Wikipedia

Bill Evans

(Redirected fromBill Evans Trio)
For other uses, seeBill Evans (disambiguation).

William John Evans(August 16, 1929 – September 15, 1980) was an Americanjazz pianistand composer who worked primarily as the leader of his trio.[2]His use of impressionist harmony,block chords,innovative chord voicings, and trademark rhythmically independent "singing" melodic lines continue to influence jazz pianists today.

Bill Evans
Headshot of a man with short slicked-back hair and horn-rimmed glasses smoking a cigarette
Evans in 1961
Background information
Birth nameWilliam John Evans
Born(1929-08-16)August 16, 1929
Plainfield, New Jersey,U.S.
DiedSeptember 15, 1980(1980-09-15)(aged 51)
New York City,U.S.
Genres
Occupations
  • Musician
  • composer
  • arranger
  • conductor
InstrumentPiano
DiscographyBill Evans discography
Years active1950s–1980[1]
Labels
Formerly ofGeorge Russell,Miles Davis,Cannonball Adderley,Philly Joe Jones,Scott LaFaro,Paul Motian,Eddie Gómez,Marty Morell,Tony Bennett,Jim Hall,Stan Getz,Monica Zetterlund,Chet Baker

Born inPlainfield, New Jersey,United States, he studied classical music atSoutheastern Louisiana Collegeand theMannes School of Music,in New York City, where he majored in composition and received anartist diploma.In 1955, he moved toNew York City,where he worked with bandleader and theoristGeorge Russell.In 1958, Evans joinedMiles Davis's sextet, which in 1959, then immersed inmodal jazz,recordedKind of Blue,the best-selling jazz album of all time.[3]

In late 1959, Evans left the Miles Davis band and began his career as a leader, forming atriowith bassistScott LaFaroand drummerPaul Motian,a group now regarded as a seminal modern jazz trio. They recorded two studio albums,Portrait in JazzandExplorations,and two albums recorded during a 1961 engagement at New York'sVillage Vanguardjazz club:Sunday at the Village VanguardandWaltz for Debby.A complete set (on three CDs) of their Vanguard recordings was issued decades later. However, ten days after this booking ended, LaFaro died in a car crash. After months without public performances, Evans reemerged with a new trio, now featuringChuck Israelson bass. In 1963, Evans recordedConversations with Myself,a solo album produced withoverdubbingtechnology. In 1966, he met bassistEddie Gómez,with whom he worked for the next 11 years. In the mid-1970s, Evans collaborated with the singerTony Bennetton two critically acclaimed albums:The Tony Bennett/Bill Evans Album(1975) andTogether Again(1977).

Many of Evans's compositions, such as "Waltz for Debby"and"Time Remembered",have becomestandards,played and recorded by many artists. Evans received 31Grammynominations and seven awards, and was inducted into theDownBeatJazz Hall of Fame.[4]

Biography

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Early life

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Evans grew up inNorth Plainfield, New Jersey,the son of Harry and Mary Evans (néeSoroka). His father was ofWelshdescent and ran a golf course; his mother was ofRusynancestry and descended from a family of coal miners.[5][6]The marriage was stormy because of his father's heavy drinking, gambling, and abuse.[7][8]Bill had a brother, Harry (Harold), two years his senior, with whom he was very close.[8]

Given Harry Evans Sr.'s destructive character, Mary Evans often left home with her sons to go to nearbySomerville,to stay with her sister Justine and the Epps family. There, Harry began piano lessons somewhere between ages 5 and 7 with local teacher Helen Leland. Bill was thought to be too young for lessons, but he began to play what he had heard during his brother's instruction,[9][10]and soon both were taking piano lessons.[11]

Evans remembered Leland with affection for not insisting on a heavy technical approach, with scales and arpeggios. He quickly developed a fluent sight-reading ability, but Leland considered Harry a better pianist.[11]At the age of seven, Bill began violin lessons, and soon also flute andpiccolo.He soon dropped those instruments, but it is believed they later influenced his keyboard style. He later namedMozart,BeethovenandSchubertas composers whose work he often played.[12]During high school, Evans came in contact with 20th-century music likeStravinsky'sPetrushka,which he called a "tremendous experience", andMilhaud'sSuite provençale,whose bitonal language he believed "opened him to new things." Around the same time came his first exposure to jazz, when at age 12 he heardTommy DorseyandHarry James's bands on the radio. At age 13, Bill stood in for a sick pianist in Buddy Valentino's rehearsal band,[13]where Harry was already playing the trumpet.[13][14]Soon he began to perform for dances and weddings throughout New Jersey, playing music likeboogie-woogieandpolkasfor $1 per hour.[15]Around this time, he met multi-instrumentalistDon Elliott,with whom he later recorded. Another important influence was bassist George Platt, who introduced Evans to the theory of harmony.[16]

Evans also listened toEarl Hines,Art Tatum,Coleman Hawkins,Bud Powell,George Shearing,Stan Getz,andNat King Coleamong others. He particularly admired Cole.[17]Evans attendedNorth Plainfield High School,graduating in 1946.[18]

One night I got really adventurous on "Tuxedo Junction"and I put in a little" ping! "you know, that wasn't written, and this was such an experience! To make music that wasn't indicated. That really got me into starting to want to think about how to make the music.

Interview with Harry Evans. c. 1965.[12]

College, army, sabbatical year

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I have always admired your [Magee's] teaching as that rare and amazing combination – exceptional knowledge combined with the ability to bring that same knowledge, that lies deep within the student, to life. You were certainly my biggest inspiration in college, and the seeds of the insights that you have sown, have in practice borne fruit many times over.

Bill Evans talking about Gretchen Magee[5]

After high school, in September 1946, Evans attended Southeastern Louisiana College on a flute scholarship.[19][20]He studied classical piano interpretation with Louis P. Kohnop, John Venettozzi, and Ronald Stetzel.[21]A key figure in Evans's development was Gretchen Magee, whose methods of teaching left a big imprint on his compositional style.

Around his third year in college, Evans composed his first known tune, "Very Early".[15]Around that time he also composed a piece called "Peace Piece".[6]Years later, when asked to play it, he said it was a spontaneous improvisation and didn't know it. He was a founding member of SLU's Delta Omega chapter ofPhi Mu Alpha Sinfonia,playedquarterbackfor the fraternity's football team, and played in the college band. In 1950, he performed Beethoven'sPiano Concerto No. 3on his senior recital, graduating with aBachelor of Musicin piano and a bachelor's in music education. Evans regarded his last three years in college as the happiest of his life.[22]

Program of Evans's graduation concert. April 24, 1950.

During college, Evans met guitaristMundell Lowe,and after graduating, they formed a trio with bassistRed Mitchell.The three relocated to New York City, but their inability to attract bookings prompted them to leave forCalumet City, Illinois.[23]In July 1950, Evans joinedHerbie Fields's band, based in Chicago. During the summer, the band did a three-month tour backingBillie Holiday,including East Coast appearances at Harlem'sApollo Theaterand shows in Philadelphia, Baltimore, and Washington, D.C. The band included trumpeterJimmy Nottingham,trombonistFrank Rosolinoand bassistJim Aton.Upon its return to Chicago, Evans and Aton worked as a duo in clubs, often backing singerLurlean Hunter.Shortly thereafter, Evans received hisdraft noticeand entered theU.S. Army.

