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Chuck Israels/Metropole Orchestra/Claudio Roditi: Eindhoven Concert

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Musicians who worked closely with Bill Evans tend to be profoundly influenced by his harmonic thinking. That was true of Miles Davis, Jim Hall, Cannonball Adderley and John Coltrane, among others. In this imposing album, Evans’ chord voicings clearly influence the writing of Chuck Israels, who succeeded Scott LaFaro in Evans’ trio and was the pianist’s bassist for six years.

Israels has written for European radio orchestras in the past few years, but since his National Jazz Ensemble of the mid-1970s little has been heard on record of his talent for orchestration. This CD and a set of octet arrangements he created recently for the Canadian Broadcasting company suggest that he is in the company of the most stimulating writers of the day. Many of his charts translate into orchestral terms the blend of density and astringency in Evans’ voicings. There is a striking example in an interlude near the end of Israels’ arrangement of Martial Solal’s “Theme a Tics.” He places strings, flutes, piano and guitar in a series of downward chromatic runs that suggest what Evans might have improvised, how he might have constructed his chords, even how he might have comped behind a soloist had he played this piece. There are further instances on “Willow Weep For Me,” “Sing Me Softly of the Blues,” “Spring is Here” and Israels’ own “Sultry Atmosphere.”

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