You Must Believe In Spring (Remastered 2022) Bill Evans

• 1 B Minor Waltz (Remastered 2022) 03:16
• 2 You Must Believe In Spring (Remastered 2022) 05:44
• 3 Gary's Theme (Remastered 2022) 04:18
• 4 We Will Meet Again (Remastered 2022) 04:05
• 5 The Peacocks (Remastered 2022) 06:01
• 6 Sometime Ago (Remastered 2022) 04:34
• 7 Theme From M*A*S*H (Suicide Is Painless) (Remastered 2022) 06:03
• 8 Without A Song (Remastered 2022) 08:06
• 9 Freddie Freeloader (Remastered 2022) 07:34
• 10 All Of You (Remastered 2022) 08:10
• Total Runtime 57:51

Info for You Must Believe In Spring (Remastered 2022)

Bill Evans (1929-1980), einer der einflussreichsten Künstler in der Geschichte des Jazz, war bekannt für sein dialogisches Zusammenspiel in seinen Trios, seine lyrischen Kompositionen und seinen unvergleichlichen Umgang mit dem Klavier. Seine Arbeit mit Gomez und Zigmund auf "You Must Believe in Spring" ist ein brillantes Beispiel für alle drei Aspekte. Als sie das Album im August 1977 aufnahmen, hatte diese spezielle Formation des Bill Evans Trios nach drei arbeitsreichen Jahren mit Live-Auftritten und Studioaufnahmen (darunter die Alben Crosscurrents und I Will Say Goodbye von 1977) ihren Zenit erreicht. Im Gespräch mit Marc Myers erinnert sich Zigmund: "Wir hatten ein hohes Niveau an Konversationsfähigkeit erreicht. Im Frühjahr hatten wir diese Leichtigkeit, mit der wir miteinander umgehen konnten, eingefangen".

Für die dreitägige Aufnahmesession in den berühmten Capitol Studios in Hollywood arbeitete Evans mit dem legendären Produzenten Tommy LiPuma zusammen, zu dessen umfangreichen Referenzen Barbra Streisand, George Benson und Natalie Cole gehören. Gemeinsam wählten sie eine introspektive Materialsammlung aus, die dem Album eine "sanfte, melancholische Stimmung und eine Jukebox-Zärtlichkeit" verlieh, wie Marc Myers bemerkt. Darunter waren auch zwei sehr persönliche Evans-Originale: "H-Moll-Walzer (für Ellaine)", komponiert in Erinnerung an die verstorbene Partnerin des Pianisten, Ellaine Shultz, und "We Will Meet Again (für Harry)", geschrieben für den verstorbenen Bruder des Künstlers. Zwei Jahre später griff Evans die letztgenannte Komposition wieder auf und machte sie zum Titelstück seiner letzten Studioaufnahme.

Die anderen Titel boten Evans den Raum, ein breites Spektrum an Material zu interpretieren - von weniger bekannten Perlen wie "Gary's Theme", einer Komposition des Vibraphonisten Gary McFarland aus dem Jahr 1968, bis hin zu so populärer Kost wie Sergio Mihanovichs "Sometime Ago". Auf LiPumas Anregung hin lieferte Evans auch eine inspirierte Interpretation von "Theme From M*A*S*H (Suicide Is Painless)", dem unverkennbaren Instrumental-Opener aus der beliebten Fernsehserie. Der Titelsong hingegen war ein Standard der damaligen Zeit, der von dem erfolgreichen französischen Filmkomponisten Michel Legrand für den Film "Die jungen Mädchen von Rochefort" von 1967 geschrieben wurde.

Bill Evans, Klavier, Elektrisches Klavier on "Freddie Freeloader"
Eddie Gómez, Kontrabass
Eliot Zigmund, Schlagzeug

Recorded August 23–25, 1977 at Capitol Studios, Los Angeles
Produced by Helen Keane, Tommy LiPuma

Digitally remastered

Bill Evans
is an internationally recognized five-string banjo life force. As a performer, teacher, writer and composer, he brings a deep knowledge, intense virtuosity and contagious passion to all things banjo, with thousands of music fans and banjo students from all over the world in a music career that now spans over thirty-five years.

Bill's banjo artistry is best experienced in live performance and on his recordings Fine Times At Fletcher's House with Fletcher Bright (2013), In Good Company (2012), let's do something with Megan Lynch (2009), Bill Evans Plays Banjo (2001) and Native and Fine (1995). Bill successfully bridges traditional and contemporary sounds and playing techniques, creating a new music that is firmly within the bluegrass tradition but draws upon a broad knowledge of classical, jazz and world music, drawing upon his experiences as a graduate student in Music at the University of California, Berkeley and as the associate director of the International Bluegrass Music Museum.

Bill is also an expert player of mid-19th century minstrel banjo and late 19th and early 20th century classic banjo styles, authentically performing these styles on historical instruments. He brings all of these diverse musical performing interests together in his solo concert The Banjo in America.

In the last two years, Bill has toured throughout the United States, Canada, England, and Germany and toured Russia for the U. S. State Department. Recent appearances include A Prairie Home Companion with Garrison Keillor and performances with the San Francisco Symphony. From festival to folk society stages, to universities and performing arts centers, The Banjo in America has earned standing with a dazzling display of banjo artistry of unparalleled historical depth geared towards entertaining general audiences.

Bill is the author of Banjo For Dummies, the most popular banjo book in the world. Banjo For Dummies is now in its second edition and has been translated into French and Portuguese. This year, Bill is preparing a companion volume Bluegrass Banjo For Dummies. In addition, Bill hosts six critically acclaimed instructional DVDs for AcuTab Publications, Homespun Tapes and the Murphy Method and he is also the co-author of Mel Bay’s best-selling Parking Lot Pickers Songbook: Banjo Edition.

With banjo legend Sonny Osborne, Bill hosts the NashCamp Banjo Camp each fall in Fairview, Tennessee. Now in its 13th year, this camp is the premiere bluegrass banjo camp in the world and has featured J. D. Crowe, Jens Kruger, Bill Emerson, Ron Block, Kristin Scott Benson, Rob McCoury, Tony Trischka, Alan Munde, Ned Luberecki, Charlie Cushman, Pete Wernick and Frank Neat, among others.

Bill has also been a mainstay at many other banjo and bluegrass music camps over the last fifteen years, including multiple appearances at Sore Fingers Bluegrass Week (England), Bluegrass Camp Munich (Germany), the Midwest Banjo Camp (Michigan), Steve Kaufman’s Acoustic Music Camp (Tennessee) and the California Bluegrass Association’s Music Camp.

Bill has probably taught more one-on-one banjo lessons than anyone else in the world. His list of students is impressive: Chris Pandolfi (The Infamous Stringdusters), Jayme Stone, Greg Liszt (Crooked Still, the Deadly Gentlemen), Wes Corbett and Erik Yates (Hot Buttered Rum.) However, Bill is equally adept at instructing the older adult learner whose goal is to have fun in a jam session or local band.

At any one time in his home near Richmond, California, Bill teaches between forty and sixty students, in addition to maintaining a steady international touring schedule. In addition, Bill teaches the most popular bluegrass ensemble classes in the San Francisco Bay Area at the Freight and Salvage Coffeehouse and he is on the faculty of the California Jazz Conservatory.

This album contains no booklet.