Artist:  BILL EVANS QUINTET

Title:   “Interplay”

Label:   RIVERSIDE (Orpheum Productions).  Stereo pressing on medium weight vinyl.  Label is turquoise with silver text.  Catalog number is RS 9445.

Year:  1962 session

Personnel:

Freddie Hubbard – trumpet

Jim Hall – guitar

Bill Evans – piano

Percy Heath – bass

Philly Joe Jones - drums.

NOTE:  This album came from the estate of a gentleman who collected jazz albums for many years, many of which were autographed at performances he attended when the artist(s) appeared at clubs in the Washington, D.C., area.  The owner prized his collection, played them sparingly, and stored them under the best conditions. 

This album was personally signed by jazz icons JIM HALL and PERCY HEATH.

Condition: 

DISC:  Vinyl is gorgeous NM-, a beauty!  The playing surface is immaculate, with a high luster, played a small number of times and handled with care.  Plays beautifully with superb fidelity.  Labels are clean and pristine.      

JACKET:  Jacket is beautiful NM- with clean front and back panels.  Faint traces of wear on seams, spine and corners.  Reverse has autographs from Jim Hall and Percy Heath!  You will be hard pressed to find one this nice!    

Track Listing: 

Side One:

You and the Night and the Music When You Wish Upon a Star I’ll Never Smile Again  

Side Two:

Interplay You Go to My Head Wrap Your Troubles in Dreams

Review:

“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.”

(review courtesy of Thom Jurek, allmusic.com) 

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