Bill Evans
Released June 26, 2001
Grammy Nominee Best Contemporary Jazz Album 2002
YouTube: https://music.youtube.com/watch?v=3u87N237Rg4&list=OLAK5uy_kEvDryFf5ZAq9K2yKxtL8ufAwqlUmE5tE
Spotify: https://open.spotify.com/album/22JSUEt95qoDNciBZr6OCM?si=3FUe6aruQ_GcxXdT84DfvA
About:
A Grammy-nominated CD of infectious grooves played by none other than the king of grooves, Steve Jordan. With Les McCann on vocals and John Scofield on guitar, it settles into a soul jazz revival. Timeless. It’s a rare record where everyone actually grooves like mad in the studio live, and tracks such as “Van’s Joint” and “Cool Eddie” pump like Booker T & the MGs injected with NYC grease and gravy. Evans blows hot and boisterous throughout, raising high this squirming soul soufflé.
Track Listing:
1. Vans Joint (Bill Evans) 5:09
2. Cool Eddie (Bill Evans) 5:46
3. Lose My Number (Bill Evans) 4:30
4. Cheeks (Bill Evans) 6:37
5. You Sure Look Good to Me (Bill Evans / Margaret Fowler / Les McCann) 4:16
6. Big Mama (Bill Evans) 5:49
7. Sneaky (Bill Evans) 6:00
8. Gimme Some (Bill Evans) 6:32
9. Older Days (Bill Evans) 5:59
10. Thump (Bill Evans) 4:49
11. The Shorty Shuffle (Bill Evans) 6:42
Personnel:
Bill Evans: soprano, alto, tenor & baritone sax, vocoder
Ricky Peterson: piano, B-3 organ
Dean Brown: guitars
John Scofield: guitar (8, 10)
James Genus: bass (1, 3, 5, 8, 9, 10, 11)
Tim Lefebvre: bass (2, 4, 6, 7)
Steve Jordan: drums
Don Alias: percussion
Les McCann: vocals (3, 5)
Vaneese Thomas: background vocals (3, 5)
Lew Soloff: trumpet
Conrad Herwig: trombone
Recorded may / june 2000, at Electric Fields Studio, Warwick (NY), The Carriage House Studio, Stamford (CT), Winsome Farm Studio, North Salem (NY)
Producer, Arranged by Bill Evans
Executive-Producer: Joachim Becker
Design [Cover]: Bob Trier
Photography by Holger Keifel
Review:
With the release of Soul Insider, saxophonist Bill Evans
lays his own claim to the funk and groove that seems to be linear descendants
from the work that Eddie Harris and Les McCann did in the 1960’s. Lest anyone
mistake Evans’ intentions and the derivation of the music he honors, McCann
contributes the vocals to two of the songs for which he wrote the lyrics, “Lose
My Number” and “You Sure Look Good To Me.” While Evans wrote all of the tunes,
McCann, whose stroke still prevents him from the use of both hands on piano,
wrote the lyrics with his typical approach involving good humor and
flirtatiousness. Like, “Come out of the kitchen, put down the frying pan, Don’t
undress in the dark, I want to see everything I can.”
But those vocals occur on just two of the
tracks. Even those McCann’s presence is a surprising highlight of the CD, Evans
has unified the concept of the funk album so that the real unifying presence,
beyond his own sax work, is the groove. Like some of John Scofield’s recent
jazz jam recordings, Evans has established a consistent feel throughout Soul
Insider, even as some of the sidemen are substituted and even as Evans
switches from, say, tenor sax to soprano to achieve the effects he seeks.
Evans’ searching solo in the middle of “Lose My
Number,” creating an ethereal effect like that of Marvin Gaye’s “What’s Going
On,” contrasts with his gravely, deep-voiced bottom lines on “Big Mama,” mixed
to include his work on vocoder as well.
Indeed, Scofield shows up on “Gimme Some” and “Thump,” and Evans’ group falls seamlessly into the instantly identifiable groove that Scofield claims. Joining the tradition of saxophonists who worked with Scofield—like Joe Lovano or Eddie Harris himself, not to mention soul saxophonists like Maceo Parker—Evans, in spite of his versatility from previous work with John McLaughlin and Miles Davis, definitely enjoyed making this album, as obviously did all of the other participants. The infectiousness of the music is eminently danceable, from the shuffle rhythm of the final track to the groove joining the serpentine lines of “Vans Joint,” not to mention those of the next track, “Cool Eddie,” as well.
Soul Insider can’t be adequately reviewed without mentioning the cohesion of the back-up group as well, from Steve Jordan’s on-the-mark drumming, reminiscent of an Idris Muhammad beat, to Ricky Peterson’s B-3 accents akin to Don Patterson’s soulful recordings with Harris.
A totally enjoyable album, Evans no doubt will be joining the ranks of the touring musicians this summer who ignite the jazz festivals with those special moments that the attendees remember for years, as legions still remember McCann’s and Harris’s legendary performance at Montreux.
Bill Donaldson (AllAboutJazz)
