Emulating Bill Evans - By Doug Ramsey

Emulating Bill Evans
By Doug Ramsey
Wall Street Journal - September 14, 2010

Regardless of style, era or instrument, the greatest jazz artists share an essential attribute: recognizability. Individualists like Louis Armstrong, Art Tatum, Artie Shaw, Charlie Parker, Miles Davis, John Coltrane and Bill Evans announce themselves. Their tone, phrasing, touch, harmonic choices and rhythmic turns are calling cards.
Generations of pianists have tried to copy the jazz legend's style.
Among pianists, Evans, who died 30 years ago Wednesday at age 51, is as immediately identifiable as Tatum, Earl Hines, Teddy Wilson and Bud Powell. In artistry and influence, he is their inheritor and successor. With the exception of those who specialize in stride or boogie woogie, virtually all jazz pianists who developed from the early 1960s on learned from Evans and, if they could, adapted aspects of his playing. In the second volume of "The Harmony of Bill Evans" (Hal Leonard Corp.), pianist and composer Jack Reilly writes that "he changed the approach to the sound of jazz piano by his touch and his attention to pedaling, phrasing and dynamics." He emphasizes Evans's "remarkable way of handling the possibilities of interplay within the piano-bass-drums trio." Mr. Reilly's books are how-to manuals for musicians with the chops and ears to employ Evans's innovations.
Evans's invention of melodies puts him in a league with Chopin, Schubert and Gershwin, his wizardry with chords in a league by himself. He admired harmonic aspects of Lennie Tristano and Dave Brubeck, but no one in jazz before Evans voiced chords and moved through harmonies as he did.
Thirty years after his death on Sept. 15, 1980, Evans is omnipresent in a range of pianists that includes Herbie Hancock, Keith Jarrett, Fred Hersch, Jessica Williams, Billy Childs, Bill Mays, Denny Zeitlin, Larry Willis and—this is not a stretch—hundreds of others. His uses of chords influence not only players of every instrument but also the work of composers and arrangers. They were a major factor when Evans collaborated with Miles Davis in the celebrated "Kind of Blue" album in 1959.
Evans pioneered a way of opening up harmonies—his so-called "rootless" chords—that freed his bassists to interact above, below, in and around his piano playing. A CD called "Tenderly: An Informal Session" (Milestone) includes a snippet of conversation in the mid-'50s following Evans's spontaneous duet with the multi-instrumentalist Don Elliott.
Evans: "I like to blow free like that, with no 'four' going, but you know where you're at. It's crazy. If everybody could do that, if the bass could be playing that way—why not?—drums could just . . ." (He vocalizes in imitation of a drummer playing free.)
Elliott: "That's right; doesn't have to help you."
Evans: "Not if everybody feels it, man."
Finally, in 1959 Evans formed a trio with bassist Scott LaFaro and drummer Paul Motian, who felt what Evans had been hearing in his mind for years. Their albums, notably "Portrait in Jazz," "Explorations" and "Sunday at the Village Vanguard" (all for the Riverside label), set new levels of aspiration for pianists and new standards for interaction in jazz-piano trios.
Regiments of young bassists imitate LaFaro's ability to play high and fast, but most do not or cannot begin to approximate his lyricism, timing or depth of tone, which Evans likened to the sound of an organ. Many new bassists emulate the technique they hear from LaFaro on the Evans recordings without understanding how it fits into the complex relationship among Evans, LaFaro and Mr. Motian. They miss how LaFaro's note choices relate to the impressionistic chord voicings that give Evans's playing so much of its character. Worse, they overlook at least half of what made LaFaro a great bassist: the power of his straight-ahead swing, which meshed with Evans's own rhythmic concept.
In July 1961, less than two weeks after the trio recorded at the Village Vanguard, LaFaro died in a car crash at the age of 25. His death sent Evans into depression so deep that, according to Mr. Motian, he did not perform for six months. Gene Lees, a close friend of Evans, wrote in his book "Meet Me at Jim & Andy's" (Oxford), "After LaFaro's death, Bill was like a man with a lost love, always looking to find its replacement." Evans's bereavement over LaFaro affected him the rest of his life, but he went back to work with Mr. Motian and a new bassist, Chuck Israels. In succeeding trios, Eddie Gomez and Marc Johnson—virtuosi heavily influenced by LaFaro—had the bass chair. Evans recorded, unaccompanied and with others, for nearly two more decades.
Pegging Evans as an introspective, withdrawn musician is a cliché of jazz criticism, but from the beginning there was muscle and grit in his playing. That is evident in recordings early in his career with George Russell's sextet on "Concerto for Billy the Kid" (The George Russell Smalltet, Bluebird) and a large Russell band on "All About Rosie" (Brandeis Jazz Festival, Gambit).
The loss of his beloved brother Harry in 1979 sent Evans into another period of depression, but toward the end his assertive qualities intensified. In "Consecration" (Milestone), a set of eight CDs recorded at the Keystone Korner in San Francisco, his playing with Mr. Johnson and the remarkable drummer Joe LaBarbera is full of fire. Suffering from illness complicated by his long, dogged affair with drugs, he may have known that he was dying. Evans's final recorded piece, from Sept. 9, 1980, is Rodgers and Hart's "My Romance," a staple of his repertoire. With his breathtaking introduction, the playful accompaniment of Messrs. LaBarbera and Johnson, and the group's spirited three-way conversation, it is not a death rattle, but a life-affirming shout.
In New York six days later, Bill Evans was gone.
Mr. Ramsey is a winner of the Jazz Journalists Association Lifetime Achievement Award. He blogs about jazz and other matters at www.dougramsey.com

Top 10 Bill Evans Band Member

Caros amigos du JAZZ,

Segue resultado dos TOP 10 Bill Evans Band Member:


Paul Motian

Eddie Gomez

Chuck Israels

Marc Johnson

Claus Ogerman

Scott LaFaro

Joe LaBarbera

Jim Hall

Eliot Zigmund

George Russell

THE BIG LOVE: Life and Death with Bill Evans

"The Big Love: Life and Death with Bill Evans" - by Laurie Verchomin

Laurie Verchomin, Bill Evans' girlfriend and last muse( the song "Laurie" was written for her), with whom he lived in the final years of his life(1979-1980). This new book is all about the moments between Laurie and Bill, and is now available on her website. Laurie is offering a special Collector's Edition of the book, with a beautiful reproduction of a drawing"the Island"that Bill did. There is a video, on which she decribes all about this release (and how to buy the book with or without the drawing), at her website.

laurieverchomin.com.

Tribute Recordings to Bill Evans - Part Five

Monica Zetterlund
Bill Remembered - A Tribute to Bill Evans




By Monica Zetterlund (1937-2005) written in 2000 for the CD.
Just think of it.....36 years have gone by since I recorded the album "Waltz For Debbie" with Bill Evans. The fact that he's been gone for 20 years is also difficult to grasp. I remember hearing him for the first time at Birdland in New York. It was 1959 and I had never heard a pianist like him. His playing was so beautifully lyrical, and yet so deceptively simple, economic and intricate at the same time. For that reason this recording is a loving homage to Bill. He played many of these songs from time to time himself. I'm singing from the heart, not from a technical aspect, because the voice undergoes changes with the passing of years. In the past I used to sing more or less everyday in different circumstances: theatre, concerts, film, radio, TV and records and consequently, I could keep my voice in trim, but now several months can go by when I don't sing at all, I'm not the type who goes around humming to myself everyday, not even in the shower. I only sing if I really have to, the reason being that the voice undergoes as much wear-and-tear as the rest of the body - they go hand-in-hand and my body has really been subjected to much physical strain over the years. That's why I sat at home in my armchair to make this CD, singing to the background accompaniments which Goran, Ulf and Brent have arranged so skilfully after our collective-discussions that we had during the summer and autumn of 1999, and which all the musicians interpret with such sensitivity and feeling. THIS WILL BE MY LAST RECORDING - AND SO FOR THAT REASON I WOULD LIKE TO DEDICATE IT TO BILL.



