Bill Evans.




Few musicians seemed less likely to make an impact on the New York jazz scene in the late Fifties than Bill Evans(1929-80), whose introspective solos and delicate touch were far removed from what was commonly considered "hard bop." Yet Evans was indeed heard, and quickly became one of the most influential musicians on any instrument of the last half century.

 Evans was born in Plainfield, New Jersey and attended Southeastern Louisiana University. After a period in the Army, he returned to New York in 1955 and began working and recording with Tony Scott and George Russell. His subtly swinging, lucidly constructed solos with these leaders quickly attracted attention, and provided Evans with an opportunity to begin recording under his own name; but he was modest regarding his gifts, and for a time was reluctant to push himself into the limelight. All this changed after he spent several months during 1958 in Miles Davis's band, where he played alongside John Coltrane and Cannonball Adderley as well as the trumpeter and became a central figure in Davis's shift to modal improvisation.

 The period with Davis allowed Evans to organize his own trio, which featured bassist Scott LaFaro and drummer Paul Motian by the end of 1959. These three players developed a new and more interactive approach to trio playing, one in which all instruments carried melodic responsibilities and functioned as equal voices. LaFaro's tragic death in a July 1961 highway accident ended the existence of this seminal unit; but not before it had recorded four albums, two in the studio and two at a Village Vanguard performance shortly before the bassist's death, that influenced several generations of pianists, bassists, and drummers.

 While Evans excelled in even more intimate playing situations—he made memorable duet music with guitarist Jim Hall, singer Tony Bennett, and bassist Eddie Gomez, and on more than one occasion created fascinating studio recitals of multi-tracked piano—for the remaining two decades of his life, he continued to work in the trio format he had established with LaFaro and Motian. Personnel rarely changed in the Evans trio (Gomez was a member from 1966-1977), and the unit's repertoire slowly grew to include evocative new originals and worthy standards, as well as the tunes that led to Evans's initial fame. Despite this consistency of format and material, Evans remained uncommonly inspired, able to reach stunning emotional depths with a quiet lucidity that was unmatched. His lyrical melodic inventions, intricate phrasing, complex voicings, and beautiful touch remain as unmistakable influences on pianists 35 years after his death.

Bill Evans - Waltz For Debby
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Bill Evans-My Foolish Heart
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Bill Evans, 'Round Midnight
Levent Parman






Bill Evans Trio- We will meet again (for Harry)
Bruningable
Bill Evans Trio - Nardis
Bruningable
Bill Evans Trio - Israel
Bruningable


Bill Evans - "The Two Lonely People"
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Bill Evans Solo Piano - Peace, Piece
Erlendur Svavarsson
Bill Evans - Letter To Evan - Paris Concert Volume II

