PAPATAMUS REDUX

CHILL TONE RECORDS (RELEASED JULY 10, 2026)

A single cut on Randy Ingram’s 2014 Skylift session (“Time Remembered”) and another track on his 2017 Wandering release (“Show Type Tune”) foreshadowed his newest and seventh release — Sound Within: A Celebration of Bill Evans. Why did it take Ingram so long to produce a complete recording dedicated to one of his piano heroes?  As he explains, “The thing most important to me about Bill Evans is not a style. It’s not the way he plays, or the devices that he uses. It’s the sound of the piano, and that’s something that comes from deep inside. So, I had to make sure to hone my sound for this album.” Based on the six interpretations of tunes associated with Evans and the three originals written specifically for this session, Ingram’s sound is in fine form. It doesn’t hurt to have the perceptive support of bassist Rufus Reid, who worked briefly with Evans in 1978, and drummer Joe La Barbera, who was a member in Evan’s final trio. Together, they capture the spirit of Evans, covering a wide range of tunes associated with him including ballads such as “My Foolish Heart,” bop tunes such as George Russell’s “Ezz-thetic” and Evan’s introspective compositions such as ‘Turn Out The Stars.” Ingram adds his own personal tributes to Evans in originals such as “Aloft,” a free-floating composition reminiscent of Evan’s “Very Early;” the title track, with its fair share of Evanesque introspection and pulse; and the pensive “Remembrance.” Reid and LaBarbera interact with the tunes and Ingram’s playing in the most sensitive and collaborative manner, bringing new life to existing Evans’ material and capturing the essence of the new compositions. Ingram’s arrangements provide the perfect setting for lyrical solos from Reid (check out “Letter to Evans”) and dynamic solos from La Barbera (check out “Mother of Earl”). Had he not waited for the time to be just right, Sound Within: A Celebration of Bill Evans could have easily become a purely imitative session of Bill Evans’ covers. Thankfully Ingram’s virtuosity, his respect for Evans’ style and his choice of musical partners results in a session that is an inspiring interpretation of Evan’s timeless impact on modern jazz.  

BOTTOM LINE: Although Bill Evans passed away two years after pianist Randy Ingram was born, both share an appreciation for a delicate touch, impressionist harmonies and floating melodic lines. Joined by bassist Rufus Reid and drummer Joe La Barbera (both who worked for Evans in the late 1970s), Sound Within: A Celebration of Bill Evans is just that— a celebration rather a mere imitation of a sound that “everybody digs!”