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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

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