Ein deutsches Requiem
Johannes Brahms
Emneord
Anmeldelser (2)
All about jazz
d. 3. juni 2017
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Geno Thackara
d. 3. juni 2017
"The setting was an intimate studio in front of a small and traditionally respectful European audience, but the trio's performance is as sprightly and animated as that of a club date. Evans remains sophisticated and beautifully melodic as always, spinning his trademark chordings right from the first weaving harmonics of "You're Gonna Hear from Me." At the same time he's unmistakably energized by his cohorts, who coast at an infectious and spirited level throughout the set. DeJohnette's spry cymbal splashing and clattering rolls are tasteful enough to suit the tone of the show, while still showing the busy rhythmic sense that would get him drafted by Miles Davis for some much louder electric work in the next couple years. His bright fills propel the gang through a dynamic "Nardis" and a rousing finale of "Five" with a playful sense of fun".
LondonJazz news
d. 7. apr. 2017
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Andrew Cartmel
d. 7. apr. 2017
"The music was taped in a radio station studio (...) with excellent and lucid acoustics in front of a small, attentive and select audience, so it really represents the best aspects of both a live and a studio recording. This makes it a fascinating halfway point between the Montreux and Black Forest albums ... It also has a particularly strong selection of tunes, only three of which overlap with the Black Forest recording (You're Gonna Hear from Me, Very Early and Turn Out the Stars) and two with Montreux (Embraceable You and Nardis). A special treat is the Bacharach-David "Alfie" which (...) is brimming with brio and inventive wit here ... But the real treasure is Johnny Mandel's "Emily" (...) which brings out the most gentle and sensitively explorative approach from Bill Evans ... One of the surprises of this album is the delicacy and judicious diffidence with which DeJohnette plays throughout. There's a sense of strength and inventiveness to spare, all held in reserve.UntilNardis, that is, when the power, density and complexity of his drumming is given a showcase. The intensity of his performance on this Miles Davis number has a flavour of the prophetic, given that Davis would come into Ronnie Scott's in a few weeks' time, hear DeJohnette, and make him an offer he couldn't refuse".
