Jim Witzel Quartet: Very Early (Remembering Bill Evans)

Guitarist Jim Witzel's Very Early (Remembering Bill Evans) serves as both a heartfelt homage and a poetic reinterpretation of the pianist's timeless work. Joined by pianist Phil Aaron, bassist Dan Feiszli, and drummer Jason Lewis, Witzel approaches this project with the qualities that define Evans' artistry: lyricism, subtle interplay, and harmonic sophistication, all while maintaining his own voice at the forefront. The nine-track selection presents a carefully curated program of compositions closely linked to Evans' career development, including two original pieces, which create a narrative arc from introspection to uplift.

The album opens with "Beautiful Love," a standard by Victor Young that Evans recorded multiple times. Witzel's interpretation is understated but refined, featuring warm guitar voicings and Aaron's piano accompaniment that convey sensitivity. Lewis and Feiszli engage in exchanges that align with the piece's structure. "Falling Grace," written by bassist Steve Swallow, was recorded by Evans as a duo with bassist Eddie Gomez. Witzel approaches this composition fearlessly, supported by Aaron's playing, which maintains the tune's impressionistic character. "Solar" by Miles Davis is another staple of the Evans repertoire, delivered with a nimble and forward-moving approach. Feiszli and Lewis anchor the tune with intensity, while Witzel and Aaron provide energetic and inventive solos. The brisk tempo lends the piece sharp urgency, and Witzel's tone is taut yet lyrical. At the heart of the album is "Very Early," Evans' own composition and the project's namesake. Rendered as a gentle waltz, Witzel's tender playing captures both the nostalgia and the forward-looking quality in Evans' writing. Aaron crafts a reflective, harmonically rich intervention, while Lewis and Feiszli keep the pulse soft and pliant.

Trumpeter John Carisi composed the minor-blues piece "Israel," which became a jazz classic after Miles Davis recorded it on the seminal 1949 Capitol album Birth Of The Cool (Capitol Records, 1957). Here, it swings with a tense modal feel, giving Witzel a chance to explore angular lines and more adventurous harmonies. Aaron delivers a lively solo with percussive stabs and shifting voicings. The take-out chorus features Lewis using the drum kit with crisp patterns and splashes of colour. After an unaccompanied solo from Feiszli, "Nardis" resumes with Aaron and Lewis setting the groove, allowing Witzel to explore darker tones and edgier textures. Aaron then ventures into harmonic explorations and subtle rhythmic drive. As the track wraps up, the group leaves space for a shimmering coda.

The closer is "Peri's Scope," Evans' playful composition from his early years. Witzel approaches it with a bright, singing guitar tone, and Aaron's piano sparkles with a crisp, dancing quality, as the rhythm section responds with light-footed propulsion. It is a perfectly chosen closer, signalling that Evans' legacy continues to inspire new, forward-looking interpretations.