During his three-year (1951–54) period in the Army,[14]Evans played flute, piccolo, and piano in theFifth U.S. Army BandatFort Sheridan.He hosted a jazz program on the camp radio station and occasionally performed in Chicago clubs, where he met singerLucy Reed,with whom he became friends and later recorded. He met singer and bassist Bill Scott and Chicago jazz pianist Sam Distefano (his bunkmate in their platoon), both of whom became Evans's close friends. Evans's stay in the Army was traumatic, however, and he had nightmares for years. As people criticized his musical conceptions and playing, he lost confidence for the first time.[24]Around 1953, Evans composed his best-known tune, "Waltz for Debby",for his young niece.[25]During this period, he began using recreational drugs, occasionally smoking marijuana.[26]

Evans was discharged from the Army in January 1954, and entered a period of seclusion triggered by the harsh criticism he had received. He took a sabbatical year and lived with his parents, where he set up a studio, acquired a grand piano and worked on his technique, believing he lacked the natural fluency of other musicians. He visited his brother, now inBaton Rouge, Louisiana,recently married and working as a conservatory teacher.[9]

Return to New York City

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In July 1955, Evans returned to New York City and enrolled in theMannes College of Musicfor a three-semester postgraduate course in music composition. He also wroteclassical settingsof poems byWilliam Blake.Along with his studies, Evans played in low-profile "Tuxedo gigs" at the Friendship Club and theRoseland Ballroom,as well as Jewish weddings, intermission spots, and over-40 dances. Better opportunities also arose, such as playing solo opposite theModern Jazz Quartetat theVillage Vanguard,where one day he sawMiles Davislistening to him. During this period, Evans also metThelonious Monk.[9]

Evans soon began to perform inGreenwich Villageclubs withDon Elliott,Tony Scott,Mundell Lowe,and bandleaderJerry Wald.He may have played on some of Wald's discs, but his first proven Wald recording isListen to the Music of Jerry Wald,which also featured his future drummerPaul Motian.[9]

In early 1955, singerLucy Reedmoved to New York City to play at the Village Vanguard andThe Blue Angel,and in August she recordedThe Singing Reedwith a four-piece group that included Evans. During this period, he met two of Reed's friends: managerHelen Keane,who became his agent seven years later, andGeorge Russell,with whom he soon worked. That year, he recorded with guitaristDick GarciaonA Message from Garciafor theDawnlabel. In parallel, Evans kept up his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December 1956–January 1957, and recordingThe Complete Tony Scott.After theCompletesessions, Scott left for a long overseas tour.[9]

Debut albumNew Jazz Conceptions

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In September 1956, producerOrrin Keepnewswas convinced to record the reluctant Evans by a demo tapeMundell Loweplayed to him over the phone. The result was his debut album,New Jazz Conceptions,featuring the original versions of "Waltz for Debby"and" Five ".[9]Eleven songs were recorded in the first session, including Evans' original composition "Waltz for Debby",which would prove to be his most recognized and recorded composition.[27]The album began Evans's relationship withRiverside Records,and also marked the formation of the first Bill Evans trio with Teddy Kotick (bass) andPaul Motian(drums).AllmusiccriticScott Yanowsaid about the album: "Bill Evans' debut as a leader found the 27-year-old pianist already sounding much different than the usual Bud Powell-influenced keyboardists of the time... A strong start to a rather significant career."[28]David Rickert ofAll About Jazznoted the influence of Bud Powell and wrote "Even at this stage he had the chops to make this a good piano jazz album, but in the end it's not a very good Bill Evans album... There are glimpses of the later trademarks of Evans' style..."[29]Although a critical success that gained positive reviews inDownBeatandMetronomemagazines,New Jazz Conceptionswas initially a financial failure, selling only 800 copies the first year. "Five" was for some time Evans's trio farewell tune during performances.[9]After the album's release, Evans spent much time studyingJ. S. Bach's music to improve his technique.[30]

Work with George Russell

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It was one of those magic moments in your life when you expect a horror story, and the doors of heaven open up. I knew there and then he wasn't going to get away.

George Russell upon hearing Bill Evans for the first time.[9]

Evans met composerGeorge Russellduring his tenure with Lucy Reed. Russell's first impression of Evans was negative ( "this is going to be like pulling teeth all day" ), but when he secretly heard Evans play, he completely changed his mind.[9]Russell was then developing his magnum opus, the treatiseLydian Chromatic Concept of Tonal Organization,in which he argued that theLydian modewas more compatible withtonalitythan themajor scaleused in most music. This was groundbreaking in jazz, and soon influenced musicians likeMiles Davis.Evans, who was already acquainted with these ideas, began to work with Russell in 1956.[9]

By this time,RCA Victorhad begun a series of recordings calledJazz Workshop,and soon Russell, through the intervention ofHal McKusickand Jack Lewis, gained his own record date titledThe Jazz Workshopand released in 1957. At that time, Russell assembled trumpeterArt Farmer,guitaristBarry Galbraith,bassistMilt Hintonand Bill Evans on piano for three recording dates, along with several rehearsal sessions. Initially, for these sessions, only the bassist was given a written part, while the rest were left, and, according to Farmer, "took the parts at home and tried to come to terms with them". The album took a year to make, and was successful enough to enable Russell to escape his penurious lifestyle.[9]Evans performed a significant solo in "Concerto for Billy the Kid".[14]

In 1957, Russell was one of six composers (three jazz, three classical)Brandeis Universitycommissioned to write a piece for its Festival of the Creative Arts in the context of the first experiments inthird streamjazz. Russell wrote a suite for orchestra, "All About Rosie", that featured Evans, among other soloists.[30]"All About Rosie" has been cited as one of the few convincing examples of composedpolyphonyin jazz.[31]A week before the festival, the piece was previewed on TV, and Evans's performance was deemed "legendary" in jazz circles. During the festival performance, on June 6, Evans became acquainted withChuck Israels,who became his bassist years later.[32]During the Brandeis Festival, guitaristJoe Pumainvited Evans to play on the albumJoe Puma/Jazz.[33]

Chet Bakerworked with Bill Evans on his albumChetin 1958–1959.

That year, Evans also met bassistScott LaFarowhile auditioning him for a place in an ensemble led by trumpeterChet Baker,and was impressed. LaFaro joined his trio three years later.[34]

Evans also performed on albums byCharles Mingus,Oliver Nelson,Tony Scott,Eddie CostaandArt Farmer.

Work with Miles Davis,Everybody Digs Bill Evans,andKind of Blue

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Main article:Kind of Blue
Miles Davisin 1955, three years before meeting Evans.

In February 1958, atMiles Davis's urging, Russell drove Evans over to the Colony Club inBrooklyn,to play withDavis' sextet.At this time,John Coltrane,Cannonball Adderley,Paul ChambersandPhilly Joe Joneswere the other members of Davis' group.Red Garlandhad recently been fired, and Evans knew he was not merely filling in for one night but auditioning to become the group's regular pianist. By the end of the night, Davis told Evans that he would be playing their next engagement inPhiladelphia.[35][36]The band had been known for playing a mixture ofjazz standardsandbeboporiginals, but by the time Evans arrived, Davis had begun his venture intomodal jazz,having just released his albumMilestones.

Evans formally joined the Miles Davis group in April 1958. The band appeared in radio broadcasts on Saturday nights and, on May 3, the new formation made its first broadcast fromCafé Bohemia(its usual locale). The live radio appearance that was broadcast on May 17, 1958, and also released on the album titledMakin' Wax,is known as the earliest documented evidence of the collaboration between Bill Evans and Miles Davis.[37]By mid-May,Jimmy Cobbreplaced Philly Joe Jones, with whom Evans had developed a close friendship. On May 26, Evans made his first studio recordings with Davis, which were first issued as part ofJazz Track,[38]and later reissued on1958 Miles.

