LondonJazz is a not-for profit venture, but may occasionally take on work as a paid publicist and/or sell advertising packages. I'm glad to have it in my collection, but I will view it as a placeholder until a better pressing comes along. While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. The execution of these tunes couldn't be more minimal - just Evans' piano and Hall's guitar vibing off each other. Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death in a car accident.

My favourite pieces at the moment are Evans' own composition "Romain", which is an extraordinarily melancholy piece of NY bedsit music. The front cover image for Undercurrent is Toni Frissell's photograph "Weeki Wachee Spring, Florida". Dream Gypsy shows them separating again, fashioning fragments and jigsaw puzzle-pieces of a tune, scattering them for the listener to assemble. We will introduce you exclusively to Duologi finance products provided by Specialist Lending Ltd t/a Duologi through the Deko platform. But there was a danger attached to their proposed recording; as Peter Pettinger points out in his Bill Evans biography, How My Heart Sings, both the guitar and piano are chordal instruments and a duet presented the risk of overcrowding and acoustic collision.However, those were big band albums and had no space at all for any real interaction between the pianist and guitarist. Here, as elsewhere on the album, it is often difficult to believe there are only two musicians at work. Mobile Fidelity Sound Lab has been the undisputed pioneer and leader in audiophile recordings since the company's inception in 1977.

A mixture of ballads and standards, "Undercurrents" is recommended for those who wish to explore the lighter side of Evans. In tackling standards such as Rodgers and Hart’s “My Funny Valentine” and the Broadway classic “Darn That Dream,” as well as the Hall original “Romain,” the pair traverses complex harmonies with the astute elegance of a figure skater. Questo disco rappresenta una pietra miliare nella storia del jazz e rappresenta ai massimi livelli la capacità di interplay e di arrangiamento di due musicisti straordinari, quali Evans e Hall, che condividono la stessa idea di suoni. Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities.DOL do not indicate the source of their recordings, but on my system this LP, and the others I have, sound much like older CDs. Il disco da il meglio di se soprattutto in formato vinile e risulta estremamente appetibile anche per i non addetti ai lavori o chi semplicemente cerca un jazz elegante e magistrale. Bill Evans and Jim Hall in particular were kindred spirits, sharing a love of chamber jazz, and Hall had already demonstrated his skill in Jimmy Giuffre’s trio.

While Evans managed to sit down for a few one-off takes between LaFaro’s passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording.Occasionally during UNDERCURRENT one expects the other shoe to drop: the growl of a bass entering in half time, wire brushes falling patiently into place on a sizzle cymbal. In his November 26, 1962 review for DownBeat magazine jazz critic Pete Welding states: "This collaboration between Evans and Hall has resulted in some of the most beautiful, thoroughly ingratiating music it has been my pleasure to hear. I also love "Skating In Central Park" which sways along with gently caressed piano chords and a delightfully subdued guitar lead.

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I've wanted this record for a long time, but it's not easy to find in the used bins in clean condition, and this is a reasonably quiet pressing (although by no means silent).