Bob Brookmeyer & Bill Evans - The Ivory Hunters (1959) Japanese Remastered 2003

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Bob Brookmeyer & Bill Evans - The Ivory Hunters (1959) Japanese Remastered 2003

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When Bill Evans agreed to do a two piano date with Bob Brookmeyer, eyebrows surely must have raised. Pairing a rising superstar of modern jazz with a gentleman known for playing valve trombone and arranging charts might have been deemed by some as a daunting task. Fortunately for the keyboardists, this was a good idea and a marvelous concept, where the two could use the concept of counterpoint and improvisation to an enjoyable means, much like a great chess match. For the listener, you are easily able to hear the difference between ostensible leader Evans in the right channel of the stereo separation, and the accompanist Brookmeyer in the left. The opener "Honeysuckle Rose" gives a basic idea of what to expect, as Evans leads out, Brookmeyer counters his moves, and they trade riffs in an inventive bridge. "The Way You Look Tonight" is similar as Brookmeyer is more playful in his chiming chords and second melody line. The energy level is very good here, as well as on the democratic, funky contemporary intro to the easy swing of "It Could Happen to You" and "I Got Rhythm," jam-packed with fun plus risk-taking. There's a different give and take during "The Man I Love," and they turn the lamp down low on a delicate version of "As Time Goes By" as the pianists trade leads, and bassist Percy Heath adopts a more pronounced role. It is Heath and drummer Connie Kay, on loan from the Modern Jazz Quartet, who precisely and firmly cement rhythmic elements, allowing the pianists to use space, harmony, wit and wisdom to full effect. Some have called this an effort based more on gimmick and showmanship, but if you agree to listen closely, the depth and substance of Evans and Brookmeyer reveals a lot of soul, invention, and musicians simply having a real good time. It would be nice to hear any alternate takes from this marvelous date.

Review by Michael G. Nastos, Allmusic.com

Yes, that's Bob Brookmeyer the valve trombonist, and it's Bill Evans the pianist who, during the same year as this recording, would appear with Miles Davis on the fabled Kind of Blue session (Columbia, 1959). Some listeners will no doubt be familiar with the session, originally issued by United Artists under Brookmeyer's name and with the descriptive sub-title "Double-Barrelled Piano." But if you're hearing about this curious match-up for the first time, and close to the beginning of April at that, be assured that neither Brookmeyer's listing as a "pianist" nor his playing of the instrument is a joke.

The story is that after Evans agreed to the unusual pairing, Brookmeyer was "tricked" by a clever record producer into making this session. Showing up at the studio and seeing Percy Heath and Connie Kay— one-half of the Modern Jazz Quartet—Brookmeyer was ready to take out his trombone until the presence of two tuned grand pianos made it clear that the studio had other things in mind.

Brookmeyer is good enough as a pianist to make the comparison with Evans rewarding and instructive. They take turns playing melodies and bridges, then trade whole choruses as well as phrases. In each case, Evans admittedly plays with greater precision, more focused tone, and hipper left-hand voicings, but Brookmeyer holds up his end thanks to his harmonic savvy and finger technique (often arrangers who play piano show their limitations when it comes to digital dexterity). The two pianists complement each other quite well, sounding relaxed in the hands of a bassist and drummer who by this time were playing less as two musicians than a single organism.

"The Way You Look Tonight" is one of two highlights on the date, Evans taking a round-toned, nicely shaped solo in the middle register, alternating single-noted with block-chorded melodies while Brookmeyer finds pedal tones and obligato octave phrases that risk little in the way of harmonic discord. By now the attentive listener should have no trouble distinguishing the two players, as Evans' mid-register solo on "It Could Happen to You" impresses with intricate melodic invention and cleanly voiced harmonies while Brookmeyer begins to sound somewhat erratic with a mix of widely spaced, random-sounding voicings and occasionally rhythmically stiff phrasings.

It's tempting to suggest that virtually anyone who can peck out a melody on the piano would come off sounding at worst "respectable" with support such as that provided by this trio. To Brookmeyer's credit, he neither panics nor plays it overly safe. "The Man I Love," the other stand-out on the date, begins as a ballad before yielding to a potentially unnerving up-tempo groove. The soloists briefly play melodic tag games, though on this tune as well as the concluding "I Got Rhythm," Brookmeyer begins to sound increasingly Monkish, even down to greater reliance on the sustain pedal. And when the more heralded pianist demonstrates his inimitable touch with some flawlessly executed, double-timed whirlwind note-streaming, each note distinct from the other yet receiving equal pressure, you know the game is up.

In sum, enjoyable, tasteful music-making but hardly an essential recording unless you're a Bill Evans completist—or Bob Brookmeyer.

Review by Samuel Chell, All About Jazz.com

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Bob Brookmeyer & Bill Evans - The Ivory Hunters (1959) Japanese Remastered 2003

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Bob Brookmeyer & Bill Evans - The Ivory Hunters (1959) Japanese Remastered 2003

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Bob Brookmeyer & Bill Evans - The Ivory Hunters (1959) Japanese Remastered 2003

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Bob Brookmeyer & Bill Evans - The Ivory Hunters (1959) Japanese Remastered 2003

Close