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How My Heart Sings!
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| How My Heart Sings! | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | January 1964[1] | |||
| Recorded | May 17, 1962 (tracks 1, 6) May 29, 1962 (5, 7, 9) June 5, 1962 (2–4, 8) | |||
| Studio | Sound Makers Studio, New York City | |||
| Genre | Jazz | |||
| Length | 48:43 | |||
| Label | Riverside RLP-473 | |||
| Producer | Orrin Keepnews | |||
| The Bill Evans Trio chronology | ||||
| ||||
How My Heart Sings! is an album recorded by jazz pianist Bill Evans with bassist Chuck Israels and drummer Paul Motian in 1962 during the same sessions as the previously released album Moon Beams. As Evans explains in the album's liner notes, the first release "was comprised of material selected for its mood quality and which was entirely of a ballad nature .... Conversely, the selections represented here are primarily of a more 'moving' kind, though there is in the trio's approach to all material a desire to present a singing sound."[2]
Repertoire
[edit]The title track is another waltz composed by Evans' friend Earl Zindars, whose "Elsa" the pianist had previously recorded on both Explorations and Cannonball Adderley's Know What I Mean? The new composition was unusual for jazz at this time because it shifts meters for a 4/4 interlude.[3] Since Evans' death, this innovative piece has gone on to become a jazz standard, covered at least 75 times, notably by pianist Bill Cunliffe on his all-Zindars album of 2003.[4]
How My Heart Sings! also includes an early cover of "In Your Own Sweet Way" (1956) by Evans' older colleague Dave Brubeck, which has now been covered more than 350 times.[5] Three lesser-known Evans originals also first appeared here: "Walking Up," "34 Skidoo," and "Show-Type Tune."[6] The program is rounded out with three standards, which producer Orrin Keepnews notes "illustrate once again Bill's impeccable taste in selecting such numbers, as well as his uncanny ability to make the supposedly over-familiar, like Summertime, sound completely fresh."[7]
Releases
[edit]How My Heart Sings! and Moon Beams were also released combined on LP in 1977 as the double album The Second Trio, with the tracks sequenced in the order recorded rather than as released.[8] How My Heart Sings! was remastered and reissued on CD in 1989 with one bonus track, an alternate take of Brubeck's "In Your Own Sweet Way."
Reception
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [9] |
| The Penguin Guide to Jazz Recordings | [10] |
Writing for AllMusic, music critic Thom Jurek wrote of the album, "This is a tough recording; it flies in the face of the conventions Evans himself has set, and yet retrains [sic] the deep, nearly profound lyricism that was the pianist's trademark."[9] On All About Jazz, C. Michael Bailey said, "After the ballad-laden Moon Beams, producer Orrin Keepnews wanted a slightly more up-tempo recording that resulted in How My Heart Sings. Fifty years later, the recording remains painfully introspective, up-tempo or not. Evans was the Van Gogh of jazz: sensile and troubled, characteristics that expressed themselves in his playing his entire career."[11]
Track listing
[edit]- "How My Heart Sings" (Earl Zindars) – 4:59
- "I Should Care" (Sammy Cahn, Axel Stordahl, Paul Weston) – 4:55
- "In Your Own Sweet Way" (Dave Brubeck) – 6:59
- "In Your Own Sweet Way" [alternate take - bonus track] – 5:54
- "Walking Up" (Bill Evans) – 4:57
- "Summertime" (George Gershwin, Ira Gershwin, DuBose Heyward) – 6:00
- "34 Skidoo" (Evans) – 6:22
- "Ev'rything I Love" (Cole Porter) – 4:13
- "Show-Type Tune" (Evans) – 4:22
Personnel
[edit]References
[edit]- ^ "Billboard". Nielsen Business Media, Inc. January 18, 1964. p. 42. Retrieved November 26, 2025 – via Google Books.
- ^ Evans, Bill. "Notes by Bill Evans," liner notes to How My Heart Sings!, Riverside, 1964.
- ^ Pettinger, Peter, Bill Evans: How My Heart Sings, Yale University Press (1998), p. 127
- ^ "Cover versions of How My Heart Sings written by Earl Zindars, Anne Zindars". Secondhandsongs.com. Retrieved November 26, 2025.
