I am now 77 and I saw Bill Evan's back in the 1960's. He played at Ronnie Scott's original venue. The club was a very small and in such an intimate music setting it made Bill's music so intense. The guy was a genius but sadly had a tragic end. His legacy lives on in recordings but sadly the wonderful times I had in that club are now lost to memories. Everything changes I suppose
Wish I shared that gig.Saw Bill Evans on his last gig at Keystone Korner SF ,1980. My first time hearing him still mesmerised at some beautiful music.!
perhaps where I started, 80, then went back in time trying to capture the mix between Bass Clef and drums, for am forever a better person while listening to Bill Evans and doing my work well thankful for music to affect me in old age.@@olliedebhal7486
@@devilsslave1970 I'm sure there are all sorts of technical explanations why, but I don't know any of them. I've listened to a lot of Bill Evans, and a lot of other people play piano. Bill Evans plays like a robot with emotions. He's so precise, so punctual, but there's something very emotional about the way he strikes the keys. 'Round Midnight is a great song to compare pianists to, because it's such a standard. Listen to Thelonious Monk play it, he composed it. Then check out how Michel Petrucciani, Herbie Hancock, and Chick Corea play it. Each will give you a different result.
@@devilsslave1970 Bill changed the sound of the piano by eliminating the fundamental note in a chord, the root, so it has to sound different. Also he put a great pride in the rhythmic quality of is playing. The one times the other (not plus) creates a unique permutation that becomes familiar. It's a musical voice. When someone can imitate someone else speaking it's. for the same reasons but with different elements. They use certain words, and those words have a distinctive tone and rhythm. Bill created a dialect that many find useful in expressing themselves.
@@andremoreau8390 I could listen to all of those guys play (add Bud Powell) and I could tell you who is not Michel Petrucciani. Doesn't take too long to tell who's who if you've listen to them enough...
Bill Evans was the greatest jazz pianist of all time. He didn't play music...he played soft nights and Autumn sunsets, ocean breezes and falling leaves. There was no one like him in any way.
One of my all-time favorite jazz pianists. Ever since his work with Miles, he has definitely carved his own niche in the pantheon of jazz titans. Rest in peace. 🎹
My eternal gratitude to Bill. Right now I am teaching my son -- who's a piano and saxophone player, and a drummer, to pay attention, once more, to Bill's art.
Remarkable! Bill's harmonic sensibility is so refined and so beautiful, talk about in-depth. Sweet Jesus! Listen to his lock-hands chordal improvisation starting around 1:58 - no one else did this with such sensitivity and exploratory reach, not George Shearing or any one else, and you don't hear it in the later players like Herbie, Chick of Keith - it's kind of a lost art, but Evans did it the best. Bill created his own musical world and in this performance he built off of Monk's conception and made it his own. I would have loved to have seen his hands through the entire piece - I don't really care about people walking around the streets when a musical messiah is in the moment, spreading the gospel.
for the record. Mcoy tyner uses block chords and pseudo black chord improvisatin all the time. Bud pwell used them too (mostly in trio and solo playing) That and the block chord style was invented by Phillip Moore. That said, bill Evans use of block chording improvisation hasn't received much attention, nor imitation. I dnt know why it sounds great.
greati9 I wasn't saying that other players hadn't used locked-hand chord style, lots of them had in the bebop and late swing era. People always think of George Shearing as the one who made it a popular style, which he did. Milt Buckner is the guy who most often is associated with its origins, but who knows who really created it - it may have been Phil Moore or some obscure guy in a club that Buckner or someone else heard - that's how that stuff works. My point was the level of sophistication and sensitivity that Evans brought to the style (Tyner never took it to that level, if we're talking about true locked-hand). The great players after that era seem to not indulge in it at all - even Evans himself pretty much stopped, except occasionally. I happen to love the sound when it's done well.
92ninersboy I was referring specifically to homophonic parallelism in Jazz harmony. Homophonic parallelism in Jazz goes all the way back to its roots in Blues, and ultimately African music. However, when you specifically mention this Locked hands style. I Agree but with the stipulation that Bill evans hand his own locked hands style... its almost a completely different system of harmonizaiton from george shearing. Although still recognizable as locked hands. Bill evans harmonic vocabulary was (as you well know) was far more exploratory (i use that instead of advanced because older players new of these tonal concepts but did not explore them as much as more modern players ie scott joplin had 9ths in some of his compositions, and stride players ocacionall used 9ths and 13ths) Bill Evans style of locked hands is extremely difficult to imitate. Just as mccoy tyners style is very difficult to true emulate. But I must ask... Why do you say he stopped using it? is it due to its lack on records or live performances?? I know he had some interviews. but i dnt recall him mentioning it...
greati9 It has nothing to do with anything he said. I don't know if Bill stopped his locked-hands playing altogether, probably not completely, but based on his recordings and the live performances of his that I attended (including one that was two weeks before his death) he didn't seem to do it anymore. The locked-hand style is a very specific thing (as I'm sure you know) and, yes, it was Evans sophisticated harmonic sense and aesthetic sensitivity that for me set it apart. His choice of internal voicings and overall harmonic language is what made it special, made it Bill Evans - that combined with his subtle sense of dynamics and unique sense of swing.
