ELEMENTAL MUSIC UNEARTHS BILL EVANS IN NORWAY FOR RSD BLACK FRIDAY RELEASE AS EXCLUSIVE
TWO-LP SET ON NOV. 29

Master Pianist’s Energetic 1970 Performance at the Kongsberg Jazz Festival Arrives as a Deluxe CD Version on Dec. 6
 
Comprehensively Annotated Set Includes Interviews with Evans, Bassist Eddie Gomez and Drummer Marty Morell, and Norwegian Pianist Roy Hellvin; Reflections on Evans’ Art by Keyboardists Aaron Parks and Craig Taborn; and Notes by Evans Scholar Marc Myers

Elemental Music will release Bill Evans in Norway, a brilliant 1970 trio concert captured at the Kongsberg Jazz Festival, as an exclusive RSD Black Friday two-LP set on Nov. 29.
 
The 180-gram vinyl package, mastered by Matthew Lutthans at the Mastering Lab and pressed at Memphis Pressing, will be succeeded by a deluxe CD version on Dec. 6.
 
This latest Evans archival find by the team at Elemental Music, produced for release by the award-winning “Jazz Detective” Zev Feldman, is being issued in cooperation with the Bill Evans Estate. The package includes a rare interview with Evans conducted by Norwegian critic and impresario Randi Hultin at the Kongsberg Jazz Festival; new interviews with bassist Eddie Gomez and drummer Marty Morell, members of the pianist’s longest-lived trio, who supported him at the festival; an interview with Norwegian pianist Roy Hellvin, who was in the audience at the performance; reflections on Evans’ art by pianists Aaron Parks, Craig Taborn, and Eliane Elias; and concert photographs by Arthur Sand.
 
“Between Resonance Records and Elemental Music, I’ve had the good fortune of working with Evan Evans of the Bill Evans Estate for the past 14 years, and this will be my 12th production working with the family,” producer Feldman says. “These recordings come from the archives of Norway’s Kongsberg Jazz Festival, which was founded in 1964. It’s been a major breakthrough for us to have established contact with their team in 2023 and we’re very excited about this new relationship.”
 

Jak Kilby/Arena PAL

The Kongsberg appearance on June 26, 1970, found the Evans trio in especially stirring form. The pianist — who had recently begun to wean himself off a longtime addiction to heroin in a supervised methadone program — was especially sensitive to his audience’s tastes, and brought a fresh energy to his repertoire.
 
Myers notes, “Evans appreciated Norwegians’ reserve, modesty and politeness. He also was aware that their moods tended to be lugubrious in the winter, when there was less sunlight each day, and more gleeful in the summer, when the sun set around 11 p.m. While preparing the Kongsberg set list, he knew Norwegian concertgoers would have a deep connection to wistful songs such as ‘What Are You Doing the Rest of Your Life?,’ ‘Turn Out the Stars,’ and ‘Quiet Now.’ But as you listen, you’ll notice that the Bill Evans Trio took many of these traditionally somber songs at a more spirited clip.”
 
Evans himself said on the day after the date, “This is an excellent audience, and it’s weird to think that a little place like Kongsberg can hire musicians from all over the world just because they like jazz here. I admire the enthusiasm of the organizers, who do all of this without earning a penny for it….These days here in Kongsberg have really meant something to me. It’s a beautiful place, and I’ve been able to relax.”

The pianist’s rhythm section, both experienced hands at European touring, took their cues from the leader’s approach. Gomez says, “When we played in Kongsberg, we had just played at the Montreux Jazz Festival in Switzerland. The recording of that event was called Montreux II. And at that time Montreux was a very high-profile festival. Having passed that hurdle, we went on to Kongsberg, and that was a relief. I felt really relaxed, like, ‘Okay, this is good. It’s not like Montreux, there’s less pressure.’ And I think the outcome is a record that’s quite good.”
 
Adds Morell, “There’s nothing like playing jazz in Europe — Norway, Scandinavia. Bill was loved, and it was always a special treat, and an honor really, to play for those people, because he was appreciated so well. But then you go to Paris and London and other countries, and it was a similar vibe. And South America, too. Bill was revered all over the world.”
 
Hellvin says, “It was a great kick for me to hear the tape of this 1970 Bill Evans concert 54 years after being there. I can still remember the atmosphere created by the trio. The summer in Norway was unusually warm that year, but inside the Kongsberg cinema there was a special mood. I don’t think I’ve ever seen another audience so quiet and concentrated, especially during Bill’s rendition of Leonard Bernstein`s ‘Some Other Time.’ It really left us spellbound! To me, Evans was playing a little harder than usual, and with more attack on his up-tempo numbers.”
 
The players touched by Evans’ influence find the essence of the keyboardist’s genius expressed in a fresh way in the unique Kongsberg performance.
 
“I’ve come to realize that on Bill’s playing there is lyricism and sensitivity,” Parks says, “but also deep intelligence, and above all a great muscularity. There’s a tactile, grippy kind of thing to the way in which he approaches harmony. There’s a real vitality, and a sense of putting skin in the game, rhythmically. All of that can be felt on this Kongsberg concert.”

Taborn says, “The group playing in Kongsberg is really interesting for me, because I think the Marty Morell years are fascinating….With Morell, Bill is really on top a lot. He has a much brighter feel. He’s really pushing stuff. Even bringing the tempos up a little bit. This group is swinging along in a brighter way, which really brings out the more rhythmic side of Bill Evans.”

Summing up the impact of Evans’ enduring music, Elias says, “Bill Evans created his own musical universe in harmony, melody and rhythm and has influenced generations of musicians with his sound and conception of interplay.  I consider him to be one of my important influences.”