- ^ "In Your Own Sweet Way by Dave Brubeck". Secondhandsongs.com. Retrieved November 26, 2025.
- ^ "Bill Evans Discography". Jazzdisco.org. Retrieved November 26, 2025.
- ^ Keepnews, Orrin. Liner notes to How My Heart Sings! reissued on CD, Riverside, 1989.
- ^ "Second Trio - Bill Evans | Album". AllMusic. Retrieved November 26, 2025.
- ^ a b Jurek, Tom. "How My Heart Sings! > Review". AllMusic. Retrieved June 28, 2011.
- ^ Cook, Richard; Morton, Brian (2008). The Penguin Guide to Jazz Recordings (9th ed.). Penguin. p. 456. ISBN 978-0-141-03401-0.
- ^ Bailey, C. M., Review, Allaboutjazz.com, August 20, 2013
External links
[edit]
How My Heart Sings!
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Background and Recording
Album Concept and Context
By 1962, Bill Evans had transitioned from prominent sideman roles, including his contributions to Miles Davis's Kind of Blue in 1959, to establishing himself as a trio leader, a shift that underscored his pursuit of a more intimate and introspective form of jazz expression. Following the death of his innovative bassist Scott LaFaro in July 1961, Evans endured a period of personal and professional withdrawal, but he reemerged that year by reforming his trio with bassist Chuck Israels and retaining drummer Paul Motian, allowing him to refine the collective, conversational dynamic he had pioneered in his earlier group. This configuration marked a pivotal stage in Evans's career, as he sought to balance emotional depth with rhythmic vitality in a post-bebop landscape. The album emerged during the final phase of Evans's association with Riverside Records, a label renowned for its commitment to cool jazz and modern improvisation since its founding in 1953 by Orrin Keepnews and Bill Grauer. Evans had already released several acclaimed titles on Riverside, including Waltz for Debby in 1961, which captured live performances emphasizing lyrical balladry and trio equality, aligning with the label's emphasis on thoughtful, unhurried jazz interpretations. How My Heart Sings! and its companion album Moonbeams were recorded during the same sessions on May 17, May 29, and June 5, 1962, at Sound Makers Studio in New York City, with the material deliberately divided: Moonbeams focusing on ballads for a contemplative mood, while this release highlighted up-tempo standards to showcase rhythmic drive and ensemble cohesion. The separation allowed each album to maintain a unified character.[1] Central to the album's conception was Evans's philosophical vision for the piano trio as a democratic ensemble, where each member contributed equally through sensitive interplay rather than hierarchical solos, an ethos influenced by Lennie Tristano's emphasis on structural improvisation and Evans's own immersion in classical music traditions.[8] This approach, blending jazz spontaneity with classical nuance, aimed to create a fluid, impressionistic dialogue that elevated the trio beyond conventional accompaniment roles.Recording Sessions
The recording sessions for How My Heart Sings! occurred on May 17, May 29, and June 5, 1962, at Sound Makers, Inc. in New York City, with producer Orrin Keepnews overseeing the process.[1] These three dates yielded material for two companion albums—Moonbeams (focused on ballads) and this uptempo release—to avoid an overly sedative sequence of slow tunes, as Keepnews intentionally divided the repertoire for better pacing and commercial appeal.[6] Engineer Bill Schwartau captured the performances, utilizing the studio's setup to emphasize the trio's acoustic interplay between piano, bass, and drums.[9] Specific tracks were recorded as follows: on May 17 ("How My Heart Sings," "Ev'rything I Love"); May 29 ("34 Skidoo," "Show-Type Roone," "Summertime"); and June 5 ("I Should Care," "In Your Own Sweet Way," "Re: Person I Knew," "Walking Up"). The sessions involved multiple takes per track to refine the ensemble's spontaneous yet cohesive sound, with post-production editing determining the final selections for the album's energetic profile.[10] For instance, "In Your Own Sweet Way" received at least two complete takes, one of which became the master version while the other appeared as an alternate on the 1989 Original Jazz Classics CD reissue; similarly, an unreleased take of "34 Skidoo" from these sessions was later included in expanded editions.[11] This selective approach ensured rhythmic vitality in tracks like "Walking Up" and "Show-Type Tune," distinguishing the album from its ballad-heavy counterpart. Achieving an intimate, balanced acoustic capture in the commercial studio posed logistical challenges, particularly given Evans's sensitivity to piano tone and overall sonic clarity. Keepnews and the engineering team addressed this by optimizing microphone placement for natural trio projection, though the available piano was not Evans's preferred instrument, requiring adjustments during the brief, intensive dates.[10] The result was a recording that preserved the group's subtle dynamics without excessive intervention.Personnel Selection
