Not What My Hands Have Done

Pianist Bill Evans' influence has been seemingly endless in the jazz world; his pianism has affected everyone from Chick Corea and Keith Jarrett to Alan Broadbent and Fred Hersch. Evans' smartest admirers knew what to do with that influence — instead of being a mindless imitator, they developed something personal and recognizable. That is true of Corea, Jarrett, and other above mentioned pianists; it is also true of Gerard D'Angelo, who has been around the New York jazz scene since the 1970s, but had yet to become well known when the 21st century rolled around. Recorded in 1993 but not released until 2001, Not What My Hands Have Done offers pleasing evidence of D'Angelo's individuality. Evans' crystalline, clean-sounding approach to the piano has obviously had an impact on D'Angelo's playing; that is evident whether he turns his attention to the standard "I'll Take Romance," Ravel's "Forlane," or various pieces by fellow pianist Gary Dial (who is also an Evans admirer). But Evans is hardly D'Angelo's only influence; the New Yorker gives the impression that he also appreciates everyone from Keith Jarrett to Ahmad Jamal to early Herbie Hancock — specifically, the young Hancock of the 1960s, who provided acoustic straight-ahead post-bop for Blue Note in his pre-fusion days. Ultimately, D'Angelo comes across as a musician who values and admires his influences but isn't a slave to them. Not What My Hands Have Done is an ironic title for this introspective yet swinging trio date, which employs Jay Anderson on upright bass and Jeff Hirschfield on drums. After all, D'Angelo's hands have enabled him to deliver a memorable album — one that makes listeners wish he had done a lot more recording in the 1990s.