Time stopped after 51 years (1929-1980) for Bill Evans, but his work, influence and soul put in
jazz and music definitely has an endless aura. John McLaughlin tries to create, with an easy brush
we can add, a musical portrait to this time and timeless artist, making through Time
Remembered one of his most relaxed, enchanting, bit sensible and pure, and elegant projects of
the 90s (alone in the year 1993, the album books for itself both a singularly and ephemeral place,
being just music instead of just an album). By reviewing a tribute album to Bill Evans, I feel a bit
sad that I dont have quite what it fully takes to tribute myself some words to Evans; then again I
can only listen to his music being played so greatly (first by pianists from the jazz family like
Hancock, Corea or Jarrett, then by anyone else) to realize how time actually stopped, froze
on Bill Evans and made him such a genuine jazzman and lead artist.
Time Remembered is a short kind of a jazz album, embroidering a couple of sensitive musical
ideas into quick essences, when it could obviously pull a long, massive work. A bit easy to slip
from ones mind, precisely to those that play it on a cold day of a mood, McLaughlins success is
yet that of creating a fresh blossom out of a concentrated (and no doubt consumed) art of tributing
so he creates easy jazz, but includes the pathos and the crafty feeling of relaxation running slow,
if short. Beyond words and the chance of a prolific homage, for John McLaughlin comes the
satisfaction of wearing both the signature of an interpreter and of a free creator; besides, the
impressions on Time Remembered make a modest (re: humble) and clam fan out of everyone who
listens to it.
McLaughlin doesnt work on something special for this moment, which automatically wraps the album in
a unique small frame, most especially when future albums are of a totally different (essential)
language (from virtuous soft art jazz to modern-sound jazz), while the previous moments from the
running 90s had themselves a fruit of individual inspiration. By hearing the naked style in Time
Remembered, the closest relation could be made a bit back with Que Alegria, the
difference being how clean the guitar sounds here in contrast with how aromatic and authentic the
acoustic heart-beat sounds there (of course, the artistic color also differs, trying only an arising
beautifulness, instead of a fantastic crisp, in this tribute).
On the side of playing and thinking about the legend artists music we find a discrete, yet overly
mentionable quality that McLaughlin has in him and expresses convincingly. The choice of classical,
acoustic guitar jazz, ornamented with improvisations that go by his preference, is just a way of
covering the simple work of a dedication with the personal desires of originality and broad
interpretation. Thinking deeply how a guitarist would become interested in tuning to a pianists
legendary works, the special in Time Remembereds session of 11 adapted pieces immediately
integrates a bit of natural jazz music. Funny is how McLaughlins album isnt stunning at all, but
doesnt even need a rich effect to be very nicely done. Many jazz pianists play from Evans all the
time, respecting but equally coloring the nuances of his music; in reflection, McLaughlin plays
greatly, with easiness and pleasure, being highly keen only to a carefully special acoustic sound, a
sensible arch of improvisations and a very usual moment of music that gets artistically brightened.
Time Remembered is music and soft jazz for the ears and the hearts, of an awake spirit and an
exulting charm. McLaughlin works on promising, high guitar arrangements, nothing though sounding of
a heavy baggage. While some pieces flow just easily, and the lightness of the music falls very
simply on the entire suite, there are good or precious mentions: Very Early, Waltz For Debby, My Bells
and Turn Out The Stars more than others.
In a conclusion shorter than anything already said, Time Remembered is McLaughlins classy
tribute to Bill Evans, the good rate in these three stars reflecting nowhere near the good(ness) of
the music itself, which is easy to discover, then to listen on very pleasant occasional times.
jazz and music definitely has an endless aura. John McLaughlin tries to create, with an easy brush
we can add, a musical portrait to this time and timeless artist, making through Time
Remembered one of his most relaxed, enchanting, bit sensible and pure, and elegant projects of
the 90s (alone in the year 1993, the album books for itself both a singularly and ephemeral place,
being just music instead of just an album). By reviewing a tribute album to Bill Evans, I feel a bit
sad that I dont have quite what it fully takes to tribute myself some words to Evans; then again I
can only listen to his music being played so greatly (first by pianists from the jazz family like
Hancock, Corea or Jarrett, then by anyone else) to realize how time actually stopped, froze
on Bill Evans and made him such a genuine jazzman and lead artist.
Time Remembered is a short kind of a jazz album, embroidering a couple of sensitive musical
ideas into quick essences, when it could obviously pull a long, massive work. A bit easy to slip
from ones mind, precisely to those that play it on a cold day of a mood, McLaughlins success is
yet that of creating a fresh blossom out of a concentrated (and no doubt consumed) art of tributing
so he creates easy jazz, but includes the pathos and the crafty feeling of relaxation running slow,
if short. Beyond words and the chance of a prolific homage, for John McLaughlin comes the
satisfaction of wearing both the signature of an interpreter and of a free creator; besides, the
impressions on Time Remembered make a modest (re: humble) and clam fan out of everyone who
listens to it.
McLaughlin doesnt work on something special for this moment, which automatically wraps the album in
a unique small frame, most especially when future albums are of a totally different (essential)
language (from virtuous soft art jazz to modern-sound jazz), while the previous moments from the
running 90s had themselves a fruit of individual inspiration. By hearing the naked style in Time
Remembered, the closest relation could be made a bit back with Que Alegria, the
difference being how clean the guitar sounds here in contrast with how aromatic and authentic the
acoustic heart-beat sounds there (of course, the artistic color also differs, trying only an arising
beautifulness, instead of a fantastic crisp, in this tribute).
On the side of playing and thinking about the legend artists music we find a discrete, yet overly
mentionable quality that McLaughlin has in him and expresses convincingly. The choice of classical,
acoustic guitar jazz, ornamented with improvisations that go by his preference, is just a way of
covering the simple work of a dedication with the personal desires of originality and broad
interpretation. Thinking deeply how a guitarist would become interested in tuning to a pianists
legendary works, the special in Time Remembereds session of 11 adapted pieces immediately
integrates a bit of natural jazz music. Funny is how McLaughlins album isnt stunning at all, but
doesnt even need a rich effect to be very nicely done. Many jazz pianists play from Evans all the
time, respecting but equally coloring the nuances of his music; in reflection, McLaughlin plays
greatly, with easiness and pleasure, being highly keen only to a carefully special acoustic sound, a
sensible arch of improvisations and a very usual moment of music that gets artistically brightened.
Time Remembered is music and soft jazz for the ears and the hearts, of an awake spirit and an
exulting charm. McLaughlin works on promising, high guitar arrangements, nothing though sounding of
a heavy baggage. While some pieces flow just easily, and the lightness of the music falls very
simply on the entire suite, there are good or precious mentions: Very Early, Waltz For Debby, My Bells
and Turn Out The Stars more than others.
In a conclusion shorter than anything already said, Time Remembered is McLaughlins classy
tribute to Bill Evans, the good rate in these three stars reflecting nowhere near the good(ness) of
the music itself, which is easy to discover, then to listen on very pleasant occasional times.
