He recorded “Nardis” on innumerable albums and reworked the piece with modal explorations each time it served as the final tune of his performances. 51:43. It is well researched. 5:16. give Chuck Israels his due! Here’s a recording from the “Portraiture” album (1969) with a long, meaningless bass solo. Keep in touch.
Broken Time: “Nardis” and the Curious History of a Jazz Obsession, by Steve Silberman. There he would be facing the final one. Stay tunes. One can’t blame Gomez. I loved this post so much I ran out and bought the disc.
I love all the other versions he recorded but the Molde version is perfect.
And what does he say?
I’m glad to hear someone else say that some Gomez solos Like Bill Evans does in these performances. I hope I’ll be old and doddering, and that I never see the truck coming up behind me, that the light goes out unexpectedly and suddenly. LOL My heart is witnessing his public display of our private agony. When Cannonball went into the studio to record his album “Portrait of Cannonball”, producer Orin Keepnews brought a young white boy named Bill Evans to play piano on the session. Evans often said that Philly was his favorite drummer, ever. It was a great snapshot of his soul. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account.
It betrays all his classical influences, goes from ppp to fff in dynamic range, is beautifully phrased and it overflows with emotion. View credits, reviews, tracks and shop for the 1996 CD release of Nardis on Discogs. Let's Go Back To The Waltz. Alone at the Vanguard, last set of the night. From early 1958, alto saxophonist Cannonball Adderley was a member of Miles Davis’ group together with John Coltrane. Play 7. Under construction... Bill was playing as well. Drains? No one has succeeded in guessing what the name ‘Nardis’ meant.
Precious few albums I actually do listen to, certainly not more than once in a blue moon. I shall spend the whole weekend studying and enjoying.
For me, the best Nardis is the one from Molde, Norway, 9th August 1980. At least that’s what would make the most sense. With A Song In My Heart.
You might well not know this music, so I’m both proud and humbled to be the vessel of this musical offering, because it’s among the most sublime and moving artistic creations I’ve encountered. ‘Nardis’ complete, June 8, 1980, from “Turn Out the Stars”: Tags: Bill Evans, Cannonball Adderley, Chuck Israels, Eddie Gomez, Joe Labarbera, Marc Johnson, Miles Davis, Nardis, Philly ‘Joe’ Jones, Scott LaFaro, The Last Waltz, Turn Out the Stars. Beyond merely seeking to enjoy the music, I began to try and understand it: its evolution, the setting and context behind the recordings, and their relative importance to jazz music. I wish some people would re-examine the Second Trio and He came out of the self-imposed exile due to the need to support his habit. Bill Evans (born William John Evans; 16th August 1929-15th September 1980) was one of the most famous jazz pianists of the twentieth century. By the way, Davis’ authorship has often been disputed, probably due to the fact that he never played the song, it was totally absorbed by Evans, and by the fact that Evans claimed credit for writing ‘Blue in Green’, while Davis (a well-known self-accreditor) claimed it for his own. I have played the ‘h’ out of it…. Note also how much better his drumming is than anyone else Evans played with. Over time, led by a continued exploration into these two masters’ discography and continued exploration, as well as my own journey through the catalogs of Blue Note, Impulse, Black Jazz, Atlantic, Colombia and plenty of others, my tastes, as well as my appetites, expanded. This is an excellent piece – many thanks for writing such a comprehensive essay on this wonderful tune.
I’m not anywhere near as talented, but I play my tunes to death.