, which featured bassist Scott LaFaro and drummer Paul Motian by the end of 1959. These three players developed a new and more interactive approach to trio playing, one in which all instruments carried melodic responsibilities and functioned as equal voices. LaFaro's tragic death in a July 1961 highway accident ended the existence of this seminal unit; but not before it had recorded four albums, two in the studio and two at a Village Vanguard performance shortly before the bassist's death, that influenced several generations of pianists, bassists, and drummers.

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Bill Evans - Some Other Time (The Lost Session from the Black Forest) (2016)

Coots, Evans, Newley, De Paul, Rodgers, Forrest, van Heusen, Ellington, LINK, STRACHEY, Bernstein, Previn, Wright, Porter, , Bricusse, Lane, Kaper, Brodszky, Davis Ramirez, Sherman

Bill Evans

    Positive Feedback Online

"Check out the Double DSD of the brilliant performance and recording, Bill Evans' The Lost Sessions on 2xHD. Fantastic work on these transfers gents! Available from You get a delicious sense of every tidbit of Evans' playing, the feel and edge and the attack of the keys. A really keen presentation."

David W. Robinson for Positive Feedback Online[read full review]

    Positive Feedback DSD Sampler note

"Bill Evans...jazzic piano lyricism of the highest order. He needs no further introduction from me, certainly. Note that this track, “Baubles, Bangles, and Beads,” familiar to fans of Sinatra and Jobim, is taken from the recently discovered “Lost Sessions” double-length sessions (93 minutes!) that were recorded in Germany in 1968. The idea was to release them as a double-LP set on MPS, but somehow this was never done. Their rediscovery and reissue by 2xHD in Double DSD is a real treat to jazz lovers who really dig Bill I do. In Double DSD, this performance shines: a compelling performance and an exceptional recording. Any Bill Evans fan will want this entire album in their DSD collection!" - from the booklet of the album NDSD006 'Positive Feedback DSD Sampler'

David W. Robinson

    The Guardian -

This enthralling session by the late Bill Evans (a crucial pianistic influence on stars from McCoy Tyner and Herbie Hancock to Chick Corea, Keith Jarrett and Brad Mehldau) was recorded five days after a famous performance at the 1968 Montreux jazz festival by Evans, bassist Eddie Gomez and drummer Jack DeJohnette. Verve’s Montreux live recording won a Grammy, but this studio session has been in the vaults ever since. DeJohnette, who spent only six months with Evans (Some Other Time thus becomes only the second album to document the partnership) and would go on to play on Miles Davis’s Bitches Brew the next year, was a more elementally forceful drummer than the pianist usually employed – but his fire and his robust tenderness affected Evans’s attitude to drums from then on. DeJohnette the cymbal texturalist is in evidence on classics such as On Green Dolphin Street and In a Sentimental Mood, and the drummer’s more muscular intensity pushes the leader into controlled abandon on How About You? The album is not only exquisite jazz playing, but a document of a step-change in the great Bill Evans’s trio conception. 4 Stars

John Fordham[read full review]

    Pitchfork -

Some Other Time is a newly unearthed Bill Evans studio album, initially recorded in 1968 in Germany but not released until this month. It still sounds fresh and alive almost 50 years later. Some Other Time: The Lost Session From the Black Forest was recorded when Evans was on tour in Europe with a trio that included Eddie Gomez on bass and, on drums, a young Jack DeJohnette, who would go on to much greater fame with Miles Davis, Keith Jarrett, and as a leader himself. It was cut between stops on a European tour by German producer Joachim-Ernst Berendt, with the idea that the rights and a release plan would be figured out later. This particular group had only been documented on record just once, on At the Montreux Jazz Festival, recorded five days prior to this date. So the existence of an unheard studio album by the trio is a significant addition to the Evans story. The piano/bass/drums trio setting is where Evans did his most important and lasting work. Eddie Gomez, heard on this album, was a steady partner of Evans' for a decade, and the level of empathy between the two players is something to behold. On "What Kind of Fool Am I?," Gomez's dancing lines darts between Evans' bass notes, almost serving as a third hand on the piano. On the immortal title track, Gomez seems like half a conversation, accenting and commenting on Evans' melodic flourishes. For his part, DeJohnette offers tasteful and low-key accompaniment, heavy on the brushwork and soft textures on cymbals—he was more of a role-player at this point in his career. But the three together feel like a true unit. Evans' art has endured in part because he has a brilliant combination of formal sophistication and accessibility; critics and his fellow musicians heard the genius in his approach to chords, his lightness of touch, and his open-eared support of others in his band, while listeners could put on his records and simply bask in their beauty, how Evans' continual foregrounding of emotion made the sad songs extra wrenching and the happy ones extra buoyant.

