Bill Evans has rare originality and taste and the even rarer ability to make his conception of a number seem the definitive way to play it.—Cannonball AdderleyEvans quipped to his producer, Orrin Keepnews, "Why didn't you get a quote from my mother?

"[5] The recording captures Evans at a time when he frequently played extended musical ideas using block chords, a technique also favored by Milt Buckner, George Shearing, and other jazz pianists.

[6] Thinking of formative influences on Evans, Keepnews compared his sound here by contrast with his first effort as follows: "I hear much less Bud Powell than before, somewhat less Horace Silver, a little more Lennie Tristano, and about as much Nat Cole.

Writing for AllMusic, music critic Michael G. Nastos called the album "a landmark recording for the young pianist .... Evans was emerging not only as an ultra-sensitive player, but as an interpreter of standards second to none.

"[12] Samuel Chell of All About Jazz wrote: "With its varied tempos, rhythms and programming, Everybody Digs Bill Evans sustains interest without allowing the listener for a moment to mistake the singular, inimitable voice of the leader.

[18] The album was released on CD in 1987 with one bonus track and reissued as part of the "Keepnews Collection" with 24 bit remastering and a new essay by the producer in 2007.