MSW-G025 [2001]
"I have this friend who claims - in all seriousness - that a good vocal album is largely a matter of pre-recording decisions: hire the right musicians, get an arranger who knows what he's doing, and pick out 12 great but not overdone songs (I especially applaud the choice of "When She Makes Music," or, for that matter, anything by the great Marvin Fisher), and you're in like Flint. If that were all there were to it, of course, then anybody, even he (or, Heaven help us, I) could make great vocal records. George Evans, contrastingly, shows us that talent is a major factor. I know he knows his stuff, and probably knows a lot more great jazz and pop vocal records inside and out than I, but that doesn't explain why he's so good at singing it. It's a combination, obviously, of knowledge and skill and artistic sensibility - the willingness to get up there and take chances. I started to try to think of the last time I heard a new album by a young male jazz - pop - standards singer that I enjoyed so much, and then I figured, the hell with it, I'd rather take that same amount of time and do something productive with it - like listen to the music again."
This album is the product of two immensely creative years of singing in and around the Toronto scene. The songs contained in this package have all had the chance to grow and develop in that setting into full-fledged performances. Furthermore, I believe that what we're presenting to you here captures the joy I have felt every time I have had the chance to sing these songs live. The Toronto night spots that have had us in to perform and the amazing musicians I have had the pleasure of working with here have all played a part in the evolution of the music on this disc, and I am grateful for their involvement, encouragement and support.
I have been especially fortunate to have superb vocal accompaniment on past recordings and that trend continues unabated here with the sensitive and incredibly swinging Dave Restivo on piano, and the masterful Reg Schwager on guitar, both of whom have justifiably made names for themselves as soloists both here and abroad. The privilege of working often with Neil Swainson and Jerry Fuller on bass and drums has allowed me to relax into what is surely one of the best rhythm sections available anywhere. I have learned how to swing harder, easier and more successfully with their musical collaboration than ever before.
Last but not least, on this session we feature the burnished tones of Michael Stuart on tenor sax. Michael, whose sensitivity, good taste and charisma are clearly not limited to the sounds emanated by his instrument, is a highly sought after soloist by vocalists on the Toronto scene. His discretion in adding ornamentation to the vocal line without stepping on the singer in the process makes him always an asset, never a liability. His tender soloing compliments the mood of the singer while furthering the story of the song at hand.
This material was thrilling to explore, and I believe that as a group these songs say much about my inner life since the last album. Furthermore, I was continually surprised by the songs in performance, and came to inhabit them to a greater extent than I would have thought possible in studio. Clearly, the vibe that Fred Raulston at Spirit Hills created for us played a large part in that. In closing, I sincerely hope you enjoy this music as much as we enjoyed making it for you, and that our paths have opportunity to cross out in the clubs sometime very soon.