You Must Believe In Spring (Remastered 2022) Bill Evans

• 1B Minor Waltz (Remastered 2022)03:16
• 2You Must Believe In Spring (Remastered 2022)05:44
• 3Gary's Theme (Remastered 2022)04:18
• 4We Will Meet Again (Remastered 2022)04:05
• 5The Peacocks (Remastered 2022)06:01
• 6Sometime Ago (Remastered 2022)04:34
• 7Theme From M*A*S*H (Suicide Is Painless) (Remastered 2022)06:03
• 8Without A Song (Remastered 2022)08:06
• 9Freddie Freeloader (Remastered 2022)07:34
• 10All Of You (Remastered 2022)08:10
• Total Runtime57:51

Info for You Must Believe In Spring (Remastered 2022)

Bill Evans (1929-1980), one of the most influential artists in the history of jazz, was known for his dialogic interplay in his trios, his lyrical compositions and his incomparable handling of the piano. His work with Gomez and Zigmund on "You Must Believe in Spring" is a brilliant example of all three aspects. When they recorded the album in August 1977, this particular formation of the Bill Evans Trio had reached its zenith after three busy years of live performances and studio recordings (including the 1977 albums Crosscurrents and I Will Say Goodbye). Speaking to Marc Myers, Zigmund recalls, "We had reached a high level of conversational ability. By spring, we had captured that ease with which we could interact with each other."

For the three-day recording session at Hollywood's famed Capitol Studios, Evans worked with legendary producer Tommy LiPuma, whose extensive credits include Barbra Streisand, George Benson and Natalie Cole. Together, they selected an introspective collection of material that gave the album a "gentle, melancholy mood and a jukebox tenderness", as Marc Myers notes Among them were two very personal Evans originals: "B Minor Waltz (for Ellaine)", composed in memory of the pianist's late partner, Ellaine Shultz, and "We Will Meet Again (for Harry)", written for the artist's late brother. Two years later, Evans revisited the latter composition and made it the title track of his final studio recording.

The other tracks offered Evans the space to interpret a wide range of material - from lesser-known gems like "Gary's Theme", a 1968 composition by vibraphonist Gary McFarland, to such popular fare as Sergio Mihanovich's "Sometime Ago" At LiPuma's suggestion, Evans also delivered an inspired interpretation of "Theme From M*A*S*H (Suicide Is Painless)", the highly recognisable instrumental opener from the popular television series. The title track, on the other hand, was a standard of the era, written by the prolific French film composer Michel Legrand for the 1967 film The Young Girls of Rochefort.

Bill Evans, piano, electric piano on "Freddie Freeloader"
Eddie Gómez, double bass
Eliot Zigmund, drums

Recorded August 23–25, 1977 at Capitol Studios, Los Angeles
Produced by Helen Keane, Tommy LiPuma

Digitally remastered

Bill Evans
is an internationally recognized five-string banjo life force. As a performer, teacher, writer and composer, he brings a deep knowledge, intense virtuosity and contagious passion to all things banjo, with thousands of music fans and banjo students from all over the world in a music career that now spans over thirty-five years.

Bill's banjo artistry is best experienced in live performance and on his recordings Fine Times At Fletcher's House with Fletcher Bright (2013), In Good Company (2012), let's do something with Megan Lynch (2009), Bill Evans Plays Banjo (2001) and Native and Fine (1995). Bill successfully bridges traditional and contemporary sounds and playing techniques, creating a new music that is firmly within the bluegrass tradition but draws upon a broad knowledge of classical, jazz and world music, drawing upon his experiences as a graduate student in Music at the University of California, Berkeley and as the associate director of the International Bluegrass Music Museum.

Bill is also an expert player of mid-19th century minstrel banjo and late 19th and early 20th century classic banjo styles, authentically performing these styles on historical instruments. He brings all of these diverse musical performing interests together in his solo concert The Banjo in America.

In the last two years, Bill has toured throughout the United States, Canada, England, and Germany and toured Russia for the U. S. State Department. Recent appearances include A Prairie Home Companion with Garrison Keillor and performances with the San Francisco Symphony. From festival to folk society stages, to universities and performing arts centers, The Banjo in America has earned standing with a dazzling display of banjo artistry of unparalleled historical depth geared towards entertaining general audiences.

Bill is the author of Banjo For Dummies, the most popular banjo book in the world. Banjo For Dummies is now in its second edition and has been translated into French and Portuguese. This year, Bill is preparing a companion volume Bluegrass Banjo For Dummies. In addition, Bill hosts six critically acclaimed instructional DVDs for AcuTab Publications, Homespun Tapes and the Murphy Method and he is also the co-author of Mel Bay’s best-selling Parking Lot Pickers Songbook: Banjo Edition.

With banjo legend Sonny Osborne, Bill hosts the NashCamp Banjo Camp each fall in Fairview, Tennessee. Now in its 13th year, this camp is the premiere bluegrass banjo camp in the world and has featured J. D. Crowe, Jens Kruger, Bill Emerson, Ron Block, Kristin Scott Benson, Rob McCoury, Tony Trischka, Alan Munde, Ned Luberecki, Charlie Cushman, Pete Wernick and Frank Neat, among others.

Bill has also been a mainstay at many other banjo and bluegrass music camps over the last fifteen years, including multiple appearances at Sore Fingers Bluegrass Week (England), Bluegrass Camp Munich (Germany), the Midwest Banjo Camp (Michigan), Steve Kaufman’s Acoustic Music Camp (Tennessee) and the California Bluegrass Association’s Music Camp.

Bill has probably taught more one-on-one banjo lessons than anyone else in the world. His list of students is impressive: Chris Pandolfi (The Infamous Stringdusters), Jayme Stone, Greg Liszt (Crooked Still, the Deadly Gentlemen), Wes Corbett and Erik Yates (Hot Buttered Rum.) However, Bill is equally adept at instructing the older adult learner whose goal is to have fun in a jam session or local band.

At any one time in his home near Richmond, California, Bill teaches between forty and sixty students, in addition to maintaining a steady international touring schedule. In addition, Bill teaches the most popular bluegrass ensemble classes in the San Francisco Bay Area at the Freight and Salvage Coffeehouse and he is on the faculty of the California Jazz Conservatory.

This album contains no booklet.