92ninersboy Bill was lovers with my Dad's good friend Francine Tomlin for many years in the late 50s and early 60s... as to Bud Powell... are you also familiar with Joe Albany? Here's my mom's first documentary- "Joe Albany... A Jazz Life": JOE ALBANY... A JAZZ LIFE 1980 Complete 60 min. Feature Documentary Film
Today I received a news, that basically sounded like 'All the efforts and hopes you've had the last 4 years were in vain. Now, you have to figure everything out once more, all over again.' And I knew I needed jazz. And the tune I heard in my mind was Bill's. So I came here. And I was at last able to cry. I still am as I write this. As you grow up, you learn to hold your tears; learn to tell yourself you're fine, and convince others that you're okay. So it's a blessing to be prompted to cry, really. Thank you, Bill. God knows how many times jazz saved my life. Regardless of my general ignorance about the genre- it does not discriminate.
Boy can I relate to this. I listen to Miles on Stella and it never fails to lift me up. And, have had my listens where I just can't stop crying.... Jimmy Scott gets me in tears.
6 months now after you made this post and foolish statements. I read it earlier this day and decided you needed a response. I forgive you for what is apparently youthful ignorance about a very complex subject which is "jazz" - it is a sophisticated genre of music; it is not always to everyone's taste. That being said what it does not ever deserve is a childlike criticism that it has profound effects on people. You have no clue as someone said; you can cure yourself of this malady by studying, listening, reading, and general education. You may find you still do not like it or find people insane who are totally moved by jazz, but you will no longer be ignorant. Interpreters of jazz whether on a single instrument, a group, a large ensemble or by voice are many and everyone has their favorites. BUT, understand some are on a level all their own; they have no equals and really cannot be compared to other artists. Bill Evans is just such - he is the master of the piano; an impressionist of the genre. He was an innovator of his time which has influenced all musicians since. He was a tortured soul with drug addiction and unknown demons. Evana was a genius of the piano and there is no argument there except by those who know nothing of Evans. This is not a good place to listen. Get the CD's, a quiet place, no distraction, decent equipment and LISTEN to Evans. He will transport you to places you did not know you could go but you go with him on the musical journey. If you don't cry sometimes while listening to Bill Evans play, I suspect you have no soul. He will also make you smile and cry at the same time.
Upon hearing Bill Evans the first time I did not know who he was only buying his two records complication on the Riverside label.Having already a beginning interest in jazz I didn't know what to expect. Once listening to him I found how engulfed in listening to such beautiful fluidity of melodies, the timing the flow of endless movements.He was a consummate musican..sadly he left really all to soon RIP BILL EVANS.
No argument about Gomez. In addition, Evans had used some other bassists who could just shred. Namely, Scott Lefaro, who died very young in a car wreck, and also Chuck (?) Israels. To this day, Lefaro remains my all time favorite bass player--specifically on My Foolish Heart. He stayed away from the root so much! Know what I mean? Beginning bass players just play root--5th--root--5th, etc. Even more experienced players still revolve around the root so much. Scott Lefaro almost never hit the root note! He played melodic lines, arpeggios, and lightning-fast runs, but only resolved back to the root as the last note of the song.
Gil Mosko Yeah, Lafaro was such an amazing player, he would leave spaces that none other bassists would dare to leave, and would do it in a perfectly cohesive way, giving the bass a life on it's own, and carrying each song to whole new levels of beauty and inventiveness. While Eddie Gomez' style draws a lot from Lafaro's, I really apreciate it mostly for how it also steps away from it (if you know what I mean), while it brings up Lafaro's melodic and very active style of playing, it is also a lot more agressive and just as daring. As for Chuck Israels, I feel like he tried a bit too much to sound exactly like Lafaro, but without the same impact, though that's not to say that he wasn't an incredible double Bass player too, as even copying Lafaro wasn't by any means an easy task, and he had a really great sence of pacing and phrasing.
Oscar's American debut was 1950; Bill didn't hit the national stage until 1958, as a member of Miles Davis' new sextet (with Cannonball and Trane). He introduced more chord "clusters" and played deeper in the keys than Oscar. But Oscar no doubt absorbed much of what Bill was doing and played Bill's "Debbie's Waltz."
It is just great to see the piano keys from this angle seeing the actual piano hammers is very special and unique! This man remains incredibly special!
I had the great good fortune to hear Evans, Gomez and Morrell in about 1971, in Denver, at a tiny club called the Senate Lounge (part of the Argonaut Hotel). Man alive, they just went and went!!! Of course I had owned the "Conversations with Myself album, and the Waltz for Debbie album (with Scott Lefaro on bass) for some years. But to hear these absolute monsters playing live--and CLOSE UP--was a true milestone in my life.
+Gil Mosko i live with a passionate hate for being born in the 90's and only being 20 years old currently, i wish i could have experience Bill Evans and the trio Live as you did, im sure that was a gem, you have no clue the regret i have for our societies ears with what is considered music now a days, complete filth haha... I Apologize for my generations arrogance.
+x_ Ezra Hey, man--I take my hat off to you. I was only 21 when I heard Bill Evans. So your task is to root out all the good talent. It exists! The good news is: you aren't going to croak in a decade (God willing). There is no reason for you to apologize; I recognize you as a kindred spirit. Keep it up.
