|Thursday, 08 July 2010 14:07|
William John Evans, known as Bill Evans
Born: August 16, 1929, Plainfield, New Jersey, U.S.
Died: September 15, 1980, Fort Lee, New Jersey
Cause of death: Long term drug use
Notable because: One of the most advanced and influential pianists ever.
was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists including: Chick Corea, Herbie Hancock, John Taylor, Steve Kuhn, Don Friedman, Denny Zeitlin, Bobo Stenson, Michel Petrucciani and Keith Jarrett, as well as guitarists Lenny Breau, Ralph Towner, John McLaughlin, and Pat Metheny. The music of Bill Evans continues to inspire younger pianists like Marcin Wasilewski, Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias and arguably Brad Mehldau, early in his career.
Bill Evans was born in Plainfield, New Jersey, to a mother of Rusyn ancestry and a father of Welsh descent. He received his first musical training at his mother's church. Evans's mother was an amateur pianist with an interest in modern classical composers, and Evans began classical piano lessons at age six. He also became a proficient flautist by age 13 and could play the violin.
At age 12, Evans filled in for his older brother Harry in Buddy Valentino's band. He had already been playing dance music (and jazz) at home for some time ("How My Heart Sings", Peter Pettinger, 1999). In the late 1940s, he played boogie woogie in various New York City clubs. He attended Southeastern Louisiana University on a music scholarship and in 1950 performed Beethoven's Third Piano Concerto on his senior recital there, graduating with a degree in piano performance and teaching. He was also among the founding members of SLU's Delta Omega Chapter of Phi Mu Alpha Sinfonia, and played quarterback for the school's football team, helping them win the 1949 championship (Pettinger, 1999).
Evans's first professional job was with sax player Herbie Fields's band, based in Chicago. During the summer of 1950, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and at Washington D.C.'s Howard Theater. In addition to Fields and Evans, the band included trumpeter Jimmy Nottingham, trombonist Frank Rossolino and bassist Jim Aton. Upon its return to Chicago, Evans and Aton worked as a duo in Chicago clubs, often backing singer Lurline Hunter. Shortly thereafter, Evans received his draft notice and entered the U.S. Army.
After his army service, Evans returned to New York and worked at nightclubs with jazz clarinetist Tony Scott and other leading players. Later, he took postgraduate studies in composition at the Mannes College of Music, where he also mentored younger music students.
Working in New York in the 1950s, Evans gained recognition as a sideman in traditional and so-called Third Stream jazz groups. During this period he had the opportunity to record in many different contexts with some of the best jazz musicians of the time. Seminal recordings made with composer/theoretician George Russell, including "Concerto for Billy the Kid" and "All About Rosie", are notable for Evans's solo work. Evans also appeared on notable albums by Charles Mingus, Oliver Nelson, Tony Scott, and Art Farmer. In 1956, he made his debut album, New Jazz Conceptions, featuring the original version of "Waltz for Debby", for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans by a demo tape guitarist Mundell Lowe played to him over the phone.
In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis's famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans's introspective scalar approach to improvisation deeply influenced Davis's style. At the time, Evans was playing block chords, and Davis wrote in his autobiography, "Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got, was like crystal notes or sparkling water cascading down from some clear waterfall." Additionally, Davis said, "I've sure learned a lot from Bill Evans. He plays the piano the way it should be played."
Evans's desire to pursue his own projects as a leader (and increasing problems with drug use) led him to leave the Davis sextet in late 1958. Shortly after, he recorded Everybody Digs Bill Evans, documenting the wholly original meditative sound he was exploring at the time. But Evans came back to the sextet at Davis's request to record the jazz classic Kind of Blue in early 1959. Evans's contribution to the album was overlooked for years; in addition to cowriting the song "Blue in Green", he had also already developed the ostinato figure from the track "Flamenco Sketches" on the 1958 solo recording "Peace Piece" from his album Everybody Digs Bill Evans. Evans also penned the heralded liner notes for Kind of Blue comparing jazz improvisation to Japanese visual art. By the fall of 1959, he had started his own trio.
