:That sounds like, when we were coming over here, on the train, talking about charisma, the notion of, I think what you said almost defines that notion, being able to communicate like that without speaking, without telling anyone what to do. I think it locks into a kind of a creative mental process that has implications far beyond the people that even are doing it are aware, because the longer you do it, and the more you develop that art, the more you’re locking into an almost subconscious process. Subtract the music and you have just another chronicle of aberrant thought and behavior. It’s speaking from some levels of yourself that you’re not even aware of. We don’t have any idea what we’re even saying. - The Editorial Staff at JazzProfiles, "Anyone who has gone through Life and missed this music has missed out on one of the best things about LIVING. I could hear it in Marvin Gaye’s music years down the road; Little Anthony and the Imperials, jazz, soul, pop, they all owed Evans a firm handshake. Includes: Alice in Wonderland • Autumn Leaves • Bill's Hit Tune • Blue in Green • Days of Wine and Roses • Emily • Everything Happens to Me • Five • For Nenette • How About You? Until the arrival of the LP, I’d been locked to the piano with pianist Oscar Peterson, Phineas Newborn, George Shearing and Dave Brubeck. , the vamp changes — on the original changes, of course, aren’t that way — the vamp changes would be like a major 7th up a minor third, down a half tone, down a half tone. Thanks for posting. And the rest of it is being professional and, certainly as professionals, you do reach a high degree of performance in the area that you’re trying to work, but those special times, you don’t know when they’re gonna happen, and, unfortunately, we don’t get too many of them on record. For people that are considered to be the most unstable, undisciplined members of society, the fact is that they bring to bear a kind of a discipline on their work that is practically unparalleled. : You had spoken in your liner notes about comparing those sessions to Japanese paintings in which you have to draw lightly or else it breaks through the parchment. Image Details. And, but Miles really knew, somehow, the depth and the potential development that Coltrane had coming, and just gave him all the room, just gave him all the room, man. You had spoken in your liner notes about comparing those sessions to Japanese paintings in which you have to draw lightly or else it breaks through the parchment. You understand what I’m talking about. And I put a CD-R of it on reserve at the NEC library for my own Jazz Styles classes to listen to in a few semesters between 1997 and 2008. In that sense, Miles is one of the all-time master technicians, in that he could play something which is an entirely original conception over something that’s very ordinary. To read our privacy and cookies policy, please click here. And, there was a good feeling on the date, but I really had no idea, and I don’t think anybody did, that it would have the influence or the duration that it did, because you just go and you do, you know, you do your thing. “Bill had this quiet fire that I loved on piano. Miles is the kind of person that if you have a conversation with him, you tend to remember every word that’s been said. Technique we always think of as being a thing having to do with fastness, too, you know, and technique is, in its highest sense, is the ability to handle musical materials. Initially this was a project intended for Izaak, my son, who’s only two years old right now, but I think they’d be quite interesting for any true classic bop and hard bop jazz lovers. . He’s up there giving you his soul and you want him to do the acrobatics, stand on his head and what? And, but Miles really knew, somehow, the depth and the potential development that Coltrane had coming, and just gave him all the room, just gave him all the room, man. Philly had said he heard that Miles was dying, and these things come out once in a while. The interview was broadcast on July 4, 1979, shortly after it was recorded (at Bill Evans’s apartment, exact date unknown) as part of the 126-hour Miles Davis Festival on WKCR FM, the Columbia University station in New York City. Well, that’s a simple way to say it. Of two albums Bill Evans have recorded for Columbia Records in the early-1970’s, this extravagant award-winning masterpiece from 1971 captures him at a high point in his music career. That’s about it. Because at the beginning — then, I was around when the group started — most people wondered why Miles had Coltrane in the group. I was told on Tuesday, just a rumor that’s flying around, that Miles was in a studio. I came across a blog curated by music college administrator and blogger Allan Chase with a detailed interview with pianist Bill Evans. Yeah, that may have had something to do with it: just the fact that there were new kinds of challenges to play off, and there was a simplicity about the charts that was remarkable, too. Thank you. Here are 10 tracks to check out: “Skating in Central Park” (from “Undercurrent” with Jim Hall, 1962) “Waltz for Debby” (from “New Jazz Conceptions,” 1957) :Yeah, he was describing him as that, rather than a technician. A fantastic read, very enjoyable. So that is right, he is a stylist. I think there was a point, in my own opinion, where he made a turn, reaching for a large audience, I don’t know, or what, with the bands, and I have often wanted to speak to Miles about that period and find out how he felt about it, what he thought he possibly had developed or learned or whether that was a direction he’d like to go farther in or what. Your contribution helps keep jazz strong on air and in the community. Right now there are five compilations, each one focussing on on a major jazz label, so there’s Prestige, Blue Note, Savoy, Riverside and Contemporary for now. 