Bill Evans - We Will Meet Again: the Anthology - dayline.info Music
Bill Evans - We Will Meet Again: the Anthology - dayline.info Music. We don't know when or if this item will be back in stock. Have one to sell? . another highly acclaimed chart-topping blockbuster in that showcase both. dayline.info . I wrote a big band chart on Peri's Scope and used Tom Harrell's solo from that album. Bill Evans was a gifted and sensitive composer, his compositions are among the in the jazz world today, and his new album is called We Will Meet Again. Would . sheet music, play-alongs, transcriptions and stylistic collections of Bill Evans.
One song in particular should be mentioned: Bill Evans was not the composer. Pianist and psychiatrist Denny Zeitlin wrote this enduring balladthat became a longtime favorite of Bill Evans and a staple of his life sets and recordings. He recorded the song for the first time in on his second overdubbed album Further Conversations With Myself Verveand named his album Quiet Now Affinity after this Zeitlin composition. Bill Evans played this exquisite in almost every concert for around 20 years.
Listen to Denny Zeitlin's comment on this fact. Download Adobe Flash Player The most historically significant contributions of the Evans trio recordings were to loosen the common practises of the bop style rhythm section which had become standard during the 50s, walking bass, drummer playing ride rhythms and snapping shut hi-hat cymbal on the second and fourth beats.
In the Bud Powell-style trio is the amount of rhythmic and melodic interaction between bassist and pianist relatively limited because the pianist fills up most of the spaces with lines of his own. By contrast what Bill Evans did not play, is his thoughtful and restrained manner of playing and masterful use of silence, which allowed bass and drums players to interact as much as they did, emancipating the piano, bass and drum roles.
What distinguishes the music of Bill Evans from all or almost all other music genres is its poetic dimension. A form of communication that says as much by what it doesn't say as by what it does.
Bill Evans is always engaged in a duet with silence, and the silence says as much as he says. Evans' essence was defined by his tastful economy of expression. The notes he chose not to play were fully as crucial as the ones he did. He was the master of the silent note, both in his reharmonizations of traditional jazz standards and his own original compositions.
One of the best ways to study Evans' approach is to look at transcriptions which are note-for-note renderings of his playing. Win Hinkle compared commercially available notated transcriptions with the actual recordings and attempted to determine just what can and cannot be captured by traditional music notation. Pianist Kenny Werner about Evans transcriptions: Download Adobe Flash Player Pascal Wetzela French pianist and teacher, made for more than 35 years note-for-note transcriptions of compositions and standards played by Bill Evans.
Four books of his work on Bill Evans' music have been released at this time, three of them being devoted to his own compositions, following a book of standards: And I discovered a magic world, a music whose perfection was really astonishing, being unwritten: I realized the music that I got on paper was richer than I could imagine when simply listening.
The transcription of jazz comes from a recording. If the player of the transcription first listens attentively to the recording, it reveals the slightest playing nuances, including touch. This is a huge advantage.
It is therefore necessary and desirable to use it. As a pianist, I cannot imagine learning a transcription of Bill Evans without carefully referring to the original recording. Interpreters of a jazz transcription must also use their ears, just as the transcriber did!
For that, it would be necessary to comment on almost every note in detail, which is impossible. A score is the translation of sounds and their durations into written form. Therefore, it is inherently formulaic and limited.
It does, however, act as a basic scenario which can be realized in different ways. Clavier CompanionMarch-Aprilpages Jack Reilly is a pianist, composer and educator in both the jazz and classical genres, who made an extensive in depth analysis of Bill's harmonic development of several Evans tunes in his book The Harmony of Bill Evans Hal Leonard Corporation, In March a second volume has been released, including a CD.
In this volume, he provides a deeper appreciation and understanding of Evans' compositions. It includes two important theory chapters, plus ten of Bill's most passionate and melodically gorgeous works. The voicing charts for all ten songs are more complex than volume one and pianistically more demanding, yet always worth the effort.
In volume two he makes an analysis of Evans first composition "Very Early". From the accompanying audio CD two short tracks: Published here with permission of Jack Reilly. In he was asked by Bill Evans to help edit and transcribe his piano solos for publication. Other sheetmusic from him is Bill Evans: He is artistic director of ComposersCollaborative inc.Bill Evans - We Will Meet Again
Some of Jed's transcriptions as played by Bill Evans and used by Thibaudet for his Evans album can you find here: Published here with permission of Jed Distler.
