jazz bill evans

“I Loves You Porgy,” another tune that never left Evans’ book, comes from that record, but on that particular recording the rhythm section sprawls out, allowing Evans to tell a story that veers from ache to triumph and back again. “Love Theme From Spartacus” comes from 1963’s Conversations With Myself, one of several LPs he cut using multi-tracking to improvise with himself. He also tried to democratize the role of the bassist and drummer in his succession of piano trios, encouraging greater contrapuntal interplay. The melody is so irresistible it’s been recorded hundreds of times in different settings. One of the greatest jazz pianists to ever live, he’s still influencing pretty much every jazz pianist today. Interplay by Bill Evans (Piano) (CD, Sep-1996, DCC Jazz) $119.49 New Explorations by Bill Evans (Piano)/Bill Evans Trio (Piano) (CD, Aug-2004, Riverside Records (Jazz)) One of the greatest jazz pianists to ever live, he’s still influencing pretty much every jazz pianist today. His distinctive tone at the instrument allowed him to wring large amounts of emotion from just a few notes. Evans’s first piano teacher was his mother; he also studied violin and flute. The following year, Evans formed a brilliant trio with bassist Gary Peacock and drummer Motian, and they recorded Trio ’64, which featured a lovely reading of “Everything Happens to Me” as the last cut. This particular lesson features a ii-V-i-IV (2-5-1-4) chord progression in a minor key. American jazz pianist Bill Evans posed beside Lake Geneva in Montreux, Switzerland in July 1975. – “Yesterday I Heard The Rain”,(The Tokyo Concert” (1973) marvelous performance -many times live- of mexicano Armando Manzanero’s composition. $7.00 + $3.00 shipping In interviews, though, he sounds thoroughly in control, completely aware of what he wanted from his art, and colleagues report that he displayed a wicked sense of humor. After a week-long residency in San Francisco and an appearance on the “Merv Griffin Show,” he played the first of several planned gigs in New York and then canceled the rest. Bill Evans, one of the most influential and tragic figures of the post-bop jazz piano, was known for his highly nuanced touch, the clarity of the feeling content of his music and his reform of the chord voicing system pianists used. And, eventually, Evans’ chronic health problems caught up with him a few years later. Sonny Rollins and Bill Evans: Icons In Action article by Doug Collette, published on January 1, 2021 at All About Jazz. Since the bulk of his recordings were made with the same piano-bass-drums instrumentation, and his career was not marked by dramatic shifts in style, prolonged listening to hours upon hours of his trio recordings can lead to monotony (after all, you can even overdose on Bach, as great as he was). Since he already had those tools in hand, he worked very hard on his touch, getting the special, refined tone that he wanted out of a piano. Also featured on You Must Believe in Spring is Evans’ take on “Suicide Is Painless,” the theme from the hit TV show M*A*S*H. Evans was fanatically devoted to the show, and often requested to watch it backstage before gigs on nights it aired (incidentally, Evans was drafted into the service in 1951 during the Korean War but served in bands stateside). In his case, his unwillingness to chase trends turned out to be a strength. The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of "Autumn Leaves. Bill Evans, Sonny Rollins LPs Reinforce the Record Store Day/Resonance Jazz Connection, as Producer Zev Feldman Collects a Grammy Nod Read full article Chris Willman He attained this stature by playing to his strengths. Recorded that same year, but not issued until later, was You Must Believe in Spring, a terrific trio album with Gomez and Zigmund. Bill Evans - "To imitate someone is to insult them." It is one of the most energetic Bill Evans records that I've heard, which may have been a result of his youth, especially if you compare it to "Everybody Loves Bill Evans" which is also a fabulous record but a bit more typical of the introspective Bill Evans style we all know and love. Bill Evans [William John Evans] (born August 16, 1929, Plainfield, NJ; died September 15, 1980, NYC; aged 51), piano. Evans’ playing on the gorgeous title track is soft and patient, stretching the contours of the melody to squeeze extra pathos from each chord change. See more ideas about Bill evans, Jazz, Jazz musicians.

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