You Must Believe In Spring [180 gm vinyl]
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180 gram audiophile vinyl
About the Artist
'You Must Believe In Spring' is an album by jazz pianist Bill Evans recorded in August 1977. This well-rounded set features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as 'We Will Meet Again', Jimmy Rowles's classic 'The Peacocks' and the 'Theme from M*A*S*H*'. It's a solid example of the great pianist's artistry. In Evans' hands, melodies and time signatures are often more whispered, more shadowed, than stated, as in the opening 'B Minor Waltz (For Ellaine)' and the somber, reflective title track, which blossoms, after Gomez' mid-song solo. Evans boasted such a unique, unmistakable touch-emotional and beautiful and even soft, but never sweet. As a rule, Evans could pick up the program from an elementary school chorus festival and play it inventively and beautifully. This set is no exception.
Top Customer Reviews
Most Helpful Customer Reviews on Amazon.com (beta)
Having many of Bill Evans CD's, I never got around to buying the CD version of "spring". Having read back in October that this "new" re-mastered edition would be release around early 2004. I waited.
I'm glad I did. Bill Evans fans will be pleased with the sound quality and the labor of love that went into releasing what I consider a perfect recording to begin with. One may argue about the music, (is that possible?), but the quality of the original recording was always excellent. Even when considering it was 1977. In addition, there are 3 "new" tracks that according to the liner notes, were from the original "spring" recording sessions, but never released. Listening to these "new" tracks, and the mood of the original LP, brings some insight into the artist thinking and creativity, the mood the music (in the album) represented. Read the notes by Francis Davis, interesting viewpoint. Eddie Gomez base is captured and given new life as well with Eliot Zigmund percussion. The subtleties are all there, fresh and clear.
Drum Roll Please ------- I give this a Five Star, the recording, the re-mastering quality, the consideration and respect for the artist, the joy it will bring us in the years ahead.
Evans was one of the few jazz artists who made great albums, in every sense of the word. He had great concepts, and here he put his mind to work, coming up with seven songs that interrelate thematically and emotionally.
The band is woefully underrated: Eddie Gomez at the end of his eleven-year tenure as Bill's bass man, making some of the most sensitive comments of all his recordings with the trio. He had really matured by the time they recorded "I Will Say Goodbye" for Fantasy. His work here is golden, just golden. Eliot Zigmund was one of the percussionists most keyed in with Evans' time sensibilities. He could really break up the tempo and displace accents and rhythms effectively. This was a tight group that should have had a couple more sessions together.
As for the bonus tracks, I am thrilled to death that they were included! True, like the reviewer below stated, they are not thematically in tune with the rest of the album, but why would you not want to hear an exciting trio stretching out at length and playing some great jazz? Indeed, these tracks are some of the closest Evans ever got to jamming late in his career: free-wheeling, uptempo, exciting! AND, you get to hear him play a blues! No complaints here! If you don't like 'em, stop the CD after "Theme from M*A*S*H." That's all there is to it.
I'm ranking that one as #1 on the desert island ;-)
Eddie Gomez does a fabulous job of complementing Evans in the unique trio style that encouraged a bass player to interact not simply support the piano player.
In my 40 year attempt to understand Evan's demons and the baggage he was carrying, this CD sticks in my mind especially one particular figure from the title cut.
The reluctance to release "...Spring" says to me that the people responsible perhaps "did not believe" and who could blame them. Evans remains a dark and introspective artist. (I have an interesting instructional tape done with his brother on the art of jazz but he never seems to fully open the door)
Although one could guess that Evans would not have agreed, the title cut of "...Spring" introduces the listener to Michel LeGrand and perhaps in turn the fabulous lyrics of Marilyn and Alan Bergman. Evans stepped outside of "conventional" jazz composers and helped bridge a gap between these talented people and the jazz community.
Worth it to hear Evans one more time again AND to listen to Gomez' tremendous basslines.
Call me prejudiced but I find it hard to give Evans less than 5 stars for most of his work, only the way it might be presented.
This is very good CD and a must for true Bill Evans fans.