Everybody Digs Bill Evans

Amazon.com essential recording
The superb pianist recorded this album, his second as a leader, in December 1958, more than two years after his debut. In between, of course, he was an integral part of Miles Davis's legendary sextet. Spurred by a rhythm section of bassist Sam Jones and drummer Philly Joe Jones, Bill Evans shows amazing versatility on these sides: his playing on "Minority," "Night and Day," and "Oleo" is surprisingly robust and even bluesy at times--certainly not adjectives usually associated with the cool pianist. He's delightfully playful on the midtempo "Tenderly." Then there are the slow, meditative numbers for which he's known, including three unaccompanied showcases. "Peace Piece," which was actually conceived merely as an introduction to Leonard Bernstein's "Some Other Time," is the most famous, but his reading of another Bernstein song, "Lucky to Be Me," is equally mesmerizing. Although the original record dropped it, the CD reissue does include a version of "Some Other Time," complete with the "Peace Piece" intro. --Marc Greilsamer

Product Description
Japanese Version featuring an LP Style Slipcase for Initial Pressing.

Everybody Digs Bill Evans,Bill Evans,Ojc,Jazz,Pop

Jazz

Music

jazz

music

Average customer rating: This may be a long review - but this is one important album How shopping should be One of Bill's finest works.... A crossroads The Magic and the Power

Everybody Digs Bill Evans Bill Evans Trio Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Similar Items: Moon Beams Explorations Portrait in Jazz Waltz for Debby Sunday at the Village Vanguard ASIN: B000000Y47 Release Date: 1991-07-01

Tracks:

1. Minority
2. Young & Foolish
3. Lucky To Be Me
4. Night & Day
5. Epilogue
6. Tenderly
7. Peace Piece
8. What Is There To Say?
9. Oleo
10. Epilogue
11. Some Other Time (mono)

Amazon.com essential recording

The superb pianist recorded this album, his second as a leader, in December 1958, more than two years after his debut. In between, of course, he was an integral part of Miles Davis's legendary sextet. Spurred by a rhythm section of bassist Sam Jones and drummer Philly Joe Jones, Bill Evans shows amazing versatility on these sides: his playing on "Minority," "Night and Day," and "Oleo" is surprisingly robust and even bluesy at times--certainly not adjectives usually associated with the cool pianist. He's delightfully playful on the midtempo "Tenderly." Then there are the slow, meditative numbers for which he's known, including three unaccompanied showcases. "Peace Piece," which was actually conceived merely as an introduction to Leonard Bernstein's "Some Other Time," is the most famous, but his reading of another Bernstein song, "Lucky to Be Me," is equally mesmerizing. Although the original record dropped it, the CD reissue does include a version of "Some Other Time," complete with the "Peace Piece" intro. --Marc Greilsamer

Album Details

Japanese Version featuring an LP Style Slipcase for Initial Pressing.

Customer Reviews:

This may be a long review - but this is one important album.......2007-07-03

Everybody Digs comes right after Bill Evans's brief stint with the Miles Davis Sextet. Exhausted from the band's busy touring schedule, stung by the criticism that he received from many who thought Davis should have hired a harder-swinging (which in this case meant African-American) pianist, and still sort of amazed that Davis insisted he remain in the group: according to Evans biographer Peter Pettinger, in the must-read How My Heart Sings, this is the emotional backdrop for the pianist's second major trio album. Moreover, "for most of November [1958], burned out after leaving Miles...Evans relaxed on his father's driving range in Florida. He reportedly took great satisfaction in shooting 41 for nine holes of golf. He also visited his brother Harry in Louisiana. "One of the reasons I left Miles was because my father was ill," [Evans] said. "I spent some time visiting my folks, and went through a rather reflective period. While I was staying with my brother in Baton Rouge...I remember finding that somehow I had reached a new inner level of expressiveness of my playing. It had come almost automatically, and I was very anxious about it - afraid I might lose it - I thought maybe I'd wake up tomorrow and it wouldn't be there" (Pettinger 66).