A performance of theBallets AfricainsfromGuineain 1958 sparked Davis' interest in modal music. This music stayed for long periods of time on a single chord, weaving in and out of consonance and dissonance.[39]Another influence wasGeorge Russell's treatise. Both influences coalesced in Davis' conception of modal jazz offering an alternative to chord changes and major/minorkeyrelationships, relying instead on a series of modal scales. He realized that Evans, who had worked with Russell, could follow him into modal music. At the same time, Evans introduced Davis to twentieth-century classical composers such asSergei Rachmaninoff,Maurice Ravel,andAram Khachaturian.[14]

The band's mostly black followers did not react favourably to the replacement of Garland with a white musician.[9][35]Davis used to tease him and Evans's sensitivity perhaps let it get to him. However, the band began to find a new, smoother groove, as Adderley recalled: "When he started to use Bill, Miles changed his style from very hard to a softer approach."[35]

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. I had to change the way the band sounded again for Bill's style by playing different tunes, softer ones at first.

Miles Davis[40]

In July 1958, Evans appeared as a sideman on Adderley's albumPortrait of Cannonball,featuring the first performance of "Nardis",specially written by Davis for the session. While Davis was not very satisfied with the performance, he said that from then on, Evans was the only one to play it in the way he wanted. The piece came to be associated with Evans's future trios, which played it frequently.[9]

By the end of the summer, Davis knew Evans was quickly approaching his full professional development; and that he would soon decide to leave Davis' group.[35]This year, Evans won theDownBeatInternational Critics' Poll for his work with Davis and his albumNew Jazz Conceptions.[41]

In September 1958, Evans recorded as a sideman in Art Farmer's albumModern Art,also featuringBenny Golson.All three had won theDownBeatpoll.[41]Later, Evans deemed this record as one of his favorites. During this period, despite all the successes, Evans was visiting a psychiatrist, as he was unsure whether he wanted to continue as a pianist.[42]

Evans left Davis' sextet in November 1958 and stayed with his parents in Florida and his brother inLouisiana.While he was burned out, one of the main reasons for leaving was his father's illness.[42]During this sojourn, the always self-critical Evans suddenly felt his playing had improved. "While I was staying with my brother in Baton Rouge, I remember finding that somehow I had reached a new level of expression in my playing. It had come almost automatically, and I was very anxious about it, afraid I might lose it."[42]

Shortly after, he moved back to New York, and in December Evans recorded the trio albumEverybody Digs Bill Evansfor Riverside Records with bassistSam Jonesand drummer Philly Joe Jones. This was Evans's second album as a leader, the first sinceNew Jazz Conceptions,recorded two years earlier. While producer Orrin Keepnews had many times tried to persuade Evans to make a second trio recording, the pianist felt he had nothing new to say... until then. He had also been too busy traveling with Davis to make a record.[43]

Evans built "Peace Piece" on a simple one-bar ostinato left-hand figure in C major. Over this static harmonic frame, he freely improvised melodies.

One of the pieces to appear on the album wasLeonard Bernstein's "Some Other Time". Evans started to play an introduction using anostinatofigure. However, according to Keepnews, who was present, the pianist spontaneously started to improvise over that harmonic frame, creating the recording that would be named "Peace Piece". According to Evans: "What happened was that I started to play the introduction, and it started to get so much of its own feeling and identity that I just figured, well, I'll keep going." However, Gretchen Magee claims that the piece had been penned as an exercise during his college years, while Peri Cousins says that he would often play the piece at home.[44]

Evans returned to the Davis sextet in early 1959, at the trumpeter's request, to recordKind of Blue,often considered the best-selling jazz album of all time.[3][45]

As usual, during the sessions ofKind of Blue,Miles Davis called for almost no rehearsal and the musicians had little idea what they were to record. Davis had given the band only sketches of scales and melody lines on which to improvise. Once the musicians were assembled, Davis gave brief instructions for each piece and then set about taping the sextet in studio.[46]

During the creative process ofKind of Blue,Davis handed Evans a piece of paper with two chords—G minor and A augmented—and asked "What would you do with that?" Evans spent the next night writing what would become "Blue in Green".However, when the album came out, the song was attributed exclusively to Davis. When Evans suggested he might deserve a share of the royalties, Davis offered him a check for $25.[9][47]Evans also penned the liner notes forKind of Blue,comparing jazz improvisation toJapanese visual art.[46]By the fall of 1959, Evans had started his own trio withJimmy GarrisonandKenny Dennis,but it was short-lived.[34]

Sometime during the late 1950s, most probably before joining Miles Davis, Evans began using heroin. Philly Joe Jones has been cited as an especially bad influence in this aspect.[9][48]Although Davis seems to have tried to help Evans kick his addiction, he did not succeed.

Evans's first long-term romance was with a black woman named Peri Cousins (for whom "Peri's Scope" was named), during the second half of the 1950s. The couple had problems booking in hotels during Evans's gigs, since most of them did not allow inter-racial couples. By the turn of the decade, Evans had met a waitress named Ellaine Schultz, who would become his partner for twelve years.[48]

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Jack DeJohnetteperformed with Bill Evans trio atMontreux Jazz Festivaland other events
Joe LaBarberaperformed with Bill Evans trio in 1979–1980
Chuck Israelsperformed with Bill Evans trio in 1962–1966
Eddie Gomezperformed with Bill Evans trio in 1964–1974
1956 withTeddy Kotick(bass),Paul Motian(drums)
1958 withSam Jones(bass), Philly Joe Jones (drums)(studio group only)
1959 withPaul Chambers(bass), Philly Joe Jones (drums)(studio group only)
1960–1961 with Scott LaFaro (bass), Paul Motian (drums)
1962 withChuck Israels(bass), Paul Motian (drums)
1962 with Monty Budwig (bass), Shelly Manne (drums)(studio group only)
1963–1965 with Chuck Israels (bass), Larry Bunker (drums)
1964 withGary Peacock(bass), Paul Motian (drums)
1966 with Chuck Israels (bass), Arnold Wise (drums)
1966 withEddie Gómez(bass), Shelly Manne (drums)(studio group only)
1967 with Eddie Gómez (bass), Philly Joe Jones (drums)
1967-1968 with Eddie Gómez (bass),Jack DeJohnette(drums)
1968–1974 with Eddie Gómez (bass), Marty Morell (drums)
1976–1977 with Eddie Gómez (bass), Eliot Zigmund (drums)
1978 with Michael Moore (bass), Philly Joe Jones (drums)
1979–1980 with Marc Johnson (bass),Joe LaBarbera(drums)

Trio with Scott LaFaro and Paul Motian

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We needed people that were interested in each other, so that we could spend a year or two just growing, without ambitions, just allowing the music to grow. And allowing our talents to merge in a very natural way.

Evans in interview with George Clabin, 1966[34]

In mid-1959, Evans was performing atBasin Street East,and was visited by bassistScott LaFaro,who was playing with singer and pianistBobby Scottat a club around the corner.[49]LaFaro expressed interest in forming a trio, and suggestedPaul Motian,who had appeared on Evans's albumNew Jazz Conceptions,as the drummer for the new group.[34]The trio with LaFaro and Motian became one of the most celebrated piano trios in jazz[example needed].With this group Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among band members. Evans and LaFaro would achieve a high level of musical empathy[further explanation needed].In December 1959 the band recorded its first album,Portrait in JazzforRiverside Records.

