That all things, a pianist, was accused temporarily, hardly swing to be able, became one of the most influential pianists in modern jazz, appear somewhat paradoxical applies but since Duke Ellington of the principle of "It Do not Mean A Thing If It Is not Got That Swing ". But Bill Evans in 1958 at the legendary sextet of Miles Davis (with John Coltrane, Cannonball Aggerley, Paul Chambers and Jimmy Cobb) came out great, proved a suitable occasion that he had quite swing feel. Only he opted for a different approach to music than for example Wynton Kelly, Miles' other preferred pianist that time. Its strengths clearly had more in harmony area and you can hear his influence to this day in the game of pianists like Herbie Hancock, Keith Jarrett, Chick Corea, Steve Kuhn and Brad Mehldau out Evans.
Born in Plainfield / New Jersey on August 16, 1929 Bill Evans studied with a scholarship in his pocket at the Southeastern Louisiana University Piano, flute and music theory. In 1950 he made his final majoring in piano and then went with saxophonist Herbie Fields on tour. After serving his three-year military service, while he of i.a. his by now classic composition "Waltz For Debbie" wrote, he came in 1954 to New York. There he continued his studies at Mannes College, where he met the composer and arranger George Russell and his work over the modal jazz. The won on Russell experiences brought Evans, who was also an enthusiastic supporter of classical Impressionists Ravel and Debussy in 1956 equal to his solo debut album "New Jazz Conceptions" under which he recorded with drummer Paul Motian and bassist Teddy Kotick. And this album is likely the interest of Miles Davis, who was then himself his so-called "modal phase" rang, have awakened to Bill Evans. The very first recording session that Evans made a member of the Miles Davis Sextet in only eight months, brought perhaps the best jazz album ever produced: "Kind Of blue" (only Coltrane's "A Love Supreme" could him the rank dispute their right). "I have certainly learned a lot from Bill Evans," Miles confessed then. "He plays the piano in a way, as it should be played; he does all kinds of scales."
After a short stint with Miles, who had Bill Evans catapulted into the headlines of the jazz press, the pianist with Paul Motian and bassist Scott LaFaro founded his first solid trio who knew how to communicate in almost telepathic manner. 1962 after the untimely death of the young bassists, Evans signed a recording contract with Verve. Under the care of Creed Taylor took Evans, who played preferably in the classic jazz trio, fOr Verve to 1969 a series of very different plates on time with a run by Gary McFarland Big Band or arranged by Claus Ogermann String orchestra, sometimes with companions like tenor saxophonist Stan Getz, guitarist Jim Hall ... or yourself. The recorded overdub process albums "Conversations with myself" and "Further Conversations with myself" count to Evans' most exciting shots. In 1970 Evans the Verve label and focused in the episode again more on the game in the trio. The last trio, which he kept from 1978 until his death with the young bassist Marc Johnson and drummer Joe LaBarbera, was considered the best Evans Trio after that with LaFaro and Motian.
Bill Evans, who had repeatedly to fight throughout his career with drug problems, died on 15 september 1980, only a month after his 51st birthday, in New York.
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