Bill Evans Everybody Digs BILL EVANS Riverside LP Japan SMJ-6090
$
25
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Description
Japanese press with insert! Please review photos for sleeve condition.
SLEEVE: VG- (No splits) LP: VG
Matrix A: RLP 1129A 111
Matrix B: RLP 1129B Ⓢ 112
Everybody Digs Bill Evans was Evans's second album as a leader and 30th recording project overall, done 27 months after his first record as a leader; Keepnews had wanted Evans to record a follow-up album to his debut sooner, but the self-critical pianist "resolutely refused to consider himself ready for another effort on his own" before this album.
Keepnews offered a vivid portrait of the pianist at this time: "a bespectacled blond, extremely reserved and mild-mannered...He is probably the only man I can think of whose head would not have been completely turned and swelled by the sort of things jazz insiders have been saying about him of late."
The recording captures Evans at a time when he frequently played extended musical ideas using block chords, a technique also favored by Milt Buckner, George Shearing, and other jazz pianists. Thinking of formative influences on Evans, Keepnews compared his sound here by contrast with his first effort as follows: "I hear much less Bud Powell than before, somewhat less Horace Silver, a little more Lennie Tristano, and about as much Nat Cole."
The album includes six trio recordings, four jazz standards plus two modern jazz classics, Gigi Gryce's "Minority" and Sony Rollin's "Oleo." It also features Evans playing solo on Leonard Bernstein's "Lucky to Be Me" and the pianist's own compositions, "Peace Piece" and "Epilogue." The bonus track from this session, another Bernstein tune, "Some Other Time," is also taken solo.
Although Evans had quit Miles Davis's prestigious band two months before the album was recorded, Davis was sufficiently enamored of Evans's piano sound that he decided to use him as the pianist for four of the five tracks on the classic 1959 recording Kind of Blue, recorded just a few months after this album.
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