Eliane Elias
Something For You - Eliane Elias Sings & Plays Bill Evans




by Ken Dryden
Eliane Elias' return to the Blue Note label after a decade working elsewhere is a triumph. This salute to the late pianist Bill Evans, one of her favorite players, explores a number of songs he recorded, including both standards and originals. Evans' bassist from his final trio, Marc Johnson, is not only a long-time collaborator with Elias but also her husband; drummer Joey Baron rounds out the band. While Elias is influenced by Evans' playing style, his arrangements are only a launching pad for her approach to each tune; never does she sound like an obvious Evans clone. Her lush take of "My Foolish Heart" features Johnson on the late Scott LaFaro's bass (the talented Evans sideman who died in a 1961 car wreck just ten days after recording the landmark sets with the pianist at the Village Vanguard). "Evanesque" is a newly discovered work that came from a cassette given to Johnson by Evans, so Elias adjusted the work by incorporating new material with his conception. The freewheeling take of "Solar" is a masterful group improvisation upon the Miles Davis theme. Elias' moving ballad "After All" is a sincere tribute to Evans. She has also built confidence in her singing over time; always gifted with a tender, sensuous voice, Elias glides gently over Johnson's walking introduction to "A Sleepin' Bee" and offers an equally delicate "Walt for Debby." She wrote words to Evans' previously unknown "Here Is Something for You," which was also discovered on the cassette given to Johnson. It is heard in two versions, a solo version with voice and piano where Elias mostly closely mirrors Evans' playing, then the original rehearsal by Evans, which segues into an excerpt of Elias' new version. The Japanese version of this delightful CD features an added track, "Re: Person I Knew."


Jean-Yves Thibaudet
Conversations with Bill Evans



By Leonardo Barroso
For me the best tribute ever made for Bill Evans or for anyone. Beautiful, lyrical, profund and solo piano. Made by one of the most aclaimed classical pianist Jean-Yves Thibaudet. A must have for every jazz and classical fan. Evers since in his concert, he plays an Evans song at the finale of his presentation. I call this album: Alone part 3 or Final Conversations. Five stars !!!
THIS IS THE BEST TRIBUTE ALBUM EVER RECORDED !!!!!

by Richard S. Ginell

This was an inevitable record, the absorption of Bill Evans into the classical music world by having a concert pianist play his music. After all, the classical piano streams of Debussy, Ravel and Rachmaninoff, among others, do lead straight into Evans' introspective side. The only problem, perhaps, was in finding a major classical pianist who is open-minded and courageous enough to take this music on -- and they found one in Jean-Yves Thibaudet, a young virtuoso from Lyons, France who also happens to be Decca/London's most heavily promoted pianist of the '90s. What happens here, though, is the antithesis of jazz, where the notes from spontaneous improvisations are canonized as the Holy Word, not to be tampered with. Reading from carefully selected transcriptions of Evans' solos, Thibaudet applies all of the tools in a classical pianist's arsenal -- the expressive tempo fluctuations, carefully terraced dynamics, a lovely, singing, rounded tone, subtle pedaling -- and produces broad, seductively rhapsodic interpretations that could comfortably cap off an enlightened classical recital. "Peace Piece," tin particular, could almost be mistaken for a long-lost Satie Gymnopedie. What Thibaudet misses, though, is true jazz feeling; when he tries to kick it in, as in the middle of "Here's That Rainy Day," the syncopation sounds boxy and unnatural. He is, however, adventurous -- or perhaps literal -- enough to follow Evans' example and overdub reductions of Evans' added piano parts to "Love Theme From 'Spartacus'" and "Song for Helen." This is an undeniably beautiful record, one that may contribute to Evans' credibility in classical circles, but one must turn to Evans' own recordings for the authentic sound and feeling.

Eliane Elias, Brad Mehldau, Bob James, Herbie Hancock, Dave Grusin
Portrait Of Bill Evans



by Leonardo Barroso
A tribute ordered by JVC, and who said Brad Mehldau wasn't inspired by Bill Evans ? Each musician plays two tunes by Bill, associated with , or a true homage. Superberly well recording, made with JVC XRCD
24-Bit technology.
Eliane Elias plays Come Rain or Come Shine and If You Could See Me Now
Bob James plays Nardis and Under The Influence
Herbie Hancock plays Gotta Rhytm and Ghost Story
Brad Mehldau plays The More I See You and My Heart Stood Still
Dave Grusin plays Waltz For Debby and Emily


Paul Motian
Bill Evans - Tribute To The Great Post-Bop Pianist




by Stephen Cook
Having been Bill Evans' drummer during the pianist's prime early-'60s period, Paul Motian is the right person to record an Evans tribute album, a recording that fits right in with Motian's spate of jazz repertory releases (Monk in Motian, the On Broadway series). But the obligatory nature of the record ends there, as Motian, tenor saxophonist Joe Lovano, guitarist Bill Frisell, and bassist Marc Johnson turn in an innovative set, using Evans' rich harmonic and rhythmic structures to launch many inspired solos. And being sensitive to Evans' subtle and intimate piano style, the group opts for a fairly straightforward tonal attack: Frisell forgoes his usual hyper-eclectic approach for some unadorned jazz soloing, while Lovano sticks to the middle register of his horn. For his part, Motian keeps the swing supple enough to be unobtrusive, while adding choice accents throughout. Highlights include the exquisite ballads "Turn Out the Stars" and "Very Early," a somewhat free-form reading of "Five," and the elegiac rendition of "Play Song." This is one of the best releases of the handful Motian has done with Lovano and Frisell, and certainly as fine a tribute record as there is. A good purchase for fans of both Bill Evans and Paul Motian.

Tribute Recordings to Bill Evans - Part Four

Riccardo Fioravanti Trio
Bill Evans Project




by Leonardo Barroso
This CD is one of my favorites in my jazz collection, not only is a wonderful tribute to Bill Evans, with all 13 tracks written by Bill, but a great trio. Together with Andrea Dulbecco-vibes and Bebo Ferra-guitar. this is one CD you must hear, if a Evans fan or not, this one is Italy's best!

Danish Radio Orchestra with Jim McNeely
Plays Bill Evans





by David R. AdlerBill Evans' compositions have been interpreted in countless ways through the years, but not so often by big bands. Who better than Jim McNeely, a fine pianist and one of jazz's most imaginative arrangers, to glean fresh insights from Evans' music? Leading the fine players of the Danish Radio Jazz Orchestra, McNeely sets his sights on some of Evans' strongest melodies, and he consistently finds new angles. The latent dissonance of "Very Early" is fully apparent when the interval-leaping line is placed over a pedal point, or the final B major 7th chord, for instance. There are other surprising touches, like the half-time tag that breaks up "Waltz for Debby"; the climactic shout choruses (and orchestrated Bill Evans solo) in "Show-Type Tune"; the medley-style juxtaposition of "Twelve-Tone Tune" and "Twelve-Tone Tune Two"; and the jarring burst of a chord that ends "Turn Out the Stars," gradually fading to close out the album. Lead trombonist Vincent Nilsson arranged the one piece not composed by Bill Evans: "Theme for Scotty/Gloria's Step" combines Clare Fischer's requiem for Scott LaFaro with a stormy reading of LaFaro's most famous tune, which remained in Evans' repertoire long after the bassist's untimely death. Tenor saxophonist Tomas Franck, one of the album's more prominent soloists, gives "Blue in Green" an unusually turbulent, quasi-"out" arrangement. Other outstanding performers include bassist Thomas Ovesen and flügelhornist Henrik Bolberg Pedersen.


Kronos Quartet
Music of Bill Evans




by Scott Yanow
For their second and final jazz project, the adventurous Kronos Quartet (a top classical string quartet) performed eight Bill Evans compositions, plus "Nardis" (which Evans always claimed Miles Davis stole from him). Three songs apiece add either guitarist Jim Hall or bassist Eddie Gomez. The members of Kronos (David Harrington and John Sherba on violin, Hank Dutt on viola, and cellist Joan Jeanrenaud) do not improvise, but they expertly play Tom Darter's arrangements, some of which (particularly "Peace Piece") are transcriptions of pianist Evans' solos. Overall this was an intriguing project, as was Kronos' slightly earlier interpretations of Thelonious Monk tunes.


