All things Bill Evans.

The fact that Bill Evans is such an important figure in modern jazz came to me as a sudden revelation that began with "Waltz for Debby". I'll leave that for others to explain.

He was a sideman with everybody who was anybody in the early stages of his career. That's a testament to what a fantastic pianist he was. I just became aware that he's on many albums in my collection as a "sideman". That fact is a story in itself.

If Coletrane is a sideman, you know it; the same goes for Miles. When Bill is a sideman, he is the glue that keeps the whole thing together without drawing attention to himself, which is why he was in such demand as a sideman.

Once Miles told Trane, "Shorten the solos", Trane replied, "When I get an idea, I can't stop". "Yes you can, just take the horn out of your mouth", Miles responded. There seems to be some conflict when the sideman is always screaming "Here I am "! Miles and Coletrane both admired Bill's artistry, they played together a lot. Bill Evans is admired by more musicians than any other jazz artist I can think of.

On "Blues and the Abstract Truth", an album that has been in my collection forever, which is one of those "Hall of Fame" LP's by Oliver Nelson; Bill is a "sideman". This just came to my atttention. Bill blends so well into the fabric of the music that he can go unnoticed, but at the same time make the star's music a work of art.

I've spent two weeks obtaining and reviewing music recommended by fellow "Agoner's" "Newbee" and "Jfz". First I'm going to review my favorite LP by Bill. This was recorded in 78 and I bought it in 79. The title is "Affinity", and it features "Toots Thielemans". This is one incredible LP.

A harmonica is not an instrument one would normally associate with jazz, but when Toots blows it, there is no jazzier instrument. What that man can do with a harmonica ain't in nobody's book. I'll begin this review with "Sno Peas".

"Sno Peas" starts with a jaunty run on the acoustic piano accompanied by a jazzy harmonica followed by Larry Schnieder on tenor sax, that cat can blow. "I like it, I like it a lot".

"Jesus Last Ballad" is next, Bill Plays electric piano on this one, he makes it sound like a "heavenly harp"; and when Toots harmonica comes in they take me off on a cloud. This celestial music definitely conveys "Jesus last Ballad".

"Tomato Kiss" is my favorite cut on this LP. All the gang really gets in the groove on this one: Marc Johnson on acoustic bass, and Eliot Zigmund on drums let their presence be known while Toots is blowing that harmonica like "Coletrane". Toots can make his harmonica sound like anything he wants it to. Out of all the music I've heard, this ranks among the very best, and it's all so "Evanesque".

Now that I have began this review of Bill's music, hopefully others will follow.