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Evans in 1969 Background information Birth name William John Evans Born ( 1929-08-16)August 16, 1929, New Jersey, U.S. Died September 15, 1980 ( 1980-09-15) (aged 51) New York City, New York Genres, Occupation(s) Musician Composer Arranger Instruments Piano Years active 1950s–1980 Labels, Associated acts, William John Evans (, August 16, 1929 – September 15, 1980) was an American pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, 'singing' melodic lines continue to influence jazz pianists today. Born in, New Jersey, in 1929, he was classically trained, and studied at and the, 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. In 1958, Evans joined 's sextet, where he was to have a profound influence.

In 1959, the band, then immersed in, recorded, the best-selling jazz album of all time. During that time, Evans was also playing with for the album. In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist and drummer, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed and albums, LaFaro died in a car accident.

After months of seclusion, Evans re-emerged with a new trio, featuring bassist. In 1963, Evans recorded, an innovative solo album using the unconventional (in jazz solo recordings) technique of overdubbing over himself. In 1966, he met bassist, with whom he would work for eleven years. Many successful albums followed, in trio, duo, and solo settings, such as, and, among others.

Many of Evans's compositions, such as ', have become standards and have been played and recorded by many artists. Evans was honored with 31 nominations and seven awards and was inducted into the. ” Bill Evans talking about Gretchen Magee After high school, in September 1946, Evans attended on a flute scholarship. He studied classical piano interpretation with Louis P. Kohnop, John Venettozzi, and Ronald Stetzel.

A key part in Evans' development was Gretchen Magee, whose methods of teaching left an important print in his composition style. Soon, Bill would compose his first tune. Around his third year in college, Evans composed his first known tune, 'Very Early'. He was a founding member of SLU's Delta Omega Chapter of, played for the fraternity's football team, and was part of the college band. In 1950, he performed Beethoven's for his senior recital, graduating with a degree, majoring in piano, and Bachelor's in Music Education. Evans regarded the last three years in college as the happiest in his life.

Program of Bill Evans' graduation concert. April 24, 1950. During college, Evans met guitarist, and after graduating, they formed a trio with bassist. The three relocated to New York City. However, their inability to attract bookings prompted them to leave for.

In July 1950, Evans joined 's band, based in. During the summer, the band did a three-month tour backing, including East Coast appearances at Harlem's and shows in Philadelphia, Baltimore, and Washington, D.C. The band included trumpeter, trombonist and bassist. Upon its return to Chicago, Evans and Aton worked as a duo in clubs, often backing singer. Shortly thereafter, Evans received his and entered the. During his three-year (1951–54) stay in the army, Evans played flute, piccolo, and piano in the Fifth U.S. He also hosted a jazz program on the camp radio station and occasionally performed in Chicago clubs, where he met singer, with whom he became friends and would later record.

He also met singer and bassist Bill Scott and Chicago jazz pianist (his bunkmate in their platoon), both of whom became Evans' close friends. Evans' stay in the army was traumatic, and he had nightmares for years. As people criticized his musical conceptions and playing, he lost his confidence for the first time. Around 1953 Evans composed his most well known tune, ', for his young niece. During this period, in which Evans was met with universal acclaim, he began using recreational drugs, occasionally smoking marijuana.

Evans was discharged from the Army in January 1954, and entered a period of seclusion, triggered by the harsh criticism he had received. He took a sabbatical year and went to live with his parents, where he set up a studio, acquired a grand piano and worked on his technique. The self-critical Evans believed he lacked the natural fluidity of other musicians. He visited his brother Harry, now in, recently married and working as a conservatory teacher. Return to New York City and first jobs In July 1955, Evans returned to New York City and enrolled in the for a three-semester postgraduate course in musical composition. He also wrote classical settings of poems.

Along with his studies, Evans played in mostly low-profile 'Tuxedo gigs' at the Friendship Club and the, as well as Jewish weddings, intermission spots, and over-40 dances. However, better opportunities also arose, such as playing solo opposite the at the, where one day he saw listening to him. During this period, Evans also met. Evans soon began to perform in clubs with, and; as well as with bandleader. While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald, which also featured his future drummer. In early 1955, singer moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded The Singing Reed with a group which included Evans.

