ビル・エヴァンスは1980年に亡くなってから40年以上経った今でも人気があり、発掘音源がリリースされ続け話題となっている。彼の代表作「デビーズ・ワルツ」は日本の年間売上ランキングでトップを占めている。エヴァンスは日本で初めて発売された歴史があり、多くのアルバムがリリースされたが中国ではほとんどリリースされなかった。彼は映画音楽のオーケストラの一員になったこともある。エヴァンスの功績は多くのジャズファンに認められている。
Written by Shinji Ikegami
Even more than 40 years after his death in 1980, pianist Bill Evans continues to be incredibly popular. Recently, newly discovered recordings have been released one after another, creating buzz each time and keeping his popularity alive. His masterpiece, “Waltz for Debby,” still holds the top spot in Japan’s annual jazz CD sales rankings, including new releases. Evans’ first release in Japan was in 1962, titled “Bill Evans in the Country Pioneer” (now known as “Sundays in the Country Pioneer”). Since then, Evans made his mark with episode 236.
Following his appearance at the Village Vanguard, “The Art of Bill Evans” was released in early 1963 (now known as “Waltz for Debby”), and Evans’ record sales continue to grow rapidly. During that time, although it seemed like Evans was quickly producing new albums one after another, surprisingly, there were only a few “Bill Evans” named records in China between 1963 and 1966, with one of them consisting of 24 tracks. Let’s take a look at the titles of domestically released films by year (original labels are indicated).
1963
● “The Art of Bill Evans” (Riverside)
Same as above, now known as “Debby Waltz”.
● Bill Evans & Jim Hall “Undercurrent”
As the original title suggests, the current title is “Undercurrent.” Their latest work at the time.
● “Moonlight” (Riverside)
Presently known as “Moonlight.” Also a recent release.
● “Bill Evans/Shirley Mann” (Divine Inspiration)
The current title is “Mpathy,” which is the same as the original title. While the original album shared the names of Mann and Evans, the domestic version has them in reversed order on the cover. The names are also reversed. And the order on the jacket has been reversed as well.
● “Cannonball Meets Bill Evans” (Riverside)
A hit album by Cannonball Adderley, known for “Know What I Mean.”
● “Internet” (Riverside)
The latest work released in June in the USA and October in Japan.
● Bill Evans Orchestra “The Unexpected” (MGM)
A single version, not evident from the title, but a single from the unreleased in Japan album “Bill Evans Plays VIP and Great Songs” (MGM). When hearing the name “Bill Evans Orchestra,” some might think of a “movie music orchestra.”
1964
● “Gary McFarland and Bill Evans” (Divine Inspiration)
While the jacket design notes Evans as a “special guest soloist,” the title suggests a shared leadership. The current title is “The Gary McFarland Orchestra Starring Bill Evans.”
● “Problem” (Riverside)
Part of a collaboration album “Punch Jazz Series” with “Heibon Punch” magazine. A compilation of some tracks from “Everybody Digs Bill Evans” album, which has not been released as a standalone album yet remains a mystery.
● “Herbie Mann & Bill Evans Trio” (Atlantic)
Herbie Mann’s Nirvana with Bill Evans.
● “Bill Evans and Shirley Mann” (Verve)
A reissue of “Bill Evans/Shirley Mann” by a different publisher.
● “Great Bill Evans” (Riverside)
A 2-disc compilation including Quest and Portrait.
● “Trio ’65” (Divine Inspiration)
Another recent release.
1965
● “Trio ’64” (Divine Inspiration)
The latest work at the time. Quickly followed by.
1966
● “Bill Evans” (Riverside)
A 2-disc set including “Country Pioneer Bill Irins” and “The Art of Bill Irins.”
● “The Art of Bill Evans” (Riverside)
Released as the first installment of Riverside Sound Source’s compilation series “The Great Art of Jazz Series.”
● “Bill Evans and the Symphony Orchestra” (Verve)
The latest work titled “Bill Evans & The Symphony Orchestra.”
From 1963, the latest versions were released in Japan, and the old versions came to be known as “new editions.” Furthermore, Evans engaged in “marketing” across labels, releasing rare jazz singles and compilation albums that seemed to result from changes in publishers. This marketing strategy also involved prominently mentioning Ma Soo’s name in entries. In a popularity survey by “Swing Journal” magazine, Evans was not well-liked in 1961, but in 1962 he jumped to 11th place, then 5th in 1963, remaining at 3rd place from 1964 onwards, eventually reaching the top in 1967. Of course, this was due to Evans’ talent, but without such extensive releases and promotions, trends and subsequent evaluations might have been somewhat different. Surprisingly, I became a member of the orchestra responsible for movie music.
Written by Shinji Ikegami
A freelance editor and writer specializing in jazz. Published an e-book series “Learning Jazz History with a Subscription.” Authored books include “Masahiro Goto/Lifetime Jazz Vocal Masterpieces 500” (Shogakukan Shingiku), “Takao Ogawa/The Whole World of Miles Davis” (Sunbeam Music Entertainment), and “Goto Masahiro Supervised/Zero from zero.World Culture Media” (Introduction to Jazz) among others. Also a monthly talent on Kamakura FM’s jazz program “The World Wants Jazz.”