John McLaughlin
Time Remembered





by Scott Yanow
Pianist Bill Evans was one of guitarist John McLaughlin's early heroes so this Evans tribute seemed like a logical idea. Sticking to acoustic guitar, McLaughlin is joined by four other guitarists (along with the acoustic bass guitar of Yann Maresz) to create an unusual instrumentation that often sounds as full as a keyboard. The leader arranged ten of Evans's compositions and his own "Homage" for a largely introverted set of music that has a strong classical feel. McLaughlin lets loose a few times but more mood and tempo variations would have kept this from being such a sleepy and overly respectful session.


Tierney Sutton
Blue In Green




by Ken Dryden
There have been a number of tributes to Bill Evans since the pianist's death in 1980, including a few by singers. But this CD by Tierney Sutton (only her third as a leader) is not only wide-ranging in its scope, as it draws songs from throughout his career, but the often innovative arrangements bring a freshness to the music. Sutton doesn't resort to loud theatrics but swings hard when necessary while focusing on the melody, and also gives her supporting trio (pianist Christian Jacob, bassist Trey Henry, and drummer Ray Brinker) space to play. Evans' songs include a haunting "Blue in Green" (a modal gem credited to Miles Davis but claimed by the pianist as his work) with a touching lyric by Meredith d'Ambrosio, the mournful "Turn Out the Stars," a magical deliberate take of "Very Early," and an enticing medley of two of Evans' ballads written in honor of two young ladies, "Waltz for Debby" (for his niece) and "Tiffany" (for drummer Joe LaBarbera's infant daughter, who later composed the lyrics to this song as a teenager; Joe takes over the drums on this one song). The brisk "Autumn Leaves" is given a dramatic facelift with some fine scatting by Sutton and a wonderful reworking of the chord structure, and the calypso-flavored introduction to "Someday My Prince Will Come" is a high point, too. Ken Wild takes over on bass for the enchanting piano-less arrangement of "Sometime Ago," playing an ostinato pattern and supplying a soft backing scat vocal on this catchy chart. This outstanding release by Tierney Sutton should be considered an essential acquisition by fans of jazz singers and music associated with or written by Bill Evans.

Tribute Recordings to Bill Evans - Part Three

The Howard Alden Trio
Your Story - The Music of Bill Evans

by Ken Dryden
There seem to be a flurry of pianoless CD tributes to the late pianist Bill Evans in the mid-1990s, by far the most successful is this release by the extraordinary guitarist Howard Alden. He waited until he started playing a seven string guitar to fully explore Evans' rich and often difficult melodies, as he was then able to keep them in their original keys while being able to round out the original harmonies by playing the low notes himself on the extra string. Of course, it doesn't hurt him to have the talented bassist Michael Moore (who worked for a time in Evans' trio) and drummer Al Harewood on hand. Another thing that make this CD stand out from similar efforts is Alden's willingness to concentrate on the less familiar works by the pianist. The constantly shifting "Tune for a Lyric" and "Discplacement" are challenges that he seems to meet effortlessly, while the Latin setting of "Time Remembered" adds the ethereal flute of Frank Wess, and the foot patting bluesy "Loose Blues," with Wess on tenor sax, will compare favorably to Evans' original recording with Zoot Sims. Alden also includes several works written near the end of the pianist's career. "Laurie" is a lush blend of Alden's soft guitar and Wess' romantic tenor, while "Maxine" begins with the leader's unaccompanied solo before switching to a waltz-like setting featuring some of Moore's typically brilliant playing. There isn't a track on this CD by Howard Alden that is less than excellent. Highly recommended.

Chris Wabich

Jade Vision - The Music of Bill Evans

By Leonardo Barroso

Chris Wabich is the drummer on Karen Gallinger's "Remembering Bill Evans". He is the true Bill Evans Fan, with Larry Koonse-guitar and Darek Oles-bass, made a new tribute CD for Bill, with a remembrance of the great Scott LaFaro. All tracks are by Bill except the last one "Jade Vision". This a very good trio, with great vibe. One of Bill's finest tribute albuns.

Stephen D. Anderson

Remebering the Rain - The Music of Bill Evans

by Ken Dryden
Stephen D. Anderson is not the first guitarist to do a keyboardless tribute to the late pianist and composer Bill Evans, but his unaccompanied solo interpretations of pieces either written or performed by Evans are impressive. Anderson, who was inspired in part by the late Lenny Breau's arrangements of Evans' compositions, gets to the essence of each piece, turning out one lyrical setting after another. Not only does he explore the pianist's most widely known works, but also less familiar pieces like "Only Child" and "Remembering the Rain." Highlights include the magical performance of the bittersweet ballad "Time Remembered," and the equally moving take of the mournful "Turn out the Stars" (which incorporates three overdubbed takes in counterpoint) the deliberate, spacious approach to "Blue in Green," along with "Haunted Heart" — a standard recorded on several occasions by Evans. This commendable CD should be of great interest to fans of both jazz guitar and Bill Evans.


Dave Askren Trio
Re: Bill Evans




By Michael P. Gladstone
Track Listing: Re Person I Knew, Spring is Here, Everything I Love, My Foolish Heart, Midnight Mood, Who Cares?, Time Remembered, Freddie Freeloader, It Might As Well Be Spring, When Sunny Gets Blue, If You Could See Me Now. Personnel: Dave Askren, guitar; Mike Flick, bass; Steve Sykes, drums.
Los Angeles-based guitarist Dave Askren has undertaken a formidable project in adapting the music and style of Bill Evans for a guitar-bass-drums trio. In his liner notes Askren goes to a great deal of trouble to rationalize the validity and difficulties of this undertaking, insofar as Evans' influences for many of the selections and the difficulties of transposing his piano voicings on the guitar. It makes for an interesting story but, to these untrained ears, the question remains as to whether it all works or not. Unequivocally, these eleven tracks do bear the stamp of the late pianist.
In selecting these compositions, Askren has provided a good mix of Evans originals, standards and jazz standards that he frequently played, and one that he never recorded but could easily have ("When Sunny Gets Blue"). The mood is generally the introspective ballad performance that Evans was so noted for. A few tunes, like the Cole Porter "Everything I Love" and Gershwin's "Who Cares?", are taken at mid-tempo; while Miles Davis' "Freddie Freeloader" is the closest to an up-tempo jam.
Askren seems best able to share the Evans persona in the impressionistic adaptation of the Evans classic "Re Person I Knew," the Rogers & Hart "Spring is Here" and especially on the Young & Washington standard "My Foolish Heart." As would have been the case in the Bill Evans Trio, drummer Steve Sykes and bassist Mike Flick share in this project with thoughtful solo work and supportive playing.


Lorne Lofsky
Bill, Please




by Scott Yanow
Lorne Lofsky is a cool-toned guitarist in the tradition of Jimmy Raney and fellow Canadian Ed Bickert. Since Lofsky's sound is not all that exciting, it is fortunate that he is not only an expert bop-based improviser but very good at picking out a repertoire that fits his style. For his trio set with bassist Mike Downes and drummer Jerry Fuller, Lofsky performs four songs by Bill Evans plus numbers by Wayne Shorter, John Lewis, Lennie Tristano ("317 East 32nd"), and Ravel, along with a few standards. To give variety to the date, four pieces are taken totally by Lofsky, who overdubs a second (and sometimes third) guitar with taste. "Subtle creativity" is a phrase that sums up this session as a whole, for it takes several playings to fully appreciate the tight musical communication between the trio members along with Lofsky's inventive ideas.