Chuck Israels Chuck Israelsthe bassist of the Bill Evans Trio from till made a clarifying and thorough analysis of the music of Bill Evans in an article on his website. The article deals apart from his compositions about rhythm, tone color, melody, voicings and phrasing of Bill Evans.
The article from his website is published here with permission of Chuck Israels. See also his interview with Sean Dietrich from Allaboutjazz: Evans, Education and Philosophy. Large chapter 8 25 pages: Bill Evans modal jazz and French music reconfigured. Deborah Mawer is an international specialist in twentieth-century French music at the Birmingham University Conservatoire in Great Britten.
We Will Meet Again
Her first monograph, Darius Milhaud: This book explores the rich historical-cultural interactions between French concert music and American jazz in the first half of the twentieth century, from both perspectives. He worked regularly in New York City and in Chicago. He sounded like Artie Shaw, a comparison that Jerry often resented. Eas part of their new "Designed for Dancing" series and Bill Evans was present on piano. This record has never been reissued and it's Bill Evans first record date and he is audible on most tracks.
All the arrangements are by Al Cohn, who also solos tenor on a few tracks. Bill Evans studied classical music from till at the Southeastern Louisiana University and received his "Bachelor of Music in Piano Performance". He graduated with high honors and was the recipient of the "Distinguished Alumnus Award.
We Will Meet Again - Wikipedia
His alma mater in Hammond organizes still every year an annual Bill Evans Festival. Bill studied theory and composition with Gretchen Mageea well-loved teacher of piano and music theory at the University and became deeply appreciative of her guidance. In his third year he produced a small masterpiece in waltz time that he called "Very Early.
You were certainly my biggest inspiration in college, and the seeds of the insights that you have shown, has in practice worn many times fruit.
This is a fabulous issue, important for documenting the early meeting of Bill Evans and Paul Motian, and for showing what a rhythmically forceful player Evans could be. Potts broke free of the score's traditional constraints and added enormous inventiveness, punch and swing.
Reissue Fresh Sound Records, Ron Nethercutt, trombonist, arranger, conductor, music researcher, educator, and broadcast manager, who developed at the faculty at the Southeastern Louisiana University, Bill's alma mater, the Bill Evans archive. Bill's partner Ellaine committed suicide 2 month later. Bill died in and Helen in The trio visited Japan in January The album was nominated for a Grammy Award.
The leading Japanese Swing Journal held its own annual readers poll, each year Bill had won the piano section. Swing Journal cosponsored the tour. Paul Warburton from Denver. A surprise to me, because I thought I had already traced all Bill's bassists.
He worked with Bill for about a month and a half in the mid-sixties. He was 23 years old and got the gig solely on the recomendation of the great lady pianist Pat Moran, who Scott LaFaro did his first record with. The trio never recorded. Locklin has published over 3, poems, works of fiction, reviews and articles that have appeared in numerous periodicals, he has published in excess of books, chapbooks, and poetry broadsides.
Still as his style in which emotion is contained within close chords. Milestones Never let a stone unturned. The pianist cast spells upon the stepping stones. The trumpet pointed towards the sky.
We Will Meet Again - Bill Evans | Songs, Reviews, Credits | AllMusic
All we have learned must be unlearned, but first it must be learned. Scott played bass in the "first' Bill Evans Trio and died shortly after the Village Vanguard Sessions in a car accident. Music composed, arranged and directed by him and performed by the formation of classical music, the "Crossover Ensemble".
The project is created for classic sextet flute, clarinet, violin, cello, piano, bass. The last experiment of its kind was done by the Kronos Quartet with Eddie Gomez about 20 years ago. Francesco worked on the soul classic Bill Evans enhancing its influences from pianists such as Chopin, Ravel, Debussy and Satie, highlighting the various nuances, which is why the sound of the sextet of chamber music he has chosen is entirely appropriate and original. Label Caligola Records, This release presents a complete never before heard set recorded by the Bill Evans Trio in Along with the veteran team of Evans and Eddie Gomez, this show offers the rare chance to hear drummer Joe Hunt as a member of the trio.
Live at the Penthouse, Seattle, Washington, May 12, The following year they founded Riverside Records. Grauer handled the administrative side of Riverside and Keepnews the artistic side.
