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     Bill Evans

William John Evans.
Born: Aug 16, 1929 in Plainfield, NJ.
Died: Sep 15, 1980 in New York, NY.
Genres: Jazz.
Styles: Modal Music, Post-Bop, Cool.
Instruments: Leader, Piano.

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, 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 Blue album 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, Evans would 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), Arnie 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.

- Richard S. Ginell (All Music Guide)


Эванс Билл (6 августа 1929, Нью-Джерси - 15 сентября 1980) - американский пианист, композитор, руководитель ансамбля.

Музыкой начал заниматься в раннем возрасте, обучался игре на фортепиано, скрипке, виолончели, флейте. Окончил Southeastern Louisiana College, в 1955 поступил в New York's Mannes School of Music.

Профессионально выступать стал с начала 50-х годов (с X. Филдсом, Дж. Уолдом, Д. Эллиотом, Дж. Расселлом, Ч. Мингусом и другими; с 1958 - с ансамблем М. Дэвиса и Дж. Колтрэйна, с которым записал ряд удачных пластинок). С 1959 доцент школы джаза в Нью-Йорке. В том же году организовал трио с участием С. Ла Фаро (бас) и П. Моушена (ударные); в 1961 Ла Фаро, после его смерти, заменил "Чак" Израэлс; с 1964 в трио играли Г. Пикок (бас) и Л. Банкер (ударные). В дальнейшем наряду с выступлениями во главе своего ансамбля и сольными концертами продолжал сотрудничество с известными джазовыми музыкантами (такими, как Б. Брукмейер, А. Фармер, С. Гетц, Дж. Дж. Джонсон, К. Уиндинг, Дж. Холл). Осуществил также записи с симфоническим оркестром под управлением К. Огермана. Неоднократно удостаивался первого места в международных анкетах журнала Down Beat.

На начальном этапе стиль Эванса складывался под сильным влиянием X. Сильвера и Л. Тристано, а также европейских композиторов-романтиков и импрессионистов; позднее его манера исполнения стала более индивидуализированной. Ее отличают яркий лирический мелодизм, изысканный гармонический колорит и своеобразный характер звукоизвлечения (саунд). Творчество Эванса связано в основном с кул-джазом, но не ограничивается им, затрагивая также и иные стилевые сферы современного джаза - хард-боп, мэйнстрим, "третье течение". В области мэйнстрима Эванс является своего рода антиподом О. Питерсона, на которого тем не менее он оказал известное влияние, как и на многих американских и европейских джазовых пианистов (У. Келли, Д. Зейтлина, А. Тшасковского, Я. Кереши и так далее).



Born: Feb 9, 1958 in Clarendon Hills, IL.
Genres: Jazz.
Styles: Crossover Jazz, Post-Bop.
Instruments: Sax (Tenor), Sax (Soprano).

No relation to the other Bill Evans, this saxophonist has an adventurous spirit and strong improvising skills despite his utilization of a rapper on some recent records. Evans started on piano before switching to tenor. He moved to New York in 1978 and was with Miles Davis during most of 1981-84. He also played with John McLaughlin's short-lived reformed Mahavishnu Orchestra in the mid-'80s, was with Elements from 1982 on and has recorded as a leader for Lipstick including with his 1990s group Petite Blonde. Subsequent solo dates include 1995's Escape, 1997's Starfish and the Moon and 1999's Touch.

- Scott Yanow (All Music Guide)

Ресурсы сети, связанные с исполнителем:
musicians.allaboutjazz.com/musician.php?id=6592 Biography & articles on 'All About Jazz'
www.njmetronet.com/billevans/index1.html Biography, album, articles
billevanssax.com Это второй Bill Evans - саксофонист
en.wikipedia.org/wiki/Bill_Evans About from 'wikipedia'
ru.wikipedia.org/wiki/Эванс,_Билл О исполнителе из 'википедии' [ru]
en.m.wikipedia.org/wiki/Bill_Evans About from 'wapedia.mobi' [mobile]
ru.m.wikipedia.org/wiki/Эванс,_Билл О исполнителе из 'мобильной википедии' [mobile] [ru]
Хронологические таблицы (Hrono table)  
Поиск видео (Video Search) :  

