Noa Levy & Paul Edis Trio: Portrait In Evans

Vocals and lyrics are often added to tracks that their composers intended as instrumentals. When those instrumentals form part of the legacy of pianist Bill Evans, the potential for something to go wrong is considerable. Fortunately, nearly everything goes right for singer Noa Levy and the Paul Edis Trio, as their shared devotion to Evans' music sparkles throughout Portrait In Evans.

For many listeners, Evans' melodies and touch are so deeply ingrained that anything new may feel odd or uncomfortable. Some initial openness may be required, but Evans aficionados can rest easy; the album shows a genuine reverence for melody and considerable care in its arrangements. Those new to Evans' music can simply sit back and enjoy some wonderful songs.

Noa Levy is perhaps better known from her performances in San Francisco, but is a frequent visitor to the UK. Pianist Paul Edis has long been a leading creative force in British jazz, equally skilled as a leader as he is an accompanist, winning Best Album at the Parliamentary Jazz Awards in 2023 for When Winter Turns To Spring (Lateralize Records), his recording with singer Jo Harrop. The trio is completed by bassist Adam King and drummer Joel Barford.

Opening track, "Peri's Scope," first heard on Evans' 1959 album Portrait In Jazz (Riverside Records), is an upbeat treat. The agile Levy soars and swings through the lyrics, written by Edis, while the pianist brings his own assurance and poise to his flowing solos. This is no mere exercise in aping Evans. King adds a fine bass solo and Barford's fours are perhaps a nod to Paul Motian.

Three tracks feature guest musician Alan Barnes. He opens the ballad, "Only Child," on saxophone before threading around Levy's vocals, and his clarinet is also a feature of the reflective "Time Remembered." On "Blue In Green," he adds a superb bass clarinet to Levy's thoughtful interpretation as they create a beautifully paced version that hits the sweet spot.

Levy's warm-toned vocals are impressive throughout, most notably on "Very Early," where her control of timing and pitch is composed and expressive. She also extends phrases beautifully on "Waltz for Debby," combining perfectly with the trio to maintain the charm of the original without over-sweetening. "Laurie" becomes an uplifting bossa nova before the album closes with "We Will Meet Again," featuring some sparkling piano from Edis, and "Turn Out The Stars," which once again shines brightly.

The band achieves an excellent balance between honoring Evans, adding their own musical personalities and letting the tunes shine anew. While some may struggle with the whole concept of altering any facet of Evans' musical legacy, anyone seeking an album of marvelous tunes, superbly played and sung, will be richly rewarded.