I appreciate that Gil, but hopefully neither of us croak in a decade or any time soon for that matter haha. Although rooting good talent is something i strive for,.. talent along with good music like this is hard to find..., but as you said though, it does exist, indeed it does haha. The fact that this Bill Evans song also carries the original video footage is what really caught my attention. You have to really appreciate the sense of nostalgia this video brings forth, it makes me wish i was in the 60's while Reminiscing about my simple living in the 90's haha, man... you got to love them Classical's.
+x_ Ezra I want to tell you a little story. When I went to see Evans, it was at a TINY room--the Senate Lounge. My date and I were standing on the sidewalk outside with everyone else, waiting for the second set to start. Right next to me was a black dude, all in red. Red coat, pants, shirt, tie, shoes, and a wide-brimmed red zoot suit hat. He was a vision, and his date was REALLY dressed well, too. They were one very cool couple! The cocktail waitress came around, taking orders. Remember, this was 1971, and a cocktail cost something like $1.85. The waitress totalled up the two drink minimum and also tacked on the "hefty" cover charge of $5.00. She said to that dude, "That will be $18.00," or something like that. The dude was not expecting all the drinks and cover charge, and was so surprised, he said, "WHO?" Hahahahaha. Then, "We hasn't sat down yet." I still laugh when I think of "Who?"
it's like Evans took more years than he was even alive to practice to perfection. damnit, he has no right to play Around Midnight so wonderfully. His interpretation is like light years beyond anyone else, even da Monk, imo. ahhh, but, to be Monk and live the dark dangerous streets every time you played the song, what an ecstasy too!
LOL! I know exactly who you're talking about, AJ 7: *Keith Jarrett* !!! well, this is how I "feel" it. I adore Bill but KJ is aphrodisiac, a true "pianoist"! love of my life, no kidding ^_^
I am an ex-bassist. I was in Jazz trio/quartets back in the 70's. Now as I am about a year form retirement, my aim to is get a concert grand an study what this man did til my end. The challenge of it excites me. I have to say though in this clip, Eddie Gomez amazes me. That was always the sort of bass conversation I always aspired to. Sometimes I came close, but this guy is so wonderful. And it looks like gut D and G strings. When I tried gut strings, it was like trying to play on sandpaper and I had to give them away. They have a wonderful "snappy" sound and very lively. Besides all that, how wonderful it would have been to be in a trio like this with the maestro. Wow... I was glad my musical tastes followed the jazz path and still do.
What a combination; Eddie Gomez and Bil Evans,seeing and hearing how they compliment each other musically. This is a amazing video of them together! Bravo!!
Still amazing that Monk is the second most recorded jazz composer, considering he only wrote 70 (compared to no. 1 Duke Ellington, who wrote over a 1,000 pieces)
I’m gonna be a jerk and say I always prefer other’s takes of monk’s tunes. His composing was great but a lot of his playing was too aggressive and lacked tonal variation because he hit the keys hard and didn’t change his attack much. Barry Harris has a gorgeous record of Ruby My Dear that beats the pants off of monk’s own recording
Your English is better than that of many English people who, unfortunately, could not afford a decent education. I agree with what you say - it is very precious to hear music of this nature - there is so much noise out there today
I was born in the wrong country...Ahhh Sweden...I'm 49 now, I didn't even SEE a Bill Evans video until 2004! I had NO idea how he looked when he played, and now since youtube I'm finally getting to see these gems. Love it ! Thank you and more please? :-)
I couldn't get over the similarity in appearance in the late 1950's - early 1960's between Bill Evans And Glen Gould; even their deportment before the piano was the same. Then I discovered that they greatly admired one another's artistry and eventually were lucky enough to meet and spend a little time together. What I would have given to be present at that special moment.
Bill Evans--also recorded this on "Conversations with Myself" one of my first albums received as a kid when I was about 14, from my older brother. Still have it. Bill Evans genius, and also Thelonius Monk who composed this tune.
I studied composition with Hall Overton, who arranged Monk's pieces for larger ensembles, which somehow got me to be the piano teacher for a few years of Paul Motian, who was Evans' original drummer in the late 50s. I was too young to know to whom I was teaching Bach Inventions. He said he wanted to be a composer. Well, he became one, but he never did play the piano very well.
During these past months of this last crazy 2020, I had a pretty terrible break up with a childhood friend. today it became clear that we will probably never speak again. I didn't even know how much i fucking needed this.
Get yourself together. Move to Philly. Buy a loft. Start a noise band. Get 6 or 7 roommates. Eat hummus with them. Book some gigs. Paint. Smoke cloves. Listen to Animal Collective. Start some type of salsa company.
Monk's best, most difficult tune. Bill harmonizes even the short notes that are usually played "naked." He plays a bit of the introduction much like Miles on the album of the same title (the composer of the intro was Cootie Williams, Monk's employer at the time. Dizzy Gillespie came up with the latin coda that's played at the end of the tune (Bill plays it but without the latin rhythm).
Wow-- amazing performance- Evans performances are always great--I've never seen one where he played mediocre goes without saying- it was nice to see a young Eddie Gomez-- playing a nice bass solo as well-- years later when he hooked up with Chick Corea--this bassist really started to shine brightly--thanks for the Post
Who are the rest of the trio? Man on bass sounded like a perfect shoo in for the blessed Scott La Faro. Man on drums has lovely fill. Glad somebody still listens to this stuff. Bill Evans saved my life, and that's a fact.