CD коллекции, связанные с исполнителем:
  как основной исполнитель ...
 Bill Evans - 'Alone' - 1968, Verve
 Bill Evans - 'Alone (again)' - 1975, Ars Nova, Fantasy
 Bill Evans - 'Artist's Choice: Highlights From Turn Out The Stars' - 1996, Warner Bros.
 Bill Evans - 'At The Village Vanguard' - 1961, Riverside
 Bill Evans - 'Big Fun' - 2003, EFA, Lider
 Bill Evans - 'Bill Evans Trio At Shelly's Manne-Hole, Hollywood, California' - 1963, Riverside
 Bill Evans - 'Blue In Green' - 1974, Milestone
 Bill Evans - 'California Here I Come' - 1967, Verve
 Bill Evans - 'Empathy. A Simple Matter Of Conviction' - 1962, Verve
 Bill Evans - 'Explorations' - 1961, Riverside, OJC
 Bill Evans - 'From The 70's' - 1977, Fantasy
 Bill Evans - 'Further Conversations With Myself' - 1967, Universal India Ltd.
 Bill Evans - 'His Last Concert In Germany' - 1980, WestWind
 Bill Evans - 'How My Heart Sings!' - 1962, Riverside, OJC
 Bill Evans - 'I Will Say Goodbye' - 1977, Fantasy, OJC, Galactic
 Bill Evans - 'Intermodulation. Montreux III' - 1976, Verve Forecast
 Bill Evans - 'Interplay Sessions' - 1962, Riverside, OJC
 Bill Evans - 'Intuition' - 1991, Fantasy, OJC
 Bill Evans - 'Loose Blues' - 1992, Milestone
 Bill Evans - 'Moon Beams' - 1962, Riverside, OJC
 Bill Evans - 'New Jazz Conceptions' - 1956, Riverside, OJC
 Bill Evans - 'Play The Arrangements Of Jimmy Giuffre' - 1959, Lone Hill Jazz
 Bill Evans - 'Portrait In Jazz' - 1959, Riverside, OJC
 Bill Evans - 'Quintessence' - 1976, Original Jazz
 Bill Evans - 'Re: Person I Knew' - 1974, Prospekt, Fantasy, Original Jazz Classics
 Bill Evans - 'Sunday At The Village Vanguard' - 1992, Riverside, OJC
 Bill Evans - 'The Bill Evans Trio Faturing Stann Getz But Beautiful' - 1974, Milestone, Galactic
 Bill Evans - 'The Paris Concert' - 1979, Blue Note
 Bill Evans - 'Undercurrent' - 1967, Blue Note
 Bill Evans - 'Waltz For Debby' - 1961, Riverside, ADA
 Bill Evans - 'What's New' - 1969, Verve
 Bill Evans - 'You Must Believe In Spring' - 1977, Warner Bros.
 Bill Evans - 'You're Gonna Hear From Me' - 1969, Milestone
  как основной соисполнитель ...
 Julian 'Cannonball' Adderley - 'Know What I Mean?' - 1992, Original Jazz Classics
 Chet Baker - 'The Complete Legendary Session' - 2010, AJC
 Dave Pike - 'Pike's Peak' - 1961, Portrait, Артель 'Восточный ветер'
 Monica Zetterlund - 'Waltz For Debby' - 2003, Philips
  как соисполнитель ...
 Julian 'Cannonball' Adderley - 'Adderley And Strings. Jump For You' - 1995, Verve
 Julian 'Cannonball' Adderley - 'Portrait Of Cannonball' - 1958, Riverside, OJC
 Victor Bailey - 'Bottom's Up' - 1989, Atlantic
 Victor Bailey - 'Low Blow' - 1999, Esc Records, Dora
 Victor Bailey - 'That's Right!' - 2001, Via
 Chet Baker - 'On The Street Where You Live' - 1959, Ars Nova
 Joe Beck - 'Finger Painting' - 1995, Wavetone
 Carmen Cuesta-Loeb - 'One Kiss' - 2003, Skip
 Tadd Dameron - 'The Magic Touch' - 1992, OJC, Riverside
 Miles Davis - 'Blue Miles' - 2000, Columbia
 Miles Davis - 'Circle In The Round' - 1979, Columbia, Legacy
 Miles Davis - 'Kind Of Blue' - 1959, Columbia
 Miles Davis - 'Miles & Monk At Newport' - 1986, Sony
 Miles Davis - 'The Complete Columbia Recordings 1955-1961. Disc Five' - 1999, Columbia, Legacy
 Miles Davis - 'The Complete Columbia Recordings 1955-1961. Disc Four' - 1999, Columbia, Legacy
 Miles Davis - 'The Complete Columbia Recordings 1955-1961. Disc One' - 1999, Columbia, Legacy
 Miles Davis - 'The Complete Columbia Recordings 1955-1961. Disc Six' - 1999, Columbia, Legacy
 Miles Davis - 'The Complete Columbia Recordings 1955-1961. Disc Three' - 1999, Columbia, Legacy
 Miles Davis - 'The Complete Columbia Recordings 1955-1961. Disc Two' - 1999, Columbia, Legacy
 Gil Evans - 'The Honey Man' - 1986, New Tone, Robi Droli
 Art Farmer - 'Modern Art' - 1958, Blue Note
 Jeff Golub - 'Nightlife' - 1997, Ars Nova, Atlantic
 Dave Grusin - 'West Side Story' - 1997, N2K
 Trilok Gurtu - 'Bad Habits Die Hard' - 1995, CMP Records
 Steve Khan - 'Helping Hand' - 1987, Polydor
 Lee Konitz - 'Lee Konitz Meets Jimmy Giuffre' - 1996, Verve
 Lee Konitz - 'Live At The Half Note' - 1994, Verve
 Scott LaFaro - 'The Alchemy Of Scott La Faro' - 1995, Giants Of Jazz
 Michel Legrand - 'Legrand Jazz' - 1959, Витаком
 Chuck Loeb - 'Life Colors' - 1991, DMP
 Chuck Loeb - 'Mediterranean' - 1993, DMP
 Chuck Loeb - 'Memory Lane' - 1996, DMP
 Leslie Mandoki - 'Man Doki. People In Room No 8' - 1997, Polygram
 Herbie Mann - 'Nirvana' - 1961, Koch Jazz
 Charles Mingus - 'East Coasting By Charlie Mingus' - 1957, Bethlehem
 George Mraz - 'My Foolish Heart' - 1996, Milestone
 Claus Ogerman - 'A Man And His Music' - 2004, Verve
 George Russell - 'The Complete Bluebird Recordings' - 2005, Lone Hill Jazz
 Stephen Scott - 'Renaissance' - 1994, Polygram
 Aziza Mustafa Zadeh - 'Dance Of Fire' - 1995, Sony
 Aziza Mustafa Zadeh - 'Inspiration: Color & Reflections' - 2000, Decca

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  Последние изменения в документе сделаны 14/10/2016 18:38:53

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