Miles Davis' white pianist Bill Evans (1929) had started in a low-key bebop vein with New Jazz Conceptions (september 1956), that contained his Waltz for Debby, and with Everybody Digs (december 1958), that contained his Peace Piece; but, after recording Kind Of Blue (april 1959) with Davis, he formed a trio with bassist Scott LaFaro and drummer Paul Motian that introduced a new democratic. Jul 03, 2019 The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of “Autumn Leaves.”.
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It was the perfectionist quality of Evans's approach and the subtlety of his thinking that made Ronnie Scott and Pete King realise that they would have to improve the facilities a little. The club's piano was a battered old upright that had been in use there since the establishment opened, its eccentricities by now instinctively grasped by Tracey house pianist Stan Tracey, who knew every treacherous habit it had. But they could not expect Evans to play on it. So the two club proprietors performed the long-postponed ritual of selling the piano the weekend before Evans was due to arrive.
They then set about hiring a grand piano. When Evans began to play he had distinct mannerisms in performance, and Evans seemed to express his apparent desire to escape more and more comprehensively into a fascinating landscape inside his own head. A thin intense-looking figure, he sat at the instrument with his head bowed over it, his nose at times virtually touching the keyboard, hands floating ethereally through a mixture of evaporating arpeggios, crisp, sinewy single-line figures that would erupt and vanish in an instant, and an ever-present rhythmic urgency that continually prodded at the otherwise speculative and otherworldly quality of his work. Unlike many of the bebop pianists, Evans did not merely concentrate on chorus after chorus of melodic variations on the harmony - the latter usually expressed in bald, percussive chords designed to emphasise the beat -but sought to develop a solo as a complete entity with a fundamental logic and shape, his left hand developing and enriching the harmony. Bill Evans - as the New York Village Voice writer Gary Giddins remarked - exhibited the white jazz players' gift of 'swinging with melancholy'.
Evans became another regular visitor to Ronnie Scott's Club over the years, with a variety of high-class and empathetic accompanists.”. The critics for Melody Maker had just voted Evans into first place in their jazz piano poll. Such critical reaction was based on his recordings, but there is nothing like hearing the real thing. Today it is easy to forget the impact of this new voice whenever he went to a new place. The pianist John Horler recalls his first experience of the Evans sound; ‘I remember being at the bar at Ronnie Scott's with my back to the bandstand when I heard these chords being played very quietly on the piano.
The impact was as great as if you'd suddenly heard the Count Basie band in full cry! I turned around, and Bill Evans was sitting at the piano ready to start his first set.' His thoroughly grounded knowledge enabling him to make quite original substitutions. As each new element of his vocabulary became assimilated into general use, so the ground was laid for the next, and thus his own successive brands of piquancy came alive. This essentially harmonic world was enhanced by inner and outer moving parts, comments and colorings: a note that began life as a chromatic passing note might be transferred into the chord itself, which then emerged as a fresh voicing. The evolution spanned his whole life and was continuing to develop at his death.” Pettinger; Emphasis mine.
In parallel with the choice of notes was the rhythmic variety into which they were cast, an acuity which had been sharpened early on, during his first excursions with George Russell. In trying to describe some of his rhythmic approaches in the trio, Evans likened the placement of his chords to shadow lettering, in which the shadows rather than the letters are drawn, yet the observer is always conscious only of the letters themselves.
He was fascinated by disguise, surprise, and asymmetry; asymmetry, in fact—in the form of displacement—almost developed into an occupational hazard. Phrases fell according to their content rather than the position of the bar line. Evans referred to an 'internalized' beat or pulse, around which the trio played, avoiding the obvious and the explicit. As for cross-rhythms, he had always been at home in two meters at once, leaning fearlessly into the one he was engaged upon. A further subtle dimension in his playing, extra to written time-divisions, is all but beyond description: an impulsive motion that can only be likened to the timing of a great actor or comedian. In ballads especially, this sense was indispensable to their strength.”.
Marked by the already empathetic interplay of Evans, Gomez, and Morell, who would perform together for nearly seven years, Evans in England is an exceptional recital that encompasses energetic renderings of such timeless compositions as 'Waltz For Debby,' 'Turn Out the Stars,' 'Very Early,' and 'Re: Person I Knew'; extroverted readings of Miles Davis’ 'So What' (which Evans originated with the trumpeter sextet on the 1959 classic Kind of Blue) and Thelonious Monk's 'Round Midnight'; and Evans' earliest recordings of 'Sugar Plum' and 'The Two Lonely People.' There’s a difference between understanding something and accepting it. When you play Jazz, you can copy those who most impress you on your instrument, but at some point you have to step back and accept what you can do in developing your own style on the instrument. This doesn’t mean complacency. You should continue to practice and try to improve your skills.
The more technical mastery you have the easier it becomes to free your mind to invent your improvisations. Also important is the lesson contained in the following excerpt from George Shearing’s autobiography: “.becoming a jazz pianist with some direction about what your style is going to be. That involves thinking about who you're going to follow or how you're going to develop a style of your own, and from what grounds.”.
Willis Conover (1920-1996) was a jazz producer and broadcaster on the Voice of America for over forty years. He produced jazz concerts at the White House, the Newport Jazz Festival, and for movies and television.
Conover is credited with keeping interest in jazz alive in the countries of eastern Europe through his nightly broadcasts during the cold war when jazz was banned by most of the communist governments. Conover was not well known in the United States, even among jazz aficionados, but his visits to eastern Europe and Russia brought huge crowds and star treatment for him. The Digital CollectionThe UNT Digital Library contains a small selection of program lists, recording schedules, and promos that come from a much larger collection of Conover materials available in tangible form at the UNT Music Library. The Physical CollectionA 1997 gift of the Willis Conover Jazz Preservation Foundation, Inc., the physical collection consists of over 22,000 recordings of all kinds, correspondence, memos, magazines, record catalogs, manuscripts, program notes, memorabilia, photographs, books, and other personal items. Many of the recordings and books are being added to the regular collection, cataloged in the UNT Libraries' online catalog, and allowed to circulate. The archival and historical material will be made available as special collections.For more information, including inventories of circulating recordings, please see the UNT Music Library's page.
“Jazz musicians are their music. Absent that, they're just people making a living, eating meals, paying bills — no different from cops or politicos. But that's just the point: the music can't be subtracted: it's the defining essence, which sets musicians apart, makes them special and ultimately a little mysterious. Makes their various complexes and misbehaviors interesting to writers, chroniclers, fans.
Would British writer Geoff Dyer, for example, have found Bud Powell, Charles Mingus, Art Pepper, and the other walking pathologies celebrated in his BUT BEAUTIFUL (Farrar, Straus, 1996) so fascinating had it not been for the music they made? Subtract the music and you have just another chronicle of aberrant thought and behavior. 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. (Specifically the recent Roy DuNann piece.) So first of all: thanks for that! Secondly, the reason for me writing you is that I’ve been quite busy organizing my jazz collection and have compiled and uploaded a handful of homemade radio shows on the podcast platform Mixcloud.
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. Problem is; nobody's listening to them. I thought, if you shared my enthusiasm, they perhaps could be linked somehow to your blogspot. But only if you think that’s appropriate.
Two important notes: 1: there’s absolutely no commercial incentive involved here 2: the podcasts are a hundred percent non stop music, so no talking, jingles or add’s etc. Check them out, if you have the time. 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. Ok, so that’s basically it. Thanks for taking the time and let me know what you think. Kind regards, Geugie Hoogeveen the Netherlands.
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