Now this is a jazz album. Featuring nothing but a piano, stand-up bass, and drums, this album is a masterpiece despite (or, perhaps, because of) its minimalism. Recorded over the course of a day at the Village Vanguard jazz club, this record’s got a distinctive atmosphere, with clinking glasses and background chatter throughout, and the playing is just fantastic. All three of them have clearly mastered their instrument, and put together, they can create pure jazz perfection seemingly effortlessly. Telling, that there was so much good material recorded that day that they had to release two albums worth of it, each over an hour in length. The other record to come out of the day of performance is titled Waltz For Debby, and was released the same year.

Sadly, this record will forever be in the shadow of tragedy. Bassist Scott LaFaro would die in a car accident just ten days after this album’s recording, at the age of 25. As such, the album is a sort of memorial record for him; all of the tracks featured were either written by him, or feature a bass solo performed by him as the centerpiece of the track. And there truly couldn’t be a better way to remember him, as every track is a perfect display of his virtuosic playing. Every solo is gripping and masterful, and in only a single day of performance he established himself as one of the greatest bassists of the 20th century. He is truly the core of this record, and without him, it would be nothing. With his contributions however, it becomes one of the all-time greatest jazz masterpieces.

From left to right: Scott LaFaro, Bill Evans, Paul Motian. Image source: songbook1.wordpress.com

Picking a favorite track is a little bit difficult, because the album works as more of a cohesive whole than as a collection of separate tracks. Distinguishing track from track as you’re listening to it is a little hard, as the record’s so smooth, relaxing, and chilled-out that it all sort of feels like one extended jam session. Of course, individual tracks still all have their own motifs, usually on Bill Evans’ piano, but picking favorites still just feels futile. I guess I can at least try, though. The opener, “Gloria’s Step,” features some super calming and peaceful piano melodies, and Scott LaFaro’s bass accompanying it is excellent as usual. “My Man’s Gone Now” is sombre and melancholy, creating a cool mood with its piano chords and bass improvisation. Finally, “Jade Visions” is a truly haunting track that’s brilliantly minimal even by their standards.

Sunday at the Village Vanguard is one of my favorite jazz albums. It does an amazing amount with only a piano, bass, and drums, and each of the three performers are highly skilled musical geniuses in their own right. There couldn’t be a better album to remember Scott LaFaro by, featuring some of the best bass playing you’ll ever hear, carrying many songs on its strength alone. Bill Evans isn’t a slouch when it comes to his piano playing, either. His melodies and improvisation are just a joy to listen to, and really compliment the atmosphere the record cultivates so well. So whether you’re a jazz aficionado or are simply looking for something calm to soothe your nerves, this record’s just for you.

Favorite Tracks: “Gloria’s Step,” “My Man’s Gone Now,” “Jade Visions”

Next Up: Modern Sounds in Country and Western Music by Ray Charles (1962)