Indeed. And THEY were fortunate in turn. Indisputably, Davis was not only a master at the art, but an ingenious band leader as well. Evans, though incredibly humble, had no need or inclination to idolize anyone. He grasped and openly respected this aspect of Davis exceedingly well. Both operated at genius levels. And, it would seem, raised the bar, uniquely, for each other. Perhaps as few others ever had? Imagine that...
Esther.M. G You just reminded me that Bill was only 51 when he was taken from us (1980...5 years before I was born *sigh*). That is just sad, but fighting all his inner demons DID take a toll on his body. Gone too soon, but not forgotten. Same with John Coltrane, who also died way too young due to cancer....
Another wonderful video of Evans; and great work by Gomez. BTW in Feb 2017, Southeastern Louisiana University, where Bill graduated, holds it's 15th Bill Evans Jazz Festival.
The book MAN BEING Volume 2 brought me to this song. The resonance that jazz/blue produces is the same resonance that we transit from form to free form. Meaning this resonance helps us enter the immortal gate after we die(we never do really), so we dont have to reincarnate again in this 3d matrix world full of duality, wars, hate, materialism etc
I am now 77 and I saw Bill Evan's back in the 1960's. He played at Ronnie Scott's original venue. The club was a very small and in such an intimate music setting it made Bill's music so intense. The guy was a genius but sadly had a tragic end. His legacy lives on in recordings but sadly the wonderful times I had in that club are now lost to memories. Everything changes I suppose
I hear what you are saying. You have shared this memory so it isn't lost. I hope you are well.
Wish I shared that gig.Saw Bill Evans on his last gig at Keystone Korner SF ,1980. My first time hearing him still mesmerised at some beautiful music.!
perhaps where I started, 80, then went back in time trying to capture the mix between Bass Clef and drums, for am forever a better person while listening to Bill Evans and doing my work well thankful for music to affect me in old age.@@olliedebhal7486
I hope you are doing well
What trio did you see back in 60s? Is there any chance you saw P Motian on drums?
Evans has such a distinct voice on the piano. You can hear him play any piece and know it's him.
huh, your right. Never thought of that before
As someone who is still trying to understand jazz, could you elaborate on what makes bill sound different than other jazz pianists?
@@devilsslave1970 I'm sure there are all sorts of technical explanations why, but I don't know any of them. I've listened to a lot of Bill Evans, and a lot of other people play piano. Bill Evans plays like a robot with emotions. He's so precise, so punctual, but there's something very emotional about the way he strikes the keys. 'Round Midnight is a great song to compare pianists to, because it's such a standard. Listen to Thelonious Monk play it, he composed it. Then check out how Michel Petrucciani, Herbie Hancock, and Chick Corea play it. Each will give you a different result.
@@devilsslave1970 Bill changed the sound of the piano by eliminating the fundamental note in a chord, the root, so it has to sound different. Also he put a great pride in the rhythmic quality of is playing. The one times the other (not plus) creates a unique permutation that becomes familiar. It's a musical voice. When someone can imitate someone else speaking it's. for the same reasons but with different elements. They use certain words, and those words have a distinctive tone and rhythm. Bill created a dialect that many find useful in expressing themselves.
@@andremoreau8390 I could listen to all of those guys play (add Bud Powell) and I could tell you who is not Michel Petrucciani. Doesn't take too long to tell who's who if you've listen to them enough...
Bill Evans was the greatest jazz pianist of all time. He didn't play music...he played soft nights and Autumn sunsets, ocean breezes and falling leaves. There was no one like him in any way.
ALL ranking is childish.
Agreed, BE on another level
Well said
@@sulevisydanmaa9981 live a little...
One of my all-time favorite jazz pianists. Ever since his work with Miles, he has definitely carved his own niche in the pantheon of jazz titans. Rest in peace. 🎹
Pure genius...troubled soul. Rest in peace.
My eternal gratitude to Bill. Right now I am teaching my son -- who's a piano and saxophone player, and a drummer, to pay attention, once more, to Bill's art.
Het, would be nice to hear your son - or him and you together. Post it here!
This is one of those immortal moments in jazz where time stands still.
It's called film.
My clock has stopped - I will have to replace the batteries !
Time stops, round midnight.
definetly a "Taxi Driver" mood in the opening images...nice
Remarkable! Bill's harmonic sensibility is so refined and so beautiful, talk about in-depth. Sweet Jesus! Listen to his lock-hands chordal improvisation starting around 1:58 - no one else did this with such sensitivity and exploratory reach, not George Shearing or any one else, and you don't hear it in the later players like Herbie, Chick of Keith - it's kind of a lost art, but Evans did it the best. Bill created his own musical world and in this performance he built off of Monk's conception and made it his own. I would have loved to have seen his hands through the entire piece - I don't really care about people walking around the streets when a musical messiah is in the moment, spreading the gospel.
for the record. Mcoy tyner uses block chords and pseudo black chord improvisatin all the time. Bud pwell used them too (mostly in trio and solo playing)
That and the block chord style was invented by Phillip Moore.
