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On Green Dolphin Street
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On Green Dolphin Street

20 Nov. 2006 | Format: MP3

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Product details

  • Original Release Date: 1 Jan. 1995
  • Release Date: 1 Jan. 1995
  • Label: Decca (UMO)
  • Copyright: (C) 1995 Fantasy, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 43:52
  • Genres:
  • ASIN: B001KF2A4S
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 254,258 in Albums (See Top 100 in Albums)

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1 of 1 people found the following review helpful By RemoveSmoker on 6 Sept. 2013
Format: Audio CD
I have to disagree with some who think this sounds like a bunch of guys going through the motions and making an extra few bucks at the end of a session. Lighten up! They did...

People don't tend to associate Evans with bebop, but he had that stuff down and you hear it in spades here. He loved players like Sonny Clark and this is where you'll hear that love at its clearest. Also the block chord solo on the title track is unbelievable. There is a looseness to the whole affair certainly, but I like that. Three guys at the top of their game who knew each other really well just playing a few standards with no "red light" pressure. That gives it a relaxed informal intimacy for me.
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Format: Audio CD Verified Purchase
one of evans` very good albums. comparable with `everybody digs....` & walz for debby.will be listening to this album regularily.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 14 reviews
23 of 25 people found the following review helpful
Evans In A More Upbeat Mood 7 Jan. 2002
By Paul Dana - Published on Amazon.com
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.
20 of 22 people found the following review helpful
Decent, but not essential Evans 16 Jan. 2004
By Micah Newman - Published on Amazon.com
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.
13 of 15 people found the following review helpful
A jazz trio in good spirits. 28 Dec. 1999
By adam - Published on Amazon.com
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.
5 of 5 people found the following review helpful
Absolutely essential to piano-sensitive ears and fans of Bill's personal touch 28 Aug. 2007
By Caponsacchi - Published on Amazon.com
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. Comparison test: listen to the clarity of "My Heart Stood Still" on this 1959 recording, then compare it with the "cluttered" version on "Trio 64.]

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 finished 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, straight ahead blowing and engineering that is respectful of the natural sound of the piano and of Bill's personal touch. For some listeners, this session may outshine "Everybody Digs Bill Evans" and even "The Village Vanguard Sessions," neither of which provides the flowing rhythmic stream of Chambers and Philly Joe. In fact, the present album provides a take from the Vanguard Sessions--"All of You"--for listeners wishing to compare this "traditional trio" with the revolutionary one he would devise with the powerful guiding hand of Scott LaFaro.

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 around). 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 provide measures of "progress" when it comes to the arts. Regrettably, a a few LaFaro-influenced bassists attempted to converse on the same egalitarian, telepathic level and Bill and Scottie. But without first working hard at communion among the ensemble members, the bass player's contributions could sound less like a conversation than an argument, with no small amount of "clutter."
1 of 1 people found the following review helpful
Little Known Classic Evans 24 Oct. 2008
By Rawim - Published on Amazon.com
Format: Audio CD Verified Purchase
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.
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