Bill Evans - Alone (12 tracks) +Album Reviews

If (relatively) new to Mr Evans, don't miss this one

Ian Muldoon | Coffs Harbour, NSW Australia | 02/03/2004

(5 out of 5 stars)

"There are a number of reasons for acquiring this CD. One is the extended version of NEVER LET ME GO, one an alternate, both at about 15 minutes. Mr Evans did not record many lengthy explorations and this may have been due to market imperatives. Another reason is the remastering quality which seems fine to me. Additionally, there are 75 minutes of music of this master in ideal circumstances."

Stunningly beautiful

spiral_mind | Pennsylvania | 06/11/2003

(5 out of 5 stars)

"While Peter Feng's comments below are excellently informative regarding the assembly of this CD's extra tracks, I have to add some thoughts from the perspective of an Evans neophyte. What if you don't have any previous editions of Alone (or any Evans) yet and are only beginning to discover the man's brilliance? Then by all means, buy this disc! As stated before, the original album itself is nothing short of a masterpiece. Bill's aptitude with chords and harmonics was legendary: he was known for not only using all kinds of unusual harmonies and combinations but somehow making them all sound eminently natural, as opposed to the somewhat jarring style of, e.g., Thelonious Monk. In addition to weaving beautifully complex single-note right hand lines all over the place, he occasionally runs off a rapid (well, mid-tempo-rapid) series of chords that seems to change its mode at every other interval. And in addition to what he's doing with the notes, Bill somehow gets a *tone* out of the piano that's nothing short of gorgeous. Maybe it was his touch on the keys or his way of using the instrument's damper pedals to slightly muffle the strings, maybe it was the equipment used for recording and mastering, maybe it was a combination of all of those. Whatever the reason, once you know how Evans sounded, the ear-pleasing sound and the beautiful stylings of those skilled hands at the keyboard make it impossible to mistake for anyone else.The bonus tracks? Mr. Feng was helpful enough to explain all about those below, so I don't need to go over it again. (Easy cop-out for me, eh?) I'll just say that for me, any quibbles about documentation fade into insignificance in comparison to letting the music speak for itself. Basically, choosing this edition means getting two copies of the album on one CD - there's one alternate run-through of every track, which gives us a chance to hear how Bill worked up to the finished product; there's one run-through combining two different songs, plus an extra track that wasn't on the original LP at all. You can program just the basic tracks in order, you can play solely through the alternates to get a 'rehearsal' version of the album, or you can hit Random and let everything flow as it wills for 74 rapturous minutes. Each of these selections is a soft dreamy meditation in itself, easy on the ears and soothing to the soul. For quiet times, whether with company or while alone yourself.. you'd be hard-pressed to find a soundtrack more fitting."

Classic Bill Evans Solo Album

Oldnslow | Seattle, Washington USA | 11/02/2007

(5 out of 5 stars)

"In my humble opinion this is one of the greatest jazz piano solo albums of all time. The improvisations Evans lays down on these standards, particularly on Never Let Me Go, simply dwarfs most solo playing by other jazz pianists. It is also important to consider that at the time this was recorded, 1968, very few pianists were recording solo. Apart from Tatum, and perhaps Earl Hines and Teddy Wilson, all with styles predating bepop, nobody was doing much in the way of solo jazz piano(let's face it, most bebop pianists would have been ill-equipped for solo playing). Nowdays, of course, every pianist on the planet thinks they can bring off a solo CD, but even now there are very few who can do it successfully. Classic Evans, beautifully remastered by Verve, and not to be missed."

"Here's That Rainy Day"

Rebecca*rhapsodyinblue* | CA USA | 01/20/2006

(5 out of 5 stars)

""Discipline and freedom have to mix in a very sensitive way. I believe all music is romantic, but if it gets schmaltzy, romanticism is disturbing. On the other hand, romanticism handled with discipline is the most beautiful kind of beauty."

