Customer Reviews

Something For You

5 star:		(20)
4 star:		(8)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Remember "Bowing to Bud" and "Cross Currents"? Add a splash of "Thats All It Was"and "One Note Samba" and you get an idea of what's in this CD.You'll find great jazz and lush lyrical ballads. More jazz than Brazilian as you would expect in a homage to Bill Evans-and its all good and most of it great."But Not For Me", "Blue in Green"'\"I Love My Wife" "After All" "Evanesque" stand out. And I was especialy moved by "For Nenette".Mark Johnson stood out and was greatly responsible for the creation of this work. Kudos to Eliane and Mark! (Please come back to Harrisburg)

Aside from her Brazilian roots, Eliane has attributed jazz pianist Bill Evans as a major influence. It also happens that her husband, bassist Marc Johnson, played with Evans in Evans' final days. The jazz played by Evans could sometimes have romantic overtones, a key part of Eliane's persona. "Something for You" is devoted to Evans and is full of songs written or performed by him. It has a good deal of fast and slower jazz, including the bebop sound, but also a good amount of romantic piano work, both interpretative and original. The first half of the CD tends toward the jazzy, the second half toward the romantic. Drummer Joey Baron has an uneven presence; also, unlike in most of Eliane's recent work, there are no other supporting musicians save for Johnson, much less an orchestra, in any of the tracks.

My dark horse favorite is Miles Davis' "Blue in Green." It is not really bebop or romantic, but has some pretty, very elegant improvisation. Recall that it was Evans who contributed the piano work on this song in Miles' classic album "Kind of Blue." Eliane's medium-paced piano is played over a slower rhythm tempo, and she does sophisticated interpretative work against the heavily horn-infused original. In addition, Eliane observes in the liner notes that it has a Brazilian feel. It touches Miles well with her own flavor, yet subtly a different sound for her. Also note that Eliane and the group honor Miles' spirit in "Solar," his other song here, with more great improvisation.

Eliane's singing is better on romantic pieces, as in all her popular ones, and it is always pretty; her accent and thicker voice can get in the way when it comes to certain slow jazz singing in English. But what the hey, she sings in her lovely Portugese in the one Brazilian song, "Minha." Her piano work is great, as always. She has only one original composition -- the pretty "After All" -- but she also did major romantic rearrangements for "Evanesque," one of the highlights, and for the strong title track, for which she also created lyrics. Some of her best flowery, romantic phrasing and occasional flourishes come in "I Love My Wife" and "For Nenette," which are among her several solo piano numbers.

As you can read, on a personal level I recommend this CD more for its prettier side than its traditional jazz side, just a matter of taste. As in the past, Eliane shows she is enjoyable with solo piano or piano supported only by a rhythm section. This time, the context was particularly special.

Brazilian pianist and singer Elias not only shares with the late pianist, Bill Evans, an ear for unusual harmonics, but also his last bass player, her husband, Marc Johnson.
This CD includes two previously unheard Evans tunes alongside Elias's interpretations of numbers associated with Evans and others played with an Evanesque sensibility.
The mood is restful, but there's enough variety to keep the listener hooked.
Highlights : "But Not For Me" and "For Nenette".

Portrait in Jazz
Together Again
The Best of Bill Evans
Everybody Digs Bill Evans
From This Moment On
The Very Best of Diana Krall

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. For those interested in women tributes to Bill Evans, also check out Tierney Sutton's tribute to Bill as well as the 2-3 albums on which Ellyn Rucker both plays and sings Evans songs.)

I was not a big fan of Eliane Elias' "Dreamer," so I bought this c.d. with some trepidation. It has received really good reviews; would I be wrong to buck the tide?

As it turns out, I'm not bucking the tide. This c.d. proves a basic point: Eliane Elias is the best pianist who sings. That's not to say she's the best singer who plays piano: I'd vote for Diana Krall on that score. And it's not to say she's the best singer/pianist: I'd vote for Andy Bey, but with a special nod to Patricia Barber.

I review singers; but Eliane Elias is such a fabulous pianist here that I can't (and shouldn't) get past that point.

She has chosen to tribute Bill Evans, and I can't think of a better musician to do so. For one, she's married to Marc Johnson, who plays bass here and was Evans' last bassist (before Evans died in 1980). And as such, the c.d. ends stunningly, with a "bootleg tape" of Evans (which Mr. Johnson has been holding on to, all of these years) playing "Here is Something For You." Eliane picks up in the middle of the song where Bill ends off, and except for the recording quality sound and absence of Evans' "grunts of joy," sounds just like him.

But for two, Bill Evans is probably the most influential jazz pianist of all. Nobody played more lyrically, and nobody played chords more lyrically, than Bill Evans. And in this respect, Eliane Elias sounds just like Bill Evans. She's not derivative; you can't "copy" Bill Evans. Rather, she has captured his spirit like none other. Eliane Elias has truly channeled Bill Evans in this recording.

Take for example "Five" (Track 6). This sounds amazingly like Thelonious Monk; but where Monk would play angularly and percussively, Ms. Elias - like Mr. Evans - plays it smoothly, roundly, with harmonies washing over.