In early 1960, the trio began a tour that brought them to Boston, San Francisco (atJazz Workshop), and Chicago (at theSutherland Lounge). After returning to New York in February, the band performed atTown Hallon a multi-artist bill, and then began a residency atBirdland.While the trio did not produce any studio records in 1960, two bootleg recordings from radio broadcasts from April and May were illegally released in the early 1970s, which infuriated Evans.[50]Later, they would be posthumously issued asThe 1960 Birdland Sessions.[9]

In parallel with his trio work, Evans kept working as a backing musician for other bandleaders. In 1960, he performed on singerFrank Minion's albumThe Soft Land of Make Believe,featuring versions of theKind of Bluecompositions "Flamenco Sketches" and "So What" with added lyrics. That year, he also recordedThe Soul of Jazz Percussion,with Philly Joe Jones and Chambers.[9]

In May 1960, the trio performed at one of the Jazz Profiles concerts, a series organized by Charles Schwartz. Around this time, Evans hiredMonte Kayas his manager. During one of his concerts at the Jazz Gallery, Evans contractedhepatitis,and went to his parents' house in Florida to recuperate. During this time period, Evans also participated in the recordingsThe Great Kai & J. J.andThe Incredible Kai Winding TrombonesforImpulse! Records.In May and August 1960, Evans appeared on George Russell's albumJazz in the Space Age.In late 1960, he performed onJazz Abstractions,an album recorded under the leadership ofGunther SchullerandJohn Lewis.[9]

Evans' trio with Motian and LaFaro recordedExplorationsin February 1961, the group's second and final studio album. According to Orrin Keepnews, the atmosphere during the recording sessions was tense, Evans and LaFaro having had an argument over extra-musical matters. Additionally, Evans was suffering at the session from headaches, and LaFaro was playing with a loaned bass.[9]The disc features the Evans' first trio version of "Nardis", the Miles Davis piece Evans had recorded with Cannonball Adderley for Adderley'sPortrait of Cannonballalbum in 1958. Apart from "Nardis" and "Elsa", the album consisted of jazz standards. After the recording sessions, Evans was initially unwilling to release the album, believing the trio had played badly. However, upon hearing the recording, he changed his mind, and later thought of it in very positive terms.[34]In February 1961, shortly after theExplorationssessions, he appeared as a sideman inOliver Nelson'sThe Blues and the Abstract Truth.

In late June 1961, Riverside recorded Evans' trio live at the Village Vanguard, which resulted in the albumsSunday at the Village Vanguard,andWaltz for Debby.(Further recordings from this performance were issued in 1984 asMore From The Vanguard.)[51][52]Evans later showed special satisfaction with these recordings, seeing them as the culmination of the musical interplay of his trio.[34]

After LaFaro's death

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The death of 25-year-old LaFaro in a car crash, ten days after the Vanguard performances, devastated Evans. He did not record or perform in public again for several months.

In October 1961, persuaded by his producer Orrin Keepnews, Evans returned to the musical scene on theMark MurphyalbumRah.With new bassist Chuck Israels, they recorded in December a session forNirvana,with flautistHerbie Mann.[5]In April and May 1962, Evans completed the duo album,Undercurrent,with guitaristJim Hall.

When he re-formed his trio in 1962, two albums,Moon BeamsandHow My Heart Sings!resulted. In 1963, at the beginning of his association withVerve,he recordedConversations with Myself,an album which featured overdubbing, layering up to three individual tracks of piano for each song. The album won him his firstGrammy award.[53]

Evans's heroin addiction increased following LaFaro's death. His girlfriend Ellaine Schultz was also an addict. Evans habitually had to borrow money from friends, and eventually, his electricity and telephone services were shut down. Evans said: "You don't understand. It's like death and transfiguration. Every day you wake in pain like death and then you go out and score, and that is transfiguration. Each day becomes all of life in microcosm."[14][54]

Evans never allowed heroin to interfere with his musical discipline, according to a 2010 BBC record review article which contrasts Evans's addiction with that ofChet Baker.[55]On one occasion while injecting heroin, Evans hit a nerve and temporarily disabled it, performing a full week's engagement at the Village Vanguard virtually one-handed.[9]During this time, Helen Keane began having an important influence, as she gave significant assistance helping to maintain Evans's career despite his self-destructive lifestyle, and the two developed a strong friendship.[48]

In summer 1963, Evans and Schultz left their flat in New York and settled in his parents' home in Florida, where, it seems, they quit the habit for some time.[9]Even though never legally married, Bill and Ellaine were, in all other respects, husband and wife. At that time, Schultz meant everything to Evans, and was the only person with whom he felt genuine comfort.[9]

Although he recorded many albums for Verve, their artistic quality has typically been viewed as uneven. Despite Israels' fast development and the creativity of new drummerLarry Bunker,the albumBill Evans Trio with Symphony Orchestra,featuringGabriel Fauré'sPavaneand works of other classical composers arranged byClaus Ogerman,divided critical opinion. Some recordings in unusual contexts were made, such as a concert recording with a big-band recorded atTown Hall,New York that was never issued owing to Evans's dissatisfaction with it (although the more successful jazz trio portion of the concert wasreleased). Live recordings and bootleg radio broadcasts from this time period represent some of the trio's better work.

In 1965, the trio with Chuck Israels and Larry Bunker went on a well-received European tour.

Bill Evans meets Eddie Gómez

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In 1966, Bill Evans met Puerto-Rico born,Juilliard-graduated bassistEddie Gómez.In what turned out to be an eleven-year stay, Gómez sparked new developments in Evans's trio conception. One of the most significant releases during this period isBill Evans at the Montreux Jazz Festival(1968), which won him his second Grammy award.[53]It has remained a critical favorite, and is one of two albums Evans made with drummerJack DeJohnette.

Other highlights from this period include "Solo – In Memory of His Father" fromBill Evans at Town Hall(1966), which also introduced "Turn Out the Stars"; a second pairing with guitarist Jim Hall,Intermodulation(1966); and the solo albumAlone(1968, featuring a 14-minute version of "Never Let Me Go" ), that won his third Grammy award.[53]

In 1968, drummerMarty Morelljoined the trio and remained until 1975, when he retired to family life. This was Evans's most stable, longest-lasting group. Evans had overcome his heroin habit and was entering a period of personal stability.

Between 1969 and 1970, Evans recordedFrom Left to Right,featuring his first use of electric piano.

Between May and June 1971, Evans recordedThe Bill Evans Album,which won two Grammy awards.[53]This all-originals album (four new), also featured alternation between acoustic and electric piano. One of these was "Comrade Conrad", a tune that had originated as aCrest toothpastejingle and had later been reelaborated and dedicated to Conrad Mendenhall, a friend who had died in a car crash.[56]

Other albums includedThe Tokyo Concert(1973);Since We Met(1974); andBut Beautiful(1974; released in 1996), featuring the trio plus saxophonistStan Getzin live performances from the Netherlands and Belgium. 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 Gómez recorded two duo albums,IntuitionandMontreux III.

In the early 1970s, Evans was caught at New York'sJohn F. Kennedy International Airportwith a suitcase containing heroin. Although the police put him in jail for the night, he was not charged. However, both he and Ellaine had to beginmethadonetreatment.[48][57]

In 1973, while working inRedondo Beach,California, Evans met and fell in love with Nenette Zazzara, despite his long-term relationship with Ellaine Schultz.[9]When Evans broke the news to Schultz she pretended to understand but then committed suicide by throwing herself under a subway train. Evans's relatives believe that Schultz's infertility, coupled with Bill's desire to have a son, may have influenced those events.[8]As a result, Evans went back on heroin for a while before resuming methadone treatment. In August 1973, Evans married Nenette, and, in 1975, they had a child,Evan.The new family, which also included Evans's stepdaughter Maxine, lived in a large house inCloster,New Jersey.[9]Both remained very close until his death.[9]Nenette and Bill remained married until Evans's death in 1980.

