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Bill Evans, Chuck Isreal, and Paul Motian have created an album of exquisite Jazz. into a land of exalted TRUTH and BEAUTY that only he knew the path to. Evans did something totally and completely other than that - he took it above the clouds. The music he opened himself up to has in it energies and strains that reverberate with/from/out of - Classicism, not solely Jazz. Evans soloed in the tune, the tune left the ground, winging Heavenward. Every cut, top to bottom.
This is a gorgeous and timeless album. I read that Bill Evans once told Tony Bennett to forget everything else and to concentrate only on TRUTH & BEAUTY. And if Mr. When Mr.
Listening to it was like hearing two different songs. Tony Bennett singing, Bill Evans playing behind him. Mr. Highly recommended.
Mr. He penetrates to the richest of musical tapestries, descends into it and explores as only he can that mystical, mysterious, and sacred place that only music can carry us into. Bennett sang the Hell out of the tune. Bennett was wondering what exactly Bill Evans meant by that, he need look no further than this album MOON BEAMS.
When the solo ended, the song came back down to earth again, where it was before the solo. One of the songs on it is, SOME OTHER TIME. There is something about the chords and the way he voices them that I've never heard from anyone but Bill Evans. Bill Evans and Tony Bennett once made an album together: The Tony Bennett/Bill Evans Album.
She's also on the LP of Casey Anderson's "Blues Is a Woman Gone." Pre-Velvet Underground days.
Steven This Bill Evans CD is a classic. If you don't have this, please order a copy today.
I love this recording and I think in order to fully appreciate it you have to forget about those trio recordings he did years prior and listen to it for what it is: heart-breakingly beautiful music played by a master pianist in his prime. Evans is joined by Chuck Israels on bass and Paul Motian (from his classic trio with LaFaro). Highly recommended. "Moon Beams" was recorded a year after the unfortunate death of fellow bandmate and bassist for Evans' now classic trio, Scott LaFaro. I think Evans' music changed after LaFaro's death and this recording represents a heartfelt dedication and a closure to the past.
Regardless this version of this original by Evans remains the definitive one and reason enough to get this album but there are other treasures to behold the ear from "the Chopin of jazz/contemporary piano". If you're are in a contemplative or introspective mood, you'll be rewarded by listening to this album. With Evan's 2nd trio, this album iniated the second stage of the late pianist's evolution into a balladeer of the piano. Rarely heard gems like "In Love in Vain" are coupled with the fresh re-workings of "It Might as Well Be Spring" and "Polka Dots & Moonbeams" plus a classic Evans original, "Very Early". Recommended for all romantics and poets. Starting "Re: A Person I Knew" an anagram for Orrin Keepnews as well as an elegy for the late bassist Scott LaFaro, Evans' playing grew in intensity with this classic album. It was also the "Best of the Month" in the Hi/Fi Stereo Review by Nat Hentoff or was it Joe Goldberg.
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