With the passage of time, Bill Evans has become an entire school unto himself for pianists and a singular mood unto himself for listeners. There is no more influential jazz-oriented pianist -- only McCoy Tyner exerts nearly as much pull among younger players and journeymen -- and Evans has left his mark on such noted players as Herbie Hancock, Keith Jarrett, Chick Corea, and Brad Mehldau. Borrowing heavily from the impressionism of Debussy and Ravel, Evans brought a new, introverted, relaxed, lyrical, European classical sensibility into jazz -- and that seems to have attracted a lot of young conservatory-trained pianists who follow his chord voicings to the letter in clubs and on stages everywhere. Indeed, classical pianists like Jean-Yves Thibaudet have recorded note-for-note transcriptions of Evans' performances, bringing out the direct lineage with classical composers. In interviews, Evans often stressed that pianists should thoroughly learn technique and harmony so that they can put their inspiration to maximum use. Since he already had those tools in hand, he worked very hard on his touch, getting the special, refined tone that he wanted out of a piano. He also tried to democratize the role of the bassist and drummer in his succession of piano trios, encouraging greater contrapuntal interplay.
Bespectacled, shy, soft-spoken, and vulnerable, Evans was not a good fit into the rough-and-tumble music business. In part to shield himself from the outside world, he turned to drugs -- first heroin, and later, cocaine -- which undoubtedly shortened his life. In interviews, though, he sounds thoroughly in control, completely aware of what he wanted from his art, and colleagues report that he displayed a wicked sense of humor. Nowadays, Evans seems to be immune from criticism, but there was a time when he was accused of not being able to swing, or pilloried for an "effete" approach to jazz that was alien to its African sources. However, there are plenty of Evans recordings which show that he could indeed flash the technique and swing as hard as anyone when he wanted to, especially early in his career. He simply chose a different path for himself, one entirely reflective of his inward personality -- and that's what seems to touch listeners inside and outside jazz the most. Indeed, the cult for Evans' recordings is big enough to justify the existence of six large, expensive boxed sets of his output: four from Fantasy's archives, one from Warner Bros., and the biggest one from Verve. A newcomer, though, would be better-advised to sample Evans in smaller doses. Since the bulk of his recordings were made with the same piano-bass-drums instrumentation, and his career was not marked by dramatic shifts in style, prolonged listening to hours upon hours of his trio recordings can lead to monotony (after all, you can even overdose on Bach, as great as he was).
Born and raised in New Jersey, Evans was recruited for Southeastern Louisiana University on a flute scholarship, where he received a thorough background in theory, played in the marching band, and also led his football team to a league championship as a quarterback. Graduating as a piano major in 1950, he started to tour with the Herbie Fields band, but the draft soon beckoned, and Evans was placed in the Fifth Army Band near Chicago. After three years in the service, he arrived in New York in 1954, playing in Tony Scott's quartet and undertaking postgraduate studies at Mannes College, where he encountered composer George Russell and his modal jazz theories. By 1956, he had already recorded his first album as a leader for Riverside, New Jazz Conceptions, still enthralled by the bop style of Bud Powell but also unveiling what was to become his best-known composition, "Waltz for Debby," which he wrote while still in the Army.
In spring 1958, Evans began an eight-month gig with the Miles Davis Sextet, where he exerted a powerful influence upon the willful yet ever-searching leader. Though Evans left the band that autumn, exhausted by pressured expectations and anxious to form his own group, he was deeply involved in the planning and execution of Davis' epochal Kind of Bluealbum in 1959, contributing ideas about mood, structure, and modal improvisation, and collaborating on several of the compositions. Although the original release gave composition credit of "Blue in Green" to Davis, Evans claimed he wrote it entirely, based on two chords suggested by Davis (nowadays, they receive co-credit). In any case, Kind of Blue -- now the biggest-selling acoustic jazz album of all time -- contains perhaps the most moving performances of Evans' life.

Evans returned to the scene as a leader in December 1958 with the album Everybody Digs Bill Evans, which included the famous "Peace Piece," a haunting vamp for solo piano that sounds like a long-lost Satie Gymnopedie. Evans' first working trio turned out to be his most celebrated, combining forces with the astounding young bassist Scott LaFaro and drummer Paul Motian in three-way telepathic trialogues. With this group, Evans became a star -- and there was even talk about a recording with Davis involving the entire trio. Sadly, only ten days after a landmark live session at the Village Vanguard in June 1961, LaFaro was killed in an auto accident -- and the shattered Evans went into seclusion for almost a year. He re-emerged the following spring with Chuck Israels as his bassist, and he would go on to record duets with guitarist Jim Hall and a swinging quintet session, Interplay, with Hall and trumpeter Freddie Hubbard.

