It Could Happen To You

 

A lovely rendition of a great standard from one of the best trios Bill Evans ever had. Eddie Gomez was a mainstay, but the addition of Jack DeJohnette made for some interesting developments in the musical ideas of Gomez and Evans.

Witchcraft

 

Although I have always associated "Witchcraft" with Bill Evans, Duke Pearson's take is quite playful and lovely. Pearson's touch is a bit more bluesy and light-hearted. Unfortunately, Gene Taylor's bass solo can't compare with that of Scott LaFaro, but the world of jazz bass would be dull if everyone sounded the same.

All of You on a Sunday at the Village Vanguard

Everyday can be like Sunday at the Village Vanguard during these times of crisis. "All of You" has rarely been interpreted more superbly than Bill Evans and Scott LaFaro's emotionally moving and lyrical take.

Witchcraft

Bill with the magic fingers playing "Witchcraft." Scott LaFaro's lyrical bass solo is always a welcome addition to Bill.

Waltz For Bill Evans

I have long been a sucker for the elegant jazz-waltz. Here is an example of one, a tribute to the master of jazz-waltz, Bill Evans. Although Chick Corea is not my preferred jazz pianist, this is an interesting and dark jazz-waltz featuring some of my favorite musicians. Enjoy!

Waltz For Debby (Kronos)

When I was obsessively listening to Bill Evans a year ago, somehow I missed out on the collaboration of Kronos Quartet with Eddie Gomez and Jim Hall, two musical partners of Evans. They recorded some of my favorite songs by Evans, and although it's only Hall and Gomez who take solos, the results are spectacular. The style and compositions of Evans always lend themselves well to classical music, particularly French impressionists but even the quasi-baroque sounds of the Kronos Quartet here. With Gomez to establish a jazz foundation, Kronos Quartet's tribute to Evans is astonishingly quite successful. Although their Monk album was a tad underwhelming, I would love to hear them tackle compositions by various other jazz legends. Perhaps Ornette Coleman? Eric Dolphy?

I Love You, Porgy

I was listening to Bill Evans's short-lived trio with Jack DeJohnette and Eddie Gomez again, and somehow I missed the utter pulchritude of this solo piano rendition of "I Loves You, Porgy." I hate the title, but the music is pure ethereal beauty. While this recording may not be as famous as the legendary Village Vanguard trio recording, the cascading musical explorations of Bill are nothing short of soul-searching. I may have to revisit his solo recordings...

Bill Evans: How My Heart Sings

Pettinger's detailed biography of Bill Evans, Bill Evans: How My Heart Sings, remains the best read (and, surprisingly, one of the few) for those interested in the music of one of the most influential jazz pianists. Pettinger, reared in the classical tradition, provides numerous commentary on classical influences in Evans's music and style while also appreciating the value of jazz and improvisation (though there's certainly some elements of classical elitism at play). Nonetheless, Pettinger makes some odd statements throughout the book on Evans's Russian ancestors from the Ukraine, as if there is a 'Russian' or Eastern European classical style embedded in his genes or lineage that helps elucidate his style. There is also an odd claim in which Coltrane allegedly felt that Evans didn't belong in Miles's group because he was the sole white, which does not sound like something Coltrane would have believed, at least from the interviews and biographies I have encountered. 

Nevertheless, as an overview of the various incarnations of the trio and the transformations of his music, Pettinger's priceless, particularly for the commentary on various recordings, integrating interviews, jazz critics, and oral histories into the story quite well. For someone like myself who is not well-trained in music theory, Pettinger's coverage of the specific recordings of, for example, the Eddie Gomez years in Bill's trio, are informative and assist in guiding the reader as one explores the discography. The reader will appreciate Eddie Gomez, Scott LaFaro, Evans's brother, and the role of women in his life for shaping Evan's work. Now, I must read Thomas Hardy (Evans's favorite noveliest) and listen to more jazz piano trios beyond my usual fare (McCoy Tyner, Nat King Cole, Monk, Bud, Garner, etc.) for other influences on Evans or his impact on the genre. For those expecting a lurid biography going into great detail the various drug addictions of Evans or an in-depth analysis of, for example, the social context or issues of gender and race, this biography may disappoint, but readers eager for a guide of sorts to the music, Pettinger's quite useful.

