BILL EVANS~HOW MY HEART SINGS~ORIG BLUE LABEL RIVERSIDE 473 MONO JAZZ LP~EX COND

Sold Date: May 14, 2014
Start Date: May 7, 2014
Final Price: $113.50 (USD)
Bid Count: 6
Seller Feedback: 6057
Buyer Feedback: 153


BILL EVANS~HOW MY HEART SINGS~ORIG BLUE LABEL RIVERSIDE 473 MONO JAZZ LP~EX COND Product Description BILL EVANS "HOW MY HEART SINGS" RIVERSIDE RECORDS 473
VERY RARE ORIGINAL MONO JAZZ LP FROM 1962 ON THE RIVERSIDE LABEL!! HARD TO FIND AT ALL, ESPECIALLY IN THIS CONDITION! COVER IS IN EXCELLENT CONDITION WITH A FEW STAPLE HOLES AND A SMALL DENT IN THE UPPER RIGHT CORNER. VINYL IS IN EXCELLENT CONDITION WITH LIGHT WEAR. THERE IS SOME DAMAGE TO THE LABEL ON SIDE ONE.
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 Evan's 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.  
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