Perhaps all of this explains the blistering "Oleo," Night and Day," and "Minority," which at times consciously seem to assert, "I can swing my f*ck%n' a*s off with the best of them - just take a listen." I think it also explains the very moving rendition of "Lucky to Be Me," whose title Evans finds at once painfully ironic and blessedly true.

So what is there to say? Too much about all the astonishing things he does with these tunes. Evans sounds like the heir apparent to Bud Powell, only harmonically more "modern" and more fluid technically. Tons of credit also goes to Bill's favorite drummer (and fellow junkie in the Davis sextet) Philly Joe Jones, who swings his f*ck%n' a*s off, himself. Although Jones is sympathetic to everything the pianist does, even on the rather piano-centric ballads, he is absolutely explosive in the uptempo numbers. What a killer groove this guy could lay down! Meanwhile, Sam Jones keeps everyone grounded and shines in his unfortunately rare solo interludes.

There is an awful lot of talk about (and rightly so, for the most part) about the LaFaro-Motian-Evans trio - especially the way they expanded and tinkered with the time feel. But the germs of it (I'd say better than the germs of it) are all here. Take "Tenderly," a short waltz, but an absolute tour de force. Philly Joe gets this relaxed thing going; Evans goes all over the place, displacing the beat with sly interjections and letting loose with dizzyingly virtuosic scale passages; Sam Jones is strong, right there with them. Every time I hear it I almost have to restrain myself from laughing out loud it's so good. Why was this kind of exuberance so rare with LaFaro and Motian? In the end, I'm left feeling robbed of some great music knowing that Philly Joe, Sam Jones, and Evans didn't form a working group first.

* * * * * * * * * *
Some of the '61 Vanguard fanatics might also carp that the pianist hadn't yet perfected the elaborate system of inner voicings that became one of his trademarks. But as one who was first exposed to his later albums, I find the starker (and still extremely logical) harmonic and emotional content here both refreshing and invigorating. In an essay on Jean Sibelius, James Hepokoski says about the composer's Third Symphony, "A watershed in his career, the Third Symphony sets out...to restore the possibility of experiencing...the major triad...as a progressively deepening, revelatory event." Although Bill Evans certainly adds some 9ths, 13ths, and other extensions to his triads, he brings the same meaning to the most fundamental western harmony on this watershed album in his career and his art. After all, what is "Peace Piece" but a study of the I-V-I harmonic relationship foundational to all western music? The startlingly inventive improvisation (which dabbles in bitonality as much as the blues)'s startlingly simple two chord figure (CMaj7 - Dmin7/G), derived from an introduction to "Some Other Time," becomes the album's central meditation, showing up in the closing vamp of "Young and Foolish" and the final measures of "Lucky to Be Me," as well.

And there are no extraneous notes expended exploring this fundamental relationship or any other progression. Indeed, the open fifths left ringing at the end of "Peace Piece," or accompanying the devastating final chords of "Lucky to Be Me," are almost spiritual in their nakedness. Really more than ever, the pianist makes each added voice, each sustained pedal count. Pettinger writes, "With the two remaining ballads, Evans creates an illusion that overcomes the simple fact that tone dies on his instrument. Working this magic requires a certain mental attitude; it is necessary to "think through" a phrase to connect dying notes. On "What is There to Say?" and "Young and Foolish" he is the master at this, sustaining the lines with intensely yearning tone and melting harmony....But it is his ravishing use of tone that makes "Young and Foolish" his first truly lyrical trio track and one of those that goes deepest; played with muscular strength in the singing, it touches the heart" (Pettinger 69).

* * * * * * * * *
Ultimately, Bill's quotation about finding "a new inner level of expressiveness" and fearing that he would lose it says it best. Everybody Digs is the result of an artist who is burning to say something and now - finally - knows how to say it. Compare it to the first flush of a great romance or the steady flow of a stream where there once was only a trickling brook. Either way, Bill Evans reinvented jazz piano on this album, with the big heart, probing mind, and hitherto unimaginable sensitivity of touch that made him the giant he is.