That said, bill Evans use of block chording improvisation hasn't received much attention, nor imitation. I dnt know why it sounds great.
greati9 I wasn't saying that other players hadn't used locked-hand chord style, lots of them had in the bebop and late swing era. People always think of George Shearing as the one who made it a popular style, which he did. Milt Buckner is the guy who most often is associated with its origins, but who knows who really created it - it may have been Phil Moore or some obscure guy in a club that Buckner or someone else heard - that's how that stuff works. My point was the level of sophistication and sensitivity that Evans brought to the style (Tyner never took it to that level, if we're talking about true locked-hand). The great players after that era seem to not indulge in it at all - even Evans himself pretty much stopped, except occasionally. I happen to love the sound when it's done well.
92ninersboy I was referring specifically to homophonic parallelism in Jazz harmony. Homophonic parallelism in Jazz goes all the way back to its roots in Blues, and ultimately African music.
However, when you specifically mention this Locked hands style. I Agree but with the stipulation that Bill evans hand his own locked hands style... its almost a completely different system of harmonizaiton from george shearing.
Although still recognizable as locked hands.
Bill evans harmonic vocabulary was (as you well know) was far more exploratory (i use that instead of advanced because older players new of these tonal concepts but did not explore them as much as more modern players ie scott joplin had 9ths in some of his compositions, and stride players ocacionall used 9ths and 13ths)
Bill Evans style of locked hands is extremely difficult to imitate. Just as mccoy tyners style is very difficult to true emulate.
But I must ask... Why do you say he stopped using it? is it due to its lack on records or live performances?? I know he had some interviews. but i dnt recall him mentioning it...
greati9 It has nothing to do with anything he said. I don't know if Bill stopped his locked-hands playing altogether, probably not completely, but based on his recordings and the live performances of his that I attended (including one that was two weeks before his death) he didn't seem to do it anymore. The locked-hand style is a very specific thing (as I'm sure you know) and, yes, it was Evans sophisticated harmonic sense and aesthetic sensitivity that for me set it apart. His choice of internal voicings and overall harmonic language is what made it special, made it Bill Evans - that combined with his subtle sense of dynamics and unique sense of swing.
92ninersboy
Bill was lovers with my Dad's good friend Francine Tomlin for many years in the late 50s and early 60s... as to Bud Powell... are you also familiar with Joe Albany? Here's my mom's first documentary- "Joe Albany... A Jazz Life":
JOE ALBANY... A JAZZ LIFE 1980 Complete 60 min. Feature Documentary Film
Today I received a news, that basically sounded like 'All the efforts and hopes you've had the last 4 years were in vain. Now, you have to figure everything out once more, all over again.' And I knew I needed jazz. And the tune I heard in my mind was Bill's. So I came here.
And I was at last able to cry. I still am as I write this. As you grow up, you learn to hold your tears; learn to tell yourself you're fine, and convince others that you're okay. So it's a blessing to be prompted to cry, really.
Thank you, Bill.
God knows how many times jazz saved my life. Regardless of my general ignorance about the genre- it does not discriminate.
Have heart, pilgrim. I am so sorry for whatever is happening in your life, but I do know this: everything changes. So will this, somehow. Have faith.
Joe Park i hope everything is better now.
Boy can I relate to this. I listen to Miles on Stella and it never fails to lift me up. And, have had my listens where I just can't stop crying.... Jimmy Scott gets me in tears.
pete--really are you happy making that arsehole statement?
6 months now after you made this post and foolish statements. I read it earlier this day and decided you needed a response. I forgive you for what is apparently youthful ignorance about a very complex subject which is "jazz" - it is a sophisticated genre of music; it is not always to everyone's taste. That being said what it does not ever deserve is a childlike criticism that it has profound effects on people. You have no clue as someone said; you can cure yourself of this malady by studying, listening, reading, and general education. You may find you still do not like it or find people insane who are totally moved by jazz, but you will no longer be ignorant. Interpreters of jazz whether on a single instrument, a group, a large ensemble or by voice are many and everyone has their favorites. BUT, understand some are on a level all their own; they have no equals and really cannot be compared to other artists. Bill Evans is just such - he is the master of the piano; an impressionist of the genre. He was an innovator of his time which has influenced all musicians since. He was a tortured soul with drug addiction and unknown demons. Evana was a genius of the piano and there is no argument there except by those who know nothing of Evans. This is not a good place to listen. Get the CD's, a quiet place, no distraction, decent equipment and LISTEN to Evans. He will transport you to places you did not know you could go but you go with him on the musical journey. If you don't cry sometimes while listening to Bill Evans play, I suspect you have no soul. He will also make you smile and cry at the same time.
I was lucky to hear Mr. Evans twice, once at the Top of
the Gate, NYC, and then some years later in a Palo Alto club, both in the 1970’s.
Upon hearing Bill Evans the first time I did not know who he was only buying his two records complication on the Riverside label.Having already a beginning interest in jazz I didn't know what to expect. Once listening to him I found how engulfed in listening to such beautiful fluidity of melodies, the timing the flow of endless movements.He was a consummate musican..sadly he left really all to soon RIP BILL EVANS.
Wow, each member simply a master at their craft
This composition is a masterpiece in the sense that those who choose to play it will be elevated by the sheer beauty of it !!!
