Customer Reviews

Time Remembered: John Mclaughlin Plays Bill Evans

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Back in 1970, when the guys I used to play rock and roll with were relaxing by smoking weed and listening to "Bitches Brew" by Miles Davis, we were all absolutely floored by guitarist John McLauglin.
His staggering chops, his voluminous harmonic sense and his ability to vary his attack to create a variety of moods just made us all despair of how far we had to go with this thing called "music."
How extraordinary then, that McLauglin got the same feelings while listening to Bill Evans play piano.
This is one of the very best "tribute" albums ever. It is something McLauglin could not have done as a younger man, since he had to travel many roads and explore many styles to discover the kind of introspection with a touch of melancholy that was Evans' signature as a performer. But he certainly gets it right here. Only "Homage" is an original tune; all other are Evans compositions, and the way McLauglin gets to the emotional core of each and every one of them sends shivers up your spine. The arrangements, for a quintet of acoustic guitars led by McLaughlin are all perfect, avoiding the clutter that is a risk of using that many of the same instrument. Meanwhile, the ensemble sets just the right mood for each of these numbers. Even when McLaughlin unleashes his quicksilver runs, it is only what is required by the music... a reminder that Bill Evans too was a virtuoso, however tempered by introspection.
What can I say? This is the perfect springtime album! It is the perfect rainy-day album! It's the perfect album for falling in love by. It's the perfect album for healing a broken heart!
It reminds you that great music is, first and foremost, something MIRACULOUS, something that cannot be put into words, but communicates a wealth of feelings directly.
Get it!!!!!!

John McLaughlin has done something very rare: he has released a "tribute" CD that honors both his own unique talent and that of Bill Evans. McLaughlin never imitates; he interprets. His interpretations are fresh, but they demonstrate deep respect for the man to whom he pays tribute.

McLaughlin is dead-on accurate about one thing: an all-guitar ensemble does flatter Bill Evans's great compositions. The romantic sound of classical guitar perfectly expresses the romanticism of Evans's music. From prologue to epilogue, these arrangements and performances sparkle.

No disrespect intended to Maestro McLaughlin or the reviewers comments...but perhaps a slightly differing opinion. Mclaughlin is truly unique, an amazing talent, innovator, breakthrough artist. Perhaps most demonically virtuosic on the polar opposites of the guitar spectrum: at one end the searing electric overdriven mahavishu madness - the other the heavenly acoustic Shakti flights of blinding brilliance. It's just the middle part of his repetoire here...here where John attempts to cover classic old straight-ahead Jazz standards. Hmmm. It's perfectly OK music, and yes, surely it's "his own take" on it, but it's somehow lacking...every track is overdubbed and otherwise processed...there are no purely solo jazz guitar chord-melody takes on any of these standard covers. That certain "swing" that jazz standards breathe is missing. I was hoping to finally hear John play some solo flowing intricate legato chord melody lines reminiscient of Evan's pianistic compositions, not one recorded track of guitar playing the chords and the second or third overdubbed track noodling on top. It almost seems a little like "cheating." Alas, in this classic genre, John must take back seat to jazz guitar solo chord melody masters such as of Joe Pass, Johnny Smith, George Van Epps, Martin Taylor. (I would love to hear Martin Taylor cover these same Bill Evans songs ala his mindbogglingly brilliant chord melody playing - and then play the cuts side by side...Mclaughlin's shortcomings as a solo straight-ahead jazz chordal soloist would become obvious.) Mclaughlin is great, yet slightly out of his element here, even as he offers a sincere tribute to Bill Evans.

McLaughlin`s impeccable technique can be as lyrical as technically advanced. A wonderful collection of Bill Evans` famous standards. Goes very well in a dark room with candles and a bottle of "Pinot Noir" :))

This is a great album even if John don't remind me of Bill Evans. It is a mature tribute I would call it. Not the kind of tribute album where the artist try to sound like the musician he is tributing. Obviously John plays here some Bill Evans music but in his own way and what we have in the end is something new. Consider that the line up is even more uncommon. All classical guitars and an acustic bass, no percussions or drums. The overall sound is very calm, balanced, evocative,. It is very nice music. John didn't swing here ... not in the way Bill would do.. He chose to play more his flamencoesque licks. He plays here a lot of those trademarks fast lines which end with an higher picking energy and consequently an higher volume and intensity. But he shows an uncommon touch and sensibility too. It is a very satisfying listening experience that you will find yourself searching again and again. It is so balanced, so beautiful music that even an uneducated person not familiar with Jazz and Bill Evans and McLaughlin musiccould appreciate it. I know it's very difficult to find this album now. Too bad. If you think you could like this kind of musical situation, the last album from John, "Thieves and Poets" has a section entirely dedicated to this type of music. The line up is the same. That album is a lot easier to find. Actually ...

This music is fantastic! Mellow,highly complex yet smooth and backed up by the Aighetta Quartet: four acoustic guitars plus that of John McLaughlin. Recorded in Milan it is bright,clear and doesn't miss a chord or note due to the wonderful engineering. This album I treasure above any guitar recording I've ever owned.

Time Remembered is an exquisite rendering of Bill Evans' songs. McLaughlin is a musical genius, unappreciated by most guitar fans and the jazz and classical world.He tends to dabble too much in the lower forms of rock/jazz fusion and weird philosophy, but he has found himself in this recording, which is more conducive to his prodigious jazz and classical talents.

This is an exquisite recording because it poignantly captures the essence of Evans' playing, and because it is played with perfection and taste. All the gorgeous rhythmic, melodic, and harmonic gifts of Evans are conveyed by McLauglin and his group of classical musicians.Sometimes it takes a great musician like McLaughlin to help the musical world understand and appreciate a great musical genius like Bill Evans.

A few general comments, contrary to the general perception about this album. I was moved by it when I first heard it, but subsequently, on repeated listenings was disappointed that nothing of further depth emerged and it failed to hold my attention, beyond a few tracks.
True, there are some moving and sensitive interpretations of some of Evans' best work here, but that is only a small part of the concentrated essence distilled by Bill Evans. He had the most incredible touch,(as does McLaughlin) but he could also swing mightily and play with immense soul and frankly this album doesn't invigorate the senses.
All the best tribute albums should make you return to the artist being celebrated, without overshadowing the legacy. Here, I feel grateful for the legacy of Bill Evans without feeling that John McLaughlin, for all his artistry, has added to it. That is disappointing. A missed opportunity.

I bought this album not knowing much about it or the artist. With the first listen, I knew I had made a good choice. There aren't many that can make Bill Evans' music sound as good as Bill Evans can. But McLaughlin is one of them. Enough said. I find this CD especially good for driving in traffic. If this can't relax you, nothing can.

excellent tribute to the most influintial jazz pianist of the last 50 years . he never got the recognation he deserved . especially his contribution on " kind of blue " he molded the tone for each song he played on . it seemes that he was a musiantians musician . sorry for my spelling but i have to comment mike