How shopping should be.......2006-02-22

Item was in mint condition as advertised. Shipped quickly too. A+++

One of Bill's finest works...........2003-11-24

I've listened to this CD many times, and it never fails to enthrall me. One of the things I love about Bill Evans is the care with which he seems to select each note. "Peace Piece" is still my favorite track, Bill seems to bare his soul on this one. Anyone interested in building a serious jazz collection would do well to start with this one. Go for the 20-bit remastered version, I have both versions, the 20-bit is cleaner.

A crossroads.......2003-03-10

This album reflects a crossroads in Bill's career. Bill had two current's flowing--his romantic style and his bop style. His prior album New Conceptions, which caused a stir, was almost a hard bop album. His lines at that point reflected Horace Silver's influence. Hard driving, mostly right hand extremely long lines; the ballads were somewhat arranged and not with his characteristic emotion. He knew he had more work to do (rec hiatus for almost 2 years)
With Everybody Digs however, Bill hit his stride. He had tempered and became more choice with his vocabulary-around this time he was a member of Miles Davis group. Oleo is a stunning effort. It is bop based, but it is a highly original take on it. None of his contemporaries were quite able to take the bebop idiom and loosen it up from Powell's reigns in terms of a new direction. This harder driving style on this record(a la All About Rosie/George Russell) as other reviewers commented seem to have been abandoned after the 50's. You see a little of it on Undercurrents on
Funny Valentine.
The ballads--lucky to be me, what is there to say. That ballad touch--so characteristic and identifiable was now permanently stamped to vinyl. And Peace, Peace is really a wild experiment with fantastic results. Bill could often be very tidy and preprogrammed but when he did odd things like this he really showed his unique depth. Another example of Bill's capricious and often humorous side can be seen on "With a Song in My Heart" from Empathy with Shelly Manne and Monty Budwig. Anybody interested in this period of bill's playing would be interested in checking out his work as a sideman with Dave Pike, Art Farmer, Charlie Mingus and Eddie Costa.

The Magic and the Power.......2003-02-11

There may be a temptation to pass up this album in favor of the more "characteristic" Bill Evans of the later trios beginning with Lafaro and Motian. With a relentlessly swinging, earthy, "straight-ahead," bop and soul-oriented supportive team of Sam Jones and Philly Joe, Bill might be expected to fall into their insistent groove, providing at best a neo-Bud Powell impersonation. But the opposite is closer to the final result: the Jones' boys come under the spell of Evans' romantic, lyrical individualism. At the same time, Bill's lines are etched in bolder relief than is the case on the recordings of the later, more impressionistic and democratic trios. Take, for instance, "Night and Day." First, Philly Joe's tap dancing rhythms reference the musician for whom the song was written (Fred Astaire), then Sam lays down an irresistible dance beat, then Bill becomes the dancer--alternating between being a graceful, composite Fred-Ginger and a dazzling soloist, executing several stunning breaks without benefit of help from either accompanist.

Average customer rating:

Everybody Digs Bill Evans Bill Evans Manufacturer: Riverside ProductGroup: Music Binding: Audio CD Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Similar Items: Caravan Chet Butterfly Dreams Freedom Book Really Big! ASIN: B000PY30J4 Release Date: 2007-06-05

Tracks:

1. Minority
2. Young and Foolish
3. Lucky to Be Me
4. Night and Day
5. Tenderly
6. Peace Piece
7. What Is There to Say?
8. Oleo
9. Epilogue
10. Some Other Time [*]

Average customer rating: This may be a long review - but this is one important album How shopping should be One of Bill's finest works.... A crossroads The Magic and the Power