Tribute Recordings to Bill Evans - Part Two

Enrico Pieranunzi & Horns
Evans Remembered




by Leonardo Barroso
This CD was made with Enrico Pieranunzi's book on Bill Evans "The Pianist As An Artist". It has Enrico playing solo(tracks 1,6), duo(track 2) or sextet(track 3,4,5,7). Has four standards: Seascape, Song from M.A.S.H., Funkallero and Elsa. The other three are originals. Well Evans and Pieranunzi are one of my top jazz pianist, and a work with the two is a very good idea. Is not one of my favorite Enrico's recordings, but it's honest and full of fresh ideas to honor Bill. Must listen !
E.Pieranunzi-Piano, P.Leveratto-Bass, M.Di Leonardo-Drums, F.Bosso-Trombone, R.Giuliani-Sax, G.Mirabassi-Clarinet.
Recorded 11 & 12 October, 2000 in Rome,Italy

Sylvia Syms

...Then Along Came Bill

by Ken Dryden
Sylvia Syms sang everything from cabaret to pop and jazz during her long career, and this tribute to the pianist Bill Evans, recorded nearly a decade after his death and just a few years prior to her passing at the age of 79, is a fine effort. Accompanied by Evans' longtime bassist Eddie Gomez, Evans' final drummer Joe LaBarbera, pianist Mike Renzi, and several guests who recorded with the late pianist on occasion, Syms brings out the essence of each of the 14 songs, though only one is an Evans' composition. Syms, who often described herself as a saloon singer and counted Frank Sinatra among her admirers, has a slightly smoky voice with a touch of vibrato due to being in her late seventies, but she knows how to make the most of her pipes. Renzi wisely doesn't attempt to mimic Evans' style at the keyboard, while the guests include flugelhornist Art Farmer, harmonica player Toots Thielemans, guitarist Kenny Burrell, and drummer Grady Tate (who spells LaBarbera on four tracks). Among the highlights are the soft bossa nova treatment of "The Touch of Your Lips," the playful rendition of "A Sleepin' Bee," and the touching finale of "Waltz for Debby."

Stefano Battaglia
Bill Evans Compositions Vol 1 & 2



by Thom Jurek - Volume One
On the first volume of three projected sets of Bill Evans compositions, pianist Stefano Battaglia registers an album of his major influence's works with great savvy and unpredictability. Rather than moving into "Waltz for Debbie" territory right away, Battaglia and his rhythm section — prestigious as it is with Aldo Romano and Paolino Della Porta — commence with some of Evans' most compelling and difficult works. The set begins with "Interplay"; originally a date with Jim Hall and Freddie Hubbard, the tune is a study in counterpoint, not only against the other instruments, but in terms of pitting the two sides of the piano's register against the middle. Battaglia handles the arpeggios nicely in sharp staccato manner and shifts down into an introspective meditation on the complex three-part harmonic melody. On "My Bells," the large Evans harmonics are explored delicately and thoroughly with three major key figures wrapping around each other in a shimmering collection of eighth notes and glissandi; Romano dances around the languid chords with his brushes as Della Porta plays in hushed elegance to underscore the fragile beauty of the tune. Following this is the classic "Nardis," with Battaglia going inside the piano for food, bowing and scraping strings as Della Porta counters with subtle hammering on the lower register of the bass. It's a stunning, sympathetic reading that captures all of the isolation and darkness in the original, without giving up any of the melody to sentimentality. Battaglia's approach to Evans, despite his great affection for the man's work, is free of nostalgia. He has treated these compositions with the utmost sensitivity and respect by offering them as living compositions to be workshopped not as "classic" material, but as carrying within them the thread of the jazz life force itself. Amazing.



by Thom Jurek - Volume Two
On this second volume investigating the works of Bill Evans, Italian pianist extraordinaire Stefano Battaglia pulls some of Evan's best-known work out of the closet (it's amazing that some of this was left off the first volume) and concentrates on the area that most pianists leave out in interpreting him: his tenderness. Battaglia's approach is a light one, not musically, but emotionally. He understands, on a cellular level it seems, that the emotion Evans put into his compositions wasn't there for effect, it was part of the tunes themselves. The readings here of "Turn Out the Stars," "Peace Piece," and "Story Line" reveal the softness in Evans' approach to his own tunes without being corny or stilted. There is a true generosity in Battaglia's playing that is underscored by the rhythm section of drummer Aldo Romano and bassist Paolino Della Porta, who obviously take their cues from the last Evans trio. What Battaglia "adds" to the work of Bill Evans would be arguable except for the following: his nuance and his unwillingness to sacrifice Evans' particular melodic genius for the sake of a sideways, more intellectually "challenging" interpretation. He understands the material deeply enough to know it doesn't need to be muddied up with either extra notes or unwanted tempo shifts — a good listen to the up-tempo "Displacement" reveals this. As with its predecessor, this volume is essential for Battaglia fans to be sure, but arguably it is also necessary for fans and students of Evans' canon as well.

Jessica Williams
Joyful Sorrow - Solo Tribute



by Ken Dryden
This solo piano CD is unusual in many ways. Jessica Williams' solo concert in tribute to Bill Evans (who died 15 years to the day prior to this performance) features four standards that were a part of his repertoire, "Flamenco Sketches" (which he performed as a member of the Miles Davis Sextet on the landmark Kind of Blue), plus three originals by Williams, but none of Evans' compositions. "Alone Together" is a bit off the beaten path with darting left-handed runs accompanying a sparse right hand; "My One and Only Love" and "I Fall in Love Too Easily" display Williams' lyrical side, while "My Man's Gone Now" proves to be a bit more adventurous. Her originals include the melancholy opener "I Remember Bill"; the oddly named "Joyful Sorrow," which provides Williams a chance to show off a bit; and her loping "Blue for Bill," which wraps the concert. The Black Hawk label, founded by Dr. Herb Wong, folded in the late '80s, but this recording was made in 1996, so the producers evidently started using the name again according to Wong, who said he had allowed the name to go dormant. Surprisingly, there is no aural indication one is listening to a concert, since the recording is free of any kind of audience reaction or intermittent noise. The CD has no catalog number but is a signed limited edition of 200 (possibly given out as a thank you gift for a fundraising event?), autographed by both the pianist and Carole Hand, the artist who provided the painting for the cover. Whether there was ever an additional pressing following this small 1998 pressing remains to be discovered, but in any case, jazz piano fans will want to locate this curious release.


The Drummonds
Letter To Evans





by Ken Dryden
Pianist Renee Rosnes, bassist Ray Drummond, and drummer Billy Drummond (her husband at the time), put together a fine tribute to the late pianist Bill Evans on these 2000 sessions, though they don't play any of his timeless compositions. Instead, they build upon his vast recorded legacy by interpreting standards and modern compositions that Evans enjoyed playing. While there is a touch of Evans' lyricism in Rosnes' playing, she is no mere copycat; while Ray Drummond's tasty, inventive basslines and Billy Drummond's light-handed percussion would have possibly been an excellent rhythm section for Evans. Rosnes' debt to Evans is most apparent in the upbeat treatment of Earl Zindars' "How My Heart Sings" and the brisk setting of "I Hear a Rhapsody." There are also a pair of tracks not associated with Evans. This CD was also issued by True Life as Pas de Trois, though with a slightly different track selection.

Tribute Recordings to Bill Evans - Part One

Don Sebesky
I Remember Bill - A Tribute to Bill Evans

by Stephen Thomas Erlewine

Instead of replicating the familiar, small-combo arrangements that Bill Evans made his stock in trade, Don Sebesky decided to rearrange such Evans-associated songs as "Waltz for Debby," "So What," "Peace Piece," and "Blue in Green" for jazz orchestra, featuring such all-star musicians as Joe Lovano, Lee Konitz, Toots Thielemans, Larry Coryell, and the New York Voices. Consequently, I Remember Bill: Tribute to Bill Evans might not be exactly what longtime Evans fans are expecting, and, truth be told, these arrangements don't always work. Nevertheless, Sebesky's ambitions are admirable, and the tracks that do work — whether it's "I'm Getting Sentimental Over You" or the original numbers "I Remember Bill" and "Bill Not Gil" — are quite enchanting. Furthermore, Evans fanatics will be interested in the unreleased interview excerpt with Evans that's added as a bonus track.

Fred Hersch

Evanessence - A Tribute To Bill Evans

by Alex Henderson

Initially released in Japan in 1990, Evanessence didn't come out in the U.S. until the Philadelphia-based Evidence Music reissued it in 1998. This excellent CD finds Hersch (who evolved into one of the finest acoustic pianists of the 1990s) paying tribute to the person he has been compared to more than anyone: Bill Evans. To be sure, Evans has had a major impact on Hersch's crystalline, elegant pianism. But Hersch (whose other main influences include Ahmad Jamal and Keith Jarrett) is far from a slavish imitator of Evans, and the fact that he's very much his own person comes through on both Evans' compositions (including "Turn Out the Stars," "We Will Meet Again" and "Remembering the Rain") and sensitive interpretations of "Alice in Wonderland" and "You Must Believe in Spring." Though Hersch's admiration for Evans (especially his 1970s work) is hard to miss, he comes across as someone who's adamant about being himself. The pianist's thoughtful accompaniment includes Toots Thielemans on harmonica, Gary Burton on vibes, Michael Formanek or Marc Johnson on bass and Jeff Hirshfield on drums. Highly recommended.