Following the tragic death of bassist Scott LaFaro in a car accident on July 6, 1961, pianist Bill Evans entered a period of deep mourning and withdrew from performing for several months.[12][13] He eventually reformed his trio for the recording sessions of How My Heart Sings!, retaining longtime drummer Paul Motian while selecting bassist Chuck Israels as LaFaro's replacement. This lineup—Evans on piano, Israels on bass, and Motian on drums—marked a transitional phase, with the album captured during sessions on May 17, May 29, and June 5, 1962, at Sound Makers Studio in New York City.[12][7] Israels, a 25-year-old sideman who had previously worked with musicians like Bud Powell, was chosen for his proven rhythmic compatibility with Evans, stemming from an earlier encounter at the 1957 Brandeis Jazz Festival where they had jammed together.[12] Evans sought a bassist who could intuitively align with his fluid tempo shifts and complex phrasing without relying on visual cues, advising Israels during an audition at his apartment to "just listen" to the music's internal pulse.[12] Israels' adaptability extended to Evans' intricate harmonic language, allowing him to navigate the pianist's impressionistic voicings and reharmonizations effectively, though he noted that his initial focus was on rhythmic grounding rather than deep harmonic analysis.[12] Motian, who had been part of Evans' trio since 1959, was retained for his established rapport and light, interactive touch that complemented the group's lyrical introspection, providing subtle propulsion without overpowering the piano.[13][14] In terms of contributions, Evans asserted strong leadership in shaping the album's arrangements, often guiding the ensemble through his signature block chords and melodic embellishments to evoke a chamber-like intimacy.[12] Israels provided grounding bass lines that anchored the harmonic progressions, offering steady walking patterns and occasional contrapuntal fills to support Evans' explorations while adapting to the trio's democratic interplay.[12] Motian's subtle cymbal work and brush textures added atmospheric nuance, emphasizing texture over volume to suit the album's tender, singing quality.[14] The absence of LaFaro, whose innovative counterpoint and virtual independence had elevated the trio to a groundbreaking level on albums like Sunday at the Village Vanguard, profoundly impacted the group's chemistry.[15] With Israels, the dynamic shifted toward a more piano-centric balance, where Evans' voice became dominant amid the grief, fostering a renewed sense of introspection but lacking LaFaro's bold interactivity; nonetheless, the new configuration allowed for fresh cohesion, as Israels and Motian quickly developed an intuitive rapport that sustained the trio's elegance.[12][13]Musical Content
Repertoire and Song Choices
The repertoire of How My Heart Sings! features a balanced mix of jazz standards and original compositions, reflecting a deliberate contrast to the introspective, ballad-dominated Moon Beams, recorded during the same sessions in May and June 1962. Standards and compositions such as the title track "How My Heart Sings" (by pianist Earl Zindars), "I Should Care" (a 1945 Tin Pan Alley standard by Sammy Cahn, Axel Stordahl, and Paul Weston), "In Your Own Sweet Way" (by Dave Brubeck), "Summertime" (George Gershwin and DuBose Heyward's iconic aria from the 1935 opera Porgy and Bess), and "Everything I Love" (by Cole Porter) provide melodic anchors drawn from Broadway and popular song traditions. These choices underscore Bill Evans' preference for harmonically rich, lyrical material that allowed for expressive improvisation, rather than the intricate, high-velocity heads typical of bebop.[16][1] Complementing the standards are originals that add rhythmic vitality and personal touch to the set. Evans contributed two pieces: "Walking Up," a gently swinging original with subtle harmonic shifts; and "Show-Type Tune," a playful tune featuring clever intervallic leaps. A unique inclusion is "34 Skidoo," composed by bassist Chuck Israels, which integrates seamlessly as a mid-tempo vehicle highlighting the trio's interactive dynamics and Israels' compositional voice within the group.