Dwain

• Portrait In Jazz is a landmark recording and a staple of the Bill Evans discography. It’s the first recording featuring the trio of Evans, LaFaro and Motion and they never cease to impress with their musicality and creative expressionism. The album incorporates a great mix of standards as well as the debut of Evan’s original “Peri’s Scope” which would go on to be well-known and played. Their rendition of “Autumn Leaves' ' is a classic rendition and features some incredible playing between both Evans and Lafaro and gives us a taste of what these two are capable of together. The trios interpretations of these standards were innovative and not what was typical at the time. LaFaro and Motian played nearly equal parts to Evans which was not what was to be expected from piano trios at the time. The music is easily digestible by any fan of jazz yet has a level of subtle yet genius creativity. The album contains so much depth and there is so much to digest musically.

• Scott LaFaro’s bass playing on the album is one of the driving forces that makes this album the all time classic that it is. His ability to hang musically with Evans as well as match some of Evans creative genius should not go understated or unnoticed. Evans said of LaFaro, "I was astounded by his creativity. There was so much music in him, he had a problem controlling it. He certainly stimulated me to other areas, and perhaps I helped him contain some of his enthusiasm. It was a wonderful thing and worth all the effort that we made later to suppress the ego and work for a common result." These words coming from Bill Evans really tell the whole story; what else can I say?

• Portrait In Jazz deserves all the accolades and respect it has received and maybe sometimes even a little more. It checks every box musically and is a joy to listen to. My personal appreciation for all three of these musicians has increased through this deep dive into “Portrait In Jazz’ and given the chance, I think yours will too!

Overall score: 9.5/10

Max

• Portrait In Jazz is a timeless record that will forever shine as an emblem of excellent piano trio music, and a prime example of expressionistic greatness. The musical relationship between each instrumentalist is vulnerably portrayed and executed with these still fresh takes on jazz standards. We also get the catchy Bill Evans original tune titled “Peri’s Scope,” and a more-than-fair performance of his well-known masterpiece “Blue in Green.” This record serves as one of only two studio albums with this particular make-up of The Bill Evans Trio that included Scott LeFaro on bass and drummer Paul Motian. The players are completely in sync with one another and work to complement each other's presence and role so well. A monumental musical creation was formed with this recording. It is forever stamped in jazz history.

• The album begins with a loose, swingin’ version of “Come Rain or Come Shine,” followed by a stretched-out take on “Autumn Leaves,” complete with a tripletized feel expressed in its iconic introduction. At many moments, the trio acts as if they’re in conversation with one another while interacting in ways that open each instrumental part while still going through time and space together. These are the makings of a good ensemble. That is also noticed during the performance of the head of “Witchcraft.” Pay attention to LaFaro's lines and ideas on the bass, as he is not simply walking the whole time. LaFaro’s approach is playful, yet intentional. There’s also a light seriousness in its active interactions with Bill’s piano. Motian is riding that wave with his brushes and cymbals accentuating this simmering delight. Lafaro’s bass solo ain’t too shabby either. “Witchcraft” is for sure a personal highlight to this album. It swings effortlessly while providing an array of emotions to the listener. “When I Fall In Love” is one of three ballads included here, alongside “Spring is Here” and “Blue in Green.” The inclusion of 3 slower-tempo tunes is a testament to the musicianship of the group and the emotive, lyrical feel Bill Evans can provide. His lines, movement, touch, feel, and piano voicings are well-featured on these, along with all other tracks. “Peri’s Scope” is a fun exhilaration that puts a smile on my face, equipped with a cool melody and moments of a bouncy two-feel. Also included on the record is a stellar version of “What Is This Thing Called Love,” featuring creative drum and bass accompaniment paired with stretches of straight-ahead wave-riding. “Someday My Prince Will Come” is the track not-yet-mentioned that became a staple in Bill Evans’ setlist. The ending on that one also gets me every time.

• There are moments on the album where I initially wished there were trading solo sections or perhaps more verbatim drums solos: yet, after further examination, I realized that such moments would not add much to what is already presented here. There are so many times where the bass and drums come out to the listener in the many ways these musicians interact with one another on this record. LaFaro helped transform the conceptual use of the upright bass in the traditional jazz ensemble, while drummer Paul Motian also contributed to expanding the way in which a drummer can be involved in the arrangement and performance of this great music. Due to its transformative power, great swing, emotive playing and instrumental interaction, Portrait In Jazz remains to be essential listening for the everyday jazz fan and musician alike.

Overall score: 9.5/10