(JazzPlanet) Bill Evans You Must Believe In Spring (Eac Single Flac Cue)

Bill Evans - You Must Believe In Spring

(JazzPlanet) Bill Evans You Must Believe In Spring (Eac Single Flac Cue) preview 0

Artist: Bill Evans
Album Title: You Must Believe In Spring
Label: Warner Bros
Genre: Jazz
Styles: Straightahead/Mainstream/Bop/Hard Bop/Cool
1981 Warner Brothers Records Inc. 7599-23504-2
Studio album recorded August 23-25, 1977 in Hollywood

Extractor: EAC 0.99 prebeta 4
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue (Noncompliant)
Accuraterip: (confidence 3)
Size Torrent: 179 Mb
Cover Booklet included

Total Time: 34:16

01 B Minor Waltz (For Ellaine)
02 You Must Believe In Spring
03 Gary's Theme
04 We Will Meet Again (For Harry)
05 The Peacocks
06 Sometime Ago
07 Theme From MASH (aka Suicide Is Painless)

Personnel:
Bill Evans (Piano, Main Performer)
Eddie Gomez (Bass)
Eliot Zigmund (Drums)

http://mp3city.com.ua/en/Bill_Evans/You_Must_Believe_in_Spring-6179/

"In August of 1977 Warner Bros made Evans a very generous recording offer, and it was Helen Keane

who made the switch to that label possible. You Must Believe In Spring (again with Gomez and

Zigmund) continues along the lines of I Will Say Goodbye, but there is much more in it. This

album, however, also begins to reveal the traces of a destiny marked by some unsettling clues:

the opening piece, B Minor Waltz, is dedicated to Bill's former long-term, unfortunate girlfriend

Ellaine (was it just a coincidence that the key of B minor was the same as Tchaikovsky’s tragic,

desperate "Pathetic" Symphony?”); the closing piece, Johnny Mandel's theme from Bill's favorite

TV series M*A*S*H*, is sub-titled Suicide is Painless. What was happening to Bill?

Why dwell on self-destruction? Maybe because “suicide ... brings on many changes, and I can take

or leave it as I please?” Perhaps a successful hit like M*A*S*H*was enough to set off that

subconscious image/sound mechanism which always seemed to stimulate him. The story of M*A *S*H*

(set, as everyone knows, in the Korean War) denouncing the madness and psychologically

devastating violence of war, probably sparked Bill's memory of his psychically wounding

experiences at Fort Sheridan in the early 50s, where he had come into contact with the harsh and

senseless reality of army life. His slow slide into a self-destructive depression, probably

traceable to those distant days, led him some years later into the drug habit (“the longest

suicide in history,” as writer and great friend Gene Lees would say of him) which he shared with

fragile, vulnerable Ellaine, who could not bear the idea of being separated from him.
Not even the birth of his son Evan the previous year had been able to fulfill that promise of

regeneration that he had begun to glimpse, not to mention the fact that his marriage with Nenette

was on the rocks. Perhaps all this would be enough to explain the album's mournful tone.

Alongside the images of that movie which recalled his own suffering and the pain of another

failure, that of his marriage, Bill was “speaking" through his music to Ellaine.

But another element must be factored in to give You Must Believe In Spring [Warner Bros. 3504] a

special place in the final stages of Evans' artistic activity. The entire record, in fact, and

not only the piece We Will Meet Again, was dedicated to his beloved big brother Harry - although

Harry was never to know this. Bill loved movies, as we have already pointed out, but a script

that not even the most imaginative screenwriter could ever have conceived had cast him in the

leading role. His past (Ellaine) and his present (Harry) were soon to be linked precisely by the

suicide. Two years after the recording of You Must Believe In Spring, Harry Evans Jr., he as well

suffering from a long depression, took his own life. Since the album had not yet been published

Harry never heard it nor did he ever know about that act of affectionate brotherly devotion - a

shocking premonition. Starting with the recording of that ill-fated album in August '77, a dark

destiny seemed to be rushing towards the artist; but he still had a little more time - time

enough to say many more things in music and to "close the circle" of his musical journey."

_________________________________________________________________________________________

One Of The Best Piano Trio Albums I've Ever Heard!
This is simply Bill Evans' best album or at least I think it is and it also Evan's debut on

Warner Bros. Records.

There is such sadness and beauty on display here. I would compare this album with Evan's last

album for Fantasy called "I Will Say Goodbye," but for some reason I find this album more

haunting.

Anyone with a soul will appreciate this music no matter what style it is. I happen to be a jazz

musician, so naturally I'm going to listen to jazz music, but I really think this album would be

appreciated by anyone.

The music speaks for itself, so I won't comment too much about it, but I can say this album was

well recorded and the remaster sounds great. Very clean and articulate.

The playing is also noteworthy. Bill Evans is in top form, Eddie Gomez on bass is virtuosic as

always, and Eliot Zigmund is a great drummer and provides great support.

I highly recommend this album for anyone who's interested in Bill Evans or piano jazz. You do not

want to miss this one!