Bill Evans (Plainfield, August 16, 1929 - New York, September 15, 1980) was an American jazz pianist. His work includes the cool, post-bop and modal music. He is considered one of the most important jazz pianists in history. His influence can be seen in many pianists Brad Mehldau, Chick Corea, Keith Jarrett and Herbie Hancock.
Born and raised in New Jersey, Evans went to Southeastern Louisiana University on a flute scholarship, where he received lectures, played in the band and played football. Graduated in piano in 1950, began a tour with the Herbie Fields band, but was soon called to duty and ended up playing in the Fifth Army Band near Chicago. After three years of service, came to New York in 1954, playing in Tony Scott's quartet with guitarist Mundell Lowe, and undertaking postgraduate studies at Mannes College, where he met the composer George Russell and his theories on jazz modal. By 1956, he had already recorded his first album as leader for the company's Riverside, New Jazz Conceptions, still dominated by the bebop style of master pianists Bud Powell, but now introducing what was to be his best known composition, "Waltz for Debby "I had written during his stay in the army. His first album as a leader and the first work in the trio format that would be associated with your name: piano, bass and drums. Was released in January 1957 and despite the good reviews only sold eight hundred copies during the first year.
Before long he played with Charles Mingus, Art Farmer, Lee Konitz and Oliver Nelson and later, at 58, received the "Award pianist revelation." Of all his collaborations, the most significant were with George Russell (arranger), Art Farmer and Hal McKusick in "Concerto for Billy the Kid."
In the spring of 1958, Evans began an eight-month collaboration with Miles Davis Sextet, exerting a powerful influence on Davis. Although he left the trumpeter in the fall, exhausted by the pressures and eager to form his own group, was deeply involved in the planning and execution of Kind of Blue album (released in 1959), contributing ideas about style, structure and modal improvisation, and collaborating on several of the compositions. Kind of Blue, the most successful sales ever achieved by a disc of acoustic jazz - contains perhaps the most poignant are interpretations of Evans's career. In this period also recorded two albums with Cannonball Adderley, a member of Davis's band at this time.
Born and raised in New Jersey, Evans went to Southeastern Louisiana University on a flute scholarship, where he received lectures, played in the band and played football. Graduated in piano in 1950, began a tour with the Herbie Fields band, but was soon called to duty and ended up playing in the Fifth Army Band near Chicago. After three years of service, came to New York in 1954, playing in Tony Scott's quartet with guitarist Mundell Lowe, and undertaking postgraduate studies at Mannes College, where he met the composer George Russell and his theories on jazz modal. By 1956, he had already recorded his first album as leader for the company's Riverside, New Jazz Conceptions, still dominated by the bebop style of master pianists Bud Powell, but now introducing what was to be his best known composition, "Waltz for Debby "I had written during his stay in the army. His first album as a leader and the first work in the trio format that would be associated with your name: piano, bass and drums. Was released in January 1957 and despite the good reviews only sold eight hundred copies during the first year.
Before long he played with Charles Mingus, Art Farmer, Lee Konitz and Oliver Nelson and later, at 58, received the "Award pianist revelation." Of all his collaborations, the most significant were with George Russell (arranger), Art Farmer and Hal McKusick in "Concerto for Billy the Kid."In the spring of 1958, Evans began an eight-month collaboration with Miles Davis Sextet, exerting a powerful influence on Davis. Although he left the trumpeter in the fall, exhausted by the pressures and eager to form his own group, was deeply involved in the planning and execution of Kind of Blue album (released in 1959), contributing ideas about style, structure and modal improvisation, and collaborating on several of the compositions. Kind of Blue, the most successful sales ever achieved by a disc of acoustic jazz - contains perhaps the most poignant are interpretations of Evans's career. In this period also recorded two albums with Cannonball Adderley, a member of Davis's band at this time.
Evans returned to the scene as leader in December 1958 with the album Everybody Digs Bill Evans, including the famous theme "Peace Piece". His image was completely clear when he worked with Paul Motian (drums) and Scott La Faro (bass). This trio reinvented the concept of peer leadership giving both the bass and the piano, breaking the concepts of solo instrument and accompanying persons. The bass almost completely lost its function metronome. With this group, Evans became a star. Unfortunately, La Faro died prematurely at age 25, Evans spent a year of retirement. He returned the following spring with Chuck Israels on bass, played in duo with guitarist Jim Hall and a swinging quintet session, Interplay, with Hall and trumpeter Freddie Hubbard.
