Nirvana is an album by jazz flautist Herbie Mann, featuring Bill Evans's Trio with Chuck Israels and Paul Motian. Released in 1964 on the Atlantic label, the album includes performances recorded in 1961 and 1962.
Bill Evans, known for his significant contributions to Kind of Blue, was rebuilding his trio after a tragic loss. On June 25, 1961, he, along with Paul Motian on drums and Scott LaFaro on bass, performed a legendary set at the Village Vanguard in New York City, leading to the acclaimed albums Live at the Village Vanguard and Waltz for Debby. This trio became renowned for their innovative and dreamy compositions, showcasing the unique equality of voice among its members, particularly with LaFaro’s bass playing. However, just weeks later, LaFaro died in a car accident, leaving Evans devastated and withdrawing from performances.
By December 1961, with the encouragement of his producer Orrin Keepnews, Evans reformed his trio, bringing in bassist Chuck Israels. Before they could record for Riverside Records, they found themselves in Atlantic Studios on December 8, 1961, alongside flautist Herbie Mann.
Herbie Mann, known for his later jazz-funk albums, initially established himself as a post-bop soloist and composer. The collaboration between Mann and Evans, though seemingly unconventional, proved harmonious on this recording.
The opening track, "Nirvana," is a Mann original that begins with a quiet chordal progression reminiscent of Evans' style. Mann's flute enters delicately, initiating a sensitive dialogue among the players that unfolds like a natural breath.
Following this, "Gymnopédie," a less common jazz cover of Erik Satie's work, showcases the trio's gentle interpretation of the melody. Although it may feel slightly static, the piece offers a refreshing continuation from "Nirvana."
"I Love You" shifts the energy with a faster tempo. Here, Mann's flute soars in a higher register, prompting exciting interplay among the musicians as they engage fully by the song's end.
Returning to ballad territory, "Willow Weep for Me" reveals a weakness in Mann's playing; his approach lacks the compelling depth required for such a classic piece, though Evans offers a more nuanced exploration of the melody.
In "Lover Man," Mann's engagement improves, resulting in a more compelling performance as the tempo rises slightly.
Closing the album, "Cashmere," another Mann original, finds the trio exploring syncopation, with Mann’s improvisation emphasizing the rhythmic complexity. Israels’ solo complements this, delving into silence between melody lines, supported by Motian’s understated yet effective drumming.
Although Mann and Evans did not record again, Evans continued to produce essential works with his trio in the years that followed. This album stands as a unique moment in his discography, bridging past influences with a new direction.