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. I find that Tony Bennett affects me the same way as a singer. Well, that’s what I’ve been hearing too, and I think it may be true because, first of all, I don’t; Miles is a player and I can’t imagine him not playing. So, I’m sharing it here. He’s a very paradoxical and many-sided person, and if you were to take any number of things of his — acts or things he said out of context — you could be completely on the wrong track, because he could say one thing today and the opposite tomorrow, for reasons that have to do with momentary response, or defense mechanisms, or who knows what. Like he might come over to the piano and say, “Right here, I want this sound.”. Well, I often have said this, but I’ll say it again, that the most beneficial thing that happened to me in that association was that it confirmed my own identity to myself at a time when it would have been easy for me to go in certain directions that attracted a lot of critical and public attention, like sort of avant-garde, and I was, at that time, more or less, in the avant-garde, and could function in Third Stream and avant-garde, and the kind of attention you got sometimes could almost turn your head and you start perhaps thinking, well, maybe this is the direction, but being with the band and the real honest personalities involved really helped confirm my own identity, and made me realize that being myself was the only place to be. But I think one thing we do know is it’s a good thing because we intuitively committed to ourselves to it for that reason. Now, whether or not it will happen, I don’t know. Evans tucked himself away in the corner of the brain in such a way that it was as if life was one eternal cycle of springtime — renewal and rebirth. That “stylist” almost seems to have a rather limiting kind of quality to it. I still have the cassettes, and I digitized them when I got a CD burner and was teaching jazz history at NEC. Nel suo saggio incluso nel cofanetto, il giornalista, autore e storico di jazz Marc Myers descrive la carriera di Evans come composta da quattro distinti periodi o fasi stilistiche. During this period Evans’s opportunities and focus on his own career would lead him to depart the group, then rejoin in early 1959 for the recording of Davis’s epic Kind of Blue. Pianist Bill Evans was a giant of jazz piano and one of Marian McPartland's first guests on Piano Jazz in 1979. Now if you know music and all, you know a lot of the implications of what that means in the total structure. traditional chord changes…. But he seemed to feel that he wasn’t ready to come out and play, even though I somewhat prevailed upon him that the world was waiting for him and he didn’t seem to have the inclination to come out and play. BILL EVANS INTERVIEW from August 1980 . Interview Three: The Bill Evans Trio Pt. Or, there are a couple of places on Freddie the Freeloader where just one note contains so much meaning that you just can hardly believe it. He was more or less withdrawn, plus sort of off to the side of the bandstand, sort of half, not fumbling exactly, but just sort of searching. This from Joe Maita in the blog, : Bill Evans, he writes of his discovery of the great pianist in 1959, as editor of, when he noticed, ‘among a stack of records awaiting assignment for review, a gold-covered Riverside album titled, … I took the album home and, sometime after dinner, probably about nine o’clock, put it on the phonograph. It just seemed to click. For instance, that whole thing about turning his back on the audience and everything. It was sometime in the late ’90s when I interviewed jazz journalist Gene Lees, who was central in elevating the mystique and publicizing the artistry of the brilliant pianist. [interjecting] Well, we all feel that way. I came across a blog curated by music college administrator and blogger Allan Chase with a detailed interview with pianist Bill Evans. But Miles had that ability to create a kind of simple figure, like on So What or All Blues, that still generates a complete and positive reference off of which you can play and still relate to something which is unique, see? is a blues, it’s a particular kind of blues, it has a particular kind of structure, and it’s all contained in the chart, really. But of course, the people involved were pretty gigantic when you stop and think of it. And at the end of it, it had an identity and that’s why he’s a stylist. We were both living away from Phoenix for the first time as adults, and I took the train to NYC as much as I could to hear music. In a review of his book, I wondered whether Dyer would have been similarly drawn to musicians such as Henry “Red” Allen, Dizzy Gillespie, and Red Norvo, no less brilliant, who seem to have led balanced, eminently non-neurotic lives.”, Hi Steven, You don't know me - and I don't really know you, but I’ve been enjoying your Jazz Profiles blogspot for some time now. Bill Goldberg: There’s a film out where he plays So What and it’s almost as intense as seeing a live concert, just watching him, he’s so, he’s thinking so hard about the solo, just watching him with the other members of the group solo.