【対象】米国盤CD(589 319-2, 発売2002/08/06)
Evans がVerveに残した初の公式ソロ・アルバム。オリジナル5曲(*1)+7曲(*2)の全12曲が収録されている。
(*1) #1.Here’s That Rainy Day, #2.A Time for Love, #3.Midnight Mood, #4.On a Clear Day, #5.Never Let Me Go。
(*2) #6.Two Lonely People, #7. Here’s That Rainy Day(alt), #8. A Time for Love(alt), #9. Midnight Mood(alt), #10. On a Clear Day(alt), #11. Never Let Me Go(alt); #12.. Medley:All the Things You Are/Midnight Mood。
但し、収録曲には要注意。米国の初CD(833 801-2, 発売1988/01/18)は、#6.Medley:All the Things You Are/Midnight Mood, #7. A Time for Love(alt)の未発表曲2曲入りだ。
だが、1988年盤#7のA Time for Love(alt)と2002年盤(本品#8)の同曲はテイクが異なるため、1988年盤は絶対手離せない。
【評価】1988年盤の1曲は未収録だが、新たな未発表7曲を含むので星5。
Alone
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曲目リスト
1 | Here's That Rainy Day |
2 | A Time for Love |
3 | Midnight Mood |
4 | On a Clear Day (You Can See Forever) |
5 | Never Let Me Go |
6 | The Two Lonely People (Aka the Man and the Woman) |
7 | Here's That Rainy Day (Alternative Take) |
8 | A Time for Love (Alternative Take) |
9 | Midnight Mood (Alternative Take) |
10 | On a Clear Day (You Can See Forever) (Alternative Take) |
11 | Never Let Me Go (Alternative Take) |
12 | Medley: All the Things You Are/Midnight Mood |
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.22 x 1.02 x 12.45 cm; 90.72 g
- メーカー : Umvd Labels
- EAN : 0731458931928
- 商品モデル番号 : 2141101
- オリジナル盤発売日 : 2002
- レーベル : Umvd Labels
- ASIN : B00006C79A
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 200,694位ミュージック (ミュージックの売れ筋ランキングを見る)
- カスタマーレビュー:
カスタマーレビュー
星5つ中4.7つ
5つのうち4.7つ
全体的な星の数と星別のパーセンテージの内訳を計算するにあたり、単純平均は使用されていません。当システムでは、レビューがどの程度新しいか、レビュー担当者がAmazonで購入したかどうかなど、特定の要素をより重視しています。 詳細はこちら
17グローバルレーティング
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2011年6月7日に日本でレビュー済み
2008年4月29日に日本でレビュー済み
ソロピアノはおそらく最も完成されたフォームではないだろうか。ソロの演奏の中に全てがこめられ、必要にして十分な世界がそこにはある。とはいっても、ソロピアノという何のごまかしがきかない世界で勝負するにはよほどの実力と精神性がなければメッキがはらはらと剥げ落ちてしまうであろう。そんな厳しい世界を早い時期から試み、自己との対話を通じて深い精神世界にまで及んだピアニストこそビル・エヴァンスに他ならない。かつてこのアルバムをウォークマンで聴きながら、展覧会会場にいったことがあった。アンゼルム・キーファーの展覧会だったと記憶するが、そのときの視覚と聴覚の信じられないほどの相互貫入と、それによって高みへと運ばれ浄化された体験は忘れられない。音楽と美術が単に相性がいいといっているのではない。ときに予想を超えた化学変化をきたす危険な出会いがそこにあることをいいたかったのだ。それらは聴くと見るという行為、さらには優れた作品との対峙が引き起こす自己との対話の純化した姿なのだろう。
2005年5月3日に日本でレビュー済み
Amazonで購入
拡大版!と安心するなかれ。旧CD版ボートラの「タイム・フォー・ラヴ」別テイク(6’57”)とここに収録のテイク15(4’45”)はキー違い。これにマスターのテイク8(5’04”)があるわけで、3テイクそろえるには、旧版も捨ててはなりません。中山先生、その辺にも触れた聴き倒し「エヴァンスを聴け」を早いとこ書いてくださいね!
2006年5月5日に日本でレビュー済み
美しいアルバムである。Verveレーベル時代のBill Evansには出来不出来があると思うが,このソロ・アルバムの美しさ,それもかなりの自由度を持って演奏される"Never Let Me Go"には陶然とさせられる思いであり,そのレベルの高さに圧倒される。本盤はボーナス・トラック7曲収録というお徳用盤であることは認めるが,オリジナルLPの5曲だけでも,本盤の価値は極めて高いものであるはずだ。評者にとっては,むしろ5曲ぐらいの方が適切な長さであって,ここまでくるとやや冗長である感は否めないので一つ星減点としたが,そこかしこに現れるBill Evansタッチへの満足感はかなり高いので,コスト・パフォーマンスも相応に高い佳品である。
他の国からのトップレビュー
Fly By Light
5つ星のうち5.0
I'm Just a Bill
2007年1月27日にアメリカ合衆国でレビュー済みAmazonで購入
Being a student of jazz piano, I bought this CD both to learn and to enjoy. I was not disappointed in either respect.