In 1974, Bill Evans recorded a multimovement jazz concerto written for him byClaus OgermanentitledSymbiosis.

Collaboration with Tony Bennett

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There is an intriguing juxtaposition of opposites running through the music—Bennett the expansive, heart on sleeve, vibrato man, Evans the inward looking aesthete—which makes for charged listening, if charged is an adjective which can be applied to something so relaxed. And the projects were genuinely collaborative, with the artists on an equal footing: Evans solos wonderfully throughout and Together Again actually starts with a solo piano piece, "The Bad And The Beautiful", put there at Bennett's suggestion to emphasize that this wasn't just a vocalist-with-accompanist affair....By the time Bennett and Evans made the second album they'd been performing live together for a year and their partnership, comfortable enough though it was on the first album, is noticeably better oiled.

During the mid-1970s Bill Evans collaborated with the singerTony Bennetton two critically acclaimed albums:The Tony Bennett/Bill Evans Album(1975) andTogether Again(1977). It was Tony Bennett who initiated the collaboration with Bill Evans. The two musicians had mutual respect for each other's talent. Bennett and Evans performed together for about two years. Although Evans was using cocaine regularly during this period, he was reported sober when recording the albums with Bennett.[58]

Both Bennett and Evans stated that it was not just a singer with accompanist affair, but rather a mutually stimulated creative effort to enhance some well known hits with a new twist on familiar melodies and harmonies. Harmonically sophisticated piano arrangements by Evans and his extended piano solos were encouraged by Bennett to emphasize equally valuable input from both musicians. Bennett and Evans recorded the first album in four studio sessions in June 1975, and the second album in four studio sessions in September 1976. Between the two recordings, Bennett and Evans performed live as a duo, featuring songs from their recordings including "But Beautiful","Days of Wine and Roses","Dream Dancing".

Last years

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In 1975, Morell was replaced by drummerEliot Zigmund.Several collaborations followed, and it was not until 1977 that the trio was able to record an album together. BothI Will Say Goodbye(Evans's last album forFantasy Records) andYou Must Believe in Spring(for Warner Bros.) highlighted changes that would become significant in the last stage of Evans's life. A greater emphasis was placed on group improvisation and interaction, and new harmonic experiments were attempted.

Evans performing at theMontreux Jazz Festivalwith his trio consisting ofMarc Johnson,bass, andPhilly Joe Jones,drums, July 13, 1978.

Gómez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones, the drummer he considered his "all-time favorite drummer", to fill in. Several bassists were tried, withMichael Moorestaying the longest. Evans finally settled onMarc Johnsonon bass andJoe LaBarberaon drums. This trio would be Evans's last. In April 1979, Evans met Laurie Verchomin, a Canadian waitress (later, a writer) with whom he had a relationship until his death. Verchomin was 28 years younger.[48]

At the beginning of a several-week tour of the trio through the Pacific Northwest in the spring of 1979, Evans learned that his brother, Harry, who had been diagnosed withschizophrenia,had died by suicide at age 52.[8][14][48]This news shocked him deeply, and some of the concerts had to be canceled. His friends and relatives believe that this event precipitated his own death the following year.[8][48]

Marc Johnson recalled: "This fateful trip marks... the beginning of the end. Bill's willingness to play and work decreased noticeably after the death of Harry, actually it was just the music itself that held him upright. He fulfilled his obligations because he needed money, but these were the few moments in his life when he felt comfortable—the times in between must have been depressing, and he barely showed a willingness to live."[5]

In August 1979, Evans recorded his last studio album,We Will Meet Again,featuring a composition of the same name written for his brother. The album won a Grammy award posthumously in 1981, along withI Will Say Goodbye.[53]

Drug addiction and death

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Evans is buried at Roselawn Memorial Park and Mausoleum,Baton Rouge,East Baton Rouge Parish,Louisiana,Section 161, Plot K.

During the late 1970s, Evans kicked his heroin habit, with the help of methadone, only to become addicted to cocaine. He started with one gram per weekend, but later started taking several grams daily.[48]His brother Harry's suicide may have also influenced his emotional state after 1979. His sister-in-law Pat Evans has stated that she knew Bill would not last long after Harry's death and she wondered if that is what prompted her to buy three plots in a Baton Rouge Cemetery, where Harry was interred.[8]It has been documented that he voluntarily quit his treatment for chronic hepatitis.[8]Laurie Verchomin has said that Evans was clear in mind that he would die in a short time.[48]

Death

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On September 15, 1980, Evans, who had been in bed for several days with stomach pains at his home in Fort Lee, was accompanied by Joe LaBarbera and Verchomin to theMount Sinai Hospitalin New York City, where he died that afternoon.[48]The cause of death was a combination ofpeptic ulcer,cirrhosis,bronchialpneumonia,and untreated hepatitis.[9]Evans's friendGene Leesdescribed Evans's struggle with drugs as "the longest suicide in history".[9]

He was interred inBaton Rouge,next to his brother Harry. Services were held in Manhattan on Friday, September 19.[59]A tribute, planned by producerOrrin Keepnewsand Tom Bradshaw, was held on the following Monday, September 22, at theGreat American Music Hallin San Francisco.[60]Fellow musicians paid homage to the late pianist in the first days of the 1980Monterey Jazz Festival,which had opened that very week:Dave Brubeckplayed his own "In Your Own Sweet Way"on the 19th,The Manhattan Transferwould follow on the 20th, whileJohn Lewisdedicated "I'll Remember April".[61]In 1981, Pat Metheny and Lyle Mays released the piece "September Fifteenth (dedicated to Bill Evans)" on their albumAs Falls Wichita, So Falls Wichita Falls.

Music and style

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Evans is credited as creating some new harmonies, like the quartal voicingMark Levinecalls"So What" chord;first appearing in the opening track ofKind of Blue.[62][63]
AViennese trichordas a part of6-Z17,an altered dominant tritone substitution (Db7alt) in the key of C, from Evans's opening to "What Is This Thing Called Love?"[64]Playⓘ.

Bill Evans is credited with influencing the harmonic language of jazz piano.[14][65]Evans's harmony was itself influenced by impressionist composers such asClaude Debussy[66]andMaurice Ravel.[67] His versions of jazz standards, as well as his own compositions, often featured thorough reharmonisations. Musical features includedadded tone chords,modal inflections, unconventionalsubstitutions,and modulations.[67]

An example of Evans's harmonies. The chords feature extensions like 9ths and 13ths, are laid around middle C, have smooth voice leading, and leave the root to the bassist. Bridge of the first chorus of "Waltz for Debby" (mm.33–36). From the 1961 album of the same name.

One of Evans's distinctive harmonic traits is excluding the root in his chords, leaving this work to the bassist, played on another beat of the measure, or just left implied. "If I am going to be sitting here playing roots, fifths and full voicings, the bass is relegated to a time machine." This idea had already been explored byAhmad Jamal,Erroll Garner,andRed Garland.In Evans's system, the chord is expressed as a quality identity and a color.[9][68]Most of Evans's harmonies feature added note chords orquartalvoicings.[65]Thus, Evans created a self-sufficient language for the left hand, a distinctive voicing, that allowed the transition from one chord to the next while hardly having to move the hand. With this technique, he created an effect of continuity in the central register of the piano. Lying around middle C, in this region the harmonic clusters sounded the clearest, and at the same time, left room for contrapuntal independence with the bass.[9]

Evans's improvisations relied heavily on motivic development, either melodically or rhythmically.[65]Motives may be broken and recombined to form melodies.[69]Another characteristic of Evans's style is rhythmic displacement.[9][70]His melodic contours often describe arches.[71]Other characteristics include sequenciation of melodies and transforming one motive into another.[71]He plays with one hand in the time signature of 4/4 and the other momentarily in 3/4.[72]

At the beginning of his career, Evans used block chords heavily. He later abandoned them in part.[73] During a 1978 interview,Marian McPartlandasked:

"How do you think your playing has changed since you first started? Is it deliberate or is it just happening to change?"
Bill Evans: "Well it's deliberate, ahh but I stay along the same lines... I try to get a little deeper into what I'm doing. As far as that kind of playing goes, [jazz playing rather than an earlier example where he played Waltz for Debbie without any improvisation or sense of swing], I think my left hand is a little more competent and uhh... of course I worked a lot on inner things happening like inner voices I've worked on."[74][75]
The first line of "Time Remembered",as penned by Evans in the early 1970s.

