Customer Reviews

How My Heart Sings

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This enjoyable album is from the first recording session by Bill Evans's "second trio" of 1962, with Chuck Israels taking over as bassist after the death of Scott La Faro. The session produced two albums, the all-ballad `Moonbeams' and this one, which mainly features medium to up-tempo numbers. Nevertheless, as Evans said in his original liner notes, the trio aimed to produce a "singing" approach to all the material it played. So along with the lively, skipping rhythms on such tracks as "Summertime" and "In Your Own Sweet Way" and the more driving swing on the Evans originals, "Walking Up" and "34 Skidoo", there's a lot of tuneful improvising throughout.

The combination of this "singing" approach with the trio's rhythmic vitality is especially obvious on the title track, an attractively lyrical jazz waltz, on the affectionate parody, "Show Type Tune" (another Evans original), on "I Should Care" and on one of the less well known Cole Porter tunes, "Everything I Love". The latter is one of my favourites for the way Evans in his playing of the tune manages to convey the lyrical feeling of a slow ballad at a moderately swinging tempo.

Even at this early stage in his residence with the trio, Chuck Israels was proving a highly compatible partner, creating well-constructed lines both in "duet" with the pianist and in his solos. Paul Motian's drumming is mainly relaxed and at times almost self-effacing but always blending closely with Evans and Israels. Evans also pointed out in his liner notes how easy it would be to underrate Motian's contribution until one tried to imagine what the music would be like without it.

Despite the obvious differences of mood and tempo between this and the companion album, `Moonbeams', it has similar virtues of subtlety and thoughtful interplay within the trio.

This is the first album Evans made after the death of Scott La Faro. With Paul Motian on drums and Chuck Israels on bass, the trio has a completely different feel. In his Pre-LaFaro days, Evans played in more muscular, bop-like style. When LaFaro joined the trio, Evans took a more reticent and reflective approach (LaFaro was a very dominant bassist). In this recording, Evans again plays forcefully, yet beautifully, in sort of synthesis of the two styles. The music is first rate. There are no ballads: the tempos range from medium to upbeat. I have been listening to this record for 40 years, and am still not tired of it. Dig "Summertime": nothing like it.

This album is under-rated. There is so much to be analysed and enjoyed on this album, but unfortunately it has been overshadowed by the end of the "first trio," and the monumental Peace Piece (Everybody Digs). How My Heart Sings is a beautiful tune by Evans' good friend Earl Zindars, his treatment of the tune is amazing. His counter lines and smooth-swinging solo bursts and crunch chords are wonderful. An Evans original, 34 Skidoo is one of my favorite songs ever. The modulation of 3/4 to 4/4 is perfectly applicated and the hauntingly beautiful yet surprisingly difficult changes of this tune are everything you would want from and Evans song. Another Evans original, Walkin' Up is a slightly "out-there" tune for Bill at this time, with the chromatic +4 chords and counter beat melody. Finally we get to Summmertime, the truly great bassline to this song, adds an up-tempo life to this quite overplayed standard. His lines over this song are to be transcribed hundreds of times by all of those who love Evans, they are clever, shining, and excruciatingly smooth. In short: if you like Bill Evans this is a must-have cd no matter what. Even if you're new, this is a wonderful cd and an under-rated find. Just wonderful.

I'v been listening to Bill Evans for about eight years now and I must say I'm a fanatic. I started my Bill collection with The Village Vanguard albums. I originally bought those albums to hear Scott LaFaro, but I was blown away by Bill's piano playing. Since then I have increased my collection to 23 albums. How My Heart Sings is in my opinon a transitinal record for his then new trio with Chuck Isreals on bass. Never the less the music is very good. I wouldn't say it is my favorite bill album but it has some great moments,especially the reworking of Gerswin's Summertime built around Isreal's bass ostinato. This version in my opinon is the must original and fresh version of this classic. Another good thing is the presence of Bill's originals. I also enjoy the title track by Earl Zindars. The bottom line is that this album is worth it.

I PERSONALY LOVE THIS ALBUM BY THE GREAT BILL EVANS. ITS VERY SOOTHING AND JUST PLAIN FUN TO LISTEN TO. HIS IMPROVISIONS ON FAMOUS SONGS LIKE "SUMMERTIME, AND "HOW MY HEAT SINGS" ARE BREATHTAKING. THIS IS ONE OF THE BEST BY BILL

After the death of bassist Scott Lafaro in an automobile accident, Bill Evans stopped playing for almost a year. But with the coaxing of a young bassist from Brandeis University, Chuck Israels, who had previously played with the revolutionary avant gard pianist, Cecil Taylor, Evans resurrected his famous 2nd trio. Probably because Israels was a agressive personality, Evans swung much more in this context than he did with LaFaro---the evidence lies in the 2 takes of Brubeck's "In Your Own Sweet Way", both swing'ng and joyful!! If you've been put off by the image of Evans being introverted, then this album will refute that notion. Along with the earlier album, "Everybody Digs Bill Evans" (made after his tenure with Miles Davis), this collection of medium tempo songs will leave your heart sing'ng!!

La sonoridad típica de Bill Evans a pleno. Cinco estrellas le hubiera dado Down Beat