You Must Believe In Spring [Remastered] - Bill Evans > Reviews > You Must Believe in this Album

Author's product rating:   

Originality	Groundbreaking
Lyrics	Not applicable
Quality and consistency of tracks	A couple of weak links
How does it compare to the artist's other releases	Good
Value for Money

Advantages:	Moving, beautiful harmonies and solos .
Disadvantages:	Not everyone likes jazz

Recommend to potential buyers:

yes

Full review

Over the years my taste in different jazz styles has changed, but Bill Evans still stands out as one of my favourite musicians; the artist who originally enticed me into the world of Jazz, and whose work has significantly affected my own style as a Jazz pianist. Recoded in 1981, ‘You Must Believe Ins Spring’ contains pieces of a less upbeat and syncopated style than that of his earlier work, and instead more flowing, beautiful pieces, played with the heart-felt lyricism for which Evans is renowned. Sticking to a jazz trio form, (piano with drums and double bass), Evan’s creates the perfect atmosphere in each piece through subtle textures and natural, unspoken collaboration with his fellow musicians. Being a huge fan of Evans I may appear somewhat biased in his favour; the album is after all one my favourite. But anyone who has some interest in Jazz should appreciate this superb and generally accessible album.

The album’s most memorable and romantic piece is You Must Believe in Spring itself, which has a long, sweeping, yearning melody, which is played three times with varied harmonies before the solo sections. This leads into double bass solo, playing in the higher region, which largely copies the original melody. Then the piano solo comes in, and I still maintain that Evans’ improvisation in the piece is one of the most emotionally inspired piano solos of all time. Without being elusive or discordant, he plays with effortless fluency and elegance, relentlessly developing simple phrases into harmonically complex lines.

Other pieces on the album also carry the same soft, lyrical feel, and each piece has its own astounding harmonies. Some might argue that all the pieces are pretty similar; it is true that there are no drastic contrasts of mood throughout, but this can be said to give the album a consistent theme, as all compositions relate to its title in some way. Each piece is superbly graceful; each contains an unfailingly lucid piano solo. ‘The Peacocks’ carries its own wistfulness, ‘B minor Waltz’ its unique melody, and the last piece on the album is the delightful theme from M.A.S.H (‘Suicide is Painless.’) This is a particular treat, as Evans takes the generally ordinary, unjazzy theme of the old TV sitcom and develops its harmonies and style into a vibrant, lilting arrangement that nicely concludes the album, and also conveys the splendour of spring!

Alongside ‘Waltz For Debby’ and ‘Portraits in Jazz,’ this is one of the finest albums in Evans’ career. He proved himself a great innovator of harmonies, and his lyricism earned him a big name in the Jazz community; leaving a legacy that survives today. You may not appreciate it to quite the extent that I do, and the album is not ‘Jazzy’ as such, in the usual jumpy, bebop sort of way, but ‘You Must believe in Spring’ is still an unmatchable work of musical poetry.