On Green Dolphin Street | ||||
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Studio album by | ||||
Released | 1975 | |||
Recorded | January 19, 1959 | |||
Studio | Reeves Sound Studios, New York City | |||
Genre | Jazz | |||
Length | 41:40 | |||
Label | Victor Music Industries Inc. VIJ-6457 | |||
Producer | Orrin Keepnews | |||
Bill Evans chronology | ||||
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On Green Dolphin Street is an album by jazz pianist Bill Evans, recorded with bassist Paul Chambers and drummer Philly Joe Jones in early 1959, shortly before the Kind of Blue sessions in which both Evans and Chambers participated, but not released until 1975 as part of the double LP Peace Piece and Other Pieces. In 1995, it was issued on CD by Milestone Records under the current title, which comes from the jazz standard "On Green Dolphin Street" by Bronislaw Kaper, which Evans had first recorded the previous year with Miles Davis. [1]
The CD edition (MCD-9235-2) also includes the first take of "All of You" from the Village Vanguard engagement by the 1961 Bill Evans Trio with bassist Scott LaFaro and drummer Paul Motian.
The album was recorded as part of an unusual evening session following a Chet Baker recording for which Evans, Chambers, and Jones had served as the rhythm section, as they had the previous year in the Miles Davis Sextet. Evans did not initially approve of the release of these trio recordings, as "he felt they were rhythmically very successful but that not enough was happening on other levels." [2] The tapes remained in the vaults of Riverside Records for about 15 years, at which point they finally came again to the attention of producer Orrin Keepnews. By this time, Chambers had passed away and Evans finally assented to their release, saying: [3]
It's very interesting to hear simply because of the great musicians involved with me. I think Philly Joe and Paul were pretty much at their peak at that time, and as far as I'm concerned these are two of the most underrated musicians in the history of jazz, much greater influences than they're given credit for. You really don't hear Paul Chambers mentioned that much in the history of bass playing, but I know personally that he was an influence on Scott LaFaro and Eddie Gomez —and I'll bet just about any bassist who plays well will mention Paul.
Keepnews commented, "The recordings here represent to me essentially the culmination of a specific formative period when Bill was for the first time really getting his remarkable personal form of expression fully under control." [4]
Review scores | |
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Source | Rating |
AllMusic | [5] |
Writing for AllMusic, music critic Scott Yanow said of the album: "Although lacking the magic of Evans' regular bands, this CD reissue has its strong moments and the pianist's fans will be interested in getting the early sampling of his work." [5]
Evans biographer Keith Shadwick expressed a similar view: "The trio came up with bright and spontaneously integrated performances of standards .... But there is little counterpoint between the players, giving the set a rather conventional sound compared with that which would soon evolve" in Evans's trio with LaFaro and Motian. [6]
Note
William John Evans was an American jazz pianist and composer who worked primarily as the leader of his trio. His use of impressionist harmony, block chords, innovative chord voicings, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.
Rocco Scott LaFaro was an American jazz double bassist known for his work with the Bill Evans Trio. LaFaro broke new ground on the instrument, developing a countermelodic style of accompaniment rather than playing traditional walking basslines, as well as virtuosity that was practically unmatched by any of his contemporaries. Despite his short career, he remains one of the most influential jazz bassists, and was ranked number 16 on Bass Player magazine's top 100 bass players of all time.
Portrait in Jazz is the fifth studio album by American jazz pianist Bill Evans as a leader, released in 1960. It is the first of only two studio albums to be recorded with his famous trio featuring bassist Scott LaFaro and drummer Paul Motian.
Explorations is an album by jazz pianist Bill Evans that was originally released on Riverside label in 1961. The album won the Billboard Jazz Critics Best Piano LP poll for 1961.
Sunday at the Village Vanguard is a live album by jazz pianist and composer Bill Evans and his Trio consisting of Evans, bassist Scott LaFaro, and drummer Paul Motian. Released in 1961, the album is routinely ranked as one of the best live jazz recordings of all time.