My introduction to the CD was the album cut of Midnight Mood, a jazz waltz. Whether studying the key changes and improvisations, or just experiencing the alternating joy, exultation, and mystery of different sections of the song, I always get excited when I hear it begin. On a Clear Day, best known as Streisand's showpiece, is highly regarded by many in the jazz community and gives Evans a chance to explore the true potential of a song I used to regard as theatrical fluff. The album cut of Never Let Me Go goes on 15 minutes, and constantly goes back to the melody, but Evans (after apologizing in the liner notes for possibly being self-indulgent) always keeps the song interesting and forward-moving, like a well-told story.
The bonus tracks provide some instructive contrasts to the album cuts. I personally prefer the energy and occasional playfulness of the alternate cut of On a Clear Day (despite the one or two easily overlooked flubbed notes). It is almost as if Evans knew he had hit enough bad notes to warrant another take, but he went on to finish with a flourish because the pressure for a perfect take was gone. I prefer the alternate take, but it is fun and instructive to see the choice facing the producer. On the other hand, the alternate takes of Midnight Mood and Never Let Me Go, impressive as they are, just don't measure up when compared directly to the album cuts. On Midnight Mood (Take 13?), it sounds like Evans had not yet fully developed his tension-building vamp between verses that brings the album take beyond the level of mere skill and musicianship. If I had to guess, he went home to the woodshed and came back to do the final take. The alternate take of Never Let Me Go is almost 1/3 shorter than the album take, but somehow is not nearly as compelling to listen to. The seemless lines of the final takes just hadn't developed yet and Evans, reputedly his own worst critic, did not rest until he surpassed what was "ordinary" for someone as talented as he.
Legend has it that Evans, usually a trio player, had to have his arm twisted to do solo work. It is a truly fortunate thing for lovers of jazz piano that he lost that argument.
My introduction to the CD was the album cut of Midnight Mood, a jazz waltz. Whether studying the key changes and improvisations, or just experiencing the alternating joy, exultation, and mystery of different sections of the song, I always get excited when I hear it begin. On a Clear Day, best known as Streisand's showpiece, is highly regarded by many in the jazz community and gives Evans a chance to explore the true potential of a song I used to regard as theatrical fluff. The album cut of Never Let Me Go goes on 15 minutes, and constantly goes back to the melody, but Evans (after apologizing in the liner notes for possibly being self-indulgent) always keeps the song interesting and forward-moving, like a well-told story.
The bonus tracks provide some instructive contrasts to the album cuts. I personally prefer the energy and occasional playfulness of the alternate cut of On a Clear Day (despite the one or two easily overlooked flubbed notes). It is almost as if Evans knew he had hit enough bad notes to warrant another take, but he went on to finish with a flourish because the pressure for a perfect take was gone. I prefer the alternate take, but it is fun and instructive to see the choice facing the producer. On the other hand, the alternate takes of Midnight Mood and Never Let Me Go, impressive as they are, just don't measure up when compared directly to the album cuts. On Midnight Mood (Take 13?), it sounds like Evans had not yet fully developed his tension-building vamp between verses that brings the album take beyond the level of mere skill and musicianship. If I had to guess, he went home to the woodshed and came back to do the final take. The alternate take of Never Let Me Go is almost 1/3 shorter than the album take, but somehow is not nearly as compelling to listen to. The seemless lines of the final takes just hadn't developed yet and Evans, reputedly his own worst critic, did not rest until he surpassed what was "ordinary" for someone as talented as he.
Legend has it that Evans, usually a trio player, had to have his arm twisted to do solo work. It is a truly fortunate thing for lovers of jazz piano that he lost that argument.
Skim
5つ星のうち3.0
Great Album-but 3rd issue raises more questions than answers
2002年9月5日にアメリカ合衆国でレビュー済みAmazonで購入
This release has five newly-rediscovered alternate takes plus a performance of "The Two Lonely People." (Track 12 is the previously issued rehearsal take, a medley of "All the Things You Are" and "Midnight Mood.") Unfortunately, the documentation is very poor and doesn't clarify how the original LP was assembled.
So this release has six performances that are not included in the 18-cd box set of Bill Evans on Verve. If you own the 18-cd box, you're probably already obsessed with Bill Evans and have to have this. So the real question is: if you're a more casual Bill Evans fan and already own the 1988 cd issue, is it worth upgrading to this one? I'd say NO.