Upon signing with Verve in 1962, Evans was encouraged by producer Creed Taylor to continue to record in more varied formats: with Gary McFarland's big band, the full-orchestra arrangements of Claus Ogerman, co-star Stan Getz, a reunion with Hall. The most remarkable of these experiments was Conversations With Myself, a session where Evans overdubbed second and third piano parts onto the first; this eventually led to two sequels in that fashion. In his only concession to the emerging jazz-rock scene, Evans dabbled with the Rhodes electric piano in the 1970s but eventually tired of it, even though inventor Harold Rhodes had tailored the instrument to Evans' specifications. Mostly, though, Evanswould record a wealth of material with a series of trios. Through his working trios would pass such players as bassists LaFaro (1959-1961), Israels (1962-1965), Gary Peacock (1963), Teddy Kotick(1966), Eddie Gomez (1966-1977), and Marc Johnson (1978-1980); and drummers Motian (1959-1962), Larry Bunker (1962-1965), Arnold Wise (1966, 1968), Joe Hunt (1967), Philly Joe Jones(1967, 1977-1978), Jack DeJohnette (1968), John Dentz (1968), Marty Morell (1968-1975), Eliot Zigmund (1975-1977), and Joe La Barbera (1978-1980). After Verve, Evans would record for Columbia (1971-1972), Fantasy (1973-1977), and Warner Bros. (1977-1980). The final trio with Johnson and La Barbera has been considered the best since the LaFaro-Motian team -- Evans thought so himself -- and their brief time together has been exhaustively documented on CDs.

Though Evans' health was rapidly deteriorating, aggravated by cocaine addiction, the recordings from his last months display a renewed vitality. Even on The Last Waltz, recorded as late as a week before his death from a hemorrhaging ulcer and bronchial pneumonia, there is no audible hint of physical infirmity. After Evans' death, a flood of unreleased recordings from commercial and private sources has elevated interest in this pianist to an insatiable level.
(Artist Biography by Richard S. Ginell)




 William John Evans ( 16/8/1929 – 15/9/1980) was an American jazz pianist and composer who mostly played in jazz trios. Evans's use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.
Born in Plainfield, New Jersey, in 1929, he was classically trained, and studied at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.  During that time, Evans was also playing with Chet Baker for the album Chet.
In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after finishing an engagement at the New York Village Vanguard jazz club (where the highly acclaimed Sunday at the Village Vanguard and Waltz for Debbyalbums were recorded) LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.
In 1963, Evans recorded Conversations with Myself, an innovative solo album using the unconventional (in jazz solo recordings) technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years. Many successful albums followed, in trio, duo, and solo settings, such as Bill Evans at the Montreux Jazz Festival, Alone, and The Bill Evans Album, among others.
Many of Evans's compositions, such as "Waltz for Debby", have become standards, played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame. 
( Read more: Bill Evans )

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https://www.allmusic.com/artist/bill-evans-mn0000764702/awards
https://en.wikipedia.org/wiki/List_of_compositions_by_Bill_Evans
Bill Evans Live '64 '75 
zoltán Zakar

 Sweden '64 My Foolish Heart 0:00 Israel 4:40 France '65 Detour Ahead 9:09 My Melancholy Baby 14:16 Denmark '70 Emily 23:20 Alfie 27:50 Someday My Prince Will Come 33:05 Sweden '70 If You Could See Me Now 38:33 'Round Midnight 42:30 Someday My Prince Will Come 48:36 Sleepin' Bee 54:21 You're Gonna Hear From Me 58:59 Re: Person I Knew 1:01:56 Denmark '75 Sareen Jurer 1:07:38 Blue Serge 1:13:50 Up With The Lark 1:18:29 But Beautiful 1:25:06 Twelve Tone Tune Two 1:30:19   
Bill Evans Trio - Jazz,BBC Studios London, March 19th 1965
Bill Evans,Chuck Israel,Larry Bunker.

