In 1958, Bill Evans made a song called “Some Other Time” into a jazz standard. Prior to the great pianist’s second album, “Everybody Digs Bill Evans,” few jazz musicians had gone near this amazing ballad from the hit 1944 show “On the Town.” But after Evans began playing it regularly, “Some Other Time” became just about the only song by Leonard Bernstein to enter the standard jazz repertory.

But there’s a wrinkle in the story: When Evans recorded “Some Other Time,” he also recorded his own variation on the Bernstein tune, which he titled “Peace Piece.” As it happened, “Piece Peace” was issued on the original LP, but that 1958 version of “Some Other Time” wasn’t heard until many years later. Evans kept playing “Some Other Time” for many years to come, most famously on his legendary 1961 “Live at the Village Vanguard” sessions and his classic 1975 al bum with Tony Bennett.

“Peace Piece” was a clever and prescient title, as it arrived a few years before “peace” became a pop culture buzzword. Now the flamenco guitarist Niño Josele has come up with a third variation. “Paz,” the Spanish word for peace, is the title of Mr. Josele’s new recording of Evans’s music, which he is playing for the first time this week, appropriately at the Village Vanguard, Evans’s favorite stomping ground. At the same time, the pianist Bill Charlap, one of Evans’s greatest contemporary heirs, is including some of the late keyboard giant’s music on his new album, “Live at the Village Vanguard,” and in his own show this week at Dizzy’s Club Coca-Cola.

“Peace Piece” was an unusual kind of a jazz variation: It’s not strictly based on Bernstein’s chords or his melody, but it contains a suggestion of both. Essentially, Evans created a striking introduction and countermelody for Bernstein’s tune, then developed that intro into a piece of its own. Appropriately for a piece that began life as a prelude, Mr. Josele uses it an opener for his new album, as well for his live show, as he did in his early show Wednesday night at the Vanguard.

As played by both Evans and Mr. Josele, what’s amazing about “Peace Piece” is how little there is to it: The song is essentially a hauntingly slow vamp that alternates between C-Major 7th and G-9 suspended chords. Mr. Josele astutely translated Evans’s work for the guitar, using the bass strings where the composer employed his left hand, conveying that sensation so unique to Evans’s music — a combination of tension and absolute tranquility, of harmonically complex chords that fall together in a piece that’s stunning in its utter simplicity.

“Paz” is a beautiful album, primarily for Mr. Josele’s remarkable translation of Evans’s music into flamenco guitar terms, but also for the contributions of guest soloists Joe Lovano, who plays an ethereal tenor sax statement on “the Peacocks,” and Tom Harrell, who brings an Evansian sensitivity to his trumpet part on “My Foolish Heart.” But the most earcatching star turn is Freddy Cole’s vocal on “I Do It for Your Love,” the Paul Simon song from 1975 that Evans, at the very end of his career, did his own take on.

At the Vanguard, Mr. Josele works with the veteran Cuban percussionist Horacio “El Negro” Hernáández and an impressive 22-year-old named Esperanza Spalding, who sports a big afro and an even bigger bass fiddle, and who sings the Paul Simon song very touchingly. Whereas on the album, “Foolish Heart” is played very touchingly, á la Evans, at the Vanguard, it began as a ballad and then morphed into a footstomping Latin jam.

Whenever Mr. Charlap talks about Evans, he never fails to mention that although the late piano legend is justly celebrated for the heightened lyricism he brought to jazz, he ought to be appreciated for his swinging, rhythmic, and soulful sides as well. As Mr. Charlap shows, Evans not only brought some of the slowest tempos imaginable to jazz, as in “Peace Piece,” but he could keep up with Bud Powell or Oscar Peterson or any of the other speed demons of jazz piano.

Mr. Charlap demonstrated this during his early set on Wednesday with “Only Child” (which Evans recorded in 1966 but actually composed at least 10 years earlier), starting slow and tender before careening up to lightning speed in the center, brilliantly supported by one of the world’s best bass-and-drum teams, Peter Washington and Kenny Washington. Mr. Charlap not only subjected “Only Child” to extremes of tempo, he accentuated its melodic similarity to Cole Porter’s “After You,” then followed it with a blistering-hot rendition of the same composer’s “In the Still of the Night,” in which the night was anything but still.

After three excellent albums of songbooks (Hoagy Carmichael, Leonard Bernstein, and George Gershwin), “Live at the Village Vanguard” is Mr. Charlap’s most purely bebop-driven Blue Note album this decade. The record is highlighted by piano-trio renditions of two tunes from the book of the Miles Davis “Tuba” band: “Rocker” and “Godchild.” Mr. Charlap also features another tune from the Evans repository, “All Across the City,” written by Jim Hall, from his collaboration with the pianist, “Intermodulation.” Mr. Charlap plays “All Across the City” as Evans and Mr. Hall did — as a sort of impressionistic blues — but at the same time, he brings his own approach, stretching it out and making it darker and, if possible, even more intimate.

Interestingly, when Mr. Charlap recorded his Bernstein album, “Somewhere,” in 2003, he played “Some Other Time” without any reference to “Peace Piece” or to Evans’s landmark interpretation in general. Likewise, Mr. Josele has not included the one tune from the Bill Evans repertory that you would assume a Spanish musician would go to first, namely, “Flamenco Sketches” from Miles Davis’s “Kind Of Blue.” But then again, avoiding the most obvious move and doing the unexpected is another Evans trademark.

wfriedwald@nysun.com