Mark Richardson of Pitchfork[read full review]

    All About Jazz -

It plays out like a tale of espionage. In Bremen, Germany, more than five-thousand miles from his Los Angeles home, American producer Zev Feldman, has a chance meeting with the son of a late German jazz producer. In a parking lot, the German plays a single track of music on his car stereo; a forgotten recording from tapes almost fifty years old. Feldman, upon hearing more of the tapes, decides he needs to get this out to the world. It is not quite that straight-forward and it takes the better part of two years to complete the deal. The result is a rare Bill Evans studio album, Some Other Time: The Lost Session From the Black Forest. The never before released album features Evans, bassist Eddie Gomez and drummer Jack DeJohnette and represents DeJohnette's only studio recording with Evans. The content is trademark Evans in style, with alternative versions of "You're Gonna Hear From Me" and duo (with Gomez) and trio versions of "Baubles, Bangles & Beads." The difference between this and Evans' better known trio is in the influence of a young DeJohnette who plays with a lightness on the snare that belies his ability to guide the direction of the music. In comparison, the Gomez/DeJohnette trio opens Evans to more consistent cadences and longer lines than what was typical of the Paul Motian/Scott LaFaro trio. The differences may be subtle, but they place Some Other Time in a light that provides a somewhat different perspective on Evans' creative evolution. The animated "You Go To My Head" opens the first disc and sets the tone for a mostly upbeat collection of twenty-one compositions, relying deeply on well-known standards. There are, of course, the kind of ballads that were mainstays in the Evans repertoire. "Very Early," "I'll Remember April," "My Funny Valentine" and "Turn Out the Stars" stand out among the more reflective pieces. Another highlight is "Lover Man (Oh, Where Can You Be?)," demonstrating some of Evans' exceptional improvisational skills. Evans also offers some other fine solo performances with "These Foolish Things" and an unfinished "It's All Right With Me" being noteworthy. Gomez worked with Evans for some time but DeJohnette, for only six months in 1968. It was, however, at a time when Evans was overflowing with novel ideas and establishing himself as a force for change in jazz. Moreover, Evans was on the cusp of moving away from swinging lyricism to becoming a musical beat-poet. DeJohnette's sense of interchange and his propulsive motion, and layering technique lent itself to the new direction that Evans was working toward, and that influence remained after the drummer's brief tenure with Evans. Some Other Time: The Lost Session From the Black Forest is more than a nice-to-have addition to the Evans catalog; it is an excellent collection that shines a new light on one of the most revered artists in jazz.

Karl Ackermann of All About Jazz[read full review]

Bill Evans - Some Other Time (The Lost Session from the Black Forest) (2016)

Coots, Evans, Newley, De Paul, Rodgers, Forrest, van Heusen, Ellington, LINK, STRACHEY, Bernstein, Previn, Wright, Porter, , Bricusse, Lane, Kaper, Brodszky, Davis Ramirez, Sherman

Bill Evans

Digital Converters:Merging Horus and HAPI, Ayre QA9 Pro
Mastering Engineer:

For the 2xHD transfer of this recording, the original 1/4”, NAB master tape was played on a Nagra-T?modified?with?high-end?tube playback electronics, wired with OCC?silver cable from the playback head direct to a Telefunken EF806 tube. The Nagra T has one of the best transports ever made, having four direct drive motors, two pinch rollers and?a?tape tension head.   We did an analog transfer for each high-res sampling 
Each format (192kHz, DXD 352.8kHz, DSD, DSD128, DSD256) was created using Merging Horus/Hapi In DSD 5.6mHz and a dCS Vivaldi clock 

Mixing and Sound Restoration by: GEORGE KLABIN and FRAN GALA
2xHD Mastering: René Laflamme




Recording location:MPS Studios in Villingen, Germany in the Black Forest, Germany
Recording Type & Bit Rate:Analog to DSD256

Quality & Channel Selection Digitized at Analog to DSD256
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2XHDRE1044: Bill Evans - Some Other Time (The Lost Session from the Black Forest)
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You Go to My Head
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Very Early
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What Kind of Fool Am I?
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I'll Remember April
De Paul
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My Funny Valentine
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Baubles, Bangles and Beads
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Turn Out the Stars
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It Could Happen to You
van Heusen
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In a Sentimental Mood
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These Foolish Things
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Some Other Time
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You're Gonna Hear From Me
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Walkin' Up
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Baubles, Bangles and Beads
Forrest, Wright
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It's All Right with Me
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What Kind of Fool Am I?
, Bricusse, Newley
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How About You
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On Green Dolphin Street
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Wonder Why
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Lover Man (Oh, Where Can You Be?)
Davis Ramirez, Sherman
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You're Gonna Hear From Me (Alternate Take)
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