Bill Evans was not listed then in the table of contents. Evans's first album as a leader, when 26 years old, "New Jazz Conceptions" was recorded for Riverside and released in Only at a later impression these pictures of Bill Evans were added. He published them on YouTube. Here is an example of a complete transcription: It has 70 pages in 14 transcripts, including 13 compositions by Bill Evans, with a preface by the Italian pianist and Evans specialist Enrico Pieranunzi.
Hal Leonard December 17,Language: He is pianist, composer and teacher of great talent, and was director of the French National Jazz Orchestra. The sound of Bill's piano was considered "crystal notes" by Miles Davis, the pianist hedonistic harmonies and rhythms learned, claiming melodic and popular music, influenced by European and Russian classical music. Modal jazz is also entitled to his demonstration, the white keys of the piano and the video screen on the keyboard to make clear obscure concepts for public wishing to learn.
Music Theory Book by Tom Regis: Western harmony simplified" is also available as an e-book. Author Tom Regis's love affair with harmony began as a child by way of his communion with the piano works of Beethoven and continued throughout his growth as a pianist and his inevitable encounter with the harmonic language of Bill Evans and other greats of jazz piano. Combines the classical and jazz approaches to harmony into one unified system that focuses on the underlying simplicity of the seven note scale and its chords, and the simple tension and release mechanisms that propel chord movement.
As a bonus, an extremely rare trio broadcast recorded in Chicago, which only previously appeared on a long out of print LP.
His mother gave him a Rolleiflex camera for his 12th birthday, and thus ignited a passion that later took him to London, Paris and around the world as one of the most sought after photographers of his day. After four years in Europe he returned to New York where he began taking photographs for record covers, quickly establishing a name for himself in the music industry.
Silverstein remained in London, working as a photographer until his untimely death in The original of a proofsheet with Bill Evans images by photographer Burt Goldblatt Look at the image 8.
Burt Goldblatt was a photographer and prolific jazz LP cover designer in the s and s, best known for his Jolly Roger and Bethlehem covers. Bud Powell named a tune for Goldblatt, and Chris Connor scatted lyrics in his honor. A year later, he was drafted. He played flute, piccolo and piano in the Fifth Army Band at Fort Sheridan near Chicago, spending his nights playing jazz piano in Chicago clubs.
While there they formed a combo called "The Casuals" that played near the base, on the radio and various other venues. In addition to being a pretty good jazz trumpeter, John was also an avid photographer for most of his life, including during his stint in the Army. His son found the images of Bill taken by his late father during that time, and sent them to me. The Ljubljana Concert This release presents a never before heard performance with excellent sound quality by the great Bill Evans.
Evans and Eddie Gomez were performing as a duo in London early that month when Oxley was invited by the pianist to join them. The result pleased them so much that they decided to play a few concerts together, from which the Ljubljana set seems to be the only complete surviving performance.
Intermission by Owen Martell A fictionalised novel of what happened during the months after Scott's car crash. Ten days later, Scott LeFaro died in a car crash. Evans was devastated and disappeared from public life for several months.
What happened during those months. The novel inhabits the lives of four people in orbit around a tragedy, presenting an intense and moving portrait of the burden of grief, and of a man lost to his family and to himself. It is also a conjuring of a pivotal moment in American music and culture, and a unique representation of the jazz scene in the early s. A historical picture, pianist Steve Kuhn with Bill Evans In the late s, Kuhn moved to Sweden, where he lived with the vocalist Monica Zetterlund.
Monica, who died in a fire-accident inrecorded "Waltz for Debby" with Bill Evans. Momentum -- worth every penny! After lots of listening and very careful consideration, I'll take the risk and announce that I believe this performance of the Evans-Gomez-Morrell trio to be probably its finest recording. I believe it's that good. It's all you hoped for. German record award This double album Momentum is nominated for the " Prize of the German Record Critics " on 5 november The "Quarterly Critics Choice" contains "new releases of outstanding importance".
Criteria for evaluation are interpretation, artistic quality, repertoire value, presentation, and sound quality; only one release per category is selected. The Bestenliste is published every three months. There are 29 categories, each served by jury members competent in the respective field. This release presents an amazing never before heard performance with excellent sound quality by the great Bill Evans.
Recorded live at the Funkhaus in Hamburg, Germany, inhalf of the show presented the Bill Evans Trio, while the other half featured reedman Herb Geller joining the group to perform mostly his own tunes, which Evans - who plays solos on all of them - would never record again! A rehearsal for the concert, also taped at the Funkhaus two days earlier, rounds out this set.
As a whole, this set contains all known collaboration between Evans and Geller.