Bill Evans and Tony Bennett

Although I am not a big fan of Tony Bennett, I always enjoyed the way in which Evans accompanied vocalists. I think his best work with a vocalist was a too-brief LP with Swedish jazz singer Monica Zetterlund, Waltz for Debby, but with Tony Bennett, we are treated to a more intimate setting with just piano and vocals. 

Midnight Moods

Long one of my favorite numbers that Bill Evans recorded frequently, it has recently come to my attention that Joe Zawinul composed it. I should have guessed it from the bluesy nature of the tune, but I love the melody so much that I assumed it was composed by Evans himself.

Cannonball and Bill

I keep coming back to recordings featuring both Bill Evans and Cannonball Adderley. Adderley was probably my favorite alto saxophonist in 2010 and 2011, but I have not listened to him much since then. Other alto greats, such as Ornette Coleman, occupied my attention. But Adderley's soulful alto is the perfect counterpoint to Bill Evans. Adderley's sound pushed Bill to a bluesier direction, conspicuous in his too-brief solo here. 

Israel

My Bill Evans phase over the last two or three weeks brought me back to "Israel." Evans loved "Israel" and "Nardis," two compositions forever associated with Miles, and I believe the lyrical trio format of Evans better suited the compositions, particularly the minor blues of "Israel" with Scott LaFaro on bass. Nevertheless, it is never a bad idea to revisit Birth of the Cool. 

Bill Evans Does MASH

The wonder of jazz has always been its ability to 'perfect' popular tunes. Like the elevation of "Someday My Prince Will Come" or "My Favorite Things," Evans, like the best jazz masters, is not averse to using popular material and integrating it creatively in a jazz idiom. Apparently Evans was a big fan of the TV show, too. Anyway, Elliot Zigmund's drumming is masterful as the song shifts between keys while Eddie Gomez keeps things going forward.

My Funny Valentine

Happy Valentine's day, from Bill Evans and Jim Hall.

Someday My Prince Will Come at Montreux

With Eddie Gomez on bass and Jack DeJohnette on drums. Gomez doesn't have the soft melodic side of Scott Lafaro and is reminiscent of Charlie Haden in tone. DeJohnette is more lively than Paul Motian, which I like. So, good and bad in this incarnation of the Bill Evans Trio.

Bill Evans in 1970

Lovely and short video of Bill Evans live with Eddie Gomez and Morell. Gomez's style has really grown on me. He's no Scott LaFaro, but he has a thick sound with its own rich sense of melody. Hearing Bill respond to questions is always a pleasure, too. Jazz as an intellectual process, indeed! 

Someday My Prince Will Come

My approach to jazz, like most things in life, revolves around obsessively pursuing an individual's work and then switching to another musician, writer, or scholar. My most recent Bill Evans obsession was about a year ago, but out of the blue, I was listening to a lot of his live performances in the last week or so. Somehow, this recent bout of Bill Evans obsessive listening, led me to a delightful (and short) anime series called Kids on the Slope. Directed by Shinichiro Watanabe, it's a beautiful tale of friendship, romance, and growing up that uses jazz music as the basis for the budding friendship between the two main characters. And the main character is modeled on Bill Evans, performing "Someday My Prince Will Come" to great effect in one of the later episodes, meaning this gem has been in my head on repeat.

Isn't It Romantic?

Isn't it romantic? One of my favorite standards because Ella once sang it, Evans gives this lovely number graceful swing and passion. Chuck Israels, though no Scott LaFaro, plays an incredibly melodic solo, too. Chet Baker also recorded this standard a number of times, including once at a European show.

Bill Evans on Scott LaFaro

 

Enjoy a fascinating interview with Bill Evans about Scott LaFaro. LaFaro was the perfect bassist to accompany Bill Evans, no offense directed to Eddie Gomez.  Scott was melodic, intuitive, independent-minded, and perhaps my favorite jazz bassist in a trio context. As Evans says in this interview, it's difficult to explain LaFaro's playing, but one must experience the "ride."

Waltz For Debby

My favorite song by Bill Evans with one of my favorite alto saxophonists. Adderley's soulful sound surprisingly works quite well with the introspective style of Bill Evans. Hearing their collaboration brings back some of the best moments of Kind of Blue.