During this period, he met two of Reed's friends: manager, who, seven years later, would become his own agent; and, with whom he would soon work. That year, he also made his first recording, in a small ensemble, in 's A Message from Garcia. In parallel, Evans kept with his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December–January 1956/7, and recording The Complete Tony Scott. After the Complete sessions, Scott left for a long overseas tour. Work with George Russell. ” George Russell upon hearing Bill Evans for the first time.

Evans had met George Russell during his tenure with Lucy Reed. Russell's first impression of Evans was negative ('this is going to be like pulling teeth all day'), but when he secretly heard Evans play, he completely changed his mind. Russell was then developing his magnum opus, the treatise, in which he exposed that the was more compatible with than the used in most music. This new concept was ground-breaking in jazz, and would soon influence musicians like. Evans, who had already been acquainted with these ideas before, began to work with him in 1956. By this time, had begun a series of recordings called Jazz Workshop, and soon Russell, through the intervention of McKustic and Jack Lewis, was granted his own. Then, Russell assembled trumpeter, guitarist, bassist and Evans for three recording dates, along with rehearsal sessions.

In these, only the bassist was given a written part, while the rest were left, and, according to Farmer, 'took the parts at home and tried to come to terms with them'. The album took a year to do, and it was successful enough to enable Russell to escape his penurious lifestyle. Evans performed a notable solo in 'Concerto for Billy the Kid'. In September 1956, producer was convinced to record the reluctant Evans by a demo tape played to him over the phone.

The result was his debut album, featuring the original versions of ', and 'Five'. This album began Evans' relationship with.

Although a critical success that gained positive reviews in and magazines, New Jazz Conceptions was initially a financial failure, selling only 800 copies the first year. 'Five' was for some time Evans' trio farewell tune during performances.

After releasing the album, Evans spent much time studying Bach scores to improve his technique. In 1957, Russell was one of six musicians (three jazz, three classical composers) commissioned by to write a piece for their Festival of the Creative Arts in the context of the first experiments in jazz. Russell wrote a suite for orchestra, 'All About Rosie', which featured Bill Evans among other soloists. 'All About Rosie' has been cited as one of the few convincing examples of composed in jazz. A week before the festival, the piece was previewed on TV, and Evans' performance was deemed 'legendary' in jazz circles.

During the festival performance, in June 6, Evans became acquainted with, who would become his bassist years later. During the Brandeis Festival, guitarist invited Evans to play on the album Joe Puma/Jazz. That year, he also met while auditioning him for a place in an ensemble led by trumpeter, and was impressed by the young bassist.

Three years later, LaFaro would join his trio. Evans also appeared on albums by, and. Work with Miles Davis, Everybody Digs Bill Evans, and Kind of Blue. In 1955, three years before meeting Evans In February 1958, Russell, at 's urging, drove Evans over to the in, to play with. By that time, the band consisted of, and.

Evans knew it was an audition, and that he might replace the recently fired. By the end of the night, Davis told Evans that he would be playing their next engagement in. While the band used to play a mixture of and bebop originals, by that time Davis had begun his venture in, having just released his album. Evans joined the group in April 1958. The band appeared in radio broadcasts on Saturday nights and, on May 3, the new formation made its first broadcast from (its usual locale). On May 17, the radio material would be recorded on the album Makin' Wax, the first documented evidence of Evans with Davis.

By mid-May, replaced Philly Joe Jones, with whom Evans had developed a close friendship. On May 26, Evans made his first studio recordings with Davis, which were first issued as part of Jazz Track, and later reissued on. A performance of the from, in 1958, had originally sparked Davis' interest in modal music. This music stayed for long periods of time on a single chord, weaving in and out of consonance and dissonance.

Another influence was 's treatise. Both influences coalesced in Davis' conception of modal jazz offering an alternative to chord changes and major/minor relationships, relying instead on a series of modal scales. He realized that Evans, who had worked with Russell, could follow him into modal music. At the same time, Evans introduced Davis to European classical music. The band's mostly black followers did not react favourably to the replacement of the charismatic Garland with a white musician.

Davis used to tease him and Evans' sensitivity perhaps let it get to him. However, the band began to find a new, smoother groove, as Adderley noted: 'When he started to use Bill, Miles changed his style from very hard to a softer approach.' ” Miles Davis In July 1958, Evans appeared as a sideman in Adderley's album, featuring the first performance of ', specially written by Davis for the session. While Davis was not very satisfied with the performance, he said that from then on, Evans was the only one to play it in the way he wanted.

