On If Summer Had Its Ghosts, a primarily acoustic trio recording, drummer Bill Bruford, bassist Eddie Gómez, and pianist/guitarist Ralph Towner create some lush, wondrous, spontaneous and melodic music. It has jazz roots, improvisational branches, and elfin extensions. There's no gimmickry or pretension, although Bruford does add some sampled colors, and Towner overdubs his instruments as well as throwing in a pinch of electronic keyboards. What you basically hear is Bruford's newest and freshest music, interpreted and extrapolated upon by three virtuosos in mellifluous interactive conversation. At their most swinging, as on the lively, four/four, tick-tock, light rimshot, mid-tempo swing of the title track, they are telepathic, with Towner effortlessly switching from acoustic 12-string to piano and Gómez laying down soulful, full, deep bass punctuations.
The contributions of pianist, composer, arranger and bandleader Bill Evans to the language and appreciation of jazz continue to have a profound influence on musicians. Join master pianist Chick Corea as he leads original Evans alumni - bassist Eddie Gomez and the late drummer Paul Motian - on Further Explorations, a two-CD live set of 19 tracks. The spirit of Evans comes alive thanks to the vibrant simpatico shared by these three master musicians.
A flute-bass duo is not an everyday occurrence on CD, let alone making up an entire release. Yet the combination of Jeremy Steig and Eddie Gomez in this 1975 concert works extremely well because of the virtuoso talent of both musicians, along with their obviously compatibility. They previously had worked together on the Bill Evans' album What's New and Gomez had recently departed Evans at the time of this recording.
Cardboard sleeve (mini LP) reissue from Bill Evans featuring the high-fidelity SHM-CD format (compatible with standard CD players) and the latest 24bit/96kHz digital remastering. Part of a 5-album Bill Evans SHM-CD cardboard sleeve reissue series featuring albums "I Will Say Goodbye," "Alone (Again)," "Intuition," "Re: Person I Knew," and "Jazzhouse." After seven years of their close relationship in his trio, Bill Evans in 1974 finally realized his dream of recording a duo album with bassist Eddie Gomez. Intuition is that album. One of the most brilliant of the young bassists influenced by Scott LaFaro, Gomez continued development of the role of the bass in Evans's trio as a fully contributory voice, not just a member of the rhythm section.
Bassist Eddie Gomez and pianist Cesarius Alvim met through the late Bill Evans while Gomez was still playing in his trio. A decade after Evans' death in 1980, they made their first album together, though it would be 20 years before they reunited for this impressive duo session. With minimal discussion of prospective songs, they work magic together in the studio, playing a mix of standards, obscurities, and originals. Gomez sometimes sings softly along with his bass (as he would do at times in Evans' group), while the less well-known Alvim proves himself to be a sensitive accompanist and lyrical soloist. Their spacious treatment of "Spring Is Here" brings out its bittersweet nature while taking this favorite into new territory.
Eddie Gomez is a brilliant bassist whose flexibility and quick reflexes make him an ideal accompanist (although his own albums tend to be a bit erratic jazz-wise). He grew up in New York and was with the Newport Festival Youth Band during 1959-1961. After studying at Juilliard, Gomez played with Rufus Jones' sextet, Marian McPartland (1964), Paul Bley (1964-1965), Giuseppe Logan, Gerry Mulligan, and Gary McFarland, among others. Gomez came to fame during his long period with the Bill Evans Trio (1966-1977).
This is a nice date of solid jazz nuggets, a tango, and a few originals played by a killer group of veterans: an excellent trio that includes Eddie Gуmez, Billy Drummond, and Japanese piano virtuoso and composer Yutaka Kobayashi. Guitarist Al di Meola appears on two tracks as well. The three originals by Kobayashi are beautifully subtle yet with a richly textured and harmonically compelling palette, particularly "Sundry Waltz No. 9," which builds from a very skeletal piano figure into a full-blown swinging keyboard walker – Drummond's brushwork is gorgeous as well. The reading of Wayne Shorter's "Nefertiti" is very rich and deep, with Gуmez's bassline reaching right into the heart of the mode for a near duplicate melody line. Chick Corea's "Captain Marvel" comes across as a shock due to di Meola's electric guitar sting.