At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to become one of the most acclaimed piano trios—and jazz bands in general—of all time. With this group, Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation, blurring the line between soloist and accompanist. The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings from the same recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were collected on the three-CD set The Complete Village Vanguard Recordings, 1961. There is also a lesser-known recording of this trio, Live at Birdland, taken from radio broadcasts in early 1960, though the sound quality is poor.
In addition to introducing a new freedom of interplay within the piano trio, Evans began (in performances such as "My Foolish Heart" from the Vanguard sessions) to explore extremely slow ballad tempos and quiet volume levels, which had been virtually unknown in jazz. His chordal voicings became more impressionistic, reminiscent of classical composers such as Debussy, Ravel, Scriabin, and Satie, and he moved away from the thick block chords he had often used with Davis. His sparse left-hand voicings supported his lyrical right-hand lines, reflecting the influence of jazz pianist Bud Powell.
Like Davis, Evans was a pioneer of modal jazz, favoring harmonies that helped avoid some of the idioms of bebop and other earlier jazz. In tunes like Time Remembered, the chord changes more or less absorbed the derivative styles of bebop and instead relied on unexpected shifts in color. It was still possible (and desirable) to make these changes swing, and a certain spontaneity appeared in expert solos that were played over the new sound. Most composers refer to the style of Time Remembered as "plateau modal," because of its frequent juxtaposition of harmony.
LaFaro's death at age 25 in a car accident, ten days after the Vanguard performances, devastated Evans. He did not record or perform in public again for several months. His first recording after LaFaro's death was the duet album Undercurrent, with guitarist Jim Hall, released on United Artist Jazz records in 1963. Recorded in two sessions on April 24 and May 14, 1962, it is now widely regarded as a classic jazz piano-guitar duet recording. The album is also notable for its striking cover image, "Weeki Wachee Spring, Florida" by photographer Toni Frissell. The original LP and the first CD reissue featured a cropped, blue-tinted version, overlaid with the title and the Blue Note logo; but for the most recent (24-bit remastered) CD reissue, the image has been restored to its original black-and-white coloration and size, without lettering.
When he re-formed his trio in 1962, Evans replaced LaFaro with bassist Chuck Israels, initially keeping Motian on the drums. Two albums, Moonbeams and How My Heart Sings!, resulted. In 1963, after having switched from Riverside to the much more widely distributed Verve, he recorded Conversations With Myself, an innovative album on which he employed overdubbing, layering up to three individual tracks of piano for each song. The album won him his first Grammy award, for Best Instrumental Jazz Performance — Soloist or Small Group.
Though his time with Verve was prolific in terms of recording, his artistic output was uneven. Despite Israels's fast development and the creativity of new drummer Grady Tate, they were ill-represented by the rather perfunctory album Bill Evans Trio with Symphony Orchestra, with the piece Pavane by Gabriel Fauré remarkably reinvented with improvisations by Evans. Some unique contexts were attempted, such as a big-band live album at Town Hall, recorded but never issued due to Evans's dissatisfaction with it (although the jazz trio portion of the Pavane concert was made into its own somewhat successful release), and an album with a symphony orchestra, not warmly received by critics.
During this time, Helen Keane, Evans's manager, began having an important influence. One of the first women in her field, she significantly helped to maintain the progress (or prevent the deterioration) of Evans's career in spite of his self-destructive lifestyle.
In 1966, Evans discovered the remarkable young Puerto Rican bass player Eddie Gomez. In what turned out to be an eleven-year stay, the sensitive and creative Gomez sparked new developments in both Evans's playing and his trio conception. One of the most significant releases during this period is Bill Evans at the Montreux Jazz Festival, from 1968. Although it was the only album Evans made with drummer Jack DeJohnette, it has remained a critical and fan favorite, due to the trio's remarkable energy and interplay.Other highlights from this period include "Solo—In Memory of His Father" from Bill Evans at Town Hall (1966), which introduced the famous theme "Turn Out the Stars," a second successful pairing with guitarist Jim Hall; Intermodulation (1966); and the subdued, crystalline solo album Alone (1968), featuring a 14-minute-plus version of "Never Let Me Go."
