George Russell was an absolute genius, and accomplished so much in his lifetime. What the hell has Scott Yanow ever accomplished? Critics have no purpose!!

George Russell - arranger, conductor Bill Evans - piano, Fender Rhodes piano Snooky Young, Ernie Royal, Richard Williams - trumpet, flugelhorn Stanton Davis - trumpet Howard Johnson - flugelhorn, tuba, bass clarinet John Clark - french horn Dave Bargeron - tuba Jimmy Giuffre - tenor saxophone, flute Joe Henderson - tenor saxophone Sam Rivers - tenor saxophone, flute, oboe Sam Brown - bass guitar, electric guitar Ted Saunders - electric piano, clavinet Webster Lewis - organ, electric piano Eddie Gómez - acoustic bass Ron Carter (on 5,7), Stanley Clarke (on 1,2,3), Herb Bushler (on 4,6,8) - Fender bass Tony Williams, Marty Morell - drums Marc Belair - percussion Edd Kolakowski - Steinway piano technician

My favorite Album of all times! Living Time...

I always love a band with four bass players!

I worked with george for 2 years

Bill Evans : piano, Fender Rhodes Eddie Gomez : contrebasse Marty Morell : batterie The George Russell Orchestra : Ernie Royal, Snooky Young, Stanton Davis, Richard Williams : trompette, bugle Howard Johnson : tuba, bugle, clarinette basse Dave Baker, Garnett Brown : trombone Dave Bargeron : trombone, tuba John Clark : cor Jimmy Giuffre : saxophone ténor, saxophone baryton, clarinette, flûte Joe Henderson : saxophone ténor, flûte Sam Rivers : saxophone ténor, flûte, hautbois Webster Lewis : Fender Rhodes, orgue Hammond Ted Saunders : Fender Rhodes, clavinet Sam Brown : guitare Ron Carter, Stanley Clarke : contrebasse, guitare basse Herb Bushler : guitare basse Tony Williams : batterie Marc Belair : percussions

Fantastic. George is one of the most important figures in modern music for so many reasons.

I have always enjoyed this album.... there is nothing "dull" about it.... it's a very good album...

Since BillEvansArchive didn't see fit to *list all the musicians*, here's what I found at Discogs: George Russell Composer, Conductor, Arranger Carl Atkins Assistant Conductor Piano, Fender Rhodes: Bill Evans Electric Piano, Keyboards: Teddy Saunders Organ, Electric Piano: Webster Lewis Bass: Eddie Gomez Electric Bass & Guitar: Sam Brown Fender Bass: Herb Bushler, Ron Carter, Stanley Clarke Drums: Tony Williams, Marty Morell Percussion: Marc Belair* Flugelhorn, Tuba, Bass Clarinet: Howard Johnson French Horn: John Clark Tenor saxes: Joe Henderson, Jimmy Giuffre, Sam Rivers, Dave Baker (+oboe, flute) Flute, Clarinet: Sam Rivers Trombones: Dave Bargeron, Garnett Brown, Stanton Davis (+ Tuba) Trumpet, Flugelhorn: Snooky Young, Richard Williams, Ernie Royal

True story - Rick Beato studied with George Russell when George was teaching his music theory, probably in Boston in the mid 80s if I remember correctly. Rick said George was a natty dresser and would carry around his famous book plus all of the many typed up revisions and changes that he'd constantly make to his evolving and somewhat impenetrable theory. Anyway, one time George took a look at Rick's work, and sighed before saying, "Rick, you're gonna write a #1 single someday." Not exactly what George was aiming at with his students, but of course, Rick did just that in 2007! 😂

Event V: Finally found this tune again! Had it once on a compilation album called "The Progressives". Fantastic!

Moving into Russell's later work here where the big band funk really starts to take hold, and it is a thing of great beauty. He clearly finds funk to be a natural home and a grounded root for higher exploration and improv for his class act musicians. Event II is a personal favorite - the building wall-of-sound tension and that wonderful thing Russell does in his scores, having many parts all moving at incredibly different speeds all at the same time. (I'm sure there's a technical name for this). If you want a more 'polished'/'produced' update, check out Russell's 1996 album, 'It's About Time', which reworks this album with a smaller ensemble (except for the interesting addition of a string section) but no less impressive in terms of sound power. Plus there's a couple of new pieces to set things going apace. Russell said that this work is a journey through the stages of life, from conception to death. The final event, presumably expressing near death and then death itself - with its shrill piano clarion call preceding the classic three 'suprise!' Da- Da-Daaaah! revelation notes, repeating endlessly, then finally releasing (the soul?) into a dizzying spin, into....into?....who knows?, WOW - is just fantastic!

Thanks for uploading this for the hopefully curious world. I was studying with George as the masterpiece made it on the market under the illustrious Columbia label. I lost this record after moving to Europe and I finally found it in 2009 in a Japanese Library. Otherwise it was not to be found. I am so excited that your organization, dedicated to Bill brought this piece back into the public service. Amazing poly-Lydian textures and mind blowing grooves. I am someone who furthers his Lydian Chromatic Concept.

I got this many years ago. Loved it then, still do.

been looking for this for decades...Bill - modal

excellent. thanks for sharing :)

Outrageous, incredible!!

loved what he did with don ellis and eric dolphy

This music is like a musical Jackson Pollack painting.

my Tube Amp/PreAmp luvs' the opening of this album.

Scott Yanow isn't a God. At all. This album Is excellent, despite is review! Buy It.

The 1996 reworking of this set (within 'It's About Time') is also definitely worth a listen.

This is one of the under-recognized great jazz albums.

Scott Yanow’s review shows he isn’t hearing what Russell and Evans are doing, This is a brilliant and innovative album and will sound fresh and exciting years from now. It’s 2023 now and it sounds incredible 50 years/half a century later!!… when all the original musicians have passed and are gone.

Interestingly underwhelmed review from Scott Yanow (a highly respected writer about Jazz). When this album came out I thought it was a very interesting, unique, extension of what Russell had been recording since the 1950's. I found it then and, listening to it for the first time in many years, now, intriguing and weirdly captivating. Check Jan Garbarek out during his screaming, EuroJazz, Out period. Great stuff!

The BOMB!

Oh mierda! Tu anuncio, UKposts, me desbarató un orgasmo musical!!!!! Juajuajua

"....the focus throughout is on Evans' acoustic and electric keyboards." As if that could ever be a bad thing. peace (piece)

Event V @ 21:30 ...possibly Evans' best

Event IV got me

Please don't post with ads!

Lol xD i was listening to this and by accident also Thelonious Monk was playing at the same time... Only after 10 minutes or so that I realised haha

Interesting Bill Evans agreed to this... he was often disdainful of the avant garde

the adds are really on obnoxious

ドラマチックやぁ

Dull? Then i 'd like to be a very boring person.

@

some repulsive fade-outs here

so much better than gil evans, in my opinion

Yanov is a critic lacking competence for such music - or a man who is deaf. The reputation of the title guarantees nothing - the critic from Wire magazine understood nothing of the music of the eminent Romanian composer Corneliu Dan Georgescu, and this despite the fact that he had at his disposal my insightful essay, which the composer himself considered the best that had ever been written about him and his music. In addition, from between the lines of the text gushed the stench of post-colonial mentality, for him the entire great cultural area - the Carpathians, the Balkans, the territories of the former Polish-Lithuanian Commonwealth - are just some kind of backyard separating the Great West from Great Russia. Vomit. Well, and Mr. Yanov is as insightful as that guy from the Wire :P

Mingus did it right. This doesn't.