Everybody Digs Bill Evans Bill Evans Trio Manufacturer: Jvc / Xrcd ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Bebop & Post-Bop | Compilations | Jazz | Styles | Music General | Jazz | Indie Music | Stores | Music Cool Jazz | Jazz | Indie Music | Stores | Music Modern Post Bop | Jazz | Indie Music | Stores | Music Similar Items: Moon Beams Explorations Portrait in Jazz Waltz for Debby Sunday at the Village Vanguard ASIN: B00004STNB Release Date: 1997-03-25

Tracks:

1. Minority
2. Young and Foolish
3. Lucky to Be Me
4. Night and Day
5. Epilogue
6. Tenderly
7. Peace Piece
8. What Is There to Say?
9. Oleo
10. Epilogue
11. Some Other Time [Mono Version][*]

Amazon.com essential recording

The superb pianist recorded this album, his second as a leader, in December 1958, more than two years after his debut. In between, of course, he was an integral part of Miles Davis's legendary sextet. Spurred by a rhythm section of bassist Sam Jones and drummer Philly Joe Jones, Bill Evans shows amazing versatility on these sides: his playing on "Minority," "Night and Day," and "Oleo" is surprisingly robust and even bluesy at times--certainly not adjectives usually associated with the cool pianist. He's delightfully playful on the midtempo "Tenderly." Then there are the slow, meditative numbers for which he's known, including three unaccompanied showcases. "Peace Piece," which was actually conceived merely as an introduction to Leonard Bernstein's "Some Other Time," is the most famous, but his reading of another Bernstein song, "Lucky to Be Me," is equally mesmerizing. Although the original record dropped it, the CD reissue does include a version of "Some Other Time," complete with the "Peace Piece" intro. --Marc Greilsamer

Album Details

Japanese Version featuring an LP Style Slipcase for Initial Pressing.

Customer Reviews:

This may be a long review - but this is one important album.......2007-07-03

Everybody Digs comes right after Bill Evans's brief stint with the Miles Davis Sextet. Exhausted from the band's busy touring schedule, stung by the criticism that he received from many who thought Davis should have hired a harder-swinging (which in this case meant African-American) pianist, and still sort of amazed that Davis insisted he remain in the group: according to Evans biographer Peter Pettinger, in the must-read How My Heart Sings, this is the emotional backdrop for the pianist's second major trio album. Moreover, "for most of November [1958], burned out after leaving Miles...Evans relaxed on his father's driving range in Florida. He reportedly took great satisfaction in shooting 41 for nine holes of golf. He also visited his brother Harry in Louisiana. "One of the reasons I left Miles was because my father was ill," [Evans] said. "I spent some time visiting my folks, and went through a rather reflective period. While I was staying with my brother in Baton Rouge...I remember finding that somehow I had reached a new inner level of expressiveness of my playing. It had come almost automatically, and I was very anxious about it - afraid I might lose it - I thought maybe I'd wake up tomorrow and it wouldn't be there" (Pettinger 66).

Perhaps all of this explains the blistering "Oleo," Night and Day," and "Minority," which at times consciously seem to assert, "I can swing my f*ck%n' a*s off with the best of them - just take a listen." I think it also explains the very moving rendition of "Lucky to Be Me," whose title Evans finds at once painfully ironic and blessedly true.

So what is there to say? Too much about all the astonishing things he does with these tunes. Evans sounds like the heir apparent to Bud Powell, only harmonically more "modern" and more fluid technically. Tons of credit also goes to Bill's favorite drummer (and fellow junkie in the Davis sextet) Philly Joe Jones, who swings his f*ck%n' a*s off, himself. Although Jones is sympathetic to everything the pianist does, even on the rather piano-centric ballads, he is absolutely explosive in the uptempo numbers. What a killer groove this guy could lay down! Meanwhile, Sam Jones keeps everyone grounded and shines in his unfortunately rare solo interludes.