In 1968, Marty Morell joined the trio on drums and remained until 1975, when he retired to family life. This was Evans's stablest, longest-lasting group. Evans had kicked his heroin habit and was entering a period of personal stability as well. The group made several albums, including From Left to Right (1970), which features Evans's first use of electric piano; The Bill Evans Album (1971), which won two Grammies; The Tokyo Concert (1973); Since We Met (1974); and But Beautiful (1974), featuring the trio plus legendary tenor saxophonist Stan Getz in live performances from Holland and Belgium, released posthumously in 1996. Morell was an energetic, straight-ahead drummer, unlike many of the trio's former percussionists, and many critics feel that this was a period of little growth for Evans. After Morell left, Evans and Gomez recorded two duo albums, Intuition and Montreux III.
In 1974, Bill Evans recorded a multimovement jazz concerto specifically written for him by Claus Ogerman entitled Symbiosis, originally released on the MPS Records label. The 1970s also saw Evans collaborate with the singer Tony Bennett on 1975's The Tony Bennett/Bill Evans Album and 1977's Together Again.
On September 13, 1975, Evans's son, Evan, was born. Evan Evans did not often see his always-touring father. A child prodigy, he embarked on a career in film scoring, ambitiously attending college courses in 20th-century composition, instrumentation, and electronic composition at the age of ten. He also studied with many of his father's contemporaries, including Lalo Schifrin and harmony specialist Bernard Maury.
In 1976, Marty Morell was replaced on drums by Eliot Zigmund. Several interesting collaborations followed, and it was not until 1977 that the trio was able to record an album together. Both I Will Say Goodbye (Evans's last album for Fantasy Records) and You Must Believe in Spring (for Warner Bros., released posthumously) highlighted changes that would become significant in the last stage of Evans's career. A greater emphasis was placed on group improvisation and interaction, Evans was reaching new expressive heights in his soloing, and new experiments with harmony and keys were attempted.
Gomez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones, the drummer Evans considered his "all-time favorite drummer" and with whom he had recorded his second album in 1957, to fill in. Several bassists were tried, with the remarkable Michael Moore staying the longest. Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums. This trio was Evans's last. Although they released only one record before Evans's death in 1980 (The Paris Concert, Edition One and Edition Two, 1979), they rivaled (and arguably exceeded) the first trio in their powerful group interactions. Evans stated that this was possibly his best trio, a claim supported by the many recordings that have since surfaced, each documenting the remarkable musical journey of his final year. The Debussylike impressionism of the first trio had given way to a dark and urgent yet undeniably compelling, deeply moving (if not mesmerizing) romantic expressionism.
Evans's Rusyn ancestry is sometimes confused with a "Russian" ethnic background. His music reflects Russian titans like the Rachmaninoffesque pianism of his brooding constructions and the Shostakovich-like "Danse Macabre" modal explorations of "Nardis", the piece he reworked each time it served as the finale of his performances. But the "anticipatory meter" that Evans deliberately perfected with his last trio reflects late Ravel, especially the controversial second half of the French composer's dark and turbulent La Valse. The recording documenting Evans's playing during the week preceding his death is the valedictory "The Last Waltz." Many albums and compilations have been released in recent years, including three multidisc boxed sets: Turn Out the Stars (Warner Bros.), The Last Waltz, and Consecration. The Warner Bros. set is a selection of material from Evans's final residency at New York's Village Vanguard club, nearly two decades after his classic performances there with the La Faro/Motian trio; the other two are drawn from his performances at San Francisco's Keystone Korner the week before his death. A particularly revealing comparison of early and late Evans (1966, 1980) is a 2007 DVD of two previously unreleased telecasts, The Oslo Concerts.
