(JazzPlanet) Bill Evans - You Must Believe In Spring (Eac Single Flac Cue) torrent download

Bill Evans - You Must Believe In Spring



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Artist: Bill Evans

Album Title: You Must Believe In Spring

Label: Warner Bros

Genre: Jazz

Styles: Straightahead/Mainstream/Bop/Hard Bop/Cool 

1981 Warner Brothers Records Inc. 	7599-23504-2

Studio album recorded August 23-25, 1977 in Hollywood



Extractor: EAC 0.99 prebeta 4 

Read mode               : Secure

Utilize accurate stream : Yes

Defeat audio cache      : Yes

Make use of C2 pointers : No

Codec: Flac 1.2.1;  Level 8  

Single File.flac, Eac.log,

File.cue (Noncompliant)

Accuraterip: (confidence 3)

Size Torrent: 179 Mb

Cover Booklet included



Total Time: 34:16





01 B Minor Waltz (For Ellaine)

02 You Must Believe In Spring

03 Gary's Theme

04 We Will Meet Again (For Harry) 

05 The Peacocks

06 Sometime Ago

07 Theme From MASH (aka Suicide Is Painless)



Personnel:

Bill Evans (Piano, Main Performer)

Eddie Gomez (Bass)

Eliot Zigmund (Drums)







http://mp3city.com.ua/en/Bill_Evans/You_Must_Believe_in_Spring-6179/





"In August of 1977 Warner Bros made Evans a very generous recording offer, and it was Helen Keane 



who made the switch to that label possible. You Must Believe In Spring (again with Gomez and 



Zigmund) continues along the lines of I Will Say Goodbye, but there is much more in it. This 



album, however, also begins to reveal the traces of a destiny marked by some unsettling clues: 



the opening piece, B Minor Waltz, is dedicated to Bill's former long-term, unfortunate girlfriend 



Ellaine (was it just a coincidence that the key of B minor was the same as Tchaikovsky’s tragic, 



desperate "Pathetic" Symphony?”); the closing piece, Johnny Mandel's theme from Bill's favorite 



TV series M*A*S*H*, is sub-titled Suicide is Painless. What was happening to Bill?



Why dwell on self-destruction? Maybe because “suicide ... brings on many changes, and I can take 



or leave it as I please?” Perhaps a successful hit like M*A*S*H*was enough to set off that 



subconscious image/sound mechanism which always seemed to stimulate him. The story of M*A *S*H* 



(set, as everyone knows, in the Korean War) denouncing the madness and psychologically 



devastating violence of war, probably sparked Bill's memory of his psychically wounding 



experiences at Fort Sheridan in the early 50s, where he had come into contact with the harsh and 



senseless reality of army life. His slow slide into a self-destructive depression, probably 



traceable to those distant days, led him some years later into the drug habit (“the longest 



suicide in history,” as writer and great friend Gene Lees would say of him) which he shared with 



fragile, vulnerable Ellaine, who could not bear the idea of being separated from him.

Not even the birth of his son Evan the previous year had been able to fulfill that promise of 



regeneration that he had begun to glimpse, not to mention the fact that his marriage with Nenette 



was on the rocks. Perhaps all this would be enough to explain the album's mournful tone. 



Alongside the images of that movie which recalled his own suffering and the pain of another 



failure, that of his marriage, Bill was “speaking" through his music to Ellaine.



But another element must be factored in to give You Must Believe In Spring [Warner Bros. 3504] a 



special place in the final stages of Evans' artistic activity. The entire record, in fact, and 



not only the piece We Will Meet Again, was dedicated to his beloved big brother Harry - although 



Harry was never to know this. Bill loved movies, as we have already pointed out, but a script 



that not even the most imaginative screenwriter could ever have conceived had cast him in the 



leading role. His past (Ellaine) and his present (Harry) were soon to be linked precisely by the 



suicide. Two years after the recording of You Must Believe In Spring, Harry Evans Jr., he as well 



suffering from a long depression, took his own life. Since the album had not yet been published 



Harry never heard it nor did he ever know about that act of affectionate brotherly devotion - a 



shocking premonition. Starting with the recording of that ill-fated album in August '77, a dark 



destiny seemed to be rushing towards the artist; but he still had a little more time - time 



enough to say many more things in music and to "close the circle" of his musical journey."



_________________________________________________________________________________________





One Of The Best Piano Trio Albums I've Ever Heard!

This is simply Bill Evans' best album or at least I think it is and it also Evan's debut on 



Warner Bros. Records.



There is such sadness and beauty on display here. I would compare this album with Evan's last 



album for Fantasy called "I Will Say Goodbye," but for some reason I find this album more 



haunting.



Anyone with a soul will appreciate this music no matter what style it is. I happen to be a jazz 



musician, so naturally I'm going to listen to jazz music, but I really think this album would be 



appreciated by anyone.



The music speaks for itself, so I won't comment too much about it, but I can say this album was 



well recorded and the remaster sounds great. Very clean and articulate.



The playing is also noteworthy. Bill Evans is in top form, Eddie Gomez on bass is virtuosic as 



always, and Eliot Zigmund is a great drummer and provides great support.



I highly recommend this album for anyone who's interested in Bill Evans or piano jazz. You do not 



want to miss this one!
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