One of the most famous and influential jazz pianists of the 20th century, B… Read Full Bio ↴One of the most famous and influential jazz pianists of the 20th century, Bill Evans formed the acclaimed piano trio in 1959, along with bassist Scott LaFaro and drummer Paul Motian. Evans' focus in this trio was jazz standards and original compositions, with an emphasis on interplay among the band members that often bordered on collective improvisation and blurred the line between soloist and accompanist. This trio recorded four albums: Portrait in Jazz (1959), Explorations, Sunday at the Village Vanguard, and Waltz for Debby (all recorded in 1961). The latter two albums are live recordings drawn from the same recording date, and they are routinely named among the greatest jazz recordings of all time. After LaFaro's untimely death, Evans went into seclusion for nearly a year, then re-formed the trio. After that, the personnel of the trio (other than Evans) changed every few years.

Bassists included Scott LaFaro(1959-1961), Chuck Israels (1962-1965), Gary Peacock(1963), Teddy Kotick (1966), Eddie Gomez(1966-1977), and Marc Johnson(1978-1980).
On drums the trio had Paul Motian (1959-1962), Larry Bunker ( 1962-1965), Arnie Wise (1966, 1968), Joe Hunt (1967), Philly Joe Jones (1967, 1977-1978), Jack DeJohnette (1968), John Dentz (1968), Marty Morell (1968-1975), Eliot Zigmund (1975-1977), and Joe La Barbera (1978-1980).

Come Rain Or Come Shine
Bill Evans Trio Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

I'm gonna love you like nobody's loved you
Come rain or come shine
High as a mountain, deep as a river
Come rain or come shine

I guess when you met me
It was just one of those things
But don't ever bet me

'Cause I'm gonna be true if you let me

You're gonna love me like nobody's loved me
Come rain or come shine
We'll be happy together, unhappy together
Now won't that be fine?

The days may be cloudy or sunny
We're in or we're out of the money
But I'm with you always
I'm with you rain or shine
I'm with you always
I'm with you rain or shine

You're gonna love me like nobody's loved me
Come rain or come shine
Happy together, unhappy together
Now won't that be fine?

The days may be cloudy or sunny
We're in or we're out of the money
But I'm with you always
I'm with you rain or shine

But I'm with you always
I'm with you rain or shine

Overall Meaning

The lyrics of "Come Rain or Come Shine" by the Bill Evans Trio express an unfaltering commitment to love and remain loyal no matter the circumstances. The song is a declaration of love and devotion that transcends everything, even the weather. The singer promises to love their partner like nobody else has ever loved them, whether the days are bright or gloomy. The comparisons "high as a mountain, deep as a river" and "happy together, unhappy together" suggest that this love is steadfast and unconditionally enduring.

The song's perspective shifts to the second verse, where the singer admits to meeting their partner during an indeterminate moment in their lives. However, the singer pledges to be loyal to their partner forever. The metaphor of being "in or out of the money" suggests that the relationship may experience some financial woes, but the singer is willing to power through any difficulties with their partner. The commitment remains the same, whether wealthy or not.

Overall, the lyrics of "Come Rain or Come Shine" convey a powerful message of unconditional and unwavering love. The song is about loyalty, commitment, and resilience through the highs and lows of life.

Line by Line Meaning

I'm gonna love you like nobody's loved you
I will love you with an intensity that nobody has shown to you before

Come rain or come shine
Through difficult times or good times, my love for you will remain steadfast

High as a mountain, deep as a river
My love for you is boundless and vast

I guess when you met me
Perhaps it was destiny that brought us together

It was just one of those things
Maybe it was just happenstance, but I am grateful for it

But don't ever bet me
Don't doubt my loyalty and commitment to you

'Cause I'm gonna be true if you let me
If you allow me to, I promise to remain faithful and true to you

You're gonna love me like nobody's loved me
I anticipate that the love you will show me will be deep and all-encompassing

We'll be happy together, unhappy together
We will experience both joy and sorrow together, as a united team

Now won't that be fine?
Won't that be wonderful?