There is an awful lot of talk about (and rightly so, for the most part) about the LaFaro-Motian-Evans trio - especially the way they expanded and tinkered with the time feel. But the germs of it (I'd say better than the germs of it) are all here. Take "Tenderly," a short waltz, but an absolute tour de force. Philly Joe gets this relaxed thing going; Evans goes all over the place, displacing the beat with sly interjections and letting loose with dizzyingly virtuosic scale passages; Sam Jones is strong, right there with them. Every time I hear it I almost have to restrain myself from laughing out loud it's so good. Why was this kind of exuberance so rare with LaFaro and Motian? In the end, I'm left feeling robbed of some great music knowing that Philly Joe, Sam Jones, and Evans didn't form a working group first.

* * * * * * * * * *
Some of the '61 Vanguard fanatics might also carp that the pianist hadn't yet perfected the elaborate system of inner voicings that became one of his trademarks. But as one who was first exposed to his later albums, I find the starker (and still extremely logical) harmonic and emotional content here both refreshing and invigorating. In an essay on Jean Sibelius, James Hepokoski says about the composer's Third Symphony, "A watershed in his career, the Third Symphony sets out...to restore the possibility of experiencing...the major triad...as a progressively deepening, revelatory event." Although Bill Evans certainly adds some 9ths, 13ths, and other extensions to his triads, he brings the same meaning to the most fundamental western harmony on this watershed album in his career and his art. After all, what is "Peace Piece" but a study of the I-V-I harmonic relationship foundational to all western music? The startlingly inventive improvisation (which dabbles in bitonality as much as the blues)'s startlingly simple two chord figure (CMaj7 - Dmin7/G), derived from an introduction to "Some Other Time," becomes the album's central meditation, showing up in the closing vamp of "Young and Foolish" and the final measures of "Lucky to Be Me," as well.

And there are no extraneous notes expended exploring this fundamental relationship or any other progression. Indeed, the open fifths left ringing at the end of "Peace Piece," or accompanying the devastating final chords of "Lucky to Be Me," are almost spiritual in their nakedness. Really more than ever, the pianist makes each added voice, each sustained pedal count. Pettinger writes, "With the two remaining ballads, Evans creates an illusion that overcomes the simple fact that tone dies on his instrument. Working this magic requires a certain mental attitude; it is necessary to "think through" a phrase to connect dying notes. On "What is There to Say?" and "Young and Foolish" he is the master at this, sustaining the lines with intensely yearning tone and melting harmony....But it is his ravishing use of tone that makes "Young and Foolish" his first truly lyrical trio track and one of those that goes deepest; played with muscular strength in the singing, it touches the heart" (Pettinger 69).

* * * * * * * * *
Ultimately, Bill's quotation about finding "a new inner level of expressiveness" and fearing that he would lose it says it best. Everybody Digs is the result of an artist who is burning to say something and now - finally - knows how to say it. Compare it to the first flush of a great romance or the steady flow of a stream where there once was only a trickling brook. Either way, Bill Evans reinvented jazz piano on this album, with the big heart, probing mind, and hitherto unimaginable sensitivity of touch that made him the giant he is.

How shopping should be.......2006-02-22

Item was in mint condition as advertised. Shipped quickly too. A+++

One of Bill's finest works...........2003-11-24

I've listened to this CD many times, and it never fails to enthrall me. One of the things I love about Bill Evans is the care with which he seems to select each note. "Peace Piece" is still my favorite track, Bill seems to bare his soul on this one. Anyone interested in building a serious jazz collection would do well to start with this one. Go for the 20-bit remastered version, I have both versions, the 20-bit is cleaner.

