Bill Evans - Everybody Digs Bill Evans (1958) [FLAC]

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Bill Evans Trio - Everybody Digs Bill Evans

Recording Date: December 15, 1958
Original CD: 1987 OJC#1860682
Duration: 42:56
Genre: Jazz
Styles: Post-Bop, Jazz Instrument, Modal Music, Piano Jazz

This Release: Original Jazz Classics/Riverside
#OJCCD-068-2
Digitally Remastered
December 31, 1991

Track Listing:
01 Minority Gigi Gryce 05:21
02 Young and Foolish A Hague/AB Horwitt 05:53
03 Lucky to Be Me L Bernstein/B Comden/A Green 03:39
04 Night and Day Cole Porter 07:34
05 Epilogue Bill Evans 00:39
06 Tenderly Walter Gross 03:32
07 Peace Piece Bill Evans 06:42
08 What Is There to Say? V Duke/EY Yip Harburg 04:53
09 Oleo Sonny Rollins 04:07
10 Epilogue Bill Evans 00:41
11 Some Other Time L Bernstein/B Comden/A Green 06:09

AllMusic Review by Michael G. Nastos:
Everybody Digs Bill Evans was a landmark recording for the young pianist and sported a unique album cover, featuring written-out endorsements from Miles Davis, George Shearing, Ahmad Jamal, and Cannonball Adderley. At a time approximate to when Evans was performing with the famous Kind of Blue band of Davis, Adderley, and John Coltrane, and actually departing the band, Evans continued to play the trio music he was ultimately best known for. With the unmatched pair of former Miles Davis drummer Philly Joe Jones and bassist Sam Jones (no relation), Evans was emerging not only as an ultra-sensitive player, but as an interpreter of standards second to none. The drummer is quite toned down to match the dynamics of the session, while the ever-reliable bassist lays back even more than usual, but at the expense of his soul. Of the covers, the solo Lucky to Me and the melancholy What Is There to Say? with the trio evoke the cool, smoldering emotionalism Evans was known for. Hes even more starkly reserved on his solo version of Young and Foolish. But Evans also knows how to play vigorous bop, tearing up the complicated Oleo, and he modestly tackles the Gigi Gryce icon Minority, though if you listen closely, the takes are slightly imprecise and a bit thin. Evans is hyperactive on a clattery calypso version of Night and Day, with the melody almost an afterthought, powered by the precise drumming of Philly Joe Jones. Taking Tenderly in waltz time, Evans makes this familiar theme inimitably all his own. There are three more solos: two Asian-inspired interludes titled Epilogue and the demure and ultimately quiet Peace Piece, a timeless, meditational, reverent, prayer-inspired composition that, in time, set a standard for chamber/classical European-tailored jazz. In an alternate/second-version bonus track, Evans superimposes this theme under the standard Some Other Time, and it fits beautifully. Though not his very best effort overall, Evans garnered great attention, and rightfully so, from this important album of 1958.

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