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Bill Evans - On Riverside: Bill Evans '2023

On Riverside: Bill Evans
ArtistBill Evans Related artists
Album name On Riverside: Bill Evans
Country
Date 2023
GenreJazz
Play time 1:27:07
Format / Bitrate Stereo 1420 Kbps / 44.1 kHz
MP3 320 Kbps
Media CD
Size 496 MB
PriceDownload $3.95
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Tracks list

Tracklist:

01. Waltz for Debby (Take 2) (Live)
02. Autumn Leaves
03. When I Fall In Love
04. Gloria's Step (Take 2 / Live At The Village Vanguard, NYC; 6/25/1961)
05. How Deep Is The Ocean
06. Blue In Green (Take 3)
07. How My Heart Sings
08. Re: Person I Knew
09. My Foolish Heart
10. Nardis
11. Easy Living (Album Version)
12. You And The Night And The Music
13. Young And Foolish
14. Solar (Live At The Village Vanguard, NYC; 6/25/1961)
15. Peace Piece


 moreBorn 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).

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 Gymnopédie. 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, and 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.

By 1966, Evans had paired with Puerto Rican bassist Eddie Gomez and formed a
trio with drummer Jack DeJohnette. Though short-lived, the group garnered
attention, picking up a Grammy Award for the 1968 concert album Bill Evans at
the Montreux Jazz Festival. That same year, DeJohnette left to be replaced by
Marty Morell. This version of Evans' trio continued to work for a decade,
releasing albums like 1969's What's New and 1971's Grammy-winning The Bill Evans
Album. Evans also picked up a Grammy in 1970 for his solo piano date Alone.

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. He
recorded further trio sessions with Gomez and drummer Eliot Zigmund before
launching a final trio in the late '70s with bassist Marc Johnson and drummer
Joe La Barbera. Often considered one of the pianist's best configurations since
the LaFaro-Motian team, their brief time together was documented on 1979's
Grammy-winning We Will Meet Again, also featuring trumpeter Tom Harrell and
saxophonist Larry Schneider.

By the late '70s, Evans' health was rapidly deteriorating, aggravated by long
periods of heroin and cocaine addiction. He died on September 15, 1980, at Mount
Sinai Hospital in New York City. He was 51 years old. Along with a 1994 Grammy
Lifetime Achievement Award, a flood of unreleased recordings from commercial and
private sources helped to further elevate interest in Evans' work. Turn Out the
Stars: The Final Village Vanguard Recordings arrived in 1996, followed by 2000's
The Last Waltz, recorded at Keystone Korner in 1980. Resonance Records also
released three archival albums featuring Evans' late-'60s trio: 2016's Some
Other Time: The Lost Session from the Black Forest, 2018's Another Time: The
Hilversum Concert, and 2020's Live at Ronnie Scott's. © Richard S. Ginell
Related Releases:
Charlie Byrd - On Riverside: Charlie Byrd
Sonny Rollins - On Riverside: Sonny Rollins
Cannonball Adderley - On Riverside: Cannonball Adderley



Bill Evans - On Riverside.rar - 496.7 MB

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