0:00 intro - Five 1:50 - Elsa 6:47 - Summertime 12:24 - Come Rain or Come Shine 17:39 - My Foolish Heart 22:56 - Re: Person I Knew 27:16 - Israel 32:45 - Five 35:20 - Intro - Five 37:11 - How My Heart Sings 41:15 - Nardis 46:57 - Who Can I Turn To? 52:57 - Someday My Prince Will Come 58:31 - How Deep is the Ocean? 1:04:38 - Waltz for Debby 1:09:33 - Five


Bill Evans - Danny boy
Okmusix
Bill Evans - Alice in Wonderland
Okmusix

 Bill Evans Trio - Autumn Leaves
JazzTuna


Blue in Green
Marko R.
Bill Evans - Portrait in Jazz (1960 Album)
Luann Payne

 1. Come Rain or Come Shine 0:00 2. Autumn Leaves 03:19 3. Witchcraft 09:13 4. When I Fall In Love 13:53 5. Peri's Scope 18:46 6. What Is This Thing Called Love 22:00 7. Spring is Here 26:36 8. Someday My Prince Will Come 31:40 9. Blue In Green 36:39
Bill Evans Trio - The Greatest Masterpieces - Jazz Music
Classic Mood Experience

 00:00 Bill Evans Trio - Beautiful Love (Take 2) (1961) 04:58 Bill Evans Trio - Israel (1961) 11:04 Bill Evans Trio - In Your Own Sweet Way (Take 1) (1962) 17:56 Bill Evans Trio - Nardis (1961) 23:41 Bill Evans Trio - Summertime (1962) 29:37 Bill Evans Trio - I Should Care (1962) 34:27 Bill Evans Trio - Show-Type Tune (1962) 38:47 Bill Evans Trio - How Deep Is The Ocean? (1961) 42:15 Bill Evans Trio - Walking Up (1962) 47:06 Bill Evans Trio - Speak Low (1956) 52:11 Bill Evans Trio - Very Early (1962) 57:08 Bill Evans Trio - Displacement (1956) 59:38 Bill Evans Trio - Five (1956) 01:03:31 Bill Evans Trio - Stairway To The Stars (1962) 01:08:17 Bill Evans Trio - Haunted Heart (1961) 01:11:38 Bill Evans Trio - Beautiful Love (Take 1) (1961) 01:17:25 Bill Evans Trio - Our Delight (1956) 01:22:00 Bill Evans Trio - The Boy Next Door (1961) 01:27:01 Bill Evans Trio - Minority (1958) 01:32:16 Bill Evans Trio - I Fall in Love Too Easily (1962)


Bill Evans - Autumn Leaves (Jazz Hour With) (1969 Album)
BillEvansArchive

0:00 "Autumn Leaves" (Joseph Kosma / Johnny Mercer / Jacques Prévert) 4:18 "Turn Out the Stars" (Bill Evans) 9:15 "Quiet Now" (Denny Zeitlin) 14:36 "Nardis" (Miles Davis) 20:24 "Very Early" (Bill Evans) 25:31 "A Sleepin' Bee" (Harold Arlen / Truman Capote) 30:17 "What Are You Doing the Rest of Your Life?" (Alan Bergman / Marilyn Bergman / Michel Legrand) 35:52 "T.T.T." (Twelve Tone Tune)(Bill Evans) 43:28 "Sugar Plum" (Bill Evans) 52:08 "Emily" (Johnny Mandel / Johnny Mercer) 58:55 "Some Other Time" (Leonard Bernstein / Betty Comden / Adolph Green)


Bill Evans & Freddie Hubbard - Interplay (1962 Album)

0:00 "You and the Night and the Music" (Howard Dietz, Arthur Schwartz) 7:02 "When You Wish upon a Star" (Leigh Harline, Ned Washington) 12:46 "I'll Never Smile Again" [take 7; original take] (Ruth Lowe) 19:16 "I'll Never Smile Again" [take 6] 25:52 "Interplay" (Bill Evans) 34:05 "You Go to My Head" (J. Fred Coots, Haven Gillespie) 39:09 "Wrap Your Troubles in Dreams (And Dream Your Troubles Away)" (Harry Barris, Ted Koehler, Billy Moll)


Bill Evans - Symbiosis 2nd Movement 
(Largo - Andante - Maestoso - Largo) - A
Panos Lambrakis


Bill Evans w/ Claus Ogerman's Orchestra - 1st Movement 
(Moderato, Various Tempi) - A
AndreManiq
Turn Out The Stars - Bill Evans Trio Live In Switzerland 1975
Everybody Digs Bill Evans - Bill Evans - Full Album
Ted Wheel

