You Must Believe In Spring
1981 US original pressing in near-mint condition.
After more than a decade as one of the pianist's most sympathetic bassists, this was Eddie Gomez's last recording with Evans, a trio set with drummer Eliot Zigmund recorded in 1977 and released after Evans' death in 1980.
In Evans' hands, melodies and time signatures are often more whispered, more shadowed, than stated, as in the opening "B Minor Waltz (For Ellaine)" and the somber, reflective title track, which blossoms, after Gomez' mid-song solo, like dogwoods on a mid-May morning. Evans boasted such a unique, unmistakable touch—emotional and beautiful and even soft, but never sweet. (Gomez is pretty amazing himself on "M.A.S.H.," laying down the foundation rock solid yet pushing the music forward, too.)
As a rule, Evans could pick up the program from an elementary school chorus festival and play it inventively and beautifully. This set is no exception.
1981 US original pressing in near-mint condition.
After more than a decade as one of the pianist's most sympathetic bassists, this was Eddie Gomez's last recording with Evans, a trio set with drummer Eliot Zigmund recorded in 1977 and released after Evans' death in 1980.
In Evans' hands, melodies and time signatures are often more whispered, more shadowed, than stated, as in the opening "B Minor Waltz (For Ellaine)" and the somber, reflective title track, which blossoms, after Gomez' mid-song solo, like dogwoods on a mid-May morning. Evans boasted such a unique, unmistakable touch—emotional and beautiful and even soft, but never sweet. (Gomez is pretty amazing himself on "M.A.S.H.," laying down the foundation rock solid yet pushing the music forward, too.)
As a rule, Evans could pick up the program from an elementary school chorus festival and play it inventively and beautifully. This set is no exception.