The days may be cloudy or sunny
We may encounter both good and bad days

We're in or we're out of the money
Regardless of our financial situation, we will remain together

But I'm with you always
I will remain by your side at all times

I'm with you rain or shine
Whether it is a stormy or a sunny day, I am here for you

But I'm with you always
My devotion to you is unwavering

I'm with you rain or shine
In all seasons and circumstances, I will remain by your side

Writer(s): Johnny Mercer, Harold Arlen Copyright: S.A. Music

Contributed by Abigail B. Suggest a correction in the comments below.

To comment on or correct specific content, highlight it

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01Come Rain Or Come Shine

Bill Evans Trio

02Come Rain Or Shine3:17

03Autumn Leaves5:10

04Witchcraft4:33

05When I Fall in Love4:56

06Peri's Scope3:12

07What Is This Thing Called Love?4:50

08Spring Is Here4:37

09Someday My Prince Will Come6:15

10Blue in Green6:14

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Comments from YouTube:

@sitizenkanemusic

3y↑8

As a pianist- i cannot get over how his voicings, harmonies, and dissonance play out at the perfect time. Bill was a genius. But this track also shows his genius in rhythms.

@Enzoh685

7y↑50

Came here from Tom Misch's song Dilla Love.

@Markymarkvinylnut

2y↑2

Glorious in every human way!

@etanheller7183

11y↑18

This song has always been very evocative of rain to me. I noticed just now that Motian's brushwork and use of "sizzlers" on the ride cymbal mimic the sound of a soft and steady rain heard through a window...

@guilhermebgirardi

1y↑1

hey this is for sure the best thing he ever recorded but perhaps also the best release from mankind

@cerval41

8y↑11

Bill Evans in a class by himself!Incredible musican!

@cosmictraveler1029

4y↑4

YUP! And I once read a paragraph in a "jazz history" book written by a misinformed soul who called Bill a "minor figure" in music. LOL!

@normsaunders4980

39w

Absolutely!!

@normsaunders4980

39w

@@cosmictraveler1029and as to that person you mentioned: they are truly an embarrassment!

@jimshipp7776

2y↑2

Just... brilliant...

@spadge1able

12y↑5

great recording as always.i have this album & treasure it immensely.5*****

@teamyordle23

3y↑4

This here is my favorite version of Come Rain or Come Shine

@rikibitta

12y↑2

excellent quality and Bill Evans is...Bill Evans

@marikap2

35w

Восторг!! ❤

@davidmaslow399

3y↑3

Sublime music

@sandrosaladze8095

27w

at the end of the song it seems that the shine has finally come and sunlight pierces through clouds at the end. I don't know those final notes leave me feeling that way.

@user-ob3di4yl7g

4y↑1

こんなに美しい命の空間を見せてくれたビルエヴァンス!ありがとう!一瞬の間、命の空間に身を置くことができました。生きている------今、命!

@diminishedthicc

4y↑4

the ending at 2:50 is so heart breaking ive bedn crying for 3 hours cause of it

@asz491

3y↑5

Then I probably wouldn’t suggest listening to “When I Fall in Love” off of the Solo Sessions album.

Probably the most heartbreaking, quietly wrenching tune but with the most beautiful ending phrase

@mddi1420

4y↑6

The piano ending reminds me Blue in green one’s

@andrewcasey472

The Reharm in this!!

@gprosser11

9y↑3

Great recording..

@Skutieos7

11y↑1

Hey, any way you could share the transcription? I haven't found any transcriptions off this album but I'd love to see some.

@user-me8kr6mv5l

Just perfect bravooooooo*** utube come rain or come shine by john bavas

@84s77

5y↑1

Nice remaster. Left hand seems revealed.