The piece came to be associated with Evans' future trios, which played it frequently. By the end of the summer, Davis knew Evans was quickly approaching his full professional development; and that he would soon decide to leave Davis' group. This year, Evans won the International Critics' Poll for his work with Davis and his album New Jazz Conceptions. In September 1958, Evans recorded as a sideman in Art Farmer's album, also featuring. All three had won the Down Beat poll. Later, Evans deemed this record as one of his favorites.

During this period, despite all the successes, Evans was visiting a psychiatrist, as he was unsure whether he wanted to continue as a pianist. Evans left Davis' sextet in November 1958 and stayed with his parents in and his brother in. While he was burned out, one of the main reasons for leaving was his father's illness. During this sojourn, the always self-critical Evans suddenly felt his playing had improved. 'While I was staying with my brother in Baton Rouge, I remember finding that somehow I had reached a new level of expression in my playing.

It had come almost automatically, and I was very anxious about it, afraid I might lose it.' Shortly after, he moved back to New York, and in December Evans recorded the trio album for Riverside Records with bassist and drummer Philly Joe Jones. This was Evans' second album as a leader, since New Jazz Conceptions, recorded two years earlier. While producer Orrin Keepnews had many times tried to persuade Evans to make a second trio recording, the pianist felt he had nothing new to say. He had also been too busy traveling with Davis to make a record.

Evans built 'Peace Piece' on a simple one-bar ostinato left hand figure in C major. Over this static harmonic frame, he freely improvised melodies. One of the pieces to appear on the album was 's 'Some Other Time'. Evans started to play an introduction using an ostinato figure. However, according to Keepnews, who was present, the pianist spontaneously started to improvise over that harmonic frame, creating the recording that would be named 'Peace Piece'.

According to Evans: 'What happened was that I started to play the introduction, and it started to get so much of its own feeling and identity that I just figured, well, I'll keep going.' However, Gretchen Magee claims that the piece had been penned as an exercise during his college years, while Peri Cousins says that he would often play the piece at home. Evans returned to the Davis sextet in early 1959, at the trumpeter's request, to record, often considered the best-selling jazz album of all time.

As usual, during the sessions of Kind of Blue, Miles Davis called for almost no rehearsal and the musicians had little idea what they were to record. Davis had given the band only sketches of scales and melody lines on which to improvise. Once the musicians were assembled, Davis gave brief instructions for each piece and then set about taping the sextet in studio. During the creative process of Kind of Blue, Davis handed Evans a piece of paper with two chords – G minor and A augmented – and asked 'What would you do with that?' Evans spent the next night writing what would become '. However, when the album came out, the song was attributed exclusively to Davis.

When Evans suggested he might deserve a share of the royalties, Davis offered him a check for $25. Evans also penned the liner notes for Kind of Blue, comparing jazz improvisation to.

By the fall of 1959, Evans had started his own trio with and, but it was short-lived. Sometime during the late 1950s, most probably before joining Miles Davis, Evans began using heroin. Philly Joe Jones has been cited as an especially bad influence in this aspect. Although Davis seems to have tried to help Evans kick his addiction, he did not succeed. Evans' first long-term romance was with a black woman named Peri Cousins (for whom 'Peri's Scope' was named), during the second half of the 1950s. The couple had problems booking in hotels during Evans' gigs, since most of them did not allow inter-racial couples. By the turn of the decade, Evans had met a waitress named Ellaine Schultz, who would become his partner for twelve years.

Trio with Scott LaFaro and Paul Motian. Bill Evans performing at the with his trio consisting of, bass, and, drums, July 13, 1978. Last years In April 1979, Evans met Canadian waitress Laurie Verchomin, with whom he had a relationship until his death. Verchomin was 28 years younger. At the beginning of a several-week tour of the trio through the Pacific Northwest in the spring of 1979, Evans learned that his brother, Harry, who had been diagnosed with, had committed suicide at age 52. This news shocked him deeply, and some of the concerts had to be canceled. His friends and relatives believe that this event precipitated his own death the following year.

Marc Johnson recalled: 'This fateful trip marks. the beginning of the end. Bill's willingness to play and work decreased noticeably after the death of Harry, actually it was just the music itself that held him upright. He fulfilled his obligations because he needed money, but these were the few moments in his life when he felt comfortable — the times in between must have been depressing, and he barely showed a willingness to live.' In August 1979, Evans recorded his last studio album, featuring a composition of the same name written for his brother. The album won a Grammy award posthumously in 1981, along with I Will Say Goodbye.

