Automotive Holiday Deals Up to 50% Off Select Books Shop Men's Athletic Shoes Learn more nav_sap_SWP_6M_fly_beacon Black Friday egg_2015 All-New Amazon Fire TV Grocery Gifts Under $50 Amazon Gift Card Offer cm15 cm15 cm15 $30 Off Amazon Echo $30 Off Fire HD 6 Kindle Cyber Monday Deals Holiday Music in CDs & Vinyl Outdoor Deals on HTL

On Green Dolphin Street (Remastered)

July 18, 2006 | Format: MP3

$25,000 Prime Sweepstakes: This Week Only
Listen to Prime Music for a chance to win $25,000 in Gift Cards. Play any song, station, or playlist to be automatically entered. No purchase necessary. See Official Rules for details and alternate method of entry. Ends December 5, 2015.
Song Title Artist
Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to (US).

Product Details

  • Original Release Date: July 18, 2006
  • Release Date: July 18, 2006
  • Label: Concord Records
  • Copyright: (C) 1995 Fantasy, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 43:52
  • Genres:
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #110,412 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Most Helpful Customer Reviews

25 of 27 people found the following review helpful By Paul Dana on January 7, 2002
Format: Audio CD
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.
2 Comments Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
22 of 24 people found the following review helpful By Micah Newman on January 16, 2004
Format: Audio CD Verified Purchase
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.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
14 of 16 people found the following review helpful By adam on December 28, 1999
Format: Audio CD
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.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD
[May 2014: My dissatisfaction with the distorted piano and sporadic chemistry of Bill's later recordings immediately following the death of Scott LaFaro has led me to a revaluation of his pre-LaFaro recordings. Just because "On Green Dolphin Street" doesn't rise to the level of the revolutionary trio recordings with LaFaro doesn't disqualify the recording from consideration as one of Bill's best. Like the popular, almost contemporaneous "Everyone Digs Bill Evans," this is Bill Evans in a more traditional format, except with the mighty Chambers replacing Sam Jones as bassist. On the title tune Bill plays an extended solo exclusively through the use of block chords (eschewing the George Shearing surface polish in favor of a melodically-inventive solo that's out of the reach of other pianists). Moreover, the sound of the piano on these Riverside sessions is faithful--and true to the instrument's harmonic series, overtones and frequencies. By contrast, the later recordings on Verve (some of which have a "bottled up" piano sound) can make for painful listening, especially upon consideration of the damage being done to Bill's unique sound and personal touch. When comparing his later work with this session, Bill obviously came to a realization that he had been far too hasty in preventing release of the album. Moreover, after the loss of LaFaro the pianist very likely regretted not returning to the studio with a more traditional trio, one with the reassuring support of Paul Chambers (who never "competes" with Bill, as do several LaFaro-influenced bassists) and with the same faithful representation of his piano sound as he had received from the audio engineers at Riverside.Read more ›
3 Comments Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse

Most Recent Customer Reviews

What Other Items Do Customers Buy After Viewing This Item?