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Bill Evans in Norway: The Kongsberg Concert ~ Bill Evans | By Eddie Carter
One of my favorite ways to enjoy jazz while reading is listening to a piano trio and one of my favorite pianists for this is Bill Evans. I was thrilled to pick up a Record Store Day copy of this morning’s album from the library. Bill Evans in Norway – The Kongsberg Concert (Elemental Music 5990547) is a two-record set that captures a never-before-released trio performance at the 1970 Kongsberg Jazz Festival, recorded a few days after the Montreux Jazz Festival. Bill is joined on this date by two gentlemen who have been members of the threesome for a while: Eddie Gomez on bass and Marty Morell on drums. My copy is 4504 of 8850 in the Worldwide limited edition Stereo release.
The album opener, Come Rain or Come Shine, by Harold Arlen and Johnny Mercer, was first performed in the 1946 Broadway musical St. Louis Woman. Bill opens with a short solo introduction, building to the trio’s medium melody. Eddie steps up first and swings with full-toned ease. Bill takes over and captivates the listener with a soulful rendition until the song’s reprise and ending. What Are You Doing The Rest of Your Life? by Michel Legrand, Alan and Marilyn Bergman is a hauntingly tender song that opens with the trio’s pretty theme. Evans’s solo is a beautiful interpretation, culminating with a gentle restatement and finale.
34 Skidoo by Bill Evans starts with the trio setting a spirited groove in the melody. Bill kicks off the opening statement with a carefree zest and a display of his virtuosity that will leave the listener in awe. In the following interpretation, Eddie’s bass walks purposefully ahead of the pianist’s reappearance for the song’s conclusion. Turn Out The Stars is one of Bill’s most beautiful compositions. The piano’s introduction begins at a deceptively slow tempo before the pace picks up for the melody. As the song’s only soloist, Bill tells a touching story in a profoundly emotional performance balanced by his bandmates, leading to a peaceful ending.
Side Two starts with Autumn Leaves by Joseph Kosma, Jacques Prévert and Johnny Mercer. The trio breaks into a hard-swinging opening chorus, and then Eddie takes a soaring solo that draws us in immediately while Marty’s brushwork provides the power. Bill takes flight in a vigorous reading preceding a rousing theme reprise and climax. Quiet Now by Denny Zeitlin is a gorgeous ballad, beginning with a short piano introduction which blossoms into an elegant melody. In the song’s only reading, Bill again has the spotlight and gives a beautifully conceived performance, leading to a tender ending that will linger in the listener’s memory long after the song ends.
The tempo moves upward again for So What by Miles Davis. It kicks off with Eddie’s introduction to the ensemble’s upbeat theme. Bill stretches himself ambitiously to the edge of bop, modal and free jazz in the opening statement. Marty gets his first chance to solo next and gives a short workout, then Eddie catches fire in the closer before the song concludes. Gloria’s Step is by Scott LaFaro, a member of one of Evans’s best trios until he died in a tragic 1961 auto accident. The trio opens the third side with a lively melody; then, Bill gets to the heart of the matter in the lead solo. Marty flies briskly in the second presentation, and Eddie wraps up things before the trio’s out-chorus.
Emily is the creation of Johnny Mandel and Johnny Mercer. It comes to life with the pianist’s introduction to the trio’s lightly-swinging melody. Bill gets things off to a good start in the lead solo. Eddie fully displays his beautiful tone in the second interpretation ahead of the closing ensemble. Midnight Mood by Ben Raleigh and Joe Zawinul is a pretty tune that’s remarkably easy for listeners to love. The trio establishes a nice momentum in the opening ensemble, and then Bill starts the solos with effortless grace and relaxed authority. Eddie follows with a very satisfying performance before the trio restates the melody.
Side Four starts with the English composing team of Anthony Newley and Leslie Bricusse’s original, Who Can I Turn To? A solo piano introduction gets things started, leading to the theme. Eddie gets the first nod and turns in a peppy performance; then, Bill keeps the burners on high in the following presentation before the closing chorus. Some Other Time by Betty Comden, Adolph Green, and Leonard Bernstein begins with a gorgeous melody by the trio. The pianist has the song’s only solo and delivers a poignant presentation that is beautifully done, culminating with a gentle theme reprise and a thunderous ovation from the audience.
The album closer is Nardis by Miles Davis, beginning with a solo piano introduction, segueing to the threesome’s melody. Eddie has a lengthy canvas to work on and gives an impressive opening statement. Bill takes it up and generates a great deal of excitement next. Marty attacks the drums with fierce agility into the reprise and climax. Zev Feldman produced Bill Evans in Norway, and Kristian Ludvik-Bøhmer was the recording engineer. Matthew Lutthans mastered the album at The Mastering Lab. The record was pressed on 180 grams of audiophile vinyl and is extremely quiet until the music starts. An extensive booklet with rare photos and interviews is also included.
If you’re a fan of Bill Evans and in the mood for an outstanding live album, I happily recommend and invite you to check out Bill Evans in Norway – The Kongsberg Concert the next time you’re out record shopping. It may be challenging to find a copy because this was a Record Store Day release, but your detective work will be rewarded by one of the best live piano trio albums for a spot in your library!
~ Autumn Leaves, Come Rain or Come Shine – Source: JazzStandards.com
~ Emily, Nardis, So What, What Are You Doing The Rest of Your Life? Who Can | Turn To? – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious
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Paul Wertico was born January 5, 1953, in Chicago, Illinois. He began his professional career as a member of the Chicago based Simon & Bard Group. When Pat Metheny heard him play in 1983, he invited him and bassist Steve Rodby to join his band. During his time with Metheny, he played on ten albums and four videos, appeared on television, and toured around the world. He won seven Grammy Awards for Best Jazz Fusion Performance, Best Contemporary Jazz Performance, and Best Rock Instrumental Performance, as well as magazine polls, and several gold records.