~ Bill Evans (1929-1980) ~

I simply love listening to solo piano performances and this Bill Evans CD is a gem from my jazz collection. Bill Evans was one of the greatest jazz pianists in my long list of favorites, which include Oscar Peterson, George Shearing, Marian McPartland, Dave Brubeck, Paul Bley, Bud Powell, Fats Waller, Teddy Wilson, Erroll Garner, Theolonious Monk, Beryl Booker, Joe Sample, David Benoit, Herbie Hancock, Ramsey Lewis, Alan Broadbent and Dave Grusin. Each of them has their individual styles and has recorded some of my all-time favorite tunes. He was probably the most influential pianist in the history of jazz music. Many accomplished jazz pianists have singled him out as their greatest influence and inspiration. He was such an extraordinary pianist - as a solo performer or with the company of his trio.

Some of my absolute favorite recordings of Mr. Evans are "Danny Boy" (Jazz 'Round Midnight), "A House Is Not A Home" (I Will Say Goodbye), "My Foolish Heart" (Bill Evans for Lovers), "Stairway To The Stars" and "It Might As Well Be Spring" (Moonbeams), his duets with Marian McPartland: "This Is All I Ask," "I Love You," "The Touch of Your Lips" and "Days of Wine and Roses" (Marian McPartland's Piano Jazz - Bill Evans).

One of the reasons why I love solo piano performances is that the listener's ears can focus on the lone performer and can truly appreciate the pianist's individual style of playing. To me, piano is the most versatile of all musical instruments since there are eighty-eight keys but only ten fingers to play them with. In addition, I think it's also the most emotional and expressive musical instrument since it gives the listeners varied emotions from happiness, joy and delight to pain, sorrow and grief.

My personal favorites include two versions of Jimmy Van Heusen and Johnny Burke's "Here's That Rainy Day" and Johnny Mandel and Paul Francis Webster's "A Time for Love." Tracks one to five are from the original LP issue and tracks six to twelve are alternate takes and previously unissued. All the selections were recorded September and October of 1968 in New York City.

"I hope that my playing has sufficient merit to carry the listener without distraction to the musical feeling I have strived to accomplish in these recorded performances." ~ Bill Evans, Liner Notes 1968 ~

"

I'm Just a Bill

Fly By Light | Atlanta, Georgia | 01/27/2007

(5 out of 5 stars)

"Being a student of jazz piano, I bought this CD both to learn and to enjoy. I was not disappointed in either respect.

My introduction to the CD was the album cut of Midnight Mood, a jazz waltz. Whether studying the key changes and improvisations, or just experiencing the alternating joy, exultation, and mystery of different sections of the song, I always get excited when I hear it begin. On a Clear Day, best known as Streisand's showpiece, is highly regarded by many in the jazz community and gives Evans a chance to explore the true potential of a song I used to regard as theatrical fluff. The album cut of Never Let Me Go goes on 15 minutes, and constantly goes back to the melody, but Evans (after apologizing in the liner notes for possibly being self-indulgent) always keeps the song interesting and forward-moving, like a well-told story.

The bonus tracks provide some instructive contrasts to the album cuts. I personally prefer the energy and occasional playfulness of the alternate cut of On a Clear Day (despite the one or two easily overlooked flubbed notes). It is almost as if Evans knew he had hit enough bad notes to warrant another take, but he went on to finish with a flourish because the pressure for a perfect take was gone. I prefer the alternate take, but it is fun and instructive to see the choice facing the producer. On the other hand, the alternate takes of Midnight Mood and Never Let Me Go, impressive as they are, just don't measure up when compared directly to the album cuts. On Midnight Mood (Take 13?), it sounds like Evans had not yet fully developed his tension-building vamp between verses that brings the album take beyond the level of mere skill and musicianship. If I had to guess, he went home to the woodshed and came back to do the final take. The alternate take of Never Let Me Go is almost 1/3 shorter than the album take, but somehow is not nearly as compelling to listen to. The seemless lines of the final takes just hadn't developed yet and Evans, reputedly his own worst critic, did not rest until he surpassed what was "ordinary" for someone as talented as he.

Legend has it that Evans, usually a trio player, had to have his arm twisted to do solo work. It is a truly fortunate thing for lovers of jazz piano that he lost that argument."

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