Rifftides reader Mel Narunsky writes:<\/p>\n
Now that I’ve had a chance to see the Monica Zetterlund & Bill Evans videos, I think that “Lucky To Be Me<\/a>” was outstanding – and far superior to the “Waltz For Debby” effort which I’m sure they subsequently improved upon.
\nI have always thought that the Tony Bennett recording with Evans<\/a> of “Waltz For Debby” is unbeatable if only (but not only) for the fact that they stick to 3\/4 throughout (this is after all what a waltz really is). I’ve never found a recording by Evans himself that doesn’t go into 4\/4.
\nThe Zetterlund\/Evans video of “Once Upon A Summertime<\/a>” was also very good.<\/p><\/blockquote>\nIf you watch the YouTube<\/em> video of “Lucky To Be Me” linked above, you will hear the music but see amateur shots of scenery. Here’s the explanation filed by the YouTube contributor, who identifies himself or herself as 60otaku.<\/p>\n
Music and an image do not have a direct relation. Please understand the situation…(^^;) A chief aim is music to the last ! Personnel; Monica Zetterlund (vocal) Bill Evans (piano) Chuck Israels (bass) Larry Bunker (drums) <\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"
Rifftides reader Mel Narunsky writes: Now that I’ve had a chance to see the Monica Zetterlund & Bill Evans videos, I think that “Lucky To Be Me” was outstanding – and far superior to the “Waltz For Debby” effort which I’m sure they subsequently improved upon. I have always thought that the Tony Bennett recording […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-588","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/588","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=588"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/588\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}