Background: William John Evans ( , August 16, 1929 - September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today. Born in Plainfield, New Jersey, in 1929, he was classically trained, and studied at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell.
Context: In July 1955, Evans returned to New York City and enrolled in the Mannes College of Music for a three-semester postgraduate course in musical composition. He also wrote classical settings of poems by William Blake. Along with his studies, Evans played in mostly low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings, intermission spots, and over-40 dances. However, better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard, where one day he saw Miles Davis listening to him. During this period, Evans also met Thelonious Monk. Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, and Mundell Lowe; as well as with bandleader Jerry Wald. While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald, which also featured his future drummer Paul Motian. In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded The Singing Reed with a group which included Evans. During this period, he met two of Reed's friends: manager Helen Keane, who, seven years later, would become his own agent; and George Russell, with whom he would soon work. That year, he also made his first recording, in a small ensemble, in Dick Garcia's A Message from Garcia. In parallel, Evans kept with his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December-January 1956/7, and recording The Complete Tony Scott. After the Complete sessions, Scott left for a long overseas tour.
Question: Did he experience success with that?

Answer:
While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald,