Far removed from the meditative flavor of Miles’ various interpretations of the tune, the two take the tune at a breakneck speed that shows off the interplay between the two. The version of “ My Funny Valentine” that opens the album shows off the duo’s musical imagination. The two players throughout listen to each other intently, trading melodic ideas and completing each others’ harmonic sentences. What happened in the studio is an example of jazz alchemy. The two men got together to toss around some ideas in Evans’ New York apartment, and then headed into the studio, recording the album on April 24 and May 14, bracketing the final recording session for Nirvana with Herbie Mann and the Evans trio. (Hall recalls, “Miles would tease that our silly little trio would get more applause than his group.”) Along the way he had appeared opposite Evans when the latter was in Tony Scott’s quartet, and with the Giuffre Trio opposite Evans in Miles’ band in a run of dates at Café Bohemia in 1958. Hall had built a reputation in the late 1950s in the Jimmy Giuffre Trio, and went on to collaborate with a number of musicians in the following years, including Dave Brubeck’s long-time collaborator Paul Desmond, and Sonny Rollins ( that’s Hall on Rollins’ The Bridge). And on April 24, he entered the Sound Makers Studio in New York City to record with a new collaborator, guitarist Jim Hall. After Orrin Keepnews persuaded him to return to the studio with Herbie Mann in late 1961, he was intermittently in and out of the studio in various contexts - a brief session with the new trio that wouldn’t see the light of day until 2007, a recording with Todd Dameron’s orchestra, a solo session. In April 1962, Bill Evans was still digging out from under the emotional burden of Scott LaFaro’s death, but at least he was recording.
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