BILL EVANS TRIO jazz LP on RIVERSIDE 9473 “How My Heart Sings” ’62 NICE
$
58
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Description
Artist: BILL EVANS TRIO
Title: “How My Heart Sings!”
Label: RIVERSIDE # RS-9473. Stereo pressing on thick vinyl. Labels are black with silver text, does not have deep groove.
Label address is Bill Grauer Productions Inc., New York City.
Year: 1962.
Personnel:
Bill Evans – piano
Chuck Israels – bass
Paul Motian – drums.
Condition:
DISC: Gorgeous NEAR MINT with full original gloss, as clean as can be found. Has been played a small number of times, most likely once or twice, and handled with utmost care. Labels are clean. This scarce LP is one that you will never need to upgrade.
JACKET: Laminated jacket is EXCELLENT. Front artwork is clean, with a slight bit of ring/surface wear, barely noticeable. Excellent seams, spine, and corners. Reverse is clean with no writing, stickers, or other issues. A very fine jacket to accompany the superb disc.
Track Listing:
Side One:
- How My Heart Sings
- I Should Care
- In Your Own Sweet Way
- Walking Up
Side Two:
- Summertime
- 34 Skidoo
- Ev’rything I Love
- Show-Type Tune
Review:
“Recorded in May and June of 1962, at the same time as the Moonbeams sessions, How My Heart Sings shows a different side of the Bill Evans Trio than that all-ballads album. Here, the eight selections have a much more mid- and even up-tempo flair. Israel appears more comfortable in these settings to be sure, as he is the kind of bassist that relegates himself deeply into the rhythm section, sublimating himself to the pianist. In Evans' own words, the band's desire was to "provide a more singing sound" in this material. The set begins with a lyrical waltz in the title track. Evans himself comments in the liner notes that it "contains a delightful 4/4 interlude framed by a delightful 3/4 lyric line." Nowhere does he discuss his solo that literally ripples in delicate waves off the middle register, and Motian's stick work shimmies up the rhythm and allows it to truly dance and sing. There are a number of standards here, including "Summertime," which sounds so different with its mid-tempo opening and Israel's flaunting bass vamp in front of the piano. When Evans gets to the melody he is following the swinging skip of Motian's drums, and he digs deep into inverting the melody line with a slew of arpeggios and short, choppy phrases. On Cole Porter's "Everything I Love," Evans takes the snap in the tune and breaks it, committing it to a driving swing and vaunting lyrical gem that has three seemingly unresolvable harmonic problems in the center that turn out to be a Moebius strip in Evans' chromatic language. This is a tough recording; it flies in the face of the conventions Evans himself has set, and yet retrains the deep, nearly profound lyricism that was the pianist's trademark.”
(courtesy Thom Jurek, allmusic.com.)
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