Karen Gallinger

Remembering Bill Evans

by Dave Nathan

For her fourth album, Karen Gallinger has taken on the not insignificant undertaking of devoting a program virtually entirely to the compositions of a singularly inventive jazz pianist, Bill Evans. Evans' musical structures can be difficult to deal with just as instrumentals, never mind when lyrics have been added. His music can be jagged and quirky and was usually composed without any idea of accommodating the needs of a lyricist. In addition to being technically intimidating, his music can be brooding, pensive, and introspective reflecting the personal difficulties he faced throughout his far too short life. The obstacles notwithstanding, vocalist Karen Gallinger and her talented cohorts pull off this undertaking with facility and aplomb making Remembering Bill Evans a notable event. Their success was aided and abetted by Evans' widow, Nenette Evans, who provided material giving the performers unique insights on the music. This results in not only excellent interpretations of some of Evans' better-known compositions like "Turn out the Stars" and the jazz classic "Waltz for Debbie" tour de force performances, but lesser-known works like "My Bells" and "Only Child" are made memorable occasions as well. With her dark, deep voice, restrained scatting, and her unusual ability to transform her voice into a stringed instrument like a bass or cello, this becomes Gallinger's finest album to date. Her supporting cast is excellent. Tom Zink's piano, which shows the influence of Evans, along with Larry Steen's lyrical bass and Chris Wabich's restrained drums provide the foundation upon which this session is built. Larry Koonse is on just four tracks, but on those his guitar work is sterling. In addition to her singing, Gallinger also wrote the lyrics to some of the songs. This is a fine tribute album and is recommended.

Luigi Tessarollo & Stefano Bollani

Homage To Bill Evans & Jim Hall

by Luigi Sidero
Ad avere per la prima volta in mano questo disco, il primo ed istintivo pensiero di perplessit, di spiazzamento. Il giovane astro nascente del piano jazz in Italia insieme ad un grande chitarrista in un omaggio a Bill Evans e Jim Hall. Pi nello specifico, insieme in un progetto dedicato ai due album (Undercurrent e Intermodulation), simbolo dell'amato-odiato connubio piano-chitarra. Ancora: rileggendo gli stessi brani affrontati dai due storici musicisti. Mettendo insieme tutte queste caratteristiche i risultati potevano essere soltanto due: un fallimento totale oppure un buono lavoro. Giusto quindi parlarne per sottolineare anche e soprattutto la coraggiosa scelta di Stefano Bollani e Luigi Tessarollo, che va premiata sotto diversi profili. Ottimo l'interplay fra i due, buona la coerenza stilistica di tutto l'album che resta sempre nel buongusto senza mai sfociare nel pericoloso replay sbiadito di opere irripetibili, formidabili gli assoli. La chiave dell'ottima riuscita sta nel reciproco ascolto e nella complicit nell'accompagnarsi, indispensabile in un duo, ancor di pi in una formazione cos rischiosa come il duo piano-chitarra. Veramente apprezzabile, poi, la scelta di inserire brani originali (solo tre, ma sufficienti): un tocco in pi che d spessore all'artista e particolarit al disco. Valutazione: * * * *

Sito di Stefano Bollani: http://www.stefanobollani.com/

Pagina Web su Luigi Tessarollo: www.ejn.it/mus/tessarollo.htm
Elenco dei brani:

01. I've Got You Under My Skin (Porter) - 5:56

02. MY Funny Valentine (Rodgers/Hart) - 4:01

03. Darn That Dream (De Lange/Van Heusen) - 4:58

04. My Man Has Gone How (Gershwin) - 6:03

05. Il mondo di Fabio (Tessarollo) - 10:37

06. Romaine (Hall) - 5:29

07. Border Line (Tessarollo) - 5:00

08. Turn Out The Stars (Evans) - 6:36

09. Il Barbone di Siviglia (Bollani) - 6:39

10. I'm getting Sentimental Over You (Bassman/Washington) - 2:57
Musicisti: Luigi Tessarollo (chitarra) Stefano Bollani (pianoforte)

Roseanna Vitro

Conviction - Thoughts of Bill Evans

by Alex Henderson
When Roseanna Vitro recorded Conviction: Thoughts of Bill Evans during the summer of 2000, tributes to the late jazz pianist were hardly unprecedented in the jazz world. Evans was, after all, among the most influential bop/post-bop pianists of the 1950s, 1960s, and 1970s — Chick Corea, Keith Jarrett, Fred Hersch, Alan Broadbent, John Serry, and countless others have been heavily influenced by his work. Hersch, in fact, saluted Evans' legacy on his album Evanessance: A Tribute to Bill Evans. The thing that makes Conviction unusual, as far as Evans tributes goes, is the fact that Vitro is a singer. Although she isn't the only vocalist who has recorded "Waltz for Debby" or "Turn Out the Stars," it isn't every day that Evans' songs become the primary focus of a jazz vocal date. And much to Vitro's credit, Conviction isn't about slavish devotion; the Texas native brings something personal to lyrics that were written by Eleana Dee for "Remembering the Rain," Roger Schore for "In April," and Carol Hall for "Very Early" and "Two Lonely People." Not surprisingly, the CD isn't without its share of Gene Lees lyrics; Vitro also interprets the lyrics that the prolific Lees wrote for "Turn Out the Stars," "Waltz for Debby," and "My Bells." It should be stressed that Vitro is joined by players who obviously know Evans' music inside and out — Eddie Gomez was Evans' bassist from 1966-1977, and pianists Fred Hersch and Allen Farnham have both claimed Evans as a primary influence. This thoughtful, consistently interesting date proves that you don't have to be an instrumentalist to be inspired by one of jazz's most imaginative pianists.

GENE LEES ( 1928 - 2010 )

