Why did Evans leave Davis after so short a stay? There are many reasons that led to the departure of Evans but simple he was drained in every aspect. Band members mentioned he was insecure and unconfident of his own worth among such established jazz giants. His use of heroin was becoming a problem, and by November 1958 Evans was a regular heroin user who contracted hepatitis. Davis was convinced, both at the time and in hindsight, that Evans had left his band due to the resentment shown him by blacks outside the group. Many blacks felt because Davis had the top small group in jazz and was paying the most money that he should have a black pianist. All through Evans stay with the group he would hear this from fans and Evans was never able to brush it off. Taking close to a month off at his parent’s home he determined that he had reached the point in his life where he had to run his own group, in order to fully express his musical ideas.

The death of Scott LaFaro affected Evans both personally and professionally. For a time his grieving was so intense that he even lost all interest in playing the piano. It took Evans almost six months to work again with his own trio. To replace LaFaro he brought in bassist Chuck Israels alongside Paul Motian. Desperate for money to keep his addiction going, as well as to pay for rent, Evans began working in early 1962 with his new trio. The new group began to gel, but work remained occasional as Evans attempted to pick himself back up. Spring of 1962 was a bleak time for him, yet it was also the period when the seeds of his preeminence in the later ‘60s were planted. The trio was to stay together for close to four years and would travel the world. In August 1962 Evans placed first in the Down Beat International Critics Poll piano section, beating out Monk and Peterson. Evans would create his most successful trio LP for Verve to date with drummer Shelly Manne and bassist Budwig in 1962. He also won his first Grammies that year.

In the year after leaving Miles, Evans slid further into an addiction with heroin, which would have an immediate and profound effect on his life and working habits. This dependency takes a high financial and emotional toll. Still, drug dependencies have rarely kept jazz musicians from making records. Before finding his first trio he recorded the album Everybody Digs Bill Evans with Sam Jones on bass and Philly Joe Jones on drums. The album would give Evans a loyal record-buying audience of his own for the first time. By early spring 1959 Evans was scouting for musicians for his own group.

The three men achieved a rare degree of unity in ensemble, accompaniment and solo settings. Marc Johnson’s choice of notes is often related with closer to Chuck Isreals than to Scotty LaFaro. Joe LaBarbera continued to develop the recent methods of Evans drummers toward more assertive and dynamic playing. These to styles of play added greater degree of contrast and excitement to the trio. The group played in gigs all the way up to Evans death, when he became ill from server stomach pains after the groups Keystone engagement. The thoughts of Evans quick recovery was soon lost when he died Monday September 15th 1980, five days after being emitted into the hospital. The primary cause of Evans death was an unattended bleeding ulcer, and his body so weakened by years of his drug addiction had no strength or stamina left to fight. Bill Evans brought such humility and dedication to his work that he was able to make such courageous and musically rewarding decisions. His style of music helped shape modern jazz through the base of blues.

Evan’s first album as leader, New Jazz conceptions, was recorded for Riverside in two sessions in September 1956 and released early the following year. It received good reviews but by the end of 1957, a full year after it was issued, total sales had barely reached eight hundred copies. Considering Evans non-

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