Sound quality: the 1988 issue, the 1997 box set, and the 2002 issue were mastered by three different people, and they all sound subtly different. (In the case of the "Town Hall" concert, the first cd issue is superior to the 1997 box set -- perhaps the tapes deteriorated between issues. But for "Alone" that's not the case.) This 2002 issue has noticeably reduced tape hiss, with appreciable but not significant reduction in the high frequencies. Verdict: a wash.
The 1988 issue and the 1997 box set both had a 6:56 alternate take of "A Time for Love" that has been omitted from the 2002 issue. The longer alternate is arguably better than the newly released 4:45 version (identified as take 15; the originally-released master is supposedly take 8, and no number has been provided for the 6:56 version.)
All three issues have the medley (really a fragment of a rehearsal that begins in mid-performance), but the 1988 issue clips off two eighth notes. The 1997 box set also has about 60 seconds of fragments of Evans warming up on the changes of both tunes.
The newly-released alternate takes: in most cases are clearly rehearsals as Evans tries out ideas. Many of them end abruptly or begin tentatively. If you're really interested to hear how his approach to a tune evolved, you may be interested, but as coherent performances that bear repeated listening, they don't stand up.
Documentation: here's where Verve has really let us down. The 1997 box set listed master numbers but no take numbers, explaining that many of the performances on the LP were edited together from multiple takes, possibly from performances recorded at different sessions. A few of the performances could be dated, but most were not. The 2002 issue suddenly has take numbers with no explanation of where they came from; there's no mention of editing. All performances are now dated, in some cases contradicting information in the 1997 box. If indeed the original LP featured edited performances, then many of the dates are suspect.
Verve is hyping this as a 5-star album, the first solo piano "recital" from this hugely-influential pianist. The hype isn't that far from the truth -- this is a great album. But the documentation on this release raises more questions than it answers. If Verve expects us to shell out a third time for a CD issue of this material (to say nothing of the previous LP copies we may have purchased and worn out), they owe it to us to provide documentation. Instead, they taunt us by using fragments of the session logs as artwork -- it looks nice but doesn't tell you anything. And that sums up this release.
So this release has six performances that are not included in the 18-cd box set of Bill Evans on Verve. If you own the 18-cd box, you're probably already obsessed with Bill Evans and have to have this. So the real question is: if you're a more casual Bill Evans fan and already own the 1988 cd issue, is it worth upgrading to this one? I'd say NO.
Sound quality: the 1988 issue, the 1997 box set, and the 2002 issue were mastered by three different people, and they all sound subtly different. (In the case of the "Town Hall" concert, the first cd issue is superior to the 1997 box set -- perhaps the tapes deteriorated between issues. But for "Alone" that's not the case.) This 2002 issue has noticeably reduced tape hiss, with appreciable but not significant reduction in the high frequencies. Verdict: a wash.
The 1988 issue and the 1997 box set both had a 6:56 alternate take of "A Time for Love" that has been omitted from the 2002 issue. The longer alternate is arguably better than the newly released 4:45 version (identified as take 15; the originally-released master is supposedly take 8, and no number has been provided for the 6:56 version.)
All three issues have the medley (really a fragment of a rehearsal that begins in mid-performance), but the 1988 issue clips off two eighth notes. The 1997 box set also has about 60 seconds of fragments of Evans warming up on the changes of both tunes.
The newly-released alternate takes: in most cases are clearly rehearsals as Evans tries out ideas. Many of them end abruptly or begin tentatively. If you're really interested to hear how his approach to a tune evolved, you may be interested, but as coherent performances that bear repeated listening, they don't stand up.
Documentation: here's where Verve has really let us down. The 1997 box set listed master numbers but no take numbers, explaining that many of the performances on the LP were edited together from multiple takes, possibly from performances recorded at different sessions. A few of the performances could be dated, but most were not. The 2002 issue suddenly has take numbers with no explanation of where they came from; there's no mention of editing. All performances are now dated, in some cases contradicting information in the 1997 box. If indeed the original LP featured edited performances, then many of the dates are suspect.
Verve is hyping this as a 5-star album, the first solo piano "recital" from this hugely-influential pianist. The hype isn't that far from the truth -- this is a great album. But the documentation on this release raises more questions than it answers. If Verve expects us to shell out a third time for a CD issue of this material (to say nothing of the previous LP copies we may have purchased and worn out), they owe it to us to provide documentation. Instead, they taunt us by using fragments of the session logs as artwork -- it looks nice but doesn't tell you anything. And that sums up this release.
JAYNE DEFRANCO
5つ星のうち5.0
B.E. Alone
2016年1月31日にアメリカ合衆国でレビュー済みAmazonで購入
Bill Evans Alone what else is there to say. So good its scary.