If there's a single song that represents a turning point in the career of pianist Bill Evans from accompanist to inventive leader, it might be What Is There to Say?, from his trio album Everybody Digs Bill Evans (Riverside). Recorded in December 1958, the song provides a glimpse of what's to come in the development of Evans's approach and perspective. Up until this point, Evans had largely been a sideman—a quiet, cerebral accompanist whose job was to support and frame a session leader and to take smart but relatively uneventful solos.
There were moments of standout beauty along the way, of course. All About Rosie, from the Brandeis Jazz Festival album in June 1957, comes to mind, when Evans's solo left members of the Gunther Schuller Orchestra with their jaws hanging open. Or On Green Dolphin Street in May 1958 with the Miles Davis Sextet, when Evans combined sheer elegance with swinging improvisation and in many ways stole the show. But What Is There to Say? marks the start of a new phase. As a leader, Evans seems to have a bluer interpretation of a song than was originally intended in the lyrics. Rather than approach the song from the perspective of someone at a loss for words to describe a perfect love, Evans slows the song way down to a funerary expression, treating it as a conversation with himself over the pros and cons of breaking up with a partner—"what else is there to say, it's over."
Evans opens with a hushed eight-bar solo statement before being joined by Sam Jones (b) and Philly Joe Jones (d), who enter almost unnoticed. As the song progresses, it grows more agitated, as if Evans is trying to persuade himself of something. Then he settles back into a quiet groove, still torn over what to do with the relationship.
At the bridge, Evans creates a lush passage with block chords, sprinkling bell-like notes between widely spread chords to echo the melody line. Then he builds the tension again, seemingly thrashing out the dilemma. By the wind-down, Evans is hushed again and seems to have made up his mind, slowly closing the door on his partner to end the relationship.
Interestingly, the song by Yip Harburg and Vernon Duke was written for the Ziegfeld Follies of 1933 was intended as an expression of contentment over an ideal relationship, not its termination. Over the years, jazz musicians and singers gave the song a bit more sadness. Evans added indecision and, ultimately, regret.
Here's Rudy Valle singing the song in 1933...
Here's Chris Connor in 1954 with Ellis Larkins on piano...
Here's Beverly Kenney in 1957, also with Ellis Larkins...
Here's Red Garland with John Coltrane in 1957...
And here's Bill Evans in 1958 on Everybody Digs Bill Evans...
