His life, Helen's, and my own were too closely involved for too long a time. For the last two years I have been trying without success to find a way to write an extended portrait of Bill. Bill talks about his early life in music, Don Elliott, definition of jazz and his motivation for playing. Leigh Kamman — was an American radio host who has focused bringing jazz music to the airwaves for his career, which spans more than six decades.
He has been honored numerous times for his contributions to the region and the promotion of "the only original American art form". The Leigh Kamman Legacy Project is a non-profit organization formed to preserve and share the body of work including audio, visual, and written resources of Leigh Kamman.
Leigh's legacy includes hundred's of historical interviews with musicians and thousand's of hours of sophisticated and elegant radio programming. YouTube video and YouTube video R. In , he moved to the United States. He arranged some albums for Verve under Creed Taylor's direction from He is best known for his brilliant and unparalleled arrangements of Brazillian music on a series of Antonio Carlos Jobim albums. Recorded five days after the legendary live performance at the Montreux Jazz Festival, which was released on Verve and won a Grammy, this is the only studio album recorded of this trio featuring bassist Eddie Gomez and drummer Jack DeJohnette.
Liner notes to include new historical essays from jazz journalist Marc Myers and German jazz historian Friedhelm Schulz; interviews from Eddie Gomez, Jack DeJohnette and other musicians; plus rare and previously unpublished photos.
Don Nelsen was at that time a year-old feature writer for the New York News, for which newspaper he also writed well informed jazz reviews. In , he received his M. He was at work on his Ph. Nat Hentoff: Introducing Bill Evans. Nat Hentoff is an American historian, novelist, jazz music critic, and writes regularly on jazz for The Wall Street Journal. Gene Lees was a Canadian journalist, lyricist, singer and composer. He was editor of the jazz magazine Down Beat, later he published on freelance basis and wrote among other for The New York Times.
He is the author of several books of jazz history and analysis. He had published his idiosyncratic Jazzletter, a monthly collection of essays that was something of a blog before the term was invented. Dan Morgenstern is a jazz critic and librarian. He attended Brandeis University from He wrote for jazz publication Jazz Journal from —, Metronome in , Jazz from —, and Down Beat from He is the author of the book Jazz People.
In he was named director of Rutgers—Newark's Institute of Jazz Studies, where he continued the work of Marshall Stearns and made the Institute one of the world's largest collections of jazz documents and recordings. From till the trombonist, arranger, conductor, music researcher, educator, and broadcast manager Prof.
Ron Nethercutt developed at the faculty the Bill Evans archive. After the death of Bill Evans in Ron began collecting memorabilia in order to compile a reference center for pianists, musicologists, and others. Ron was also the moderator for the initial annual Bill Evans Festival. The album "Homecoming" marks the return of the prodigal musical son to his alma mater, the Southeastern Louisiana University, on November 6, , some 29 years after he graduated with honors.
Rob Rijneke made a YouTube video from the lecture. New Bill Evans film documentary by Bruce Spiegel Among many clips of Bill used in various videos and documentaries, like "The Universal Mind Of Bill Evans", two earlier documentaries made specifically about him are worth mentioning. The second documentary, "Bill Evans" Paul Goldin, , again made in France and on Arte channel, is mostly composed of stills and audio clips, was on Dutch television.
Now a new documentary has appeared by Bruce Spiegel! He finished, after years of working on it, his documentary "Bill Evans: Time Remembered. Bill Evans Virtual Museum Project on YouTube Rob Rijneke made a videocompilation of most of Bill's album covers, designed as a virtual museum for preservation of this covers. Thanks to all cover designers who made this project possible.
Sculptress and jazzsinger Earla Porch made the only known sculpture of Bill and thanks to Gerrit Rietveld for his designs. Ren Magritte: "Everything we see hides another thing, we always want to see what is hidden by what we see". He was the founder of the "Bill Evans Memorial Library" with a huge collection of interviews, notations, transcriptions, audio and video. In the fall of , Jerry Dahlke, a Madison, Wis. James immediately agreed, and the on-air interview was set for Sunday Nov. Bill Evans' original 'Kind of Blue' Notes The liner notes of Kind of Blue, written by Bill Evans, appear on the original recording sleeve: "There is a Japanese visual art in which the artist is forced to be spontaneous.
He must paint on a thin stretched parchment with a special brush and black water paint in such a way that an unnatural or interrupted stroke will destroy the line or break through the parchment. Erasures or changes are impossible. These artists must practice a particular discipline, that of allowing the idea to express itself in communication with their hands in such a direct way that deliberation cannot interfere.
The resulting pictures lack the complex composition and textures of ordinary painting, but it is said that those who see well find something captured that escapes explanation. This conviction that direct deed is the most meaningful reflections, I believe, has prompted the evolution of the extremely severe and unique disciplines of the jazz or improvising musician. Group improvisation is a further challenge. Aside from the weighty technical problem of collective coherent thinking, there is the very human, even social need for sympathy from all members to bend for the common result.