After recording with Verve in 1962, Evans was encouraged by producer Creed Taylor to continue recording in the most varied formats: with Gary McFarland big band, an orchestra arranged by Claus Ogerman, with Stan Getz, etc.. In 1975 and 1976 recorded a couple records a duet with Tony Bennett, for which he won a Grammy. The most notable experiment was Conversations With Myself, a session in which Evans played a second and third piano on the first. His only concession to the emerging jazz-rock was eventually playing Fender Rhodes electric piano during the 1970s. Then, his career is linked to numerous trios. After passing through Verve, Evans would record for Columbia (1971-1972), Fantasy (1973-1977) and Warner Bros (1977-1980). His latest trio with Marc Johnson and Joe La Barbera has been considered the best since he formed with Scott La Faro and Paul Motian.
He died from liver failure and internal bleeding caused by addiction to heroin and cocaine.
Bill Evans (Plainfield, 16 de agosto de 1929 - Nueva York, 15 de septiembre de 1980) fue un pianista estadounidense de jazz. Su obra abarca el cool, el post-bop y la música modal. Está considerado como uno de los pianistas de jazz más importantes de la historia. Su influencia se puede percibir en numerosos pianistas como Brad Mehldau, Chick Corea, Keith Jarrett y Herbie Hancock.
Nacido y crecido en Nueva Jersey, Evans fue a la Southeastern Louisiana University con una beca de flauta, y allí recibió clases teóricas, tocó en la banda y jugó al fútbol americano. Graduado en piano en 1950, comenzó una gira con la Herbie Fields band, pero fue llamado pronto a filas y terminó tocando en la Fifth Army Band cerca de Chicago. Tras tres años de servicio, llegó en 1954 a Nueva York, tocando en el cuarteto de Tony Scott y con el guitarrista Mundell Lowe, y emprendiendo estudios de posgraduado en el Mannes College, donde se encontró con el compositor George Russell y sus teorías sobre jazz modal. Hacia 1956, había grabado ya su primer álbum como líder para la compañía Riverside, New Jazz Conceptions, todavía dominado por el estilo bebop del maestro de pianistas Bud Powell, pero presentando ya la que iba a ser su composición más conocida, "Waltz for Debby", que había escrito durante su estancia en el ejército. Su primer disco como líder y el primer trabajo en el formato de trío que se iba a asociar a su nombre: piano, contrabajo y batería. Sale al mercado en enero de 1957 y pese a las buenas críticas solo vendió ochocientas copias durante el primer año.
En la primavera de 1958, Evans comenzó una colaboración de ocho meses con el Miles Davis Sextet, ejerciendo una poderosa influencia sobre Davis. Aunque abandonó al trompetista en el otoño, exhausto por las presiones y ansioso de formar su propio grupo, estuvo profundamente involucrado en la planificación y ejecución del disco Kind of blue (editado en 1959), contribuyendo con ideas sobre el estilo, la estructura y la improvisación de tipo modal, y colaborando en varias de las composiciones. Kind of Blue -el mayor éxito de ventas nunca obtenido por un disco de jazz acústico - contiene las que quizá son las más conmovedoras interpretaciones de la carrera de Evans. En este período tambien graba dos álbumes con Cannonball Adderley, también miembro de la banda de Davis en esta época.
Evans volvió a la escena como líder en diciembre de 1958 con el álbum Everybody Digs Bill Evans, que incluye el famoso tema "Peace Piece". Su imagen quedó completamente definida cuando trabajó junto con Paul Motian (batería) y Scott La Faro (contrabajista). Este trío reinventó el concepto de interpares dando tanto protagonismo al contrabajo como al piano, rompiendo los conceptos de instrumento solista y acompañantes. El contrabajo pierde casi por completo sus funciones metronómicas. Con este grupo, Evans se convirtió en una estrella. Por desgracia, La Faro murió prematuramente a los 25 años; Evans pasó un año de retiro. Regresó la primavera siguiente con Chuck Israels como bajista; tocó en dúo con el guitarrista Jim Hall y en una sesión de swing en quinteto, Interplay, con Hall y el trompetista Freddie Hubbard.
Tras grabar con Verve en 1962, Evans fue animado por el productor Creed Taylor a continuar grabando en los más variados formatos: con la big band de Gary McFarland, con una orquesta con arreglos de Claus Ogerman, con Stan Getz, etc. En 1975 y 1976 grabó un par de discos a dúo con Tony Bennett, por los que ganó un Grammy. El experimento más destacable fue Conversations With Myself, una sesión en la que Evans tocó un segundo y un tercer piano sobre el primero. Su única concesión al emergente jazz-rock fue tocar eventualmente el piano eléctrico Fender Rhodes durante la década de 1970. Luego, su carrera está vinculada a numerosos tríos. Tras pasar por Verve, Evans grabaría para Columbia (1971-1972), Fantasy (1973-1977) y Warner Bros (1977-1980). Su último trío con Marc Johnson y Joe La Barbera ha sido considerado el mejor desde el que formó con Scott La Faro y Paul Motian.
Murió debido a una insuficiencia hepática y a una hemorragia interna provocadas por la adicción a la heroína y cocaína.
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