Waltz for Debby is a live album by jazz pianist and composer Bill Evans and his trio consisting of Evans, bassist Scott LaFaro, and drummer Paul Motian. It was released in 1962.
Everybody Digs Bill Evans is a trio and solo album by jazz pianist Bill Evans. It was released in early 1959 on the Riverside Records label.
Moon Beams is a 1962 album by jazz musician Bill Evans and the first trio album he recorded after the death of bassist Scott LaFaro. It introduces two important Evans originals, "Re: Person I Knew", and "Very Early," which Evans had actually composed as an undergraduate. The originals serve as bookends to an album otherwise consisting of standards from the 1930s and 1940s.
A jazz trio is a group of three jazz musicians, often a piano trio comprising a pianist, a double bass player and a drummer. Jazz trios are commonly named after their leader, such as the Bill Evans Trio.
You Must Believe in Spring is an album by American jazz pianist Bill Evans, recorded by him with bassist Eddie Gómez and drummer Eliot Zigmund in August 1977 and released in February 1981, shortly after Evans's death in September 1980.
How My Heart Sings! is an album recorded by jazz musician Bill Evans in 1962, at the same time as Moon Beams.
Interplay is a 1963 album by jazz musician Bill Evans. It was recorded in July 1962 in New York City for Riverside Records. The Interplay Sessions is a 1982 Milestone album that includes the entirety of this album, and tracks recorded for Riverside on August 21 and 22 of the same year with a different lineup . The Interplay Sessions peaked at number 26 on the Billboard Jazz Albums charts in 1983. The CD reissue Interplay adds another take of "I'll Never Smile Again" as a bonus track. At the Grammy Awards of 1984, Orrin Keepnews won the Grammy Award for Best Album Notes for the reissue.
At Shelly's Manne-Hole is a live album by American jazz pianist Bill Evans, released in 1963 as his last recording for the Riverside label. The trio featured Chuck Israels, who followed Scott LaFaro on bass in autumn 1961, and Larry Bunker on drums, who just joined the reformed trio, after Paul Motian had left. An additional eight performances recorded during the trio's May, 1963 engagement at Shelly's Manne-Hole were released on the album Time Remembered.
I Will Say Goodbye is an album by American jazz pianist Bill Evans, recorded in 1977 but not released until January 1980. It was his final album for Fantasy Records, making the title quite appropriate.
"Waltz for Debby" is a jazz standard composed by pianist Bill Evans, which became "his most famous tune." He first recorded it as a brief solo piano piece on his debut album, New Jazz Conceptions (1956). Lyrics were added about six years later by Evans's friend Gene Lees. "Debby" in the composition's title refers to Evans's then 3-year-old niece, Debby Evans, whom he often took to the beach.
Kelly Blue is an album by American jazz pianist Wynton Kelly, released in 1959.
The Tokyo Concert is a live album by jazz pianist Bill Evans with bassist Eddie Gómez and drummer Marty Morell recorded at the Yūbin Chokin Hall in Tokyo, Japan, in 1973 and released on the Fantasy label.
Bright and Breezy is an album by jazz pianist Red Garland and his trio, recorded in 1961 and released on Jazzland as JLP 48. Sam Jones had been the trio's bassist for two years. Art Taylor, who had played drums in the Red Garland Trio since 1956, was replaced by Charlie Persip in 1960. This was the first of four sessions by Garland for the Riverside subsidiary label, that were recorded at the Plaza Sound Studios by Orrin Keepnews. In October 1962 he would record a last session for his former label Prestige before taking a hiatus of nearly ten years.
Really Big! is the second album by saxophonist Jimmy Heath featuring big band performances recorded in 1960 and originally released on the Riverside label.
Pieces of Jade is a posthumously-released album by jazz bassist Scott LaFaro. It consists of five tracks dating from 1961 featuring LaFaro in a trio format with pianist Don Friedman and drummer Pete La Roca, a 23-minute recording of LaFaro rehearsing with pianist Bill Evans in 1960, a 1966 interview with Evans, and a Friedman solo piano piece dedicated to LaFaro, recorded in 1985. The album was released in 2009 by Resonance Records.