At least during his late years, Evans's favorite keys to play in were A and E.[15]Evans greatly valuedBach's music, which influenced his playing style and which helped him gain good touch and finger independence. "Bach changed my hand approach to playing the piano. I used to use a lot of finger technique when I was younger, and I changed over to a weight technique. Actually, if you play Bach and the voices sing at all, and sustain the way they should, you really can't play it with the wrong approach."[30]Evans valued Bach's "The Well-Tempered Clavier"and his"Two- and Three-Part Inventions"as excellent practice material.[citation needed]

In an interview with Len Lyons, Evans said, "for me, technique is the ability to translate your ideas into sound through your instrument."[76]

Influences

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In an interview given in 1964, Evans describedBud Powellas his single greatest influence.[77]Biographer Peter Pettinger notes that Evans "assimilated 'a thousand influences,'" including pianists such asDave Brubeck,George Shearing,Oscar Peterson,Al Haig,andLou Levyas well as horn players such asMiles Davis,Dizzy Gillespie,Charlie Parker,andStan Getz."The biggest influence on Evans [in his early days], though, was the pianism of Nat 'King' Cole," whom Evans called "one of the tastiest and just swingin'est and beautifully melodic improvisers and jazz pianists that jazz has ever known, and he was one of the very first that really grabbed me hard."[78]Pettinger also notes that the "work of the pianistLennie Tristano,with his cool approach to a line "was an important influence on Evans,[79]and Lyons observes that Tristano preceded Evans in his use of overdubbing piano tracks.[80]In addition, Evans was heavily influenced by his in-depth studies of European classical music: "The constructional knowledge of music that Evans later brought to jazz was firmly rooted in this European tradition, as was his thoroughly trained and exquisitely refined touch at the keyboard."[21]

As a composer, Evans also assimilated and amalgamated jazz, popular, and classical influences in an "utterly logical" manner.[81]His compositional style shows similarities to and influences from some of the composers whose works he often played, such asEarl Zindars[81]andMichel Legrand.[82]J. William Murray notes that "Evans was very adept at drawing Western European compositional techniques into jazz and there are elements of Bach, Chopin, Debussy, and Ravel in his writing."[83]

Views on contemporaneous music tendencies

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Evans's career began just before the rock explosion in the 1960s. During this decade, jazz was swept into a corner, and most new talents had few opportunities to gain recognition, especially in America.[84]However, Evans believed he had been lucky to gain some exposure before this profound change in the music world, and never had problems gaining bookings and recording opportunities.[84]

Evans never embraced new music movements; he kept his style intact. For example, he lamented watching Davis shift his style towardsjazz fusionand blamed the change on considerations of commerce. Evans commented, "I would like to hear more of the consummate melodic master [Davis], but I feel that big business and his record company have had a corrupting influence on his material. The rock and pop thing certainly draws a wider audience. It happens more and more these days, that unqualified people with executive positions try to tell musicians what is good and what is bad music."[35]However, Evans and Davis kept in touch throughout their lives.[48]

While Evans considered himself an acoustic pianist, from the 1970 albumFrom Left to Righton, he also released some material withFender-Rhodespiano intermissions. However, unlike other jazz players (such asHerbie Hancock) he never fully embraced the new instrument, and invariably ended up returning to the acoustic sound. "I don't think too much about the electronic thing, except that it's kind of fun to have it as an alternate voice.... [It's] merely an alternate keyboard instrument, that offers a certain kind of sound that's appropriate sometimes. I find that it's a refreshing auxiliary to the piano—but I don't need it... I don't enjoy spending a lot of time with the electric piano. I play it for a period of time, then I quickly tire of it, and I want to get back to the acoustic piano."[35]He commented that electronic music: "just doesn't attract me. I'm of a certain period, a certain evolution. I hear music differently. For me, comparing electric bass to acoustic bass is sacrilege."[35]

Repertoire and compositions

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Main article:List of compositions by Bill Evans

Evans's repertoire consisted of establishedjazz standards,songs by contemporaries (some of which he helped become standards), and original compositions (some of which have also gone on to become standards). Among the major American songwriters, he was particularly drawn to the work ofJimmy Van Heusen,recording what was reputedly his favorite song, "But Beautiful,"[85]many times in various settings as well as many other tunes by Van Heusen. Contemporaries whose works he often played includeMichel Legrand,Johnny Mandel,andEarl Zindarsas well as, to a lesser extent,Burt Bacharach,John Lewis,Henry Mancini,Gary McFarland,Thelonious Monk,Claus Ogerman,Steve Swallow,andDenny Zeitlin.Other songs by his contemporaries and colleagues he recorded include "In Your Own Sweet Way"byDave Brubeck,"You're Gonna Hear from Me"byAndré Previn,"The Peacocks"by Jimmy Rowles,"Dolphin Dance"byHerbie Hancock,and, atypically, "I Do It for Your Love"byPaul Simon,which nonetheless "continued to inspire the pianist's most complex thoughts" in his final years.[86]"Nardis"byMiles Daviswas a special signature tune, often performed in highly extended versions by his final trio.[87]

During a radio interview,Marian McPartlandlistened to Evans play "Reflections in D" byDuke Ellingtonand later noted, "Sitting next to him, listening to the rise and fall of the melody, I realized that... he chooses some of the most romantic, evocative tunes there are. The tune ended softly with a chord so perfect it took my breath away."[88]

Evans composed over 50 originals. Many were dedicated to people close to him. Some known examples include "Waltz for Debby" for his niece; "For Nenette" for his wife; "Letter to Evan" for his son; "NYC's No Lark," an anagram ofSonny Clarkin memory of his friend the pianist; "Re: Person I Knew," another anagram, of the name of his friend and producerOrrin Keepnews;"We Will Meet Again" for his brother; "Peri's Scope" for girlfriend Peri Cousins; "One for Helen" and "Song for Helen" for his manager Helen Keane; "B minor Waltz (For Ellaine)" for girlfriend Ellaine Schultz; "Laurie" for girlfriend Laurie Verchomin; "Yet Ne'er Broken," an anagram of the name of cocaine dealer Robert Kenney; "Maxine" for his stepdaughter; "Tiffany" for Joe LaBarbera's daughter; and "Knit For Mary F." for fan Mary Franksen fromOmaha.[89]

Personal life

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Bill Evans was an avid reader, in particular philosophy and humorous books. His shelves held works byPlato,Voltaire,Whitehead,Santayana,Freud,Margaret Mead,SartreandThomas Merton;and he had a special fondness forThomas Hardy's work. He was fascinated with Eastern religions and philosophies includingIslam,Zen,andBuddhism.It was Evans who introducedJohn Coltraneto the Indian philosophy ofKrishnamurti.[9]

Evans liked to paint and draw.[42]He was also a keen golfer, a hobby that began on his father's golf course.[9]Evans had a fondness for horse racing and frequently gambled hundreds of dollars, often winning.[90]During his last years, he even owned a racehorse named "Annie Hall" with producerJack Rollins.[48]

In 1973, Evans broke up with his girlfriend of twelve years, Ellaine Schultz, to pursue Nenette Zazzara. Schultz then committed suicide by throwing herself in front of a subway train.

