Everybody Digs Bill Evans

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…

Bill Evans - Everybody Digs Bill Evans (1958) {2007 Riverside} [Keepnews Collection Complete Series] (Item #6of27)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 243 Mb | MP3 @320 -> 117 Mb
Full Artwork @ 600 dpi (png) -> 316 Mb | 5% repair rar | 24-bit remastering
© 1958, 2007 Concord / Riverside | 0888072301825
Jazz / Post Bop / Modal Music / Cool / Piano

Remastered in 24-bit from the original master tapes. Part of our Keepnews Collection, which spotlights classic albums originally produced by the legendary Orrin Keepnews. The legend of Bill Evans really begins with this album, his second. The pianist had just spent most of 1958 as part of one of the major units in jazz history: the Miles Davis Sextet that also featured John Coltrane and Cannonball Adderley.

This LP has the debut of drummer Marty Morell with Bill Evans and bassist Eddie Gomez, and this particular trio would retain the same personnel for six productive years. Actually, this is a quartet set with guest flutist Jeremy Steig, whose playing recalls Herbie Mann's recording (Nirvana) with Evans back in the early '60s. Both flutists were always open to the influences of pop and rock, although in both of their collaborations with Evans, the music is very much on the pianist's turf. With the exception of Evans' "Time Out for Chris" and the "Spartacus Love Theme," the songs performed on this date would fit securely in the Miles Davis repertoire of the late '50s. Steig is in particularly fine form on the program which includes tunes such as "Straight No Chaser," "Autumn Leaves," and "So What."

This three-CD box set from Not Now features remastered editions of three important Evans albums originally released by Riverside in the mid- to late ‘50s: 1956’s New Jazz Conceptions (Evans’ debut as a leader, featuring Teddy Kotick on bass and Paul Motian on drums), 1958’s Everybody Digs Bill Evans (recorded upon the pianist's departure from Davis’ landmark Kind of Blue sextet, and featuring bassist Sam Jones and drummer Philly Joe Jones), and 1959’s Portrait in Jazz (featuring his first working trio, with bassist Scott LaFaro and drummer Motian). If introspection became a byword during the latter part of his life, in earlier days Bill Evans did swing with the best of them, his more thoughtful moments carrying much weight as his choice of note/chord and placement thereof became crucial to a composition or solo. He also passed master as an accompanist, not only for what he did play but - almost as importantly - what he didn't.

William John Evans, known as Bill Evans (pronunciation: /ˈɛvəns/, August 16, 1929 – September 15, 1980), was an American jazz pianist and composer who mostly worked in a trio setting. He is widely considered to be one of the greatest jazz pianists of all time, and is considered by some to have been the most influential post-World War II jazz pianist. Evans's use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today. Unlike many other jazz musicians of his time, Evans never embraced new movements like jazz fusion or free jazz.