The classic record showcasing the masterful piano of a just-maturing Bill Evans is back. More to the point, it returns in 24-bit remastered form as part of Orrin Keepnews' currently running "Keepnews Collection" reissue campaign, straight from the original producer of such notable jazz records by Chet Baker, Art Blakey, Joe Henderson (which was recently covered here), and this key album by Evans.

A rare Bill Evans record from the 1950's (there's only his debut album New Jazz Conceptions, Portrait In Jazz and the belatedly released On Green Dolphin Street to round out his solo output from this decade), Evans was already a fully-formed talent following his stint in the Miles Davis Septet.

Of course, every jazz fan today does dig Bill Evans, but back in 1958, little else but anybody who was a jazz somebody was aware of him and his immense ability. Fortunately, one of those "somebodies" was jazz producer, critic and Riverside Records co-founder Keepnews. As his producer, record company and friend, Keepnews often struggled to get a studio-shy Evans to cut some wax. The testimonials from jazz giants like Miles Davis, George Shearing and Ahmad Jamal right on the front album cover was his attempt to spread the word of this exciting new talent to the jazz-buying public so it wouldn't quickly descend into oblivion like the critically well-received but poorly sold first effort.

It had been over two years since Evans' lone release of the time and his recent departure from the Miles' Septet, which immensely bolstered the blossoming piano player's confidence, provided the right opportunity for Keepnews to cajole him into making that long-overdue second record. For these sessions, Evans chose fellow Davis Septet member Philly Joe Jones on drums and another "Jones," Sam, on bass.

Bill came to know Sam through another Septet bandmember, Cannonball Adderley. Sam Jones, who had also played for Dizzy Gillespie, was a long time member of Cannon's band because Adderley loved his steady playing and warm tone. Philly Joe is more widely recognized---a sort of legend among jazz drummers---and known for a more aggressive style of playing than his contemporaries of the time.