Another great album
Even though I'm not crazy about her voice, she does a credible job on the few numbers in this album that have vocals. All the songs, however, are wonderful instrumentals. She plays a great jazz piano and has really fine musicians to back her. I enjoyed her song selection, too.
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Carefully planned, professionally produced, well played.
Although the urgency and intensity prove elusive, Bill Evans' harmonies, voicings, and taste come through on several selections, including the title song (a previously unreleased composition by the late pianist), "Minha," "I Love My Wife," "For Nenette," "Evanesque," and Elias' own "After All." Otherwise, this is one of those smooth, relaxing, well-produced albums (increasingly rare for jazz releases by big American labels) that at times threatens to disappear into the background (ironically, a charge that Bill had to deal with through much of his career). Elias has a full and sultry singing voice along with a charming accent, but its placement (low tenor range) is not particularly well-suited to "Waltz for Debby" (the trio at least freshens it a bit by taking it in 4/4 most of the way).
Especially with Marc Johnson (Evans' last bassist) on the date, it would have been interesting to hear more of the Evans repertoire from his last 18 months ("Nardis," "Turn Out the Stars," possibly even a vocal transcription of "Your Story" entitled "My Story"). The recording concludes with a final taped segment of Evans' own playing which, as atrocious as the audio quality is, should suggest why his was an all but unapproachable talent.
On several numbers Johnson plays the bass of Scott LaFaro (who died less than a month after the seminal Village Vanguard sessions). As has been the case for the past several decades, the recorded sound of bass--while full, encompassing, and very present--tends to be lacking in "character," or "personality." It used to be easy on a blindfold test, even apart from solos, to identify the recorded sound of a Mingus, Ray Brown, Paul Chambers, Sam Jones or Scotty LaFaro. Not just on the Riverside recordings but on some of the dates for Contemporary Records with Hampton Hawes and Harold Land, LaFaro's playing is gutty, ringing, and clearly defined. The equipment was comparatively primitive (an analog tape recorder and a mic placed in front of a bass without a pick-up), but its effectiveness, as the evidence frequently shows, was inarguable. By comparison, this recording (and practically every current recording that isn't a reissue) makes the rhythm section sound highly competent but also generic.
(For me this is a 3-star recording, but I can readily see the appeal of this 16-song album to many listeners, so we'll split the difference.)
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Amazing accomplishment!
I've been a fan of hers for many years, and this album is definitely one of her best. The more I listen, the better it sounds. Eliane only has a slight problem with one tune - "A Sleepin' Bee" - but that is only because the phrasing of this song is difficult for her in English. I also wish I could understand some of the English lyrics she sings to "Here's Something for You", but that doesn't mar her heartfelt tribute to Bill Evans, also one of my favorite musicians. Her version of "Waltz for Debby" made me misty-eyed. Kudos, Eliane, I love your work!
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