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Moon Beams

Rate It! Avg: 4.5 (102 ratings)
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Moon Beams album cover
01
Re: Person I Knew
5:44
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02
Polka Dots And Moonbeams
5:00
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03
I Fall In Love Too Easily
2:40
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04
Stairway To The Stars
4:51
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05
If You Could See Me Now
4:29
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06
It Might As Well Be Spring
6:04
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07
In Love In Vain
4:59
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08
Very Early
5:04
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Album Information
EDITOR'S PICK

Total Tracks: 8   Total Length: 38:51

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Wondering Sound

Review 0

10.14.09
The legendary jazzer’s first album after the death of Scott La Faro
2006 | Label: Concord Records, Inc.

Heads rightly go slack-jawed over fabled bassist Scott La Faro, but the first Bill Evans album to follow La Faro's tragic death found Evans in transcendent form: his voicing — the architecture of the chords, their placement on the keyboard — practically reinvents the chords he's playing. The sheer melodicism of this set utterly floors me, albeit in a very gentle way.

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Float away...

kundry

The harmonies are thick and ambiguous; the melodies understated and contemplative. Magical.

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A Classic

AckMeister

An amazing tour-de-force especially in view of Scott LaFaro's death. All of these pieces are wonderful.

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great.

altered

Great album of ballads in Evan's sparse early style. Nico is the model on the cover.

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Quiet and Thoughtful

PianoMansFavoriteSon

Bill Evans at his mellow best. All ballads, for late in the evening. Creative, clever playing.

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They Say All Music Guide

Moonbeams was the first recording Bill Evans made after the death of his musical right arm, bassist Scott LaFaro. Indeed, in LaFaro, Evans found a counterpart rather than a sideman, and the music they made together over four albums showed it. Bassist Chuck Israels from Cecil Taylor and Bud Powell’s bands took his place in the band with Evans and drummer Paul Motian and Evans recorded the only possible response to the loss of LaFaro — an album of ballads. The irony on this recording is that, despite material that was so natural for Evans to play, particularly with his trademark impressionistic sound collage style, is that other than as a sideman almost ten years before, he has never been more assertive than on Moonbeams. It is as if, with the death of LaFaro, Evans’ safety net was gone and he had to lead the trio alone. And he does first and foremost by abandoning the impressionism in favor of a more rhythmic and muscular approach to harmony. The set opens with an Evans original, “RE: Person I Knew,” a modal study that looks back to his days he spent with Miles Davis. There is perhaps the signature jazz rendition of “Stairway to the Stars,” with its loping yet halting melody line and solo that is heightened by Motian’s gorgeous brush accents in the bridge section. Other selections are so well paced and sequenced the record feels like a dream, with the lovely stuttering arpeggios that fall in “If You Could See Me Now,” and the cascading interplay between Evan’s chords and Israel’s punctuation in “It Might As Well Be Spring,” a tune Evans played for the rest of his life. The set concludes with a waltz in “Very Early,” that is played at that proper tempo with great taste and delicate elegance throughout, there is no temptation by the rhythm section to charge it up or to elongate the harmonic architecture by means of juggling intervals. Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader. – Thom Jurek

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