From Wikipedia
Frederick Eugene John "Gene" Lees (February 8, 1928 – April 22, 2010) was a Canadian music critic, biographer, lyricist, and former journalist. Lees worked as a newspaper journalist in his native Canada before moving to the United States where he was a music critic and lyricist. His lyrics for Antonio Carlos Jobim's "Corcovado" (released as "Quiet Nights of Quiet Stars"), have been recorded by such notable singers as Frank Sinatra, Peggy Lee, Queen Latifah, and Diana Krall. Lees married Janet, his wife, in 1971.BiographyLees was the eldest of four children born to Harold Lees, a violinist, and Dorothy Flatman. His sister, Victoria Lees, is the former Secretary General of Montreal's McGill University, and his brother, David Lees, is an investigative journalist and science writer.
Beginning
His writing career as a newspaper reporter in his native Canada, between 1948 and 1955 Lees contributed to The Hamilton Spectator, the Toronto Telegram, and the Montreal Star, and first worked as a music critic in the United States for the Louisville (Kentucky) Times between 1955 and 1959 and was editor of the jazz magazine Down Beat between 1959 and 1962.As a freelance writer, Lees wrote for the American high fidelity magazines Stereo Review and High Fidelity (often using his column to defend jazz and older popular music while blasting "that rock junk"), the Canadian magazine Maclean's, the Toronto Star, the Toronto Globe and Mail, and The New York Times.Lees wrote nearly one hundred liner notes for artists as diverse as Stan Getz, John Coltrane, and Quincy Jones. His first novel And Sleep Until Noon was published in 1967. The second, "Song Lake Summer" was published in 2008.Lees won the first of five ASCAP-Deems Taylor Awards in 1978 for a series of articles published in High Fidelity about US music. Lees' famous monthly Jazzletter was established in 1981, and contains musical criticism by Lees and others.
Author
Lees wrote a rhyming dictionary in the 1980s, and published three compilations of pieces from his Jazzletter: Singers and the Song (1987), Meet Me at Jim & Andy's (1988), and Waiting for Dizzy (1991). As a biographer, Lees has written about Oscar Peterson, the partnership of Alan Jay Lerner and Frederick Loewe, Woody Herman, and collaborated with Henry Mancini on Mancini's autobiography. Lees wrote about racism in jazz music in Cats of Any Color: Jazz Black and White and on the effect of racism on the careers of Dizzy Gillespie, Clark Terry, Milt Jackson and Nat King Cole in You Can't Steal a Gift: Dizzy, Clark, Milt and Nat. Friends Along the Way: A Journey Through Jazz, a memoir, was published in 2003.
Songwriting
Lees studied composition by correspondence with the Berklee College of Music, in the early 1960s and piano with Tony Aless and guitar with Oscar Castro-Neves in New York City. Lees became a lyricist in the 1960s, writing many of the English language lyrics for Bossa Nova songs, translating them from their original Portuguese. Lees wrote the lyrics for the Antonio Carlos Jobim songs; "Quiet Nights of Quiet Stars", "Someone to Light Up My Life", "Song of the Jet", "This Happy Madness" and "Dreamer". "Quiet Nights of Quiet Stars" (originally "Corcovado") has been recorded by many artists, artists as diverse as Frank Sinatra and Queen Latifah. "Quiet Nights" was Lees' first professional lyric, written on a bus going to Belo Horizonte, while Lees was on a United States State Department tour of South America with the Paul Winter Sextet, in 1961. Sinatra recorded four songs by Jobim with lyrics by Lees, Sinatra's recording of "Quiet Nights" (from Francis Albert Sinatra & Antonio Carlos Jobim, 1967), is considered by Lees to be definitive. Lees also wrote the lyics for Charles Aznavour's, "Paris Is at Her Best in May" and "Venice Blue", and Aznavour's 1965 Broadway concert, The World of Charles Aznavour. Lees contributed lyrics to "Bridges" by Milton Nascimento; "Yesterday I Heard the Rain" by Armando Manzanero; and Bill Evans' "Waltz for Debby". Poems by Pope John Paul II were translated by Lees and recorded by Sarah Vaughan as the song cycle One World, One Peace in 1985.
Recording/Broadcasting
Lees briefly returned to Canada in the early 1970s and recorded the LP Bridges: Gene Lees Sings the Gene Lees Songbook on Kanata Records, a Toronto company of which he became president from 1971 to 1974. Lees briefly had his own late-night CBC TV show in 1971, appeared as a commentator or singer on other CBC Toronto and Ottawa TV and radio series, and was host 1973–4 for Toronto radio station CKFM-FM's Gene Lees and Friends. Lees released a second album in 1998, Gene Lees Sings Gene Lees and recorded Leaves on the Water with pianist Roger Kellaway, and a third "Yesterday I Heard The Rain" with a group of jazz all-stars led by Don Thompson.
Death
Lees had struggled with heart disease in his later years, and died on April 22, 2010 at his home in Ojai, California. Lees wife, Janet, was present at his death.

My Essential Bill Evans Recordings

Bill Evans & Jim Hall
Undercurrnet

By David Cohen
If Undercurrent, the first and superior of two piano / guitar collaborations by Bill Evans and Jim Hall, (the other being Intermodulation produced four years later), were a book and not a record, then the blurbs on the back of the dust jacket might read:
"...Lush...beautiful...touching" "...Filled with almost fugitive nuance and effortless interaction" "...Perfection in spiritual and technical communication"
Together, throughout the album, Evans and Hall sound like so much more than just a piano and guitar. Here we have minimalism stood on its head. The smallest number of musicians possible for interactive improvisation producing a sound as full and close as those big block chords in Bartok's "Concerto for Orchestra".
The final take of "My Funny Valentine" is my favorite. On the original LP it's the first track. Here we discover the incredible interaction and flawless syncopation of which these two masters of beauty and technique are capable. Yes, it is effortless and lush. Listen especially to the incredible section where Evans plays big chords syncopated against Hall's intricate melodic improvisation. It blows my mind every time I hear it!
Listening to "Romain," I half-consciously, half-subconsciously, compare Evans' semi-rich chordal sadness with John Lewis' single-fingered sorrow on the MJQ's version from their "Pyramid" album.
My second favorite next to "Valentine" though, is "Skating in Central Park". Hall's replication of the skating rink bell, invariably evokes thoughts of smiling skaters, gliding hand in hand or huddled over cocoa, long mufflers slung around their necks, as the last streaks of red-yellow sun are replaced by lovely not lonely chilled gray, only to be warmed by Hall's bass-like guitar scoops against Evans' bright melodic right hand.
I have also written an article for this issue of All About Jazz. It's a retrospective looking back 35 years to when I first heard this LP. In it, and in this review, I hope I have revealed the incredible amount of emotion that this particular album has stirred in me from the first moment I heard, "My Funny Valentine". To this day, I don't think that any other piece of music provides to me, the sense of Mozartian perfection and completeness that this recording does.


Bill Evans
You Must Believe In Spring
















By Mark Corroto
Somewhere between the huge box sets of Bill Evans’ work on Verve, Riverside, Fantasy and his final works (and almost final live dates) lie some true gems. Romantics fall easily for the gritty sounds of Evans accompanying singer Tony Bennett from 1975 and his two Paris concerts from 1979, both released on Blue Note, which are indeed triumphs of his spirit. I’d put my vote in for this session released originally in 1981, a year after Evans’ passing.
At the time of this date, Evans was working with drummer Eliot Zigmund and bassist Eddie Gomez. Sure, your favorite bassist with Evans might be Scott Lafaro or Marc Johnson—and someone else might favor Paul Motian or Joe LaBarbera at the kit—but on this particular date in August 1977 producers Tommy Lipuma and Helen Keane captured the existing Evans trio’s magic.
For connoisseurs, this reissue includes three bonus tracks left off the original recording. His take on Miles Davis’ “Freddie Freeloader,” the only track where he didn’t occupy the piano seat on the Kind Of Blue session, swings and is an upbeat blues... two styles critics have claimed that Evans was incapable of. He even pursues a solo on the Fender Rhodes electric piano here (and you newbies thought Uri Caine invented the damn thing). Also included are “Without A Song” and and a brimming version of Cole Porter’s “All Of You.”
But what is it about Bill Evans? Maybe it is that he can play a waltz like “B Minor Waltz” with total patience and lack of bravado. Maybe his tragic life reveals itself in Jimmy Rowles’ tune “The Peacocks,” as he can convey the sensitivity of his touch on the keyboards like no other pianist could. But his music is not about melancholy. Evans music doesn’t say “pity me, I’m tragic.” It soars, expressing emotion, depth, and humanity.
When he covers the “Theme From M*A*S*H,” which is subtitled “Suicide Is Painless,” you understand that to Evans, life was as heavy as a mountain, but death as light as a feather.
Track listing:
B Minor Waltz (For Ellaine); You Must Believe in Spring; Gary's Theme; We Will Meet Again (For Harry); The Peacocks; Theme from M*A*S*H; Without A Song; Freddie Freeloader; All of You
Personnel: Bill Evans - Piano; Eddie Gomez - Bass; Eliot Zigmund - Drums.


Bill Evans
The Complete Village Vanguard Recordings, 1961

By Jim Santella
With one and a half hours of material, this three-disc box set proves invaluable. It brings the classic Bill Evans Trio into focus for an evening of modern jazz that's played the way it's supposed to be played. You can relish every nuance of this session because it's not loud, forceful, flashy, or intense. No, Bill Evans didn't design his creations so that you would have your socks knocked off by dramatic intensity. He gave us something to enjoy night after night after night.
"My Foolish Heart," for example, begins with a simple piano melody that comes surrounded by swirling brushes and a somber bass walk. Evans explores the melody from the inside. He lets it simmer gently and wash over the audience gracefully. Everywhere you look, the pianist and his musical partners have sprinkled delicious gestures around the room with a natural aura.
Bassist Scott LaFaro improvises on each familiar melody with a melodic rapport. He contributed several of these memorable compositions, which have become standards. The trio's synergy comes from all of them, and LaFaro ensures that the trio's balance remains level. His solo on "My Romance," take 1, from Waltz for Debby, comes complete with a healthy respect for the composer's original theme. His lyrical manner reappears on "My Romance," take 2, which finds the bassist exploring in like manner, but finding new ways to express his ideas.
Paul Motian gives the session variety through the textures that he selects to help depict each mood. Swirling for one mood and striking crisply for another, he embraces each song with a hug. "Waltz for Debby," take 2, which originally appeared on Waltz for Debby, finds the drummer flapping his wire brushes lightly to create a casual mood, while "Jade Visions," take 2, from Sunday at the Village Vanguard, finds Motian swirling with a dreamy texture. His crisp stick work on "Milestones" helps to create a mood of driving with spirit.
Evans treats each piece with kid gloves. His creations are intended for the listener who wants to appreciate art from the inside. The box set comes with an informative booklet featuring black and white photos and pertinent liner notes by Orrin Keepnews.
Track listing:
CD1: [Afternoon Set 1]: Spoken Introduction; Gloria's Step; Alice In Wonderland; My Foolish Heart; All Of You; announcement and intermission; [Afternoon Set 2]: My Romance; Some Other Time; Solar.
CD2: [Evening Set 1]: Gloria's Step; My Man's Gone Now; All Of You; Detour Ahead; [Evening Set 2]: Discussing Repertoire; Waltz For Debby; Alice In Wonderland; I Loves You, Porgy; My Romance; Milestones.
CD3: [Evening Set 3]: Detour Ahead; Gloria's Step; Waltz For Debby; All Of You; Jade Visions; Jade Visions; A Few Final Bars.
Personnel: Bill Evans: piano; Scott LaFaro: bass; Paul Motian: drums.