Drug addiction and death. Bill Evans is buried at Roselawn Memorial Park and Mausoleum, East Baton Rouge Parish, Section 161, Plot K. During the late 1970s, Evans became addicted to cocaine.

He started with one gram per weekend, but later started taking several grams daily. His friends, Chicago pianists Sam Distefano and, repeatedly tried lecturing him in an effort to get him to quit, fearing for Bill's health.

His brother Harry's suicide may have also influenced his emotional state after 1979. His sister-in-law Pat Evans has stated that she knew Bill wouldn't last long after Harry's death and she wondered if that's what prompted her to buy three plots in a Baton Rouge Cemetery, where Harry was interred. It has been documented that he voluntarily quit his treatment for chronic hepatitis. Laurie Verchomin has claimed that Evans was clear in mind that he would die in a short time.

On September 15, 1980, Evans, who had been in bed for several days with stomach pains at his home in Fort Lee, was accompanied by Joe LaBarbera and Verchomin to the in New York City, where he died that afternoon. The cause of death was a combination of, bronchial, and untreated hepatitis. Evans' friend described Evans' struggle with drugs as 'the longest suicide in history.' He was interred in, next to his brother Harry. Services were held in Manhattan on Friday, September 19. A tribute, planned by producer and Tom Bradshaw, was held on the following Monday, September 22, at the in San Francisco. Fellow musicians paid homage to the late pianist in the first days of the 1980, which had opened that very week: played his own ' on the 19th, would follow on the 20th, while dedicated '.

Music and style. An example of Evans' harmonies. The chords feature extensions like 9ths and 13ths, are laid around middle C, have smooth voice leading, and leave the root to the bassist. Bridge of the first chorus of 'Waltz for Debby' (mm.33-36).

From the 1961 album of the same name. One of Evans' distinctive harmonic traits is excluding the root in his chords, leaving this work to the bassist, played on another beat of the measure, or just left implied. 'If I am going to be sitting here playing roots, fifths and full voicings, the bass is relegated to a time machine.' This idea had already been explored by, and. In Evans' system, the chord is expressed as a quality identity and a color. Most of Evans' harmonies feature added note chords or voicings.

Thus, Evans created a self-sufficient language for the left hand, a distinctive voicing, that allowed the transition from one chord to the next while hardly having to move the hand. With this technique, he created an effect of continuity in the central register of the piano. Laying around middle C, in this region the harmonic clusters sounded the clearest, and at the same time, left room for contrapuntal independence with the bass. Evans' improvisations relied heavily in motivic development, either melodically or rhythmically. Motives may be broken and recombined to form melodies. Another characteristic of Evans' style is rhythmic displacement. His melodic contours often describe arches.

Other characteristics include sequenciation of melodies and transforming one motive into another. He plays with one hand in the time signature of 4/4 and the other momentarily in 3/4. At the beginning of his career, Evans used block chords heavily. He later abandoned them in part.

During a 1978 interview, asked: 'How do you think your playing has changed since you first started? Is it deliberate or is it just happening to change?' Bill Evans: 'Well it's deliberate, ahh but I stay along the same lines.I try to get a little deeper into what I'm doing. As far as that kind of playing goes, jazz playing rather than an earlier example where he played Waltz for Debbie without any improvisation or sense of swing, I think my left hand is a little more competent and uhh.of course I worked a lot on inner things happening like inner voices I've worked on.' The first line of ', as penned by Evans in the early 1970s. At least during his late years, Evans' favorite keys to play in were A and E. Evans greatly valued 's music, which influenced his playing style and which helped him gain good touch and finger independence.

'Bach changed my hand approach to playing the piano. I used to use a lot of finger technique when I was younger, and I changed over a weight technique.

Actually, if you play Bach and the voices sing at all, and sustain the way they should, you really can't play it with the wrong approach.' Evans valued Bach's ' and his ' as excellent practice material. Influences In an interview given in 1964, Evans described as his single greatest influence. Views on contemporaneous music tendencies Evans' career began just before the explosion in the 1960s. During this decade, jazz was swept in a corner, and most new talents had few opportunities to gain recognition, especially in America. However, Evans believed he had been lucky to gain some exposure before this profound change in the music world, and never had problems finding employers and recording opportunities.