This most difficult problem, I think, is beautifully met and solved on this recording. As the painter needs his framework of parchment, the improvising musical group needs its framework in time,. Miles Davis presents here frameworks which are exquisite in their simplicity and yet contain all that is necessary to stimulate performance with sure reference to the primary conception.
Miles conceived these settings only hours before the recording dates and arrived with sketches which indicated to the group what was to be played.
Therefore, you will hear something close to pure spontaneity in these performances. The group had never played these pieces prior to the recordings and I think without exception the first complete performance of each was a "take. Now in a comic strip by Dustin Mollick. It has long been speculated that pianist Bill Evans wrote "Blue in Green", even though the LP and most jazz fakebooks credit Davis only with its composition. In his autobiography, Davis maintains that he alone composed the songs on Kind of Blue.
For a matter of fact Bill Evans wrote the liner notes for the album. A comment by Evans: "One day at Miles's apartment, he wrote on some manuscript paper the symbols for G-minor and A-augmented. And Miles said, 'What would you do with that?
Evans said "The truth is I did write the music I don't want to make a federal case out of it, the music exists, and Miles is getting the royalties. Bill came up with the rest of the changes and wrote the melody. He only lived to be 58, but he had a very productive career. After graduating from Columbia University in , Gleason was the founder and editor of Jazz Information, one of the first jazz magazines.
He also wrote for a variety of magazines including Stereo Review. The earlier set was taped in Newport and features the pianist backed by Eddie Gomez on bass and Philly Joe Jones on drums Evans' intense interaction with Jones, with whom he didn't record a lot, is the most remarkable thing here.
The performance, on the other hand, with Elliot Zigmund replacing Jones, was taped in New York after the festival's producer, George Wein, wasn't allowed to use the Newport facilities. I think the label Oceanic Records got the tracks from Concert Vault. Wolfgang's Vault is a private music-focused company established in dedicated to the restoration and archiving of live concert recordings in audio and video format and the sale of music memorabilia.
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. Other books include The Ballets of Maurice Ravel which embraces creative and interpretative dimensions, supported by archival research from the Bibliothque nationale and Royal Opera House Archives, and two edited volumes: Ravel Studies and The Cambridge Companion to Ravel.
UK album chart. Click here for more info. Includes twenty-four performances that had been previously unissued at the time. Call us now on to sell us your Bill Evans Piano Collection or click here.
K1 Israel K2 Who Cares? II2 How About You? Buy Now. With Ludovico Granvassu. Shop Amazon. Un seaworthy Kevin Sun. The Weight of Light Benoit Delbecq. Mazel Tov Kocktail! Top end extension is critical to the sound of the best copies. Lots of old records and new ones have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least or none , yet are full-bodied, tubey and rich. Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell.
The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at. Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic that is a key part of the appeal of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise. Although all of Bill Evans's Riverside recordings have been reissued on a massive box set, those listeners who have not invested in that may very well be satisfied to pick up a few of his Milestone two-fers.
This particular one reissues the influential pianist's very first session as a leader which was originally on an LP titled New Jazz Conceptions , a trio date with bassist Teddy Kotick and drummer Paul Motian that also includes three unaccompanied piano solos highlighted by the original version of Evans's most famous composition, "Waltz for Debby".
In addition, there is a full album of previously unreleased music: an alternate take of "No Cover, No Minimum," an unaccompanied version of "Some Other Time" from and four solo pieces that Evans cut in , his first recordings after the tragic death of his bassist Scott LaFaro.
Bill Evans Trio: Sunday At The Village Vanguard CD: Riverside Keepnews Collection 'All of the Vanguard music is informed by an extra sense of discovery, as if the musicians were suddenly aware of what they were on to and were celebrating their achievement. Capturing them at the height of their powers, 'Waltz' and the 'Vanguard' discs originate from the same beautifully recorded concerts in June and showcase the pianist's gentle, almost classical fingers the opening of the title tune sounds almost like a John Ireland prelude and LaFaro's electrifying elastic bass lines.
Evans subsequently went on to form various groups, few with the empathy or expression of this one. Bill Evans: The Utimate.. Bill Evans Trio: Time Remembered CD: Milestone- US Import Evans remains the most influential improvising pianist of the past 40 years, for his exquisite sound, dreamlike chord voicings, deep song balladry, and singular conception of rhythmic displacement. This set contains five solo piano pieces, four of which are from the April date that marked Evans's return to the studio following the sudden death in July of the brilliant year-old bassist Scott LaFaro, the pianist's closest collaborator.
The remainder of the program was done in May , live at the fondly remembered Hollywood club Shelly's Manne-Hole, and featured his highly underrated trio including bassist Chuck Israels and drummer Larry Bunker.
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