The story of the collaboration between Swedish jazz singer Monica Zetterlund and American pianist Bill Evans begins with a 45' inch E.P. In the summer of 1963 jazz singer Monica and writing partner Beppe Wolgers decided to put Swedish lyrics to a certain splendid 6-minute trio piece called "Waltz for Debby" . The result was the E.P "Monicas vals", a minor hit in scandinavia. Bill Evans, the notorious perfectionist, was naturally protective of his work and curious to know what those Swedes were doing to his song. He was not disappointed, and in a series of letters to universal in Sweden he started to write about his interest in Monica's vocal abilities; "I don't usually throw superlatives around, but let me tell you I am really exited about Monica Zetterlund's `Waltz for Debby'. She is simply amazing - tell her that I love her. I used to think that my waltz wasn't suited for vocal, but look how wrong I was. Suddenly I feel like going to Sweden.", he wrote in one letter.
The result of the collaboration is one of the most peculiar and brilliant jazz records of the 60's. Monica, a Värmland girl deeply rooted in Swedish folk tradition, with nature ballads and the deep mysterious forest as cultural background, blends perfectly with the classically schooled and incredibly inventive Bill Evans. The album starts of with the Arlen's `Come Rain Or Come Shine', a brilliant opening where the increasingly skilled Chuck Israels goes perfectly with Monica's cool vocal. It is followed by the nordic folk tune `Jag vet en dejlig Rosa' (I know a tender Rose'), and here Bill's arranging comes to the forefront - he turns the 18:th century tune into a brilliant jazz song (!), with heartbreakingly beautiful and sweet vocals by Monica.
What follows is a brilliant re-invention of jazz standards (typical Evans) and jazz-renditions of Swedish folk songs, where Bill Evans, Chuck Israels and the skilled Larry Bunker settles quietly in the background to allow Monica's great singing the space it needs. It is hard to pick any high points - the album is a masterpiece for sure with no weak tracks. `Vindarna sucka uti skogarna' (The winds are sighing in the forest) is another fantastic re-invention; Monica sings with sweet grace and melancholy, and Bill Evans reaches a meditative peak spiritually similar to `Peace Piece' on `Everybody Digs'.
Whatever you do, don't hesitate to give this record a try and several listens, it could prove very, very rewarding. There is an odd blend here of Swedish melancholy and American jazz brilliance that remains unequaled in the history of music. Personally I count it as one of Bill Evans' greatest recordings together with Portrait in Jazz, Explorations, Alone and You Must Believe In Spring. |