Bill Evans ‎– Live At Ronnie Scott's

Label:
Resonance Records ‎– HLP-9046
Format:
2 × Vinyl, LP, Deluxe Edition, Limited Edition, Numbered, Mono, 180g, Gatefold
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A1 A Sleeping Bee
Written-By – H. Arlen*, T. Capote*
4:58
A2 You're Gonna Hear From Me (Version 1)
Written-By – A. Previn*, D. Previn*
3:01
A3 Yesterdays
Written-By – J. Kern*, O. Harbach*
4:53
A4 Turn Out The Stars
Written-By – B. Evans*
4:46
A5 My Man's Gone Now
Written-By – D. Kuhns*, D. Heyward*, G. - I. Gershwin*
5:54
B1 Emily (Version 1)
Written-By – J. Mandel*
4:47
B2 Spring Is Here
Written-By – R. Rodgers*
4:59
B3 Embraceable You
Written-By – G. - I. Gershwin*
5:59
B4 For Heaven’s Sake
Written-By – D. Meyer*, E. Bretton*, S. Edwards*
4:25
B5 Someday My Prince Will Come
Written-By – F. Churchill*
6:27
C1 Quiet Now
Written-By – D. Zeitlin*
5:49
C2 Round Midnight
Written-By – T- Monk*
6:53
C3 Stella By Starlight
Written-By – V. Young*
3:58
C4 Alfie
Written-By – B. Bacharach*
5:24
C5 You're Gonna Hear From Me (Version 2)
Written-By – A. Previn*, D. Previn*
3:21
D1 Very Early
Written-By – B. Evans*
5:01
D2 Emily (Version 2)
Written-By – J. Mandel*
4:14
D3 Waltz For Debby
Written-By – B. Evans*
4:58
D4 Autumn Leaves
Written-By – J. Kosma*
4:35
D5 Nardis
Written-By – M. Davis*
5:20

Companies, etc.

Credits

Notes

Limited edition 7000 copies
Recorded July 1968

Differs from Live At Ronnie Scott's - country of release. Includes 11 page black & white insert.

Barcode and Other Identifiers

  • Barcode (Text): 7 12758 04051 0
  • Other (Cat# on labels): HLP-9046
  • Matrix / Runout (A side runout, etched): BG HLP-9046-A 35745-1(3)
  • Matrix / Runout (B side runout, etched): BG HLP-9046-B 35745-2(3)
  • Matrix / Runout (C side runout, etched): BG HLP-9046-C 35745-3(3)
  • Matrix / Runout (D side runout, etched): BG HLP-9046-D 35745-4(3)

Other Versions (2 of 2) View All

Cat# Artist Title (Format) Label Cat# Country Year
HCD-2046 Bill Evans Live At Ronnie Scott's(2xCD, Album) Resonance Records HCD-2046 USA, Canada & Europe 2020 Sell This Version
HLP-9046 Bill Evans Live At Ronnie Scott's(2xLP, Mono, Ltd, 180) Resonance Records HLP-9046 Japan 2020 Sell This Version

Recommendations

Reviews Show All 15 Reviews

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zdkaiser

zdkaiser

December 22, 2020
edited about 1 month ago
Honestly, I was expecting this to sound like complete garbage based on the reviews here, but it's actually not that bad. There is some tape hiss here and there, that's for sure, and I wouldn't recommend listening through analytic highend headphones. But for an album to throw on with dinner, it definitely provides. The playing is excellent, and the sound is actually pretty decent for the time period and the means by which it was recorded. Granted, I've spent much of my youth listening to recordings from the taper sections for bands like the Grateful Dead, Phish, MMW, Les Claypool, etc. So I've heard much worse, i.e., boomy, muddy sound. This has none of that. Overall, I was prepared to be disappointed with this release given the price tag relative to the Discogs reviews here, and I have to say, I'm pleasantly suprised. Obviously, not the most audiophile release from the label, but glad to have it in my collection nonetheless.
streetmouse

streetmouse

December 21, 2020

Recorded back in 1968, smack dab in the middle of the psychedelic 60’s Live At Ronnie Scotts was derived from the personal recordings of drummer Jack DeJohnette, where they’ve been in storage for over fifty years, with over two hours of music has been remastered for this outing.

The late 50’s and nearly all of the 60’s saw some simply brilliant jazz being laid down, those years also saw some extreme and unimagined changes as well, where cool cats and kittens were blown away with the stunning jazz conversations that were being held on stage, where lucky for so many, a good number of those have surfaced over the years, redefining and re-envisioning those wayward nights. Here Bill Evans is backed by his trio, and I use the word ‘backed’ loosely, as these gents swing together like no one’s business, where we find Eddie Gomez and Jack DeJohnette simply setting the stage on fire in their low-keyed and at times demandingly emancipated matter, one that never ceases to please these ears.

Not on this outing, though on the tapes, you get to hear Jack DeJohnette taking with Chick Corea about this show and these recordings, where perhaps one day we’ll be privy to that as well. As I’ve said, this collection is drawn from Jack DeJohnette’s personal archives, where Live at Ronnie Scott’s comprises twenty scintillating tracks captured during the Bill Evans Trio’s month long 1968 residency at the eponymous saxophonist impresario’s Soho club. This is Resonance’s second live Evans album to emanate from that venue, along with Evans in England, derived from a 1969 stand at Scott’s and featuring Eddie Gomez and drummer Marty Morell.

Saying that the music is creative would be an understatement, it’s a high water mark for Evans, where he became a hero for a new jazz generation, complex in its understated and in understandable manner, things come off as simply flowing, where it’s all quite beautiful. Yet with that in mind, expect to be crushed by crashing symbols and a whopping snare drum that may sound initially oppressive, though I assure you, you’ll slide into the grove and never look back.