Damn. Gomez is a monster on the double bass
No argument about Gomez. In addition, Evans had used some other bassists who could just shred. Namely, Scott Lefaro, who died very young in a car wreck, and also Chuck (?) Israels. To this day, Lefaro remains my all time favorite bass player--specifically on My Foolish Heart. He stayed away from the root so much! Know what I mean? Beginning bass players just play root--5th--root--5th, etc. Even more experienced players still revolve around the root so much. Scott Lefaro almost never hit the root note! He played melodic lines, arpeggios, and lightning-fast runs, but only resolved back to the root as the last note of the song.
Gil Mosko Yeah, Lafaro was such an amazing player, he would leave spaces that none other bassists would dare to leave, and would do it in a perfectly cohesive way, giving the bass a life on it's own, and carrying each song to whole new levels of beauty and inventiveness.
While Eddie Gomez' style draws a lot from Lafaro's, I really apreciate it mostly for how it also steps away from it (if you know what I mean), while it brings up Lafaro's melodic and very active style of playing, it is also a lot more agressive and just as daring. As for Chuck Israels, I feel like he tried a bit too much to sound exactly like Lafaro, but without the same impact, though that's not to say that he wasn't an incredible double Bass player too, as even copying Lafaro wasn't by any means an easy task, and he had a really great sence of pacing and phrasing.
@@peliparado94 Try and find the phone call from Martin Taylor to Eddie Gomez - you won't believe it !
And forget about Marty's awesome brushwork
The inner voices and textural lushness is just beautiful.
Listen to those block chords, Wow!!! It blows me away.
Reminiscent of Oscar Peterson's. I sense some influence, dunno who to whom though.
Oscar's American debut was 1950; Bill didn't hit the national stage until 1958, as a member of Miles Davis' new sextet (with Cannonball and Trane). He introduced more chord "clusters" and played deeper in the keys than Oscar. But Oscar no doubt absorbed much of what Bill was doing and played Bill's "Debbie's Waltz."
how can i study that chords? listening and transcribing? i m a electric bass player
Spaceman here's an idea: get his charts off the internet, or buy the books, and take his piano voicings and make bass arpeggios out of them.
It is just great to see the piano keys from this angle seeing the actual piano hammers is very special and unique! This man remains incredibly special!
What an incredible chordal improv... damn, it's just to sweet and the bass solo.
I had the great good fortune to hear Evans, Gomez and Morrell in about 1971, in Denver, at a tiny club called the Senate Lounge (part of the Argonaut Hotel). Man alive, they just went and went!!! Of course I had owned the "Conversations with Myself album, and the Waltz for Debbie album (with Scott Lefaro on bass) for some years. But to hear these absolute monsters playing live--and CLOSE UP--was a true milestone in my life.
+Gil Mosko i live with a passionate hate for being born in the 90's and only being 20 years old currently, i wish i could have experience Bill Evans and the trio Live as you did, im sure that was a gem, you have no clue the regret i have for our societies ears with what is considered music now a days, complete filth haha... I Apologize for my generations arrogance.
+x_ Ezra Hey, man--I take my hat off to you. I was only 21 when I heard Bill Evans. So your task is to root out all the good talent. It exists! The good news is: you aren't going to croak in a decade (God willing). There is no reason for you to apologize; I recognize you as a kindred spirit. Keep it up.
I appreciate that Gil, but hopefully neither of us croak in a decade or any time soon for that matter haha. Although rooting good talent is something i strive for,.. talent along with good music like this is hard to find..., but as you said though, it does exist, indeed it does haha. The fact that this Bill Evans song also carries the original video footage is what really caught my attention. You have to really appreciate the sense of nostalgia this video brings forth, it makes me wish i was in the 60's while Reminiscing about my simple living in the 90's haha, man... you got to love them Classical's.
+x_ Ezra I want to tell you a little story. When I went to see Evans, it was at a TINY room--the Senate Lounge. My date and I were standing on the sidewalk outside with everyone else, waiting for the second set to start. Right next to me was a black dude, all in red. Red coat, pants, shirt, tie, shoes, and a wide-brimmed red zoot suit hat. He was a vision, and his date was REALLY dressed well, too. They were one very cool couple! The cocktail waitress came around, taking orders. Remember, this was 1971, and a cocktail cost something like $1.85. The waitress totalled up the two drink minimum and also tacked on the "hefty" cover charge of $5.00. She said to that dude, "That will be $18.00," or something like that. The dude was not expecting all the drinks and cover charge, and was so surprised, he said, "WHO?" Hahahahaha. Then, "We hasn't sat down yet." I still laugh when I think of "Who?"
I love this little thread of conversation you guys have here! Thank you.
Best Pianist Ever Really. Always been fascinated by the usage of the desonance in his playing
Please listen to Thelonius Monk
@@tk1950
Two very distinct styles, both amazing pianists.
Bill evans at night always makes me feel a certain way. I always get images of my childhood in my head, and images of old friends.
it's like Evans took more years than he was even alive to practice to perfection. damnit, he has no right to play
Around Midnight so wonderfully. His interpretation is like light years beyond anyone else, even da Monk, imo.
ahhh, but, to be Monk and live the dark dangerous streets every time you played the song, what an ecstasy too!
