|Originally posted by scottpaul_iu
Bill Evans is one of my favorites, and this is a great record.
I understand that *you* might know what's good about Bill Evans, as would every jazz critic who's ever written for Downbeat or The Village Voice. My point is that a person who prefers to listen to IDM, Venetian Snares and Autechre exclusively might not -- especially if the Evans album has an insipid and unironic title (which, unfortunately, *Waltz for Debbie* does).
I happen to like Evans because he had the best technique and subtlest touch (and pedal style!) of any jazz pianist I've ever heard. Someone who can't even listen to Vladislav Delay without getting restless might miss that fact.
Tatum, Monk, Tyner, Horace Silver and Teddy Wilson are great pianists, too, but for utterly different reasons. Evans is the opposite of such iconoclasts. He's the suggestive space around their matter.
"I sure learned a lot from Bill Evans."
-- Miles Davis
But I have to be honest with you: I've never loved the head of the title track of this particular album. I prefer the polyrhythmic quasi-hocketed solo tangents on that piece to the written parts; I prefer the other cuts in toto. As a composition, the Waltz seems a wee Hank straight. I find myself waiting for Milestones.