Others have said that the overall result is a somewhat lackluster performance by Evans. Either due to percussive agitation or tour boredom, he tears through songs with little in the way of grace or tenderness. Still, on the other hand (and we do have two hands), there are plenty of bright spots. Gomez delivers sublime solos and is showcased extensively on several tracks, while on a number of songs DeJohnette produces lovely support, whisking Evans's temperament into a froth. In those cases, songs turn out sunny side up and are not to be forgotten.

*** The Fun Facts: Illustrator David Stone Martin has created a one of a kind lithograph to grace the over, a continuation of the work he’s done since the 1940’s, with the 180 gram double vinyl set being mastered and cut at 33 1/3 rpm by none other than Bernie Grundman, pressed by RTI and limited to seven thousand hand numbered copies world wide.

Review by Jenell Kesler
sunghyocho20

sunghyocho20

December 18, 2020
edited about 1 month ago

I saw the comments below and thought by myself if I have to sell this album or not (by the way, I have about 2500 LPs and 1000 CDs, and sell some of my collections when I feel I need). I listened to the whole album again and decided to keep this. Sound quality is not so good mainly because of the master, but it is covered by the good performances by the Trio. Well, I don't think DeJonette's over-performing his role. As we all know, it happens sometimes, and it might sound unprofessional especially during "Round Midnight, but I don't think it's his intention. But anyhow, overall performances looked ok to me. Sound quality is not satisfactory, but it's acceptable. So, I still recommend this album if you are a fan of Bill Evans. If you are not a big fan of Evas, then you might not be satisfied with this album.
markpeac2

markpeac2

December 17, 2020
edited about 1 month ago

Agree with all fellow members here...such a shame, although what I would say is that i don't think the intention from the label was a money grab but perhaps a clear intention to 'package up a recording' to enable Bill Evans fans to enjoy a performance...the YouTube promo vid seems genuine although like others i am very surprised that Bernie put his name to this. Perhaps the historical importance was more of a focus?!?. This is NO Tone Poet neither is this a good listen on any half decent setup...HOWEVER, it does provide newly found fans like myself an opportunity to get a flavour of a live performance peppered with the sounds of plates and cutlery in the background as diners at the club sit, watch, eat and listen enjoying jazz's most important trio at work. Jury's still out for me...ill be waiting for Some Other Time with eager anticipation!
dnkrst

dnkrst

December 11, 2020

It's hard to disagree with all the reviews thus far. I purchased it with the preconceived notion that the sound quality would equal previous Evans releases by Reasonance. However not to have this effort produced would be a shame. The music is great and the packaging excellent. I think we get a little spoiled as to our expectations. Thank you Resonance for putting it out. Maybe the next Evans release will be your best yet. I'm still glad to have it.
Dramned

Dramned

December 7, 2020

This performance at Ronnie Scott's in London was recorded with DeJohnette's own little unprofessional cassette recorder, and this is exactly what it sounds like. Expect this and the disappointments won't be that dramatic perhaps.
Does it sounds good? No.
Does it sounds bad? If you expect something like the Black Forest Recordings or the Hilversum Concert, it sounds really bad.
I own all the resonance recordings of Bill Evans and this one here has the worst sound of them all. Much background noise, low dynamic and all instruments sound muffled and flat.
But when I got over the initial shock, I just enjoyed the group's great performance. Because this is high level as ever.
But why Resonance released such below average sounding record as a limited "newly discovered sensation" again I will never comprehend. I would have liked more honesty here...!

Do you need this release in your collection?
If you are an audiophile vinyl nerd - NO. Because there are musically no new experiences.
If you are an audiophile Bill Evans nerd, you better enjoy all the other Resonance recordings.
If you are a Bill Evans aficionado and completist and you can live with a very mediocre sound quality and you can get it for an affordable price, give it a chance. But don't pay the fuc** scalpers here at Discogs! This recording definitely don't worth such fantasy price tags!
pascal_ernst

pascal_ernst

December 6, 2020
Agree with all comments stated. Audio on this otherwise very nice packaged release is really a shame.
jordan-23

jordan-23

December 5, 2020
I agree with the comments thus far. From now on, I have to learn that just because the packaging is nice, there is an RTI sticker on the front, and names like Bernie Grundman (or Kevin Gray) are thrown around, it doesn't make a record worth buying. This is a $50 + learning experience, even for an older cat like me. I'll need to see "sourced from the original analog tapes" somewhere on these future RSD releases before investing my time (waiting in line for an hour hoping to grab this) and my hard earned money. I thought Resonance was better than this!
keatinjg

keatinjg

December 5, 2020
edited about 1 month ago

Extremely disappointed I spent ~$60 all in on this. As others have stated the packaging is beautiful and the pressing is top notch, but the source material is just not even close to reasonable. I have heard better sounding boots on archive.org. Definitely learned a lesson on RSD FOMO and will take a critical eye on spending on future Resonance releases without previewing first.
LeoHorsfield

LeoHorsfield

December 4, 2020

Real scraping the barrell release. Yes the packaging is fantastic and the actual playing, at least what you can hear of it, is really good but to charge £40 or even £30 for this is a unashamed cash grab. The quality of recording is, for lack of a better word, dreadfulI, which is understandable when reading about how it was done. But the novelty and quality of playing doesn't really make up for the insane price. I love Evans but I do feel really dumb for forking out for this. I wouldn't even bother buying this on CD if I had heard it prior. Real shame.