このような狭い空間でのカラー映像は、貴重に思われます。静寂な夜にお酒片手に聴き入りたいです。
'Round Midnight .. - Bill Evans, Eddie Gomez & Marty Morrell. 1970. thnx. Levent .watching vid is great.
He is the dividing line -when you talk about pianists. Before Bill Evans and after Bill Evans!
Truth right there. There is also life before you hear Bill Evans perform and life afterwards. You never experience music in the same way again.
Bill Evans, one of the best Jazz Pianoists I ever have heard.
+Rickard Trulsson ha ha ha ! couldn't have heard too many
+Rickard Trulsson Um..Pianists?
+Fern Coleone pianoist: someone so good at playing the piano they make you moist.
LOL! I know exactly who you're talking about, AJ 7: *Keith Jarrett* !!!
well, this is how I "feel" it. I adore Bill but KJ is aphrodisiac, a true "pianoist"! love of my life, no kidding ^_^
Probably the greatest ever
Bill Evans is the musician to my soul 🦋🌿
🕊🎵🎶🎶
OH MY GOD... GLORIOUS...
Wonderfully played , what a trill what a joy to witness the artistry in color!
Wow, that's possibly the best Bill I've heard. They were definitely on that day.
wow this guy is fantastic his piano playing is second to none ...he make jazz an utter pleasure to listen to wow xx
Great video! So cool to see color footage of Evans from this earlier period.
I am an ex-bassist. I was in Jazz trio/quartets back in the 70's. Now as I am about a year form retirement, my aim to is get a concert grand an study what this man did til my end. The challenge of it excites me.
I have to say though in this clip, Eddie Gomez amazes me. That was always the sort of bass conversation I always aspired to. Sometimes I came close, but this guy is so wonderful. And it looks like gut D and G strings. When I tried gut strings, it was like trying to play on sandpaper and I had to give them away. They have a wonderful "snappy" sound and very lively. Besides all that, how wonderful it would have been to be in a trio like this with the maestro. Wow... I was glad my musical tastes followed the jazz path and still do.
Check out Gomez on Chick Corea's Quartets.
Nice to hear Bill Evans when he is really inspired to play. This is not a pop standard, it is a jazz standard.
It is a standard. Period.
@@NYCBG Standard badass music!!! YEAH!! LOL!!!
Class, elegance, deep, vibe, jazz... Bill Evans
いいっすねぇ～！こんな感じ。映像もGOOです。こんな感じのアメリカ大好きです。
Very good sound quality. Color video!.
What a combination; Eddie Gomez and Bil Evans,seeing and hearing how they compliment each other musically. This is a amazing video of them together! Bravo!!
He is so smooth on the keys.
This is just sublime. Thank you so much for sharing.
This is one of my favorite Monk compositions. Ironically I like it played by other people. Bill is one of them.
Still amazing that Monk is the second most recorded jazz composer, considering he only wrote 70 (compared to no. 1 Duke Ellington, who wrote over a 1,000 pieces)
I’m gonna be a jerk and say I always prefer other’s takes of monk’s tunes. His composing was great but a lot of his playing was too aggressive and lacked tonal variation because he hit the keys hard and didn’t change his attack much. Barry Harris has a gorgeous record of Ruby My Dear that beats the pants off of monk’s own recording
@@themidger1 opinion only not reality
I was impressed. It is very precious to see three genius playing music. Thanks to God.I'm sorry. My English is poor
Your English is better than that of many English people who, unfortunately, could not afford a decent education. I agree with what you say - it is very precious to hear music of this nature - there is so much noise out there today
A true master. He blows me away, one more time.
I was born in the wrong country...Ahhh Sweden...I'm 49 now, I didn't even SEE a Bill Evans video until 2004! I had NO idea how he looked when he played, and now since youtube I'm finally getting to see these gems. Love it ! Thank you and more please? :-)
Really? Cause I only discovered him last year 😅
A true mystical angel of harmonic curative creativity.
I couldn't get over the similarity in appearance in the late 1950's - early 1960's between Bill Evans And Glen Gould; even their deportment before the piano was the same. Then I discovered that they greatly admired one another's artistry and eventually were lucky enough to meet and spend a little time together. What I would have given to be present at that special moment.
Bill Evans--also recorded this on "Conversations with Myself" one of my first albums received as a kid when I was about 14, from my older brother. Still have it. Bill Evans genius, and also Thelonius Monk who composed this tune.
I studied composition with Hall Overton, who arranged Monk's pieces for larger ensembles, which somehow got me to be the piano teacher for a few years of Paul Motian, who was Evans' original drummer in the late 50s. I was too young to know to whom I was teaching Bach Inventions. He said he wanted to be a composer. Well, he became one, but he never did play the piano very well.
During these past months of this last crazy 2020, I had a pretty terrible break up with a childhood friend. today it became clear that we will probably never speak again. I didn't even know how much i fucking needed this.
Get yourself together. Move to Philly. Buy a loft. Start a noise band. Get 6 or 7 roommates. Eat hummus with them. Book some gigs. Paint. Smoke cloves. Listen to Animal Collective. Start some type of salsa company.
Awesome, simply awesome!
Wonderful comments re wonderful music.....