Minority 00:00 Young And Foolish 05:23 Lucky To Be Me 11:15 Night and Day 14:56 Epilogue 22:33 Tenderly 23:13 Peace Piece 26:49 What Is There To Say? 33:34 Oleo 38:27 Epilogue 42:37 Some Other Time 43:21
Bill Evans Trio I will Say Good Bye
SShogun872Shogun

 1 "I Will Say Goodbye" (Legrand) – 0:00 2 "Dolphin Dance" (Herbie Hancock) – 3:30 3 "Seascape" (Johnny Mandel) – 9:34 4 "Peau Douce" (Steve Swallow) – 14:57 5 "Nobody Else But Me" (Hammerstein II, Kern) – 19:15 Bonus track on CD reissue 6 "I Will Say Goodbye" [Take 2] (Legrand) – 24:21 7 "The Opener" (Bill Evans) – 29:12 8 "Quiet Light" (Earl Zindars) – 35:25 9 "A House Is Not a Home" (Bacharach, David) – 37:54 10 "Orson's Theme" (Legrand) – 42:32 Bonus track on CD reissue
Bill Evans Solo Sessions I-II (1963 Albums)
BillEvansArchive

Vol I:
0:00 "What Kind of Fool Am I?" [Take 1] (Bricusse, Newley) 6:17 "Medley: My Favorite Things/Easy to Love/Baubles, Bangles, & Beads" (Borodin, Wright, Forrest) 18:51 "When I Fall in Love" (Heyman, Young) 21:52 "Medley: Spartacus Love Theme/Nardis" (Alex North) 30:27 "Everything Happens to Me" (Adair, Dennis) 36:15 "April in Paris" (Duke, E. Y. Harburg) Vol II: 42:06 "All the Things You Are" (Hammerstein II, Kern) 51:14 "Santa Claus Is Coming to Town" (Coots, Gillespie) 55:53 "I Loves You Porgy" (Gershwin, Gershwin, Heyward) 1:01:44 "What Kind of Fool Am I?" [Take 2] (Bricusse, Newley) 1:08:31 "Love Is Here to Stay" (Gershwin, Gershwin) 1:12:33 "Ornithology" (Harris, Parker) 1:18:08 "Medley: Autumn in New York/How About You?" (Duke, Freed, Lane)




Bill Evans-Waltz for Debby
Bitches Blue

My Foolish Heart.
Waltz for Debby (Take 2).
Detour Ahead (Alternate Take).
My Romance.
Some Other Time.
Milestones.
Waltz for Debby.
Detour Ahead.
My Romance (Alternate Take).
Porgy (I Loves You, Porgy) (Live)
Bill Evans - Explorations (1961 Album)
BillEvansArchive

"Israel"
"Haunted Heart"
"Beautiful Love" [Take 2]
"Elsa"
"Nardis"
"How Deep Is the Ocean?"
"I Wish I Knew" (Harry Warren)
"Sweet and Lovely"
"The Boy Next Door"
"Beautiful Love" [Take 1]
"How Deep Is the Ocean?" [Take 2]
"I Wish I Knew" [Take 2]


