Bill Evans

Sample this concert
  1. 1You Must Believe in Spring04:57
  2. 2Introduction00:25
  3. 3You Don't Know What Love Is03:18
  4. 4B Minor Waltz03:15
  5. 5All of You03:52
  6. 6Song Introduction00:35
  7. 7Reflections in D06:18
Liner Notes

Bill Evans - piano

Bill Evans begins this rare solo piano concert by announcing to the Carnegie Hall crowd: "I've played here a couple of times before and I haven't enjoyed the piano being amplified. I'm going to try to play without amplification, so…see what happens." And from there he launches into a crystalline, spellbinding set of tunes that showcases his delicate touch, his very personal harmonic vocabulary and dramatic use of space.

He opens on an introspective note with the melancholy "You Must Believe in Spring," the title track of Evans' 1977 Warner Bros. album. Following a gentle intro, Evans delves into the emotional depth of this poignant jazz standard, gradually building to a rhapsodic peak before segueing to a swinging passage midway through and eventually returning to the melancholy theme. He next interprets the mournful torch song "You Don't Know What Love Is" with a requisite sense of drama, then turns in a gentle, evocative rendition of his "B Minor Waltz" (which also appeared on You Must Believe in Spring). Evans's forcefully swinging extrapolation on Cole Porter's "All of You," which he had previously recorded on his classic 1961 album, Sunday at the Village Vanguard, is perhaps the tour de force of the set. And he concludes with a delicate reading of the obscure but gorgeous Duke Ellington tune "Reflections in D," which appeared on Evans' current album at the time, 1978's New Conversations.

One of the most influential pianists over the past 50 years, Evans pioneered a new direction in jazz that emphasized harmonic extrapolation and an exquisite, walking-on-eggshells sensitivity over the two-fisted, blues-based swinging style of the previous generation of players. His Erik Satie-inspired approach to the keyboard had a huge impact on generations of players who followed in his wake, including Chick Corea, Keith Jarrett, Denny Zeitlin, Steve Kuhn, Marc Copland, Richie Beirach, Fred Hersch, Michel Petrucciani, Bill Charlap and Brad Mehldau.

Born on August 16, 1929 in Plainfield, New Jersey, Evans began piano lessons by age six and later attended Southeastern Louisiana University, where he studied music theory, played flute in the marching band and also played quarterback on the school's championship football team. After graduating as a piano major in 1950, he toured with Herbie Fields' band before being drafted. Following three years in the service (he was placed in the Fifth Army Band near Chicago), Evans moved to New York in 1954 and began playing in clarinetist Tony Scott's quartet while pursuing postgraduate studies at Mannes College, where he met and began collaborating with composer-theoretician George Russell. By 1956, he recorded his first album as a leader, New Jazz Conceptions (Riverside), which included one of his best-known compositions, "Waltz for Debby."

In the spring of 1958, the pianist began an eight-month tenure with the Miles Davis Sextet, where his delicate touch and European harmonic sensibility (inspired by such French impressionists as Debussy and Ravel) help forge a new musical direction for the enigmatic trumpeter and bandleader. Though Evans left Davis' sextet by the autumn of that year, he put his stamp on Miles' landmark 1959 recording, Kind of Blue - the biggest-selling acoustic jazz album of all time. (His presence is particularly felt on such zen-like, atmospheric pieces as "Flamenco Sketches" and "Blue in Green.")

Beginning in December 1958, Evans combined forces with the astounding young bassist Scott LaFaro and drummer Paul Motian in a near-telepathic trio. On the strength of such successful Riverside albums as 1958's meditative Everybody Digs Bill Evans, 1969's Portrait in Jazz and especially 1961's Sunday at the Village Vanguard, Evans became a bona fide jazz star. Sadly, only ten days after a landmark live session at the Village Vanguard in June 1961, LaFaro was killed in an auto accident at age 25. Shattered by the tragedy, Evans went into seclusion for almost a year. His first recording after LaFaro's death was his classic duet album with guitarist Jim Hall, Undercurrent, which was recorded in two sessions on April 24 and May 14, 1962 for the United Artists label. After signing with Verve later in 1962, Evans was encouraged to record in a variety of settings, which led to sessions with Gary McFarland's big band, saxophonist and labelmate Stan Getz, singer Tony Bennett, and a full orchestra performing the arrangements of Claus Ogerman. He also recorded the experimental Conversations With Myself, which utilized multiple overdubbed piano parts, a first for Evans.

With the emerging jazz-rock scene, Evans dabbled in some Rhodes electric piano recordings in the 1970s. He had begun playing with Puerto Rican bassist Eddie Gomez in 1966 and two years later they were joined by drummer Marty Morell. This trio remained a solid working unit for the next seven years, until Morell retired from the music scene. After Morell left, Evans and Gomez recorded two duo albums, Intuition and Montreux III. In early 1975, the vacant drum chair was filled by New York native Eliot Zigmund, who would remain in the Bill Evans Trio for two years. Evans' last trio, consisting of bassist Marc Johnson and drummer Joe La Barbera, remained together from 1978 up until Evans' sudden death on September 15, 1980 from a hemorrhaging ulcer and bronchial pneumonia. During his lifetime, Evans was honored with 31 Grammy nominations and seven Awards. He was named to Down Beat's Hall of Fame in 1981 and in 1994 was honored posthumously with a Lifetime Achievement Grammy Award.

-Written by Bill Milkowski