Evans's drug addiction most likely began during his stint with Miles Davis in the late 1950s. A heroin addict for much of his career, his health was generally poor, and his financial situation worse, for most of the 1960s. By the end of that decade, he appeared to have succeeded in overcoming heroin, but during the 1970s, cocaine use became a serious and eventually fatal problem for Evans. His body finally gave out in September 1980, when—ravaged by psychoactive drugs, a perforated liver, and a lifelong battle with hepatitis—he died in New York City of a bleeding ulcer, cirrhosis of the liver, and bronchial pneumonia. Evans's friend Gene Lees bleakly summarized Evans's struggle with drugs to Peter Pettinger as "the longest suicide in history" (How My Heart Sings, p. 3). At the time of his death, Evans was a resident of Fort Lee, New Jersey. Bill Evans is buried at Roselawn Memorial Park and Mausoleum, Baton Rouge, East Baton Rouge Parish, Louisiana (Section #161, Plot K), next to his brother Harry Evans, who died the previous year. The inscription reads, "William John Evans; August 16, 1929; September 15, 1980".
Bill Evans's musicianship has been a model for many pianists in various genres. His music displayed a creative mastery of harmony, rhythm, and interpretive jazz conception, fusing elements from jazz, classical, and ethnic music. In his duos and trios, Evans developed in unprecedented ways a unique conception of ensemble performance and a classical sense of form and conceptual scale. His '60s recordings Conversations with Myself and Further Conversations with Myself were innovative solo performances involving multiple layers of overdubs recorded in the studio by Evans himself.
Evans's work continues to influence pianists, guitarists, composers, and interpreters of jazz music around the world. Many of his tunes, such as "Waltz for Debby", "Turn Out the Stars," "Very Early," and "Funkallero," have become often-recorded jazz standards. Many tribute recordings featuring his compositions and favorite tunes have been released in the years following his passing (see below) as well as tribute compositions. During his lifetime, Evans was honored with 31 Grammy nominations and seven Awards. In 1994, he was posthumously honored with the Grammy Lifetime Achievement Award.
Offers - Buy New From: $11.59
Editorial Review: On A Monday Evening offers jazz fans a rare treat: an unreleased (and never bootlegged!) concert recording of The Bill Evans Trio, featuring Eddie Gomez and Eliot Zigmund. Captured live at Madison, Wisconsin's Union Theater on Monday, November 15, 1976, this recording finds Evans at the top of his game, performing both contemporary compositions from that era, as well as his longstanding signature tunes to a packed house. New liner notes by GRAMMY Award-winning jazz historian Ashley Kahn round out the package, featuring commentary by Eddie Gomez and Eliot Zigmund.
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Editorial Review: BILL EVANS - 1956-1962: 12 CLASSIC ALBUMS - 6 CD SET
Manufacturer: Resonance Records
Offers - Buy New From: $17.25 Used From: $18.49
Editorial Review: Some Other Time: The Lost Session From the Black Forest is a newly unearthed studio session from the iconic pianist Bill Evans featuring bassist Eddie Gomez and drummer Jack DeJohnette. Recorded on June 20, 1968, nearly 10 years after the legendary Kind of Blue sessions with Miles Davis and a mere five days after the trio's incredible Grammy award-winning performance at the Montreux Jazz Festival, this is truly a landmark discovery for jazz listeners worldwide. Available in deluxe 2-CD and limited edition 2-LP sets, and containing over 90 minutes of music, this is the only studio album in existence of the Bill Evans trio with Gomez and DeJohnette. Some Other Time was recorded by the legendary MPS Records founder and producer Hans Georg Brunner-Schwer along with writer/producer Joachim-Ernst Berendt at the MPS studios in the Black Forest (Villingen, Germany). Includes a 40-page book with new historical essays by jazz journalist Marc Myers and German jazz historian Friedhelm Schulz; producer Zev Feldman; new interviews with Gomez and DeJohnette; plus rare and previously unpublished photos from the archives of photographers David Redfern, Jan Persson, Giussepe Pino, Hans Harzheim and German Hasenfratz.
