The story of one of jazz's most important pianists continues...

Last year brought the reissue of Bill Evans' second album, the delightful but overlooked Everybody Digs Bill Evans, remastered with updated liner notes from original producer Orrin Keepnews.

Last month, Evans' follow-up album has also been released again as part of the Keepnews Collection re-issue project. Like virtually any new Evans release — even of previously widely distributed material — it's a welcome addition to the catalog.

It had been over a year since Bill Evans recorded Everybody Digs Bill Evans, and back in the late 1950s, that was nearly an eternity. During that intervening time, Evans worked at making the transition from a sideman to a full-time leader, spending much of 1959 going through a multitude of drummers and especially bass players. Finally, he settled on old friend Paul Motian and a young, innovative bass player Motian had suggested, Scott LaFaro.

This unit soon clicked and so when Evans' record producer Orrin Keepnews called up Evans to encourage him to make a long-overdue return to the studio, Evans felt he was ready.

What transpired in these sessions marked the beginning of a fatefully brief but historically important eighteen month period in which these three men made an immense impact on the piano trio format. Never before had a trio played so tightly together and freely at the same time. While the leader at the piano remained more than equal than the other two, the role of the drummer and bass player grew enormously in stature. It's as if the whole trio concept took a quantum leap on those final days of the 1950s.

"Come Rain Or Come Shine" kicks off the standards-heavy group of songs. Evans states the melody with block chords while LaFaro is providing his own interpretation of the same melody. Despite of the liberties he takes, LaFaro remains remarkably complementary of Evans' playing. The leader mixes up single, right-hand lines fills with full chords during a brief solo turn before the tune ends at a succinct 3:25.

"Autumn Leaves" in Evans' hands is sprightly but soon goes into an unexpectedly early solo by LaFaro, a clear measure of how much confidence Evans had in his 23 year old bassist. Soon, the two of them are playfully engaging in call-and-response before Motian signals them back to the steady groove of the songs beginning.

On "Witchcraft," LaFaro makes several of his trademark flights upstairs while Evans swings hard. "When I Fall In Love" is one of the slower selection of the album, but that doesn't keep Evans' from making some pretty astounding runs up and down the keyboard that's brimming with ideas. The first of the two Evans originals, the brief "Peri's Scope," follows. Listen for Motian's subtleties that seem to push Evans along without being indulgent.

"What Is This Thing Called Love?" is a forlorn ballad transformed into a snappy, dynamic tune in this trio's hands; everyone is sizzling on this cut. Contrast that to the subdued Rodgers-Hart song "Spring Is Here," where Evans & Co. play it in a quiet but heartfelt fashion.