[17] This selection rationale, guided by producer Orrin Keepnews, aimed to create a more up-tempo and varied program to counterbalance the slower tempos of Moon Beams, ensuring the album's energy remained engaging without overwhelming the listener. Keepnews explained that the combined sessions yielded material split thematically, with How My Heart Sings! emphasizing "moving" pieces like swingers and blues to provide contrast and breadth. The result is a cohesive set that prioritizes melodic coherence and emotional range, aligning with Evans' vision of jazz as a lyrical, non-aggressive art form.[18][19]Stylistic Elements and Innovations
Bill Evans' harmonic approach on How My Heart Sings! exemplifies his signature sophistication, characterized by impressionistic voicings that blend lush chord extensions with subtle coloristic effects. In tracks like "In Your Own Sweet Way," Evans employs parallel voicings—often featuring stacked fourths and ninths—to create a fluid, non-functional harmonic landscape that prioritizes texture over traditional resolution, drawing from his earlier explorations of block chords and voice leading.[20] These voicings, combined with pedal points sustained in the left hand, generate a sense of suspended ambiguity, allowing the melody to float impressionistically above a bed of dissonance, as seen in the album's rendition where bass lines reinforce static tonal centers against shifting upper harmonies.[21] This technique, rooted in Evans' study of classical impressionists like Debussy, marked a departure from standard jazz comping, emphasizing emotional depth through harmonic density rather than mere accompaniment.[22] The album's trio dynamics represent a pivotal evolution in Evans' ensemble concept, fostering a more democratic interplay among piano, bass, and drums compared to his earlier, piano-dominant recordings. With bassist Chuck Israels replacing the late Scott LaFaro, the group—completed by drummer Paul Motian—adopted a conversational style where rhythmic and melodic responsibilities were shared equally, allowing Israels' walking lines to interweave contrapuntally with Evans' improvisations and Motian's brushwork to provide elastic propulsion.[23] This shift post-LaFaro emphasized fluid, collective improvisation over hierarchical soloing, enabling the bass to contribute melodic ideas and the drums to subtly displace pulses, resulting in a cohesive, interactive sound that blurred traditional roles.[15] Pettinger notes that this configuration sustained Evans' vision of the trio as three independent voices in dialogue, building on but refining the intensive interplay of his prior work. Key innovations on How My Heart Sings! include Evans' integration of rhythmic displacements and subtle modal inflections, which added layers of unpredictability to the album's swing-based framework. In the title track, Evans frequently displaces phrases across bar lines—shifting accents from downbeats to offbeats—to create a sense of forward momentum without disrupting the underlying groove, a technique that enhances the improvisational freedom within the waltz form.[24] Modal influences appear in passing, as in the title track, where Evans overlays dorian-tinged scales over pedal points to evoke a static, contemplative atmosphere, subtly nodding to contemporary modal jazz trends while maintaining his impressionistic core.[22] These elements, evolving from Evans' pre-LaFaro rigidity toward a more organic, responsive trio aesthetic, underscore the album's role in advancing conversational jazz trio performance.[21]Release and Commercial Aspects
Original Release Details
How My Heart Sings! was released in 1964 by Riverside Records, with the mono edition under catalog number RM 473 and the stereo edition as RLP 9473.[25] The album's release was delayed from its 1962 recording sessions due to financial difficulties at the label, which ultimately led to Riverside's bankruptcy later that year.[26] The original packaging featured an abstract cover design by Ken Deardoff, evoking the album's lyrical and introspective jazz qualities.[27] Liner notes were provided by producer Orrin Keepnews, who emphasized the maturity and cohesive interplay of the Bill Evans Trio in their uptempo selections.[28] In terms of initial marketing, the album was positioned as a companion to the trio's earlier release Moon Beams from the same sessions, aimed at dedicated jazz audiences through promotions in publications like DownBeat magazine and targeted radio airplay on jazz stations.[29] Commercially, it achieved modest sales within the niche jazz market, largely overshadowed by the greater popularity of Evans' live recordings from the Village Vanguard sessions in 1961.[30]Reissues and Remasters
