William John Evans is primarily a trio styled pianist, working in triplets and adventuring with Miles Davis as well. He was known for his stand-out style of play, and the way that he could manipulate the keys to create treasure in any setting. Evans begins on Further Conversations With Myself humbly, with overdubs of himself; making for the only real music being played his own. There are no featured musicians, and Evans makes up for this by assembling a multi-part body of systems that play rhythm sections and lead section in what seems like ease. The overdubbing is an addition that can be frowned upon in some traditional jazz settings, but this is simply where Bill makes himself part of the spotlight. The way he can split himself into multiple people while staying consistent in creating a beautiful and graceful style at the same time is magnificent. The first introduction to Evans’ beauty can be found on “Emily”, where it begins in almost a somber style with the lower pitched notes conflicting with the higher overdubs. The style at which Evans can produce is one of true glory as he switches tones suddenly, making “Emily” become a much more angelic experience as he begins to move the pace in a progressive manner.
Evans can manipulate the track to become his own personal device for translation. He practically bleeds into the keys with each track, and his following, “Yesterdays” is no different. Through the sporadic styles that each dub adopts, Evans makes it sound like a symphony of multiple players without even leaving a single step. His play style is quite modernized for his time period, and the way that he bounces without much of a straight-forward rhythm is rather traditional of many jazz pianists. He stands out however for the way that he can use very little to no percussion on his releases to keep a rhythm, it is something that is mostly unheard of even with the likes of jazz heavyweights; Evans stands as a modern example of doing it for yourself with little interruption. Even as he reaches the tracks “Funny Man” and “Little Lulu”, Evans is in full swing with very little chance of slowing down. He moves rapidly on “Little Lulu” as if he had three sets of hands playing behind him.