Customer Reviews

On Green Dolphin Street

5 star:		(5)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

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.

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.

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.

Evans recorded this session as a sudden inspiration immediately following another studio session ("Chet," 1959), on which the Evans-Paul Chambers-Philly Joe Jones team was the supporting rhythm section. Upon hearing it played back, he declined to have it released on the basis that some of the arrangements weren't as polished or well-planned as they might have been. Thank goodness he had the sense fifteen years later to sanction the album's release. What the session lacks in "control" by the pianist, it makes up for in inspired, ceaselessly inventive, straightahead blowing. From a musician's point of view, this session in some respects outshines either "Everybody Digs Bill Evans" or "The Village Vanguard Sessions," neither of which provides the flowing rhythmic stream of Chambers and Philly Joe. As if to make the point, the last track, "All of You," is from the Vanguard Sessions, and it clearly doesn't swing or groove as tightly, crisply, and inventively as what precedes. Moreover, the sound is "hot" and intrusive and the piano thin and treblish on the Vanguard recording.

The highlight, of course, is the title track. It's doubtful Evans has played a better block-chorded solo or that there's a better recorded version of the tune. But each of the selections on the date is a happy discovery (especially after hearing Shirley Horn's ballad version of "How Am I To Know" on the sublime "Here's to Life" album), as Bill swings up a quiet storm on each. Even the two versions of "Woody'n You" aren't that repetitive due to Bill's different approaches (more venturesome and hard-swinging the second time). There are also some fine solos by Chambers who, along with Philly Joe, provides such a tightly synchronized pulse that some listeners are apt to rethink the whole "democratic" approach of the later trio with LaFaro and Motian. Newer is newer when it comes to music and art, but it would be foolish to say anything more.

If you enjoy Bill Evans you should enjoy this album. The album was recorded back in 1959 between "Everybody Digs Bill Evans" and "Portrait In Jazz" but was not released until sometime in the mid 70's. While I do not consider this album to of the same greatness as thought two album it is comparable. What you get is more of Davis as a young group leader before he teamed up full time with LaFaro and Motian, who are the onse that really spurred his greatest works. None the less this album is a great example of Classic early Bill Evans work, and should at least be given a listen by any real Evans fan.

This is a delightful album from early-mid career for Bill Evans. Some of the cuts might not please all listeners, but "Green Dolphin Street" alone makes the album worth owning and enjoying. I saw Bill Evans in person in Chicago very near the end of his life/career and became a fan for (my) life. If you appreciate subtle phrasing, gentle harmonies and brisk, well-defined jazz tempos, you'll like this album. Thanks, Bill.

This album is surely one of the pianist's best albums to date. Most of the songs are up-tempo, if compared with the usual mood of most of the other albums by Bill Evans, however this album is worth searching for.

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...!

This CD is fantastic.... Lay back with a loved one and pop this disc into your player