Edition one/ two
Date of Release Nov 26, 1979
Paris Concert, Edition One - ## 101 - 108
The two LPs recorded at this Paris concert are the last examples of Bill Evans's playing that have been released to date although there are other concert performances from 1980 that are expected to come out eventually. With bassist Marc Johnson and drummer Joe LaBarbera, Evans had one of the strongest trios of his career, as can be heard on such pieces as "My Romance," "I Loves You Porgy" and "Beautiful Love." The close communication between the players is reminiscent of Evans's 1961 unit with Scott LaFaro and Paul Motian.
Paris Concert, Edition Two - ## 201 - 207
Bill Evans's death in 1980 ended the career of the most influential (along with McCoy Tyner) acoustic pianist in jazz of the past 20 years. This second of two LPs features Evans, bassist Marc Johnson and drummer Paul Motian closely interacting on four of the pianist's originals, Gary McFarland's "Gary's Theme" and Miles Davis's "Nardis." The music is sensitive and subtly exciting. Until some later live sessions from 1980 are released, this can be considered Bill Evans's final recording and serves as evidence that, rather than declining, he was showing a renewed vitality and enthusiasm in his last year.
All Music Guide
========= from the cover ==========
I believe in things that are developed through hard work. I always like people who have developed long and hard, especially through introspection and a lot of dedication. I think what they arrive at is usually a much deeper and more beautiful thing than the person who seems to have that ability and fluidity from the beginning. I say this because it's a good message to give to young talents who feel as I used to. You hear musicians playing with great fluidity and complete conception early on, and you don't have that ability. I didn't. I had to know what I was doing. And yes, ultimately it turned out that these people weren't able to carry their thing very far. I found myself being more attracted to artists who have developed through the years and become better and deeper musicians. Miles Davis is an example of somebody that I think was a late arriver, even though he was recorded when he first came on the scene. You can hear how consciously he was soloing and how his knowledge was a very aware thing. He just constantly kept working and contributing to his own craft of writing and playing. And then at one point it all came together and he emerged with maturity, and he became a total artist and influence, making a kind of beauty that has never been heard before or since.
- Bill Evans (excerpted from Contemporary Keyboard, January 1981)