A crossroads.......2003-03-10

This album reflects a crossroads in Bill's career. Bill had two current's flowing--his romantic style and his bop style. His prior album New Conceptions, which caused a stir, was almost a hard bop album. His lines at that point reflected Horace Silver's influence. Hard driving, mostly right hand extremely long lines; the ballads were somewhat arranged and not with his characteristic emotion. He knew he had more work to do (rec hiatus for almost 2 years)
With Everybody Digs however, Bill hit his stride. He had tempered and became more choice with his vocabulary-around this time he was a member of Miles Davis group. Oleo is a stunning effort. It is bop based, but it is a highly original take on it. None of his contemporaries were quite able to take the bebop idiom and loosen it up from Powell's reigns in terms of a new direction. This harder driving style on this record(a la All About Rosie/George Russell) as other reviewers commented seem to have been abandoned after the 50's. You see a little of it on Undercurrents on
Funny Valentine.
The ballads--lucky to be me, what is there to say. That ballad touch--so characteristic and identifiable was now permanently stamped to vinyl. And Peace, Peace is really a wild experiment with fantastic results. Bill could often be very tidy and preprogrammed but when he did odd things like this he really showed his unique depth. Another example of Bill's capricious and often humorous side can be seen on "With a Song in My Heart" from Empathy with Shelly Manne and Monty Budwig. Anybody interested in this period of bill's playing would be interested in checking out his work as a sideman with Dave Pike, Art Farmer, Charlie Mingus and Eddie Costa.

The Magic and the Power.......2003-02-11

There may be a temptation to pass up this album in favor of the more "characteristic" Bill Evans of the later trios beginning with Lafaro and Motian. With a relentlessly swinging, earthy, "straight-ahead," bop and soul-oriented supportive team of Sam Jones and Philly Joe, Bill might be expected to fall into their insistent groove, providing at best a neo-Bud Powell impersonation. But the opposite is closer to the final result: the Jones' boys come under the spell of Evans' romantic, lyrical individualism. At the same time, Bill's lines are etched in bolder relief than is the case on the recordings of the later, more impressionistic and democratic trios. Take, for instance, "Night and Day." First, Philly Joe's tap dancing rhythms reference the musician for whom the song was written (Fred Astaire), then Sam lays down an irresistible dance beat, then Bill becomes the dancer--alternating between being a graceful, composite Fred-Ginger and a dazzling soloist, executing several stunning breaks without benefit of help from either accompanist.

Average customer rating: Quiet Genius

Everybody Digs Bill Evans (20 bit mastering) Bill Evans Manufacturer: Riverside ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Similar Items: Portrait in Jazz (20 Bit Mastering) Explorations (20 Bit Mastering) New Jazz Conceptions (20 Bit Master) Thelonious Monk Quartet with John Coltrane at Carnegie Hall Things Are Getting Better (20 Bit Master) ASIN: B0000DIJQC Release Date: 2003-10-21

Tracks:

1. Minority
2. Young And Foolish
3. Lucky To Be Me
4. Night And Day
5. Epilogue
6. Tenderly
7. Peace Piece
8. What Is There To Say?
9. Oleo
10. Epilogue
11. Some Other Time

Customer Reviews:

Quiet Genius.......2005-01-18

I just picked up "Everybody Digs Bill Evans" and think it is one of the best jazz cds I've ever heard. I've been a fan of Evans every since I picked up Davis' "Kind of Blue". Pick up this album and treat yourself to understated beauty and quiet genius.

Average customer rating:

Everybody Digs Bill Evans Bill Evans Manufacturer: Jvc Victor ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B000BM6JX4 Release Date: 2005-12-19

Tracks:

1. Minority
2. Young & Foolish
3. Lucky To Be Me
4. Night & Day
5. Epilogue
6. Tenderly
7. Peace Piece
8. What Is There To Say
9. Oleo
10. Epilogue

Average customer rating:

Everybody Digs Bill Evans Bill Evans Manufacturer: Jvc Victor ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B000FIHBHM Release Date: 2006-07-03

Album Details

Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.

Average customer rating:

Everybody Digs ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B000NO293E Release Date: 2007-04-17

Average customer rating:

Everybody Digs Bill Evans Bill Evans Manufacturer: Jvc Victor ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B0007OE3DY Release Date: 2005-09-27

Tracks:

1. Minority
2. Young And Foolish
3. Lucky To Be Me
4. Night And Day
5. Epilogue
6. Tenderly
7. Peace Piece
8. What Is There To Say?
9. Oleo
10. Epilogue
11. Some Other Time

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