Paul left Metheny in 2001 and formed the Paul Wertico Trio with John Moulder and Eric Hochberg. He collaborated with Larry Coryell, Kurt Elling, and Jeff Berlin. From 2000 to 2007, he was a member of SBB, the platinum-record-winning Polish progressive rock band. Wertico was a member of the Larry Coryell Power Trio until Coryell’s death in 2017.
He went on to create or gain membership in several groups Marbin, Paul Wertico’s Mid-East/Mid-West Alliance, Wertico Cain & Gray, and has won several awards. He has worked with Frank Catalano, Eddie Harris, Lee Konitz, Dave Liebman, Sam Rivers, Bob Mintzer, Terry Gibbs, Buddy DeFranco, Roscoe Mitchell, Evan Parker, Jay McShann, Herbie Mann, Randy Brecker, Jerry Goodman, Fareed Haque, Ramsey Lewis and the list goes on.
As an educator Paul has taught drums privately for 55 years, conducted clinics and masterclasses in addition to writing educational articles for Modern Drummer, DRUM!, Drums & Drumming, Drum Tracks, and DownBeat, and online for Musician.com. He is an Associate Professor of Jazz Studies at the Chicago College of Performing Arts of Roosevelt University, and also headed the school’s Jazz & Contemporary Music Studies program for five years. He served on the faculty of the percussion and jazz-studies programs at the Bienen School of Music at Northwestern University in Evanston, Illinois for 16 years, and taught at the Bloom School of Jazz in Chicago for several years.
Drummer and percussionist Parl Wertico continues to perform, record and educate.
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Ray Starling was born in London, England on Jauary 4, 1933 and began his musical training on piano. He started playing trumpet when he moved to the United States at age 16. He started his career as a member of the Kai Winding band and played the mellophone on two songs on Kai’s 1960 album The Incredible Kai Winding Trombones.
By the time he joined the Stan Kenton band in 1961, he had made several recordings not only on trumpet but also on flugelhorn and mellophone. He played in, and wrote for, Kenton’s band in 1961 and ’62. He replaced Gene Roland in the mellophone section, while Roland took the arranger position for the band. Starling played on the album Adventures In Blues consisting entirely of original compositions and arrangements by Roland.
After leaving the Kenton outfit, Ray briefly co-led with Joel Kaye the New York Soundstage Orchestra #1 that accompanied vocalists such as Annette Sanders and Tony Bennett. The name changed in the Seventies to the New York Neophonic Orchestra under Kaye’s leadership..
Starling continued to record through the ‘60s, notably in Johnny Richards’ big band and on J.J. Johnson’s 1965 big band album Goodies. He played piano in Buddy Rich’s big band in 1967.
Moving to Phoenix, Arizona is where he spent his remaining years. Trumpeter, mellophonist, pianist and arranger Ray Starling, who also played and recorded with Ray Eberly, Claude Thirnill, Johnny Richards, Sal Salvador, Peter Appleyard and Tony Ortega among others, died on May 15, 1982.
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Al Belletto was born on January 3, 1928 and raised in New Orleans, Louisiana. He graduated from Warren Easton Charter High School before entering Loyola University New Orleans studying music and then earning a master’s degree from Louisiana State University.
Belletto played with Sharkey Bonano, Louis Prima, Wingy Manone and the Dukes of Dixieland in the 1940s and 1950s. He went on to lead his own band and record several albums on Capitol Records from 1952. Along with his ensemble they became part of Woody Herman’s band for U. S. State Department tours of South America in 1958 and 1959.
In the Sixtiess, Al worked at the New Orleans Playboy Club fronting the house band and serving as Musical/Entertainment Director, booking nationally known acts into the venue.
Saxophonist and clarinetist Al Belletto, who recorded six albums as a leader, died on December 26, 2014 in Metairie, Louisiana.
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Naomi Taylor was born January 2, 1967 in Nassau, Bahamas and was the last of four girls born to missionary parents. Absorbed in gospel and classical music before she was able to talk at the tender age of six, her musical talents surfaced when she and her sisters performed as an “a cappella” quartet. Her rich alto/tenor blend and her ability to harmonize at such a young age came as a pleasant surprise to many. She discovered that she was able to pick up just about any musical instrument for the first time and play away, even though she was never taught.
With her musical talents growing, Naomi spent countless hours listening to singing quartets, captivated by the close harmony and often adding her own creative synchronization to compliment a tune. Her early singing career encompassed performances with various local choirs and musical groups, including The Bahamas National Youth Choir, the Renaissance Singers and Bel Canto.
She developed her musical talent under the mentorship of Mr. Cleophas Adderley. Though very talented, she shied away from solo performances, opting for singing within the security of a line-up or choir. Taylor sought out private lessons from pianist and vocal coach Lee Callender. This serendipitous meeting, then catapulted her into the world of jazz by reconnecting with bassist and bandleader Adrian D’Aguilar.
In 2008 she released her first recording The Other Side of Love, a compilation of warm and beautiful jazz standards. The recording features pianist Lou Rainone, saxophonist Ralph Munnings, percussionist Neil Symonette, bassist Adrian D’Aguilar and composer/guitarist Fred Ferguson.
Today, vocalist Naomi Taylor’s committed to jazz has her performing with Lee Calendar or Jazz Etcetera at the Oyster Bar in Nassau.
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