Evans never embraced new music movements; he kept his style intact. For example, he lamented watching Davis shift his style towards, and blamed the change on considerations of commerce. Evans commented 'I would like to hear more of the consummate melodic master Davis, but I feel that big business and his record company have had a corrupting influence on his material. The rock and pop thing certainly draws a wider audience. It happens more and more these days, that unqualified people with executive positions try to tell musicians what is good and what is bad music.' However, Evans and Davis kept in touch throughout their lives. While Evans considered himself an acoustic pianist, from the 1970 album on, he also released some material with piano intermissions.

However, unlike other jazz players (e.g. ) he never fully embraced the new instrument, and invariably ended up returning to the acoustic sound. 'I don't think too much about the electronic thing, except that it's kind of fun to have it as an alternate voice. (.) It's merely an alternate keyboard instrument, that offers a certain kind of sound that's appropriate sometimes.

I find that it's a refreshing auxiliary to the piano—but I don't need it (.) I don't enjoy spending a lot of time with the electric piano. I play it for a period of time, then I quickly tire of it, and I want to get back to the acoustic piano.' He commented that electronic music: 'just doesn't attract me. I'm of a certain period, a certain evolution.

I hear music differently. For me, comparing electric bass to acoustic bass is sacrilege.'

Personal life Bill Evans was an avid reader, in particular philosophy and humorous books. His shelves held works by, and; and had a special fondness for 's work.

He was fascinated with eastern religions and philosophies including, and. It was also Evans who introduced to the Indian philosophy of. Evans liked to paint and draw. He was also a keen golfer, a hobby that began on his father's golf course.

Evans had a fondness for horse racing and frequently gambled hundreds of dollars, often winning. During his last years he even owned a racehorse named 'Annie Hall' with producer. Reception Music critic Richard S. Ginell noted: '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 exerts nearly as much pull among younger players and journeymen.' Many of Evans' critics have commented on his detachment from the original black roots of jazz, believing that the European and classical traditions are of much lesser import. During his tenure with Davis, Evans had problems with the mostly black audience.

For example, Peter Pettinger has pointed out that in a recording, for his solo on a tune named 'Walkin', Evans received noticeably less applause than the other soloists, and for that on 'All Of You', none at all. When the television miniseries was released in 2001, it was criticised for neglecting Evans' work after his departure from the Miles Davis' sextet. Legacy and influence Evans has left his mark on such players as, and, as well as many other musicians worldwide. The music of Bill Evans continues to inspire younger pianists including, and and arguably early in his career. Many of his tunes, such as ', 'Turn Out the Stars', 'Very Early', and 'Funkallero', have become often-recorded jazz standards.

During his lifetime, Evans was honored with 31 Grammy nominations and seven Awards. In 1994, he was posthumously honored with the. Evans is also frequently mentioned in the anime series, and seems to be an inspiration for main character Kaoru. Evans influenced the character Seb in the film musically and in fashion. List of compositions. Main article: Evans' repertoire consisted of both jazz standards and original compositions.

Many of these were dedicated to people close to him. Ginell, Richard.

Retrieved April 9, 2012. Cook, Richard & Morton, Brian (2008). The Penguin Guide to Jazz Recordings 9th edition. CS1 maint: Uses authors parameter.

^ Light, Alan (November 2, 2006). Time Magazine. Retrieved August 19, 2008. August 31, 1983.

Retrieved November 12, 2012. Retrieved 2017-09-21. ^ Petrik, Hanns E. Bill Evans – Sein Leben, Seine Musik, Seine Schallplatten. OREOS Verlag.

The quotes extracted from this book have been re-translated into English from the German original. Evans, Pat (2011). Wilson, John S., September 17, 1980. Retrieved June 30, 2009. Evans, who lived in Fort Lee, N.J., toured in Europe this summer.' . ^ Pat Evans (2011).

CS1 maint: Uses authors parameter. ^ Pettinger, Peter (2002) 1999.

Bill Evans: How My Heart Sings (New ed.). Yale University Press. Retrieved September 13, 2012.

^, p. 11–12. ^ AAJ Staff. All About Jazz. Retrieved April 9, 2012.

July 7, 2008. Retrieved September 13, 2012.

Cramer, Alfred W. Retrieved August 10, 2012. DuBose-Smith, Darshell (June 1, 2005). Amber Books Publishing.