Bill Evans
The Tokyo Concert

by Ken Dryden
The Bill Evans Trio's 1973 concert in Tokyo was his first recording for Fantasy and it produced yet another Grammy nomination for the presentation. With bassist Eddie Gomez and drummer Marty Morell, this straight reissue of the original LP mixes offbeat songs with overlooked gems, familiar standards, and surprisingly, only one Evans composition, the demanding "T.T.T.T. (Twelve Tone Tune Two)." Bobbie Gentry's "Mornin' Glory" was an unusual choice to open the performance and seems a bit conservative for Evans. The adrenaline picks up considerably with his mid-tempo waltzing take of Jerome Kern's "Up With the Lark" and a driving "My Romance." Evans also revisits the twisting Scott LaFaro tune "Gloria's Step," which showcases both Gomez and Morell. The closer, "On Green Dolphin Street," is given a slight bossa nova flavor and isn't nearly as aggressive as most of the pianist's live recordings of this popular standard. Although this CD doesn't rank among the Top Five live dates recorded by Bill Evans, it should be considered an essential part of his discography. It seems odd that no additional music turned up for this reissue, as the concert is just under an hour long; all nine tracks are included in the boxed set The Complete Fantasy Recordings.


Bill Evans & Tony Bennett
The Tony Bennett Bill Evans Album














by William Ruhlmann
Having completed his relatively brief sojourn with MGM/Verve with 1973's Listen Easy, Tony Bennett was in the midst of forming his own label, Improv Records, when he made a deal with jazz pianist Bill Evans to cut two LPs, this one for Evans' label, Fantasy Records, with another to follow on Improv. The singer and his collaborator ("accompanist" does not adequately describe Evans' contribution, and in any case he received co-billing) got together in a recording studio over four days in June 1975 with no one other than the producer, Helen Keane and an engineer present, and quickly recorded one of the best albums of either's career. For Bennett, it was a dream project; for years (decades, actually), he had been balancing the demands of commerciality with his own inclinations toward jazz and affection for the songs of Broadway masters and of the Great American Songbook. Left to himself with a jazz partner, he naturally gravitated toward both interests. There were songs here that he had already recorded, but never in so unadorned and yet fully realized a fashion. Evans was an excellent accompanist, using his steady left hand to keep his singer centered, but ready, whenever the vocals were finished, to go off into his characteristically lyrical playing. Bennett could seem a bit earthbound when he came back in (he still wasn't really a jazz singer), but his obvious enthusiasm for the project, coupled with his mastery of phrasing in songs he understood perfectly made him an equal in the partnership. As far as the major-label record business was concerned, the 46-year-old singer might have been over the hill and indulging himself, but in fact he was in his prime and finally able to pursue his ambitions unfettered, and that would prove itself a major boost to his career over time. For the moment, he'd made an excellent jazz-pop hybrid in which both musicians were shown off to advantage. [The five alternate takes included as bonus tracks on the 2006 reissue of the album are, not surprisingly, more interesting for Evans' different improvisations than for anything else. But they also demonstrate that he and Bennett tried different approaches to the tunes. The album's lead-off track, "Young and Foolish," begins with both Bennett and Evans on the refrain, but the alternate take starts with Evans alone, followed by Bennett singing the song's introductory verse instead; the version runs a minute longer. The alternate take of "The Touch of Your Lips," on the other hand, is at a faster tempo and a minute shorter. None of the alternate takes actually improves on the originally released ones, but they show how well considered the album was.


Bill Evans
Quintessence
















By Leonardo Barroso

Quintessence = The pure, highly concentrated essence of a thing. This is the best quintet album Bill Evans recorded, has a wonderful cover, great tunes, a superb group of jazz musicians.
Quintessence is an album by pianist Bill Evans, released in 1976 on Fantasy Records.Track listing:
"Sweet Dulcinea Blue" (Kenny Wheeler) – 6:02
"Martina" (Michel Legrand, Eddy Marnay, Hal Shaper) – 8:12
"Second Time Around" (Sammy Cahn, Jimmy Van Heusen) – 3:41
"A Child Is Born" (Thad Jones, Alec Wilder) – 7:30
"Bass Face" (Kenny Burrell) – 10:04Reissue bonus track:
"Nobody Else But Me" (Oscar Hammerstein II, Jerome Kern) – 7:27

Personnel:Bill Evans – pianoRay Brown – bassPhilly Joe Jones – drumsKenny Burrell – guitarHarold Land – tenor saxophone

Production notes:
Helen Keane – producer
Phil Kaffel – engineer
Phil DeLancie – remasteringGalen Rowell - cover photo
Phil Bray - booklet photos


Bill Evans
Turn Out The Stars - 1980




By Doug Collette
The extent to which Bill Evans' studio and live recordings have been recorded, archived and released is a testament to the deserved reverence the late pianist has elicited. Originally available only in a limited run, Turn Out the Stars-The Final Village Vanguard Recordings June 1980 is further evidence of that devout respect.
Far more lavish (and sturdy despite the individual digipaks inside)) than the accompanying box, the essays written by Bob Blumenthal and Harold Danko are extensive in their detail and focused passion, as good a means of describing The Evans trio's own playing as there is. On "Re: The Person I knew," there is no melodramatic lingering on the sweet melody, as if to telegraph its beauty rather a constant turn through its changes. If slowly rotating a fine jewel is the best way to appreciate its true beauty by viewing as many facets as possible—no one angle fully serves the purpose—so, too, is Evans and his trio's approach to a composition's melody and rhythm.
As with Evans' classic trio featuring drummer Paul Motian and bassist Scott LaFaro, the personnel at the time of these recordings—bassist Marc Johnson and drummer Joe LaBarbera—does its share to make descriptions about telepathic instrumental communication the cliché it is today. Hearing them interact on both renditions of "The Two Lonely People," there is a sense of learning the contours of the composition a little better each time, as much as an increase in familiarity between the musicians. The former lesson is a means to the latter knowledge.
Describing musicians' interplay as conversation or dialogue is a clich&233; of sorts too, but in the case of Evans' trio it is perfectly appropriate throughout Turn Out the Stars. Each player makes his instrument take on characteristics of the other two. Johnson, for example, has as elegant a touch as Evans on "Nardis," from the June 8 second set. Similarly the threesome shares the feel for each others' styles. LaBarbera moves with the same fleetness as Johnson, without any sense of hurry on "Time Remembered" from the June 6 second set
The breaks in the leader's playing on "Days of Wine and Roses," from the June 5 second set, allow comments from his band mates on the preceding interval, sometimes constituting reiteration but more often representing extensions of thoughts just expressed. Each musician is confident enough in his own playing and that of his peers that he can afford to pause and reflect, if only for a split second, on what's just been played, to effectively process what he's just heard.
Given the stellar and staunch presence of Helen Keane and the Village Vanguard venue itself, it stands to reason that the recording here is as immaculate as the playing. The music contained in the six CDs of Turn Out the Stars: The Final Village Vanguard Recordings June 1980 demands to be preserved for posterity in exactly this splendid fashion.

