DESCRIPTION:
The Interplay Sessions is an album by American jazz pianist Bill Evans, recorded in 1962 and released posthumously in 1982.

Personel: Bill Evans (p) Freddie Hubard (tr) Jim Hall (gr) Percy Heath (b) Philly Joe Jones (dr)
Released: 1982
Recorded: July 16 & 17, 1962 Nola Recording Studios, New York
Label: Milestone
Producer: Orrin Keepnews

"You And The Night And The Music"
"When You Wish Upon A Star"
"I'll Never Smile Again"
"Interplay"
"You Go To My Head"
"Wrap Your Troubles In Dreams"
"Loose Bloose"
"Time Remembered"
"Funkallero"
"My Bells"
"There Came You"
"Fudgesickle Built For Four "
"Fun Ride"

Interplay stands as some of Bill Evans' most enigmatic and unusual music in makeup as well as execution. It was recorded in July 1962 with a very young Freddie Hubbard from the Jazz Messengers, guitarist Jim Hall, bassist Percy Heath, and drummer Philly Joe Jones performing five veteran standards. Evans has a more blues-based approach to playing: harder, edgier, and in full flow, fueled in no small part by Hall, who is at his very best here, swinging hard whether it be a ballad or an uptempo number. Hubbard's playing, on the other hand, was never so restrained as it was here. Using a mute most of the time, his lyricism is revealed to jazz listeners for the first time -- with Art Blakey it was a blistering attack of hard bop aggression. On this program of standards, however, Hubbard slips into them quite naturally without the burden of history -- check his reading and improvisation on "When You Wish Upon a Star." Ironically, it's on the sole original, the title track, where the band in all its restrained, swinging power can be best heard, though the rest is striking finger-popping hard bop jazz, with stellar crystalline beauty in the ballads.
AllMusic Review by Thom Jurek



The sleeve notes lead us to believe that this was, as was typical of the time, of hastily convened sessions in order to procure some ready cash for the leader, the music however tells a different story. Throughout the music is pristine and carefully prepared from the choice of material and the head arrangements, to the personnel chosen. It does appear though that Freddie Hubbard was not first choice for the trumpet spot, and only made the gig because Art Farmer was unavailable. Hubbard, it transpires was also too young to know many of the tunes from the thirties that the pianist had chosen and was forced to learn them during the sessions. This he does with much credit, and perhaps as a result of this his solos are remarkably restrained and lyrical. Perhaps the initial lack of familiarity with the songs slowed the somewhat impetuous Hubbard down and his burnished tones sings with a more relaxed line allowing his ideas to flow rather than gush out of his horn. His solo on the opening ‘You And The Night And The Music’ is a model of control and invention, whilst his muted horn on both takes of ‘I’ll Never Smile Again’ is delivered with poise and assurance, despite the obvious nod to Miles’ use of the harmon mute.

The recording with Zoot Sims is a different proposition entirely, with the music leaning more to swing session than the gentlemanly hard bop of the July date. Sims is particularly fine on an attractive ‘My Bells’ and the pairing of Evans and Zoot on the pianist’s ‘Time Remembered’ is exquisite. If the whole lacks the sheer physicality and muscularity of the session with Hubbard there is much to enjoy.

The bonus tracks, all previously issued are indeed a bonus, but the real meat and drink in this fine reissue is of course having the opportunity in hearing Evans’ methods when away from the more familiar trio format that he helped to define. His accompaniment is superlative, and it is interesting that he chose not two horns for the frontline but the use of another chordal instrument in the guitar of Jim Hall. Evans’ has often been accused of the inability to swing hard on up tempo numbers, however a cursory listen to the set featuring the fiery young Freddie Hubbard makes a mockery of such sentiments. Essential listening for anyone interested in the music of Bill Evans.
Reviewed by Nick Lea