Evans married Zazzara in August 1973. They met while Bill's trio was performing at Howard Rumsey's club Concerts By The Sea in Redondo Beach, California, where Zazzara was a part-time waitress.[91]

Reception

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Evans inHelsinkiin 1964.

Music critic Richard S. Ginell wrote: "With the passage of time, Bill Evans has become an entire school unto himself for pianists and a singular mood unto himself for listeners. There is no more influential jazz-oriented pianist—onlyMcCoy Tynerexerts nearly as much pull among younger players and journeymen. "[92]

During his short tenure with Davis in 1958, when the band left New York to go on the road, Evans sometimes received cold receptions from the mostly black audiences. Evans later acknowledged that some felt his presence threatened the black pride aspect of the famed Davis band's success. Pettinger believed in a recording, for his solo on a tune named "Walkin'", Evans received noticeably less applause than the other soloists, and for that on "All Of You", none at all. Davis and the other band members would respond "he's supposed to be there, Miles wants him there" on the bandstand whenever audience members made comments.[9]Davis noted in his autobiography that Evans was sensitive to the criticism and let it get to him. This might have been a contributing factor to Evans leaving the band after just seven months.

When Ken Burns' television miniseriesJazzwas released in 2001, it was criticised for neglecting Evans's work after his departure from the Miles Davis' sextet.[9]

Legacy and influence

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Author and jazz pianist Len Lyons wrote: "Evans was the most influential pianist of the 1960's. The tone, touch, texture, and harmonic richness of his playing affected the majority of pianists who followed him."[93]Evans has left his mark on such players asHerbie Hancock,Chick Corea,Paul Bley,Keith Jarrett,Steve Kuhn,Warren Bernhardt,Michel Petrucciani,John Taylor,Vince Guaraldi,Stefano Bollani,Don Friedman,Marian McPartland,Denny Zeitlin,Bobo Stenson,Fred Hersch,Bill Charlap,Lyle Mays,Eliane Elias,Diana Krall,Ralph Towner,John McLaughlin,Lenny Breau,Rick Wright of Pink Floyd,Denis Matsuev,and many other musicians in jazz and other music genres.[94]His recordings have been transcribed and arranged by Jed Distler and others and recorded by classical musicians such as theKronos Quartet,Jean-Yves Thibaudet,Roy Eaton,andIgor Levit.

Evans's piano style has also influenced some contemporary classical composers. The noted Hungarian composerGyörgy Ligetiadmired Evans and acknowledged his influence in an interview, adding, "As far as touch is concerned, Bill Evans is a sort of Michelangeli of jazz" (in reference to the great classical pianistArturo Benedetti Michelangeli).[95]Ligeti's Fifth Piano Étude, subtitled "Arc-en-ciel" ( "Rainbow" ), demonstrates this influence clearly, and Ligeti even hand-wrote in the margin of the score, "Play it like Bill Evans."[96]Likewise, American minimalist composer and keyboardistTerry Rileyincluded Evans in "the Pantheon of my teachers and heroes" in the liner notes to his solo pianoLisbon Concert.[97]

Many of Evans's own compositions, such as "Waltz for Debby","Peace Piece","Blue in Green","Very Early ","Time Remembered","Turn Out the Stars "," We Will Meet Again ", and"Funkallero",have become often-recorded jazz standards. In addition, his early death inspired the composition of two widely covered tribute songs by others,Phil Woods' "Goodbye, Mr. Evans" andDon Sebesky's "I Remember Bill".

During his lifetime, Evans was honored with 31 Grammy nominations and seven Awards.[53]In 1994, he was posthumously honored with theGrammy Lifetime Achievement Award.

The Bill Evans Jazz Festival at Southeastern Louisiana University began in 2002.[98]A Bill Evans painting hangs in the Recital Hall lobby of the Department of Music and Performing Arts. The Center for Southeastern Louisiana Studies at the Simms Library holds the Bill Evans archives.[99]He was named Outstanding Alumnus of the year in 1969 at Southeastern Louisiana University.[100]

Evans influenced the character Seb's wardrobe in the 2016 filmLa La Land.[101]

Discography

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Main article:Bill Evans discography

Tribute albums

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Main article:Bill Evans tribute albums