Track listing:
CD1: Bill's Hit Tune; Nardis; If You Could See Me Now; The Two Lonely People: Laurie; My Romance; Tiffany; Like Someone In Love; Letter To Evan.
CD2: Days Of Wine And Roses; Emily; My Foolish Heart; Nardis; Yet Ne'er Broken; Quiet Now; But Not For Me; Spring Is Here; Autumn Leaves.
CD3: Your Story; Re: Person I Knew; Polka Dots And Moonbeams; Two Lonely People, The; Theme From M*A*S*H; Tiffany; Turn Out The Stars; Laurie; My Romance; Knit For Mary F.; Midnight Mood; Time Remembered.
CD4: Days Of Wine And Roses; Up With The Lark; Nardis; Your Story; Yet Ne'er Broken; If You Could See Me Now; Bill's Hit Tune; Tiffany; In Your Own Sweet Way.
CD5: I Do It For Your Love; Five; Polka Dots And Moonbeams; Bill's Hit Tune; Turn Out The Stars; Days Of Wine And Roses; But Not For Me; Knit For Mary F.; Like Someone In Love; Quiet Now.
CD6: Emily; Nardis; Knit For Mary F.; Like Someone In Love; Letter To Evan; Minha; A Sleepin' Bee; My Romance/Five.
Personnel: Bill Evans: piano; Marc Johnson: bass; Joe LaBarbera: drums.


Bill Evans
Conversations With Myself















By Jason R. Laipply
Technology and art have always had a tumultuous relationship at best. Advancements in technology have often been greeted by the artistic community by a split response: Some embrace the new technology and experiment with it, reaching out for new forms of expression that were impossible before; others shun the advances, dismissing them and those that use them as poor synthetic substitutions for "real" artistic struggle and creativity.
Today, a great deal of this controversy centers around the use of computers in both the visual and audio arts. Sampling, digital replication, and plagiarism are all issues debated regularly. However, in 1963, the topic of debate was overdubbing, a practice that we regularly take for granted today. And at the center of the debate about this "new" technology was Bill Evans.
Universally considered as one of the top jazz pianists in history today, in 1963 Bill Evans was yet to experience huge commercial success. Drugs, non-focused career management, and bad luck had all conspired to place Bill Evans on tenuous ground, career wise, in 1963. An idea, however, the an album of Bill Evans playing with Bill Evans was hatched, and Evans was game. The rest, as they say, is history....or rather the album Conversations With Myself. Conversations With Myself was a major undertaking, and perhaps, an even greater risk. Overdubbing was sneered at by most jazz people, looked at as "gimmicky" and "synthetic". But Evans, one of the most lyrical musicians the jazz world has ever known, was intrigued with taking the "conversational" approach his trio had been practicing to the next logical level. If three musicians could practice and play together long enough to be able to carry on musical conversations during a song, then wouldn't the musical ideas expressed and explored by multiple tracks of the same musician be even closer to an "idealized" perfection? In 1963, the answer was unclear. In 1997 though, the answer is clear, and Conversations With Myself 's inclusion in Verve Master Edition set exemplifies the positive response.
Garnering a 5 star review from Downbeat in 1963, and a Grammy, Conversations With Myself was an instant classic for the jazz community. Evans work on the ten tunes included here is truly inspired and amazing to behold. In each song, it is as if three distinctive "sides" or "personalities" of Bill Evans are playing together...each keenly aware of what the others are doing, and perhaps more importantly, will do. Evans' amazing musical comprehension is given center stage while running through classic jazz sides like "'Round Midnight," "Stella By Starlight" and "Just You, Just Me." "Blue Monk" showcases a muscularity to Evans' playing that he rarely displayed, while the "Love Theme From Spartacus" showcases Evans' signature use of space, time and inference.
Overall, this album is rather unique for Evans. Known as one of jazz's "prettiest" pianists, the extensive use of overdubbing here adds so much substance to these tracks that it is somewhat difficult for the uninitiated to keep up with everything that is going on. For the fan of Evans though, this glimpse of the artist at a heightened level of expression is very rewarding indeed. However, for the casual fan, I would not suggest this disc. The musical vocabulary is complex enough that the simple beauty of the songs, and Evans playing, is at times lost. Better to start with some of Evans' Riverside albums, or any of Verve's trio albums first, allowing the listener to "build up" a sense of Evans and his ideas...then come back to this album. And prepare to be impressed.
Track listing:
'Round Midnight; How About You?; Spartacus Love Theme; Blue Monk; Stella By Starlight; Hey, There; N.Y.C.'s No Lark; Just You, Just Me; Bemsha Swing; A Sleepin' Bee.


Bill Evans
Explorations
















By David Rickert
An article in a men’s magazine once suggested an exercise regimen that consisted of a walk to the local record store to buy one Bill Evans CD every day. That way you would not only be in better shape, but you would also have a great collection of piano jazz as well. It’s an established fact that Evans revolutionized the sound of the piano trio; you can bet that every pianist who ever worked the hotel lounge circuit has worn out the grooves listening to his records. However, unlike the cocktail tinklings of his admirers that end up little more than background music, Evans demands to be heard, seducing you with his indelibly emotional playing. Most aficionados would agree that his trio records with Scott LaFaro on bass are his best, and the natural place for a novice to start.
Explorations is the second outing by this trio and took almost a year to record after Portrait in Jazz, the album that won him such great critical acclaim. Evans conceptualized the trio as exactly that—a trio, where each member contributed equally to the whole. It works marvelously: LaFaro’s nimble bass playing and Motian’s drumming provide a relaxed, rhythmic underpinning for Evan’s graceful chords. The trio works magic here, breathing fresh air into standards such as “How Deep and the Ocean?” and “Beautiful Love” and creating the illusion that these songs were written just so someone like Evans could play them. The highlight of the album is “Elsa,” which is one of the most beautiful piano ballads on record. Many would point to the later live recordings at the Village Vanguard as the essential Evans, but this earlier studio recording is quite a treat as well.
Track listing:

1. Israel 2. Haunted Heart 3. Beautiful Love 4. Elsa 5. Nardis 6. How Deep Is the Ocean? 7. I Wish I Knew 8. Sweet and Lovely 9. Bautiful Love (alt. take) 10. The Boy Next Door. Personnel: Bill Evans-piano; Scott LaFaro-bass; Paul Motian-drums.


Bill Evans
Alone















By Jack Ashby
This is a re-issue of Bill Evan’s first solo album recorded in 1968 and contains seven bonus tracks, six being alternative takes, from the ‘Alone’ sessions – they were recently discovered and not previously issued. Here we have Evans at his best.
In the early 1950s Evans’ was beginning to be recognised as a pianist with great potential and in 1958 he joined Miles Davis. This was a period when Davis also employed John Coltrane and Cannonball Adderley and his music was being diverted towards modal improvisation. By then Evans was regarded as an inspired and self-searching musician whose cleverly constituted solos, augmented by masterful harmony, exposed his extensive talent. Although he was only with Miles a very short time it proved to be a vital component in his development.
His next venture was trio work with bassist Scott La Faro and drummer Paul Motian and this together with duo work was the general format of his music until his death in 1980. However, it was inevitable he would make solo recordings and the ‘Alone’ sessions were the result. It would be wrong to say that they were made at the height of his career because his playing hardly ever varied in its high quality.
‘Alone’ is far from ‘easy listening’ – throughout it commands attention. Some fans steer clear of recordings that contain so many retakes and often that is justified but in this case the extra tracks provide evidence of his fresh approach to the repeated performance of a piece. His playing is distinctive but in the composition and length of some of his phrasing there is more than a hint of Lennie Tristano. On a general theme his qualities of performance vary between massive strength coupled with deep harmony to sensitive and delicate melodic lines. ‘Alone ‘ is one of those recordings that warrants listening to repeatedly – each time something new is revealed.
1 Here’s That Rainy Day 7 Track 1 – Alternative Take
2 A Time for Love 8 Track 2 – Alternative Take
3 Midnight Mood 9 Track 3 – Alternative Take
4 On A Clear Day (You Can See Forever) 10 Track 4 – Alternative Take
5 Never Let Me Go 11 Track 5 – Alternative Take
6 The Two Lonely People 12 Medley – All the Things You Are/ Midnight Mood