Following the bankruptcy of Riverside Records in 1964, the label's catalog, including How My Heart Sings!, was acquired by Fantasy Records in 1972, enabling subsequent reissues under Fantasy and its subsidiaries.[31][32] The album transitioned from its original vinyl format to compact disc with the 1989 reissue by Original Jazz Classics (OJC), a Fantasy imprint, featuring a digital remaster and one bonus track: an alternate take of "In Your Own Sweet Way" from the original sessions.[33] This edition marked the first widespread CD availability, preserving the uptempo selections from the 1962 sessions while enhancing audio clarity for modern playback.[1] In the 1990s, OJC oversaw multiple remasters, including Japanese editions in 1995 and a 1999 XRCD (extended resolution compact disc) version, which utilized high-resolution mastering to improve dynamic range and reduce noise compared to earlier pressings.[1] These efforts reflected growing demand for restored jazz catalog titles amid the CD boom, with the album also becoming available on digital streaming platforms like Spotify and Apple Music by the mid-2000s.[34] High-resolution audio formats emerged in the 2010s, such as a 2011 Super Audio CD (SACD) release in Japan and a 2009 180-gram vinyl reissue by Analogue Productions, emphasizing analog warmth and limited-edition packaging.[1] A notable 2013 edition under the OJC Remasters banner, handled by Concord Music Group after its 2004 acquisition of Fantasy, included a 24-bit remaster by Joe Tarantino and three bonus tracks: the alternate "In Your Own Sweet Way," plus previously unreleased takes of "34 Skidoo" and "Ev'rything I Love," accompanied by updated liner notes from jazz historian Doug Ramsey and session photography.[11] This version highlighted the album's enduring archival value, drawing from original tapes to expand its runtime to 59 minutes.Reception and Legacy
Contemporary Critical Response
Upon its 1964 release, How My Heart Sings! received generally positive reviews from jazz critics, who appreciated Bill Evans' lyrical interpretations of standards while noting the trio's evolving dynamics following the departure of bassist Scott LaFaro. Producer Orrin Keepnews, in liner notes for Riverside Records, described the sessions as an intentional contrast to the ballad-focused Moon Beams, aiming for up-tempo material to showcase the new trio's energy.[29] The overall consensus viewed the album as a solid entry in Evans' discography—refined and introspective—but not groundbreaking, with commercial success driven by his rising fame and the label's marketing efforts.Retrospective Evaluations and Influence
In later assessments, the album has been lauded for its intimate trio interplay and Evans' nuanced harmonic approach. AllMusic rates it highly, highlighting its status as an underrated gem among Evans' Riverside recordings due to the balanced contributions from pianist, bassist, and drummer.[17] Academic and biographical works have further underscored its enduring significance. The recording helped solidify Evans' studio trio as a template for jazz ensemble performance, prioritizing collective improvisation over individual virtuosity and influencing trio configurations in post-bop and beyond. Its legacy extends to broader cultural spheres, with Evans' work influencing hip-hop through jazz sampling traditions. Legacy rankings affirm its place in the jazz canon. The album has seen continued acclaim through reissues, including the 2013 Original Jazz Classics remaster, and related releases like the 2023 live album Further Ahead: Live in Finland 1964-1969, which captures Evans in a similar transitional period.[35]Track Listing and Credits
Track Listing
The original Riverside LP release of How My Heart Sings! contains eight tracks, split across Side A and Side B, recorded in May and June 1962.[1]| Side | No. | Title | Writer(s) | Duration |
|---|---|---|---|---|
| A | 1 | How My Heart Sings | Earl Zindars | 4:56 |
| A | 2 | I Should Care | Sammy Cahn, Axel Stordahl, Paul Weston | 4:53 |
| A | 3 | In Your Own Sweet Way | Dave Brubeck | 5:57 |
| A | 4 | Walking Up | Bill Evans | 4:55 |
| B | 1 | Summertime | George Gershwin, DuBose Heyward | 5:58 |
| B | 2 | 34 Skidoo | Bill Evans | 6:19 |
| B | 3 | Ev'rything I Love | Cole Porter | 4:13 |
| B | 4 | Show-Type Tune | Bill Evans | 4:23 |