Bill Evans & Jeremy Steig: So What
Composed by Miles Davis.
Recorded: New York City, Jan. 30, Feb. 3-5, & March 11, 1969
Rating: 95/100 (learn more)
When Denny Zeitlin was brought in by producer John Hammond to play piano on Jeremy Steig's 1963 debut recording, Flute Fever, as Zeitlin recalled in a recent interview (see Marc Myers' JazzWax blog), Steig "was very frank about his raw emotional approach to playing. He said to me, 'Sometimes I just like to have a tantrum out there.' " Bill Evans first met and heard Steig in 1964, and in his original liner notes for the 1969 What's New album wrote, "Jeremy's playing also has a side of intensity that occasionally might defy belief. I played flute and piccolo for fourteen years and therefore feel a justification for my high estimation of Jeremy's exceptional scope as a flutist." Evans, who had once recorded with flutist Herbie Mann (Nirvana), was well aware that Steig was taking the instrument to places untouched emotionally and technically by even Eric Dolphy and Rahsaan Roland Kirk. It wasn't until 1968 that Evans and Steig played together, Steig sitting in with the Evans trio at club dates in New York, which logically led to their recorded collaboration on What's New.
Steig had already performed "So What" on his Flute Fever session with Zeitlin [see jazz.com review], and of course Evans had played it on the album that introduced the now jazz standard, Miles Davis' revered Kind of Blue. Evans and Steig essay a diverting free-form intro and play the theme together alongside Eddie Gomez's bass vamp. Steig's breathy tone and swirling, tenacious attack is encapsulated in his first brief solo, which gives way to Evans' lengthier improv. Evans' pronounced McCoy Tyner-like left-hand figures, two-handed unison exclamations, and unyielding momentum are all a far cry from the pianist's contemplative, subdued side. Steig's second solo seems to be propelled to greater and greater heights by Gomez's driving, variegated bass lines. The flutist's tonal inventiveness is boundless, including the use of overblowing, humming, and vocalized overtones. Even at his most possessed, however, Steig's phrasing retains logic and relevance. Gomez's feature prior to the theme restatement is an excellent early example of his deliberate yet elaborate modus operandi.
Reviewer: Scott Albin