After losing their friend and the most talented bassist ever “Scott Lafaro”, Bill Evans and Paul Motian keep it pushing with “Moonbeams”. While the trio (now with Chuck Israels on bass) still has their unique language and feel, this album of ballads can get monotonous at times.

A continuation of perfection from the Bill Evans Trio.

While certainly a good starting point for Herbie, i’ve heard all of these guys swing more.

It’s just so much fun to listen to.

There he is.

She’s getting somewhere, she’s just not there yet.

This song has no idea where it wants to go.

A concise trap album with luxurious production and razor sharp lyrics.

A boundary pushing album where all 3 members play their absolute best.

He might be running out of ideas.

Walter Smith III always seems ahead of the pack when it comes to chordless albums.

While it’s clear the trio is exploring their sound here, I wish they would have committed to their new ideas across the whole album instead of just a couple songs. Songs like “Sweet And Lovely” and “Israel” were ahead of its time for trio communication and arranging, while “How Deep Is The Ocean?” feels stagnant to the classic Bill Evans standard.

The sprawling compositions and field recordings bring this album to life. It’s like you’re trudging through the snow listening as the band records around you.

Along with inventing post rock as a bunch of 19-year-olds, Slint’s technical musicianship is almost more impressive

Along with its futuristic arranging, “Portrait In Jazz” sets the standard for that classic 60’s Bill Evans Trio sound.