Jazz All Days: Bill Evans
Jazz Music Social Club

1 | 00:00 | Stolen Moments 2 | 08:45 | It Might As Well Be Spring 3 | 14:50 | Cold Breeze 4 | 18:42 | The Washington Twist 5 | 25:06 | Walts For Debby 6 | 26:26 | Stairway To The Stars 7 | 31:17 | Skating In Central Park 8 | 36:37 | My Man's Gone Now 9 | 43:02 | When You Wish Upon A Star 10 | 48:45 | Re Person I Knew 11 | 54:30 | Teenie's Blues 12 | 1:01:02 | Hoe-Down 13 | 1:05:44 | Easy Living 14 | 1:09:37 | Lucky To Be Me 15 | 1:13:17 | Young And Foolish 16 | 1:19:10 | Autumn Leaves (Take 1) 17 | 1:25:10 | I Got It Bad (And That Ain't Good) 18 | 1:26:49 | Mox Nix 19 | 1:31:27 | Fair Weather 20 | 1:37:10 | Interplay 21 | 1:45:22 | Know What I Mean? (Alternative Take) 22 | 1:50:16 | Yearnin' 23 | 1:56:38 | Alice In Wonderland (Take 2) 24 | 2:05:11 | Our Delight 25 | 2:09:55 | Blue in Green (Take 2) 26 | 2:14:21 | Darn That Dream 27 | 2:19:28 | Autumn Leaves 28 | 2:24:54 | Some Other Time 29 | 2:29:54 | Goodbye 30 | 2:35:04 | Night And Day 31 | 2:42:39 | Cascades 32 | 2:48:08 | Five 33 | 2:52:10 | Conception 34 | 2:56:56 | I Love You 35 | 3:03:55 | I Fall In Love Too Easily 36 | 3:06:37 | Epilogue 37 | 3:07:18 | I Hear A Rhapsody 38 | 3:11:55 | Venice 39 | 3:14:50 | The Man I Love 40 | 3:20:48 | My Funny Valentine 41 | 3:26:10 | Peace Piece 42 | 3:32:53 | You Got To My Head 43 | 3:37:56 | If You Could See Me Now 44 | 3:42:25 | Danny Boy 45 | 3:46:06 | I Got Rhythm 46 | 3:54:36 | Whichcraft 47 | 3:59:13 | Darn That Dream 48 | 4:03:10 | Come Rain Or Come Shine 49 | 4:06:35 | Blue in Green (Take 3) 50 | 4:12:01 | I'll Never Smile Again 51 | 4:18:32 | Nancy (With the Laughing Face) 52 | 4:22:39 | Israel 53 | 4:28:52 | Elsa 54 | 4:34:43 | It Could Happen To You 55 | 4:42:10 | The Way You Look Tonight 56 | 4:49:50 | Very Early 57 | 4:54:54 | Detour Ahead (Take 2) 58 | 5:02:31 | Butch And Butch 59 | 5:07:06 | Romain 60 | 5:12:27 | Minority 61 | 5:17:49 | Spring Is Here 62 | 5:22:58 | Displacement 63 | 5:25:33 | With A Song In My Heart 64 | 5:34:45 | Jade Visions (Take 2) 65 | 5:38:29 | Honeysuckle Rose 66 | 5:44:21 | You And The Night And The Music 67 | 5:51:25 | What Is This Thing Called Love? 68 | 5:56:01 | My Romance 69 | 5:58:01 | Waltz for Debby 70 | 6:02:59 | Epilogue 71 | 6:03:36 | Dream Gypsy 72 | 6:08:08 | Speak Low 73 | 6:13:17 | Someday My Prince Will Come 74 | 6:18:14 | Oleo 75 | 6:22:22 | Peris Scope 76 | 6:25:38 | In Love In Vain 77 | 6:30:39 | Toy 78 | 6:35:48 | I Believe In You 79 | 6:41:40 | Like Someone In Love 80 | 6:47:35 | What Is There To Say 81 | 6:52:29 | Polka Dots And Moonbeams 82 | 6:57:31 | Milestones 83 | 7:04:01 | Tenderly 84 | 7:07:35 | Who Cares (Take 5) 85 | 7:13:33 | Jubilation 86 | 7:17:48 | Wrap Your Troubles in Dreams (And Dream Your Troubles Away) 87 | 7:24:12 | All Of You (Take 2) 88 | 7:32:30 | Let's Go Back To The Waltz 89 | 7:37:01 | Know What I Mean? 90 | 7:42:17 | As Time Goes By 91 | 7:49:14 | Goodbye 92 | 7:55:27 | The Touch Of Your Lips 93 | 8:00:20 | I Love You 94 | 8:04:15 | When I Fall In Love 95 | 8:09:12 | No Cover, No Minimum