Notes

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  1. ^Ginell, Richard."Bill Evans".AllMusic.RetrievedApril 9,2012.
  2. ^Cook, Richard; Morton, Brian (2008).The Penguin Guide to Jazz Recordings 9th edition.Penguin.ISBN978-0-14-103401-0.
  3. ^abLight, Alan (November 2, 2006)."The All-Time 100 Albums".Time.Archived fromthe originalon November 17, 2006.RetrievedAugust 19,2008.
  4. ^"1981 Down Beat Critics Poll".Down Beat.August 31, 1983.RetrievedNovember 12,2012.
  5. ^abcdPetrik, Hanns E. (1989).Bill Evans – Sein Leben, Seine Musik, Seine Schallplatten.OREOS Verlag.ISBN978-3-923657-23-0.The quotes extracted from this book have been re-translated into English from the German original.
  6. ^abEvans, Pat (2011)."The Two Brothers As I Knew Them: Harry and Bill Evans"(PDF).Matt H. Evans.
  7. ^Wilson, John S. (September 17, 1980)."Bill Evans, Jazz Pianist Praised For Lyricism and Structure, Dies; 'In Touch With His Feelings' Trouble With Scales".The New York Times.ISSN0362-4331.RetrievedJanuary 31,2023.
  8. ^abcdefgEvans, Pat (2011).The two brothers as I knew them(PDF).
  9. ^abcdefghijklmnopqrstuvwxyzaaabacadaeafagahPettinger 2002[page needed]
  10. ^Pettinger 2002,pp. 9–10.
  11. ^abPettinger 2002,p. 10.
  12. ^ab"Interview with Harry Evans. c.1965".October 20, 2007.Archivedfrom the original on December 11, 2021.RetrievedSeptember 13,2012– via YouTube.
  13. ^abPettinger 2002,pp. 11–12.
  14. ^abcdefgAAJ Staff."Bill Evans: 1929–1980".All About Jazz.RetrievedApril 9,2012.
  15. ^abc"Interview with Marian McParland, late 1970s".July 7, 2008.Archivedfrom the original on December 11, 2021.RetrievedSeptember 13,2012– via YouTube.
  16. ^Pettinger 2002,pp. 12–13.
  17. ^from, BillEvansArchive (April 2016)."Bill Evans - Marian McPartland's Piano Jazz Broadcast (1977 Album)".UMG, Warner/Chappell, EMI.RetrievedAugust 6,2018– via YouTube.
  18. ^"High school bands to jazz things up at festival".Courier News.Bridgewater, New Jersey. April 14, 1988. p. 22 – via Newspapers.com.It is named for jazz pianist Bill Evans, who graduated from North Plainfield High School in 1946.
  19. ^Cramer, Alfred W. (May 2009).Musicians and Composers of the 20th Century-Volume 2.Salem Press. p. 423.ISBN978-1-58765-514-2.RetrievedAugust 10,2012.
  20. ^DuBose-Smith, Darshell (June 1, 2005).African American Music Instruction Guide for Piano: Children, Beginners, Intermediate & Advanced Students.Amber Books Publishing. p. 99.ISBN978-0-9749779-9-7.RetrievedAugust 10,2012.
  21. ^abPettinger 2002,p. 16.
  22. ^Pettinger 2002,pp. 16–19.
  23. ^Pettinger 2002,p. 20.
  24. ^Pettinger 2002,pp. 19–20.
  25. ^Pettinger 2002,p. 37.
  26. ^Pettinger 2002,p. 61.
  27. ^"Bill Evans: 1929–1980".All About Jazz.August 27, 2004.RetrievedJuly 10,2023.
  28. ^"Bill Evans New Jazz Conceptions Album Reviews, Songs & More | AllMusic".AllMusic.Archived from the original on February 28, 2015.{{cite web}}:CS1 maint: unfit URL (link)
  29. ^Rickert, David (May 14, 2004)."Bill Evans: New Jazz Conceptions album review @ All About Jazz".All About Jazz.
  30. ^abcPettinger 2002,p. 39.
  31. ^Harrison, Max (1976).The Brandeis Festival LP in A Jazz Retrospect.Quartet. pp.177–179.ISBN0-7043-0144-X.
  32. ^Pettinger 2002,p. 40.
  33. ^Pettinger 2002,p. 41.
  34. ^abcdef"George Clabin interviews Bill Evans about Scott LaFaro in 1966".August 13, 2011.Archivedfrom the original on December 11, 2021.RetrievedSeptember 13,2012– via YouTube.
  35. ^abcdefgKahn, Ashley (September 2001)."Miles Davis and Bill Evans: Miles and Bill in Black & White".JazzTimes.RetrievedJuly 28,2012.
  36. ^Pettinger 2002,pp. 51–52.
  37. ^Pettinger 2002,p. 53.
  38. ^Pettinger 2002,p. 54.
  39. ^Early, Gerald Lyn (2001).Miles Davis and American Culture.Missouri Historical Society Press.ISBN1-883982-38-3.
  40. ^Davis, Miles; Troupe, Quincy (1989).Miles: The Autobiography.Simon and Schuster.ISBN0-671-63504-2.
  41. ^abPettinger 2002,p. 65.
  42. ^abcdPettinger 2002,p. 66.
  43. ^Pettinger 2002,p. 67.
  44. ^Pettinger 2002,pp. 68–69.
  45. ^"500 Greatest Albums of all Time".Rolling Stone.2003. Archived fromthe originalon January 4, 2009.RetrievedAugust 19,2008.
  46. ^abBill Evans (1959)."Liner notes".Kind of Blue.Archived fromthe originalon July 29, 2020.RetrievedDecember 18,2007.
  47. ^The liner notes toBill Evans – The Complete Riverside Recordings,published in 1984, give credit to both Evans and Davis ((Davis-Evans) Jazz Horn Music/Warner-Tamerlane Publ. — BMI).
  48. ^abcdefghijklVerchomin, Laurie (2010).The Big Love, Life and Death with Bill Evans.Laurie Verchomin.ISBN978-1-4565-6309-7.
  49. ^LaFaro-Fernández, Helene (2009).Jade Visions: The Life and Music of Scott LaFaro.University of North Texas Press. p. 102.
  50. ^Pettinger 2002,pp. 98–99.
  51. ^Bailey, C. Michael."Best Live Jazz Recordings (1953–65)".All About Jazz.RetrievedJuly 27,2008.
  52. ^Penguin Guide To Jazz: "Five Star" Recordings.Counterpoint. Archived fromthe originalon July 8, 2011.RetrievedJune 28,2011.
  53. ^abcdefO'Neil, Thomas (1993).The Grammys: For the Record(paperback ed.). Penguin Books.ISBN978-0-14-016657-6.
  54. ^Lees, Gene.Meet Me at Jim & Andy's: Jazz Musicians and Their World.New York: Oxford University Press, 1988 (Bill Evans).
  55. ^Quinn, Michael (2010)."Chet Baker and Bill Evans The Complete Legendary Sessions Review".BBC Music.RetrievedApril 18,2017.While both were peerless masters of their instruments and shared a rich, evocatively lyrical playing style that bordered beguilingly on the introspective, Baker and Evans were polar opposites when it came to the discipline of performance. Though both were heroin addicts, the musically-trained Evans never let it interfere with his meticulously precise flights of invention while the self-taught Baker became increasingly erratic and inconsistent.
  56. ^Pettinger 2002,p. 205.
  57. ^"Interview: Laurie Verchomin (Pt. 5)".JazzWax. August 21, 2009. Archived fromthe originalon July 14, 2014.RetrievedJune 11,2014.
  58. ^abMay, Chris (July 12, 2009)."Album review: Tony Bennett / Bill Evans: The Complete Tony Bennett/Bill Evans Recordings".All About Jazz.RetrievedJuly 10,2023.
  59. ^Dexter, Jr., Dave (September 27, 1980)."Services Held For Pianist Bill Evans".Billboard.p. 70.RetrievedMay 9,2023– via Google Books.
  60. ^"Bill Evans Tribute".Billboard.October 4, 1980. p. 57.RetrievedMay 9,2023– via Google Books.
  61. ^Tiegel, Eliot (October 4, 1980)."New Names Join 23rd Monterey Jazz Festival".Billboard.p. 47.RetrievedMay 9,2023– via Google Books.
  62. ^Levine, Mark (1989).The Jazz Piano Book.Sher Music.ISBN978-0-9614701-5-9.
  63. ^Valerio, John (2005).Post-Bop Jazz Piano.Hal Leonard. p. 24.ISBN0-634-06123-2.
  64. ^Forte 2000.
  65. ^abcValerio 2005,p. 40.
  66. ^Pamies (2021)."Deconstructing Modal Jazz Piano Techniques: The Relation between Debussy's Piano Works and the Innovations of Post-Bop Pianists".Jazz Education in Research and Practice.2(1): 76–105.doi:10.2979/jazzeducrese.2.1.06.JSTOR10.2979/jazzeducrese.2.1.06.S2CID234117087.
  67. ^abReilly, Jack (1993).The Harmony of Bill Evans.Unichrom.
  68. ^Valerio 2005,p. 4.
  69. ^Valerio 2005,p. 41.
  70. ^Valerio 2005,p. 42.
  71. ^abValerio 2005,p. 43.
  72. ^Valerio 2005,p. 46.
  73. ^Valerio 2005,p. 49.
  74. ^"Exploring the Life and Music of Bill Evans".This Quiet Fire. August 17, 2012.RetrievedSeptember 13,2012.
  75. ^"Bill Evans On Piano Jazz".NPR. January 25, 2013. Archived fromthe original(audio)on May 4, 2015.RetrievedSeptember 13,2012.Recorded November 6, 1978; originally broadcast May 27, 1979.
  76. ^Lyons, Len,The Great Jazz Pianists,Da Capo Press (1983), p. 224.
  77. ^Evans, Bill; Hultin, Randi (1994).The Complete Bud Powell on Verve(Liner notes, booklet). Verve. p. 39.
  78. ^Pettinger 2002,pp. 14–15.
  79. ^Pettinger 2002,p. 34.
  80. ^Lyons, p. 220
  81. ^abPettinger 2002,p. 129.
  82. ^Pettinger 2002,p. 243.
  83. ^Murray, J. William (March 2011)."Billy's Touch: An Analysis of the Compositions of Bill Evans, Billy Strayhorn, and Bill Murray"(PDF).RetrievedMay 16,2024.
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  85. ^Pettinger 2002,p. 261.
  86. ^Pettinger 2002,p. 282.
  87. ^Pettinger 2002,p. 267.
  88. ^Marian McPartland, liner notes toBill Evans: Marian McPartland's Piano Jazz,The Jazz Alliance, Inc., 1993.
  89. ^Pettinger 2002,p. 276.
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