Bill's solo is so masterfully crafted. The way he begins with sparse, minimal melodic lines, adding in the occasional virtuosic flourish, building up to that beautiful "locked hands" type thing he does, where his comping matches up rhythmically with what his right hand is doing. My favourite example 2:45 - 2:54.
Thank you for posting this Bruningable: Folks, listen to the tensions that Evans places on the chords. This is perhaps the best example of his ability to add the 9th and the 6th of the chord scale in the left hand consistently. This is a fiat that is now common currency among keyboard players. I say this while I am a Saxophone player. He was not the first to quote these notes; He was however the first to do it as a general expression of his feeling.
Pure jazz joy! Bill is precise ... and clearly knows where he’s going, all the time. He is selfless, adding tastefully, truly complementing the others playing while never losing the forward - moving energy of this tune. Those who have clearly made it to the top make it seem so effortless. Bill certainly embodied an artist who was thankful, grateful and openly respectful of others. This is hard to over state. There was no ego to interfere with his creating and feeling music in its purest form. By the way, I do recommend his biography, How My Heart Sings. Peter Pettinger carries through Bill’s story in the spirit of Bill’s personality. Also, Marion McPartland’s Piano Jazz with guest Bill Evans is a very worthwhile listen, including hearing not only Bill play but also his explaining some very helpful teaching points. And back to this song... it goes right to the soul.
This piece was written by trumpeter/composer/arranger John Carisi for the April 22, 1949 "Birth of the Cool" session under the leadership of Miles Davis. I can only assume that since the state of Israel was founded in 1948, the piece might have been written as a tribute. There's a story, true or not I don't know, that Kenny Clarke, the drummer on the date, said, "I ain't playin' no Jewish music." When he was persuaded that the music wasn't Jewish, it was jazz, great jazz and non-denominational at that, the session got back on track, and some timeless sides were cut, of which "Israel" is probably the best. Of course the title has nothing to do with Chuck Israels-with-an-'S', Evans' bass player after LaFaro, recorded more than a decade later.
This song, i just love it, and i heard about it for the first time yesterday when i was practicing random standards with a friend. My god, the melody is something insanely good, but the chords progression is just so great. I'm kinda annoyed he didn't played the melody a few more times, just because his piano playing is something incredible. Bill Evans does this wonderful song an incredible Divine Justice.