[.ca] On Green Dolphin Street

Evans In A More Upbeat Mood:
The timing of this album, I suspect, accounts for Bill Evans' relatively upbeat lyricism. It was recorded in January 1959, shortly after Evans had left Miles Davis and two months before he would subsequently return for the recording dates that would comprise "Kind of Blue." Evans' playing here may reflect a sense of relief and newfound freedom (Davis, after all, could be a handful on a daily basis). So much for conjecture. For whatever reason, there is a "looseness," an openness, maybe even a sense of playfulness, in Evans' work on the majority of this album's cuts as Evans leads two former Davis colleagues through a series of standards. There are no inroads here, no profound explorations, to be sure; this is simply three excellent jazz practitioners doing what they do best. The title cut, "On Green Dolphin Street," deserves a bit of discussion. At first blush, of course, it's more than slightly reminiscent of the Davis Sextet's earlier recording; so much so that you may find yourself waiting for Davis or Adderley or Coltrane to come in for a chorus. (It should also be noted that Jones' drumwork suffers -- on this cut alone -- by comparison with the earlier version in that he isn't called upon to vary his approach with each successive soloist.) What elevates this version, of course, is Evans' extended passages with their subtle shifts from one chorus to the next. As noted, there is no new ground broken with this recording, and that's fine. "On Green Dolphin Street" chronicles Bill Evans at a particular transitional period in his career. It also provides some mighty fine listening.

Decent, but not essential Evans:
I don't think Bill Evans has ever, or could have ever, recorded a poor trio record. That said, some of his trio LPs are more interesting than others. Evans, Chambers, and Jones happened to be in the studio together after a session as the rhythm section behind Chet Baker, and producer Orrin Keepnews asked them to stick around and read a few standards. This session resulted, and its off-the-cuff nature does result in some lightheartedness and breeziness, but at the same some carelessness: it really does sound like three musicians just "reading through some standards." Evans sounds somewhat laconic most of the way through, and Chambers and Jones mainly just keep time. There are some nice moments, though, and Evans' own unique brand of chordal magic really comes through on the title cut. Interestingly, during his solo on "My Heart Stood Still," Evans quotes "Santa Claus Is Coming to Town": two tunes which were later to appear together on the Verve LP "Trio '64". But there's a bonus to round out this disc: an alternate take of "All of You" (take 1) from the "Sunday at the Village Vanguard" performance unavailable on that album (the CD reissue includes takes 2 and 3; 1 remaining extant). Those who are, like me, fanatical devotees of the June '61 Village Vanguard sessions, and who don't have the Complete Riverside box, will hungrily devour this extra take of incomparable trio playing. If you're not, though, don't put this disc on your Top Ten Must-Own Evans Albums.

Billy we love ya:
Such beautiful music. Kick ya shoes off after a hard days work- and chill out to the smooth sounds of Mr Evans on the swingin Piano and Philly Joe on the Tsst t t Tsst tt Drums.... Fresh jazz...!

A jazz trio in good spirits.:
This 1959 studio session finds the former Miles Davis rhythm section in good form, with Evans leading a solid set of tunes. Evans is looser and less brooding than he would be on many later works. The highlight however, is Philly Joe Jones on drums - the perfect combination of class and flair. Paul Chambers (Mr. PC) is solid as ever. Its hard to understand the inclusion of the last track - from a different date with different players. Though the tune is well done, its obviously out of place.

• You and the Night and the Music
• My Heart Stood Still
• On Green Dolphin Street
• How Am I to Know?
• Woody 'N You \oTake 1\c
• Woody 'N You \oTake 2\c
• Loose Bloose