Nov 21, 2015 - Autocad 2012 Serial Number helps the users to generate the product key which makes the software to be genuine. Without purchasing the user can use the software which has latest tools which makes helps the users to create easy and rapid designs. Xforce keygen autocad 2014 64 bit free download. X force 2012 keygen download manager windows 10. R r rAutocad 2012 Keygen X-force 64 Bit Download >> r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r rAutocad 2012. Magix multi keygen download manager rdownload microsoft office 2010 full version serial key rps cs3 keygen download mediafire rthendral tamil serial songs. [32bit & 64 Bit] AutoCAD 2012 Crack or Keygen. AutoCAD 2012 crack is here. Download Autocad 2012 with x-force keygen. And follow the method Autocad More. Aug 5, 2017 - Download Autocad 2012 with x-force keygen. And follow the method how to crack AutoCAD 2012 to get free full version. Performance Improvements: – Faster startups. Select I have an activation code from Autodesk. Once at the activation screen: start XFORCE Keygen (run as administrator and off UAC).

Retrieved August 10, 2012. Harrison, Max (1976). The Brandeis Festival LP in A Jazz Retrospect. Retrieved September 13, 2012. ^ Kahn, Ashley (September 2001). Retrieved July 28, 2012. Early, Gerald Lyn (2001).

Miles Davis and American Culture. Missouri Historical Society Press. Davis, Miles; Troupe, Quincy (1989). Miles: The Autobiography. Simon and Schuster. Rolling Stone.

Retrieved August 19, 2008. ^ Bill Evans (1959). Kind of Blue. The liner notes to Bill Evans – The Complete Riverside Recordings, published in 1984, give credit to both Evans and Davis ((Davis-Evans) Jazz Horn Music/Warner-Tamerlane Publ. ^ Verchomin, Laurie (2010). The Big Love, Life and Death with Bill Evans. All About Jazz.

Retrieved July 27, 2008. Archived from on July 8, 2011. Retrieved June 28, 2011. ^ O'Neil, Thomas (1993). The Grammys: For the Record (paperback ed.). Penguin Books.

Lees, Gene. Meet Me at Jim & Andy's: Jazz Musicians and Their World. New York: Oxford University Press, 1988 (Bill Evans).

Retrieved 18 April 2017. Retrieved 2014-06-11. Inc, Nielsen Business Media (September 27, 1980). Nielsen Business Media, Inc. Retrieved July 21, 2017 – via Google Books.

Inc, Nielsen Business Media (October 4, 1980). Nielsen Business Media, Inc.

Retrieved July 21, 2017 – via Google Books. Inc, Nielsen Business Media (October 4, 1980). Nielsen Business Media, Inc.

Retrieved July 21, 2017 – via Google Books. Levine, Mark (1989). The Jazz Piano Book. Valerio, John (2005).

Post-Bop Jazz Piano. ^ Jack Reilly (1993). The Harmony of Bill Evans. CS1 maint: Uses authors parameter., p. 4. This Quiet Fire.

August 17, 2012. Retrieved September 13, 2012. January 25, 2013.

Retrieved September 13, 2012. Recorded November 6, 1978; originally broadcast May 27, 1979. Evans, Bill; Hultin, Randi (1994). The Complete Bud Powell on Verve (Liner notes, booklet). Ginell, Allmusic.

(January 29, 2008). Retrieved July 28, 2012. Chell, Samuel (June 17, 2007). Retrieved July 28, 2012.

Retrieved July 21, 2017. References. Forte, Allen (2000). 'Harmonic Relations: American Popular Harmonies (1925–1950) and Their European Kin', pp. 5-36, Traditions, Institutions, and American Popular Music ( Contemporary Music Review, Vol.

19, Part 1), p. Covach, John and Everett, Walter; eds. Pettinger, Peter (2002) 1999. Bill Evans: How My Heart Sings (New ed.). Yale University Press. Shadwick, Keith (2002). Bill Evans Everything Happens To Me – a musical biography (Paperback ed.).

Verchomin, Laurie (2011) 2010. The Big Love, Life and Death with Bill Evans (Paperback ed.). External links Wikiquote has quotations related to:.

at. by Ted Gioia, January, 2008.

at. edited by Win Hinkle — newsletter dedicated solely to the music and the life of Bill Evans, published 1989–94. Link is to all issues.

Bill Evans Solo Transcription

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Bill Evans Rare Transcriptions

is a great website to learn the fundamentals of music theory. provides access to free, public domain sheet music. Community Events:.

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