Waltz for Debby
first composed in July 2022 & edited in January 2024
A streaming link for the album.
This week, a Spotify playlist accosted me with My Foolish Heart in a “For You” playlist. Arrogantly, I had thought that I was well acquainted with Waltz for Debby (1962); however, I had forgotten (or maybe never really considered) simply how beautiful My Foolish Heart is, particularly as an opener to the album.
Waltz for Debby is the fourth and final effort of the iconic and seminal trio of Bill Evans (piano), Scott LaFaro (bass) and Paul Motian (drums). It was recorded at the Village Vanguard almost a year prior to its release. I concluded this week that the trio's chemistry was so extraordinarily interconnected during this period, it’s impossible not to be taken by this recording (this is not a unique conclusion). I have since rethought about my favourite Evans/LaFaro/Motian tracks following this week’s listening.
Some context before I go any further. Evans, LaFaro and Motian recorded Portrait in Jazz (1960), Explorations (1961) and Sunday at the Village Vanguard (1961) before Waltz for Debby. Tragically, the reason that there are only four recordings from this trio is because, ten days after the recording of Waltz for Debby, LaFaro died in a car accident. He was 25. As I write this, I am one year younger than he was when he passed.
LaFaro’s death deeply hurt Evans. Evans didn’t record music for months following Lafaro’s death. It is thought that Evans played only Porgy (I loves you Porgy) (track 10 on the CD appearing as an outtake) for the months in which he wasn’t performing or making new music.
Evans’ take on Porgy I Loves you (from George and Ira Gershwin’s Porgy and Bess 1935) is stunning. A song about Porgy protecting Bess from her abusive lover, it begins slowly with the background chatter of the live recording almost disturbing. Evans’ chords are serene yet there is an uncertain edge to them as if something dangerous is hidden around the corner. About two minutes in, we reach a small pinnacle from which point the song becomes slightly more driving. Lafaro and Motian gradually become more prominent; their rhythms and textures perfectly accompany Evans’ increase in energy. There is a moment at 3:30 in the song where Evans and LaFaro dance with and around each other; possibly my favourite moment on the track.
Back to My Foolish Heart. The opening immediately draws you in with the gentlest crescendo from Evans and Motian. LaFaro is barely voicing any chords, instead playing only on the first beat of the bar. The texture and layering with such little input is staggering. Halfway through the track, we have found our groove which is alive, not stagnant, con mosso as the classicists would say.
Finally, the title track: Waltz For Debby which appears straight after My Foolish Heart. As an individual song, it first appears on Evans’ New Jazz Conceptions (1956) where Evans plays the song solo. However, the fully realised version, here with Motian and LaFaro, is where the joy is.
Named after Evans’ niece whom he had spent time with, the piece begins with Evans and LaFaro playing dotted minims together. Motian flutters occasionally in the background, fully joining in after the first head. While the piano and the bass are captivating alone, Motian joining in brings so much body.
A note about Spotify playlists: for whatever reason, My Foolish Heart is the most played (and I suspect recommended) song on Spotify. This is contrary to “real life” where Waltz for Debby is possibly Evans’ most popular track.