Ms. Elias' singing isn't quite up to her piano playing, but that's for two primary reasons: 1) For the most part, she is singing English translations, when her native tongue is not English. As such, the phrasing sounds "stiff," as in "singing in syllables," rather than "singing in phrases." Ms. Elias fares best on "Minha," when she sings in her native Portuguese. 2) She is just so good on piano, that her singing can't compare. She's a better singer than Bill Evans, that's for sure! As I said, call her "the best pianist who sings," and let it go at that. RC

WHAT A GREAT CD. ELIANE IS FABULOUS AS ALWAYS. BILL EVANS WAS THE MOST INFLUENTIAL JAZZ PIANIST SINCE THE 50S. IT IS FASCINATING THAT HIS LAST GREAT BASSIST, MARK JOHNSON, IS ELAINE'S HUSBAND. HE IS A ROCK AND PERFECT FOR THIS GIG. I HAVE ALL OF HER WORK AND ADMIRE HER MORE AND MORE. I LOVE HER SINGING ALSO...VERY SENSUOUS, VERY UNIQUE. I JUST HOPE SHE AND MARK WILL KEEP PRODUCING MORE OF THIS GREAT MUSIC!

I found this CD by reading reviews and comparisons on AMAZON. What a find! Eliane Elias is simply wonderful. Brilliant on the piano and what a voice. If you have not got one of her CD's this is a good one to start. This lady is the real thing. Like Diana Krall? You will love Elias. Strongly recommended.

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. I really loved "Here's Something for You", 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!

"This is a real heartfelt, super special project for us....We're happy and we're looking forward to bringing the music to the people. It seems like everybody who hears this...people can feel some of the emotion, the sincerity that we felt when we did this tribute. It was really heartfelt....The whole thing is like a baby, a very special baby." ~ Eliane Elias ~

I'm always impressed with a musician's versatility when it comes to piano playing so naturally Eliane Elias is one of the names who figured prominently in my book of jazz. She's not only a jazz pianist, she is also a classical pianist on top of being a singer and composer as well. This Blue Note album, "Eliane Elias Sings & Plays Bill Evans," is a perfect example of that kind of versatility. It is not only a presentation of the material that Bill Evans was famous for, but it is also a loving tribute to one of her earliest musical influences. Together with her husband and musical partner, bassist Marc Johnson, and drummer Joey Baron, they have recorded one of the best tributes to the amazing piano artistry of Bill Evans, who was one of the greatest pianists in the history of jazz. The interplay among the trio is outstanding.

Two of the emotional highlights that will surely touch the musical sensibility of a listener come with this tribute album. Firstly, the fact that Marc Johnson's bass on one of the best tracks, "My Foolish Heart," was once owned by one of Bill Evans' best bass players, Scott LaFaro. Secondly, the revelation of a cassette tape given by Bill Evans to Marc Johnson containing two original compositions that were never recorded because of his untimely death. Eliane Elias provided the lyrics to Bill Evans' melody and titled it "Here's Something For You." It is a fitting title to salute and pay tribute to a jazz piano icon.

Surprisingly, some of the tracks that stood out are also the tunes that I liked best from Bill Evans albums: "But Beautiful: Bill Evans Trio Featuring Stan Getz," "Tony Bennett and Bill Evans Album," and "Alone." Eliane Elias lovingly and skillfully reinvented the songs with fresh arrangements in her very own elegant tonal quality, well-harmonized style and emotive transcription.

I enjoyed listening to this album in its entirety most especially Bill Evans' most beautiful body of work, "Waltz For Debby," as well as the bubbling, filled with jazzy notes, "You And The Night And The Music," the heartwarming, ear-candy "My Foolish Heart" and of course, the centerpiece from this set, "Here's Something For You." It is, indeed, a "heartfelt and super special project." I hope you'll enjoy it, too.

I've been listening to, absorbing, jazz piano for about 45-50 years.
If I had to pick two favorites (no easy task--impossible(?)) they would have been Bill Evans and Red Garland. (OK, there's Oscar and Lyle Mays, Evans without a doubt,
Gene Harris, but where does one stop?)
All that's been blown away----This woman has me by my soul.
If you haven't heard her, hear her...she feels things that can't be
duplicated. Her soul knows it's way to her fingers.
I rate my CDs on MSFT Media-whatever-they-call-it. This piece has more
5 star tracks on in it than any others I own.
If forced to pick a favorite track, it would have to be "Blue In Green." But wait, "My Foolish Heart", "After All"...
In it, Evans, Garland, Davis all come alive, if only to praise, from
wherever they listen, this interpretation of one of their masterworks.

I suppose if I were asked "What would allow you to die happy?" it could
involve a recorded version of Ms. Elias playing with her husband, plus
Pat Metheny, Lyle Mays, (yes, two pianos work fine) Antonio Sanchez,
Cuong Vu, and others as they deem necessary/fun.
(And please, should anyone be listening, let it go---I want to hear
10-12-15 minute cuts from Eliane--long, far ranging solos from
her deepest pools. Please.) (?)

I cannot take this piece of art out of my truck's CD player,
if you don't have it, get it, there's love and art and spectacular
music all over it, waiting to immerse you.

Lee

EDIT--8/9/09 Found an interesting bit on an Evans album.
(IMMORTAL CONCERTS, Bill Evans with Eddie Gomez & Marty Morell
"Waltz For Debby". A live performance, recording details quite sketchy.) It seems that Evans was working on "Something For You"
at the time that this concert was recorded. First phrases of
"Something..." show up in the intro to "Nardis". I assume before
Evans gave Marc Johnson that priceless cassette of stuff he'd
been thinking about, forming into a piece.

The mind, at work.

Lee