@irakey

12y↑3

this is the best rendition of c r or shine.Bill never played this tune the same way..the one with chuck sounds different. i guess it has something to do with rest of the guys...Anyway i tried to transcribe some of it...can't.Bill simply moves his chord or harmony if you will his own way..the best thing you can do is to get the concept,,.than do your own thing

@alexlossenko9031

3:08

@caponsacchi

10y↑26

Why does an Oscar Peterson or George Shearing--playing the same notes, chords and voicings--sound merely glossy and "surfacy" compared to Bill? Why does Keith, apparently trying to equal if not upstage Bill (esp. with tunes like "All of You" or "I Loves You Porgy") sound strained, out-matched, overachieving--regardless of the moaning and groaning superimposed upon the notes?

Bill had the ability to take this cumbersome percussive instrument and make it sound like a personal voicie coming from deep within his being. Even on the slowest ballads--minus all of the fills and ornamentation of a Tatum or Peterson--Bill makes the music sound vibrant and alive (a couple of Evans' influenced pianists have perhaps approached Bill--namely, the late Dave Catney and, surprisingly, Mike Renzi, especially since he, like Bill, was called upon to accompany Tony Bennett). Still it's questionable if anyone has achieved Bill's degree of focus and concentration--his abilty to instantaneously strip a piece of everything that isn't necessary and to bring into lumimous focus the bare essentials of a beautiful Arlen ballad.

And always there's the undeniable physical constitution of Bill--a perfect mechanical specimen, practically made to play the piano--broad and powerful shoulders, heavy hands and thick but dead-accurate fingers. Madame Chaloff would instruct all of the major jazz pianists--including Herbie, Chick, Keith--who to coax the fullest, roundest, most expressive and satisfying tones from a piano. The power must come from the shoulders in combination with the dead weight of the arms and the "equal centeredness" of all 10 digits.

I'll see pianists "elbowing" a piano or "karate-chopping" the keys in an effort to be heard above the other instruments. You can't play the instrument properly by standing up. Singing while playing won't make the piano sing. Piano "pounding" is for amateurs or Jerry Lee Lewises. Like most artists of genius, Bill makes it effortless and at the same time powerful--perhaps because he doesn't try to "take" from any piano more than it has to "give." And when you see Bill's head bowed over the keys, you're witnessing a religious, theological transaction between Bill the player and his creative muse. He's making his offering: the rest is up to a grace stemming from a higher, holy source.

@jilltorvaney5105

9y↑3

caponsacchi I agree. But I think the main difference is the emotion that seeps through those fingers added to the mastery of the keys? Stil my fav and inspiration.x

@orqsilva

9y↑5

+caponsacchi His mother was a Russian pianist. He had those Russian piano playing genes. He got his unique voicings from Debussy, Scriabin, Ravel, Prokofiev. Impeccable sense of harmonization. This song is tricky to harmonize.
Keith Jarrett, O.P., and others copied from him. I agree with you about Jarrett.
It is interesting to Bill's version of "I Wish I Knew" and compare it with Keith Jarrett's. The problem is Bill's playing went through a duller and fallow period after 1965--a few years before his death. Being a musician on the road is a rough life. Some people like Dizzy love it and can thrive. Then there was the drug problem which finally killed him at about 50. This is my favorite version of this great tune.

@benjamindavid5681

8y↑2

+caponsacchi At the risk of over-simplification let me say this: Evans actually borrowed one of the techniques of Shearing: At times - He doubled the bottom voices in both the right and left hand using an inversion of a chord when necessary. Yet Shearing did not use other voicing that Evans did. What I think you are sensing is that Evans often combined 9th's and minor 3rd s and 6th s with flat sevens. If you are not familiar with the keyboard - these are half steps apart and produce an emotional sense of tension. Europeans like Debussy, Ravel, & Prokofiev had also done this (as noted above by John Weiss in a separate reply above) These are half tone differences. You can do it yourself. Play an Eb and D on a keyboard simultaneously or an A and B flat. That produces a tension that begs for resolution. Yet that combined within a more elaborate chordal structure is what I think you are hearing in Evans' playing. I hope this makes sense.
Also Weiss above is correct in noting that there was some sort of loss of emotional depth and energy in Evan's last recordings. Yet I would say that it did not end with the death of Scott La Faro. He made some impressive recordings throughout the 1960's and many early 1970's recording. However some loss of life force did set in by the mid to late 1970's.