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Track List
01) Speak No Evil
02) Estate
03) Three and One
04) Rain Waltz
05) All of You
06) The Dragon
07) Only Trust Your Heart
08) Sophisticated Lady
09) Hello, Young Lovers
10) Sarabande
11) Little Rootie Tootie
12) We'll Be Together Again
01) Speak No Evil
02) Estate
03) Three and One
04) Rain Waltz
05) All of You
06) The Dragon
07) Only Trust Your Heart
08) Sophisticated Lady
09) Hello, Young Lovers
10) Sarabande
11) Little Rootie Tootie
12) We'll Be Together Again
5:18
4:56
5:38
5:52
4:29
4:59
5:21
5:06
5:56
5:02
5:07
3:41
Data Complete 80%
Total Rating
Total Rating
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1988
Jazz
Dreamy
Jazz
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Medium
Album
0 copies
Album Description
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This recording was no casual venture for Toots Thielemans. He surrounded himself with musicians with whom he had been working regularly and in who he had complete confidence. Fred Hersch, who had been close to Toots musically for six years, took on multiple roles as pianist, producer and arranger. Fred had been with Toots on all his American gigs for five years and they had played together in Europe and in Brazil. For Toots, the key to their affinity was the music of the late Bill Evans.
"I respond to Bill Evans’ melodic and harmonic climate," Toots explained. "Fred grew up on the music of Bill Evans and when we’re playing together we have a telepathy, a dialogue between soloist and accompanist. He allows me to hold a wrong note and he will know how to handle it."
Toots’ Bill Evans association extended to bassist Marc Johnson, who was in Evans’ group at the time of his death. Johnson and drummer Joey Baron had been playing regularly with Toots for four years. (Harvie Swartz, who had long associations with Sheila Jordan and Steve Kuhn, subbed for Johnson on some of these sessions).
One of Hersch’s key objectives, in his role as producer, as freshness of performance. So, in most cases, these are first takes. "After several takes on the same tune, you tend to be trying too hard," Hersch pointed out. "On the first take, when Toots is finding his way, he is apt to be more spontaneous."
The goal of all this was, as Toots said, to make a recording "that comes out as a good musical photograph of me today — both artistically and what I stand for lyrically."
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This recording was no casual venture for Toots Thielemans. He surrounded himself with musicians with whom he had been working regularly and in who he had complete confidence. Fred Hersch, who had been close to Toots musically for six years, took on multiple roles as pianist, producer and arranger. Fred had been with Toots on all his American gigs for five years and they had played together in Europe and in Brazil. For Toots, the key to their affinity was the music of the late Bill Evans.
"I respond to Bill Evans’ melodic and harmonic climate," Toots explained. "Fred grew up on the music of Bill Evans and when we’re playing together we have a telepathy, a dialogue between soloist and accompanist. He allows me to hold a wrong note and he will know how to handle it."
Toots’ Bill Evans association extended to bassist Marc Johnson, who was in Evans’ group at the time of his death. Johnson and drummer Joey Baron had been playing regularly with Toots for four years. (Harvie Swartz, who had long associations with Sheila Jordan and Steve Kuhn, subbed for Johnson on some of these sessions).
One of Hersch’s key objectives, in his role as producer, as freshness of performance. So, in most cases, these are first takes. "After several takes on the same tune, you tend to be trying too hard," Hersch pointed out. "On the first take, when Toots is finding his way, he is apt to be more spontaneous."
The goal of all this was, as Toots said, to make a recording "that comes out as a good musical photograph of me today — both artistically and what I stand for lyrically."
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