I’ve seen Bill twice in my life best Trio ever!💯
El vigor impetuoso de thelonious a la sutil poesía de bill Evans, dos genios del jazz unidos acá
Şahane bir kayıt Bill Evans'ın hastasıyız.🙏
It's great to see Eddie Play with gut strings and no amplifier.
Bill chording/melody style is unequaled. Art at its best.
Nothing compares to Bill !
Monk's best, most difficult tune. Bill harmonizes even the short notes that are usually played "naked." He plays a bit of the introduction much like Miles on the album of the same title (the composer of the intro was Cootie Williams, Monk's employer at the time. Dizzy Gillespie came up with the latin coda that's played at the end of the tune (Bill plays it but without the latin rhythm).
good to know, thanks.
Monk's most difficult tune is probably Trinkle, Tinkle. Not 'Round MIdnight
Luke Holmes: but not as memorable!
What's considered 'difficult' will vary player to player.
caponsacchi 8
100 years from today some Jazz enthusiast will ask, 'love this Evans sound, where is the Cat playing?"
Wonderful!~ Many Thanks For The Post!
+carmen d scrimalli yw 🙏
A pure Genius ...!!!
Wow--Eddie Gomez looks so young there! Cheers :-)
beautiful rendition
Thank you for the upload!
Why is the aesthetic in this video so powerful
l love this man....fantastic.
....
Alex Alexis верно подмечено!!!
So Sad A Master of Jazz--Had to leave us I LOVED BILL EVANS AND LOVE HIS ARRANGEMENTS -MUSIC
Wow-- amazing performance- Evans performances are always great--I've never seen one where he played mediocre goes without saying- it was nice to see a young Eddie Gomez-- playing a nice bass solo as well-- years later when he hooked up with Chick Corea--this bassist really started to shine brightly--thanks for the Post
What a time that was. 'The one constant is change.
Second half of Eddie Gomez's Solo on this is so interesting!!!
always incredible
Who are the rest of the trio? Man on bass sounded like a perfect shoo in for the blessed Scott La Faro. Man on drums has lovely fill. Glad somebody still listens to this stuff. Bill Evans saved my life, and that's a fact.
I'm gobsmacked, that was astonishing.
Tudo já foi dito ! E eu continuo amando Bill Evans !! Meu pianista favorito no jazz.
Moyses, meu favorito também!
Happy Birthday Bill
Bill Evans really is a genius. The more jazz I learn (classical pianist here), the more I realize that he's a genius among the geniuses.
Same for me, I am also a classical pianist. He made me start learning jazz.
Thank you for this video Levent Parman. The magnificent content and the excellent quality of the video (picture, color, sound...).
how can people dislike this....?
Miles Davis was lucky to have found musicians like Bill Evans.
Indeed. And THEY were fortunate in turn. Indisputably, Davis was not only a master at the art, but an ingenious band leader as well. Evans, though incredibly humble, had no need or inclination to idolize anyone. He grasped and openly respected this aspect of Davis exceedingly well. Both operated at genius levels. And, it would seem, raised the bar, uniquely, for each other. Perhaps as few others ever had? Imagine that...
Miles wasn't lucky, he was a genius for finding them and he worked at it, endlessly scouting and developing.
Similarly, Bill Evans was lucky that Miles Davis wanted him.
BILL EVANS - 16.08.1929 - 15.09.1980 - Shared on G+ August 16, 2016.
Esther.M. G You just reminded me that Bill was only 51 when he was taken from us (1980...5 years before I was born *sigh*). That is just sad, but fighting all his inner demons DID take a toll on his body. Gone too soon, but not forgotten. Same with John Coltrane, who also died way too young due to cancer....
Color in this Bill Evans Trio era. Nice!
Ever beautiful, forever!
How did I miss this one ! Looks like early in the Gomez/ Morrell era.
Beeing there... lo maximo!!
Ryser när jag hör dessa jazzgiganter i denna klassiker...
An absolute gem.
Marvelous!
no comment... genius !
he is a gem
midnight is so awesome
grandissimo Bill
+Nicola Fasano Um Brasuca aqui, pensei que ninguém escutasse esse tipo de musica.
2 brasuka aqui? kkk
Demorou 1 ano mas veio outro, ha.hahaha
Musicians I really love:
- Bill Evans
- Chet Baker
- Louis Armstrong
- Pat Metheny / Lyle Mays
- Bach
Pure Gold
NO WORDS...
The beat for the drummer, the bass for the contrabasso, rest for Bill, it is the secret!
Another wonderful video of Evans; and great work by Gomez. BTW in Feb 2017, Southeastern Louisiana University, where Bill graduated, holds it's 15th Bill Evans Jazz Festival.
The book MAN BEING Volume 2 brought me to this song. The resonance that jazz/blue produces is the same resonance that we transit from form to free form. Meaning this resonance helps us enter the immortal gate after we die(we never do really), so we dont have to reincarnate again in this 3d matrix world full of duality, wars, hate, materialism etc
What a version !!
sublime
A superbly expressive rendition of Monks famous opus. These guys raise the idiom to chamber music status.
stunning.
I like Evans version but the Master will never be replicated the emotion that Monk puts on those keyboards is riveting!
Monk cool and angular - the weird genius. Evans' version is 'straighter' and more tuneful. I remain a Monk fan but am enjoying this
No one like Monk, no one like Evans, as well
Bill Evans great master ! RİP 🙏