'There was big excitement about us going to the studio. This record represents a time and space where he was exploring new approaches to standard repertoire rhythmically and harmonically.' Jack DeJohnette
'Every time he touched the piano, he touched my heart and he played with a sound that was just a gorgeous sound and he always was so expressive in his playing.' Eddie Gomez
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Editorial Review: Hugely acclaimed for his remarkable grasp of melody, harmony and interpretation, Bill Evans has earned his reputation as one of the most influential pianists and composers in jazz history. Classically trained from an early age, Evans initially made a name for himself working with other famous figures of the jazz genre, including George Russell, Cannonball Adderley, Chet Baker and Miles Davis, and his playing was a key feature on the latter s legendary Kind Of Blue (Columbia, 1959). By the early 1960s, Bill Evans began focussing on leading his own groups, primarily trios. Over the rest of his career, he put out a staggering body of work, including the classic albums Sunday At The Village Vanguard and Waltz For Debby (both Riverside, 1961). He received 31 Grammy nominations during his lifetime, taking away nine awards in total, and earned himself a place in the Down Beat Jazz Hall Of Fame. However, despite all his achievements, there are still many criminally overlooked albums on which Evans playing rivals some of his best known work; the aim of this collection is to bring back into focus some of these records, and to provide the listener a chance to review just what fine recordings are often underappreciated. Despite his premature passing on 15th September 1980, after years of substance abuse, Bill Evans is as highly regarded today as ever he was and remains an icon of jazz for millions. This four disc set, containing over five hours of extraordinary music, collates some of the lesser-known works by this master musician, which fans old and new alike can now gain access to.
Manufacturer: Mobile Fidelity
Offers - Buy New From: $144.39
Editorial Review: Limited double 180gm vinyl LP pressing. Mastered from the original master tapes with Mobile fidelity's one-step process: Sunday at the Village Vanguard UD1S 45RPM Box Set the Ultimate Analog Version of Bill Evans' 1961 Jazz Staple. Deluxe Packaging Includes Opulent Box, Special Jackets and Unique Insert. Gorgeous romanticism, seamless chemistry, group interplay, and symbiotic trio performances forever changed jazz: Evans' live masterwork boasts brilliant sound, lyrical pianism, magical feel. The gorgeous romanticism of Bill Evans' Sunday at the Village Vanguard cannot be overstated. Neither can the iconic record's place in history - nor what it signifies to generations upon generations of listeners hypnotized by the consummate playing, resplendent compositions, and seamless chemistry. Originally released in 1961, the live set remains the gold standard for symbiotic trio performance, empathy, and communication. Because of the brilliant recording, it also survives as one of the best-sounding jazz albums extant - a fact confirmed by it's appearance on multiple reissues over the past few decades. But it's never sounded better than this. Evans' masterwork reaches three-dimensional sonic and emotional heights never before attained by analog recordings on this opulent Mobile Fidelity UD1S box set complete with special jackets and a unique insert. This ultra-hi-fi audiophile edition literally and figuratively brings you closer to the music of this Riverside staple that, along with the complementary "Waltz for Debby", transformed Evans into a legend and became a blueprint for how jazz trios should work together. You'll enjoy deep-black backgrounds, pointillist details, and staggering dynamics. Experienced via UD1S, Sunday at the Village Vanguard places Evans and his esteemed colleagues in your listening room. Every note, breath, and movement captured by the microphones are reproduced with exquisite accuracy and wowing clarity. The deluxe packaging and gorgeous presentation of this Sunday at the Village Vanguard pressing befit it's extremely select status. Housed in an opulent box, this UD1S edition contains special jackets and a unique insert that further illuminate the splendor of the recording. Aurally and visually, this Sunday at the Village Vanguard is a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound and creativity, and who desire to fully immerse themselves in the music - and everything involved with the album, from the graphics to the textures. Recorded just ten days before bassist Scott LaFaro perished in a car accident, Sunday at the Village Vanguard changed the way jazz trios were perceived by audiences and musicians alike. Up until Evans, LaFaro, and drummer Paul Motian proved otherwise, a trio configuration meant two sidemen served as rhythmic support to spotlight the virtuosity of a headline performer or primary soloist. Here, the three instrumentalists operate in complete unison and achieve supreme democratic balance. Expressing their intent via shared conversations, they alight on sublime pieces flush with thematic discovery, improvisational dialog, and raw feeling.
|Last Updated on Thursday, 08 July 2010 14:15|