In 1953, Duke Ellington recorded a solo piano piece that was lush, dreamy and introspective. The song was composed in the key of D, and Ellington called it Reflections in D. Ten years later, dancer Alvin Ailey choreographed an expressive modern dance for a solitary dancer set to the Ellington ballad. Ailey created the brief dance as an interlude to hold the audience's attention as the company's other dancers changed costumes between ballets.
In early 1978, pianist Bill Evans decided to record Reflections in D for the first time on his album New Conversations—a follow-up to his Conversations With Myself (1963) and Further Conversations With Myself (1967). On these albums, Evans overdubbed himself, as if he were two pianists engaged in a duet.
The exception on New Conversations was Reflections in D, a solo track without overdubbing. It is one of Evans's most beautiful solo pieces and a rich tribute to Ellington. Don't bother comparing the versions in a search for the “better" expression. They are equally romantic and meditative. Ellington's is more ruminative and hesitant in places, as if he's weighing up thoughts while reflecting. Evans's rendition is more organic and stirring—a poetic seascape, with the tide pushing and pulling and building steadily. Both are perfect for different reasons.
Here's Bill Evans's New Conversations version of Reflections in D in 1978...
Here's Duke Ellington's original solo piece in 1953...
And here's Vernard J. Gilmore performing Alvin Alley's Reflections in D interlude...
In early 1978, pianist Bill Evans decided to record Reflections in D for the first time on his album New Conversations—a follow-up to his Conversations With Myself (1963) and Further Conversations With Myself (1967). On these albums, Evans overdubbed himself, as if he were two pianists engaged in a duet.
The exception on New Conversations was Reflections in D, a solo track without overdubbing. It is one of Evans's most beautiful solo pieces and a rich tribute to Ellington. Don't bother comparing the versions in a search for the “better" expression. They are equally romantic and meditative. Ellington's is more ruminative and hesitant in places, as if he's weighing up thoughts while reflecting. Evans's rendition is more organic and stirring—a poetic seascape, with the tide pushing and pulling and building steadily. Both are perfect for different reasons.
Here's Bill Evans's New Conversations version of Reflections in D in 1978...
Here's Duke Ellington's original solo piece in 1953...
And here's Vernard J. Gilmore performing Alvin Alley's Reflections in D interlude...
This story appears courtesy of JazzWax by Marc Myers.
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