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Playlist of Bill Evans

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    Bill Evans Solo Sessions I-II

    1:24:34

    The Solo Sessions, Vol. 1 is an album by jazz pianist Bill Evans, released in 1989.
    Evans recorded The Solo Sessions, Vol. 1 and Vol. 2 at the same session, on January 10, 1963 and the tracks were originally released as part of Bill Evans: The Complete Riverside Recordings in 1984.[2] The Bill Evans Memorial Library states these sessions were never intended for release.

    The Solo Sessions, Vol. 2 is an album by jazz pianist Bill Evans, released in 1992.
    Evans recorded The Solo Sessions, Vol. 1 and Vol. 2 at the same session, on January 10, 1963. The Bill Evans Memorial Library states these sessions were never intended for release.

    Personnel: Bill Evans (p)
    Released: 1989, 1992
    Recorded: January 24, 1963
    Label: Milestone M-9170, MCD 9195-2
    Producer: Orrin Keepnews

    Vol I:
    0:00 What Kind of Fool Am I? [Take 1] (Bricusse, Newley)
    6:17 Medley: My Favorite Things/Easy to Love/Baubles, Bangles, & Beads (Borodin, Wright, Forrest)
    18:51 When I Fall in Love (Heyman, Young)
    21:52 Medley: Spartacus Love Theme/Nardis (Alex North)
    30:27 Everything Happens to Me (Adair, Dennis)
    36:15 April in Paris (Duke, E. Y. Harburg)

    Vol II:
    42:06 All the Things You Are (Hammerstein II, Kern)
    51:14 Santa Claus Is Coming to Town (Coots, Gillespie)
    55:53 I Loves You Porgy (Gershwin, Gershwin, Heyward)
    1:01:44 What Kind of Fool Am I? [Take 2] (Bricusse, Newley)
    1:08:31 Love Is Here to Stay (Gershwin, Gershwin)
    1:12:33 Ornithology (Harris, Parker)
    1:18:08 Medley: Autumn in New York/How About You? (Duke, Freed, Lane)

    Vol I:
    In need of money and wanting to quickly fulfill his contractual obligations to Riverside, Bill Evans recorded two albums worth of solos in one day. The emotional and rather stark music was not initially released until the late '80s although it is now available on a pair of CDs. Due to the lack of much mood or tempo variation, this particular set is recommended mostly for Evans completists and longtime fans. There are two medleys (the pianist was playing one tune after another and a few songs overlapped) and every number would be recorded by Evans (generally in trio formats) at other times. Interesting but not essential music.
    AllMusic Review by Scott Yanow

    Vol II:
    This CD's booklet liner notes written by Gene Lees tell as much -- if not more -- of the story about the circumstances surrounding this session as the music itself. Though in retrospect Lees hears added value in these solo piano works from Bill Evans, there is a palpable and recognizable deterioration in the great pianist's ability to perform at his optimal genius level. In trouble with heroin addiction during 1963 when these tracks were documented, Evans both struggles and prevails through his drug-induced haze to produce an effort that is at many times expectedly brilliant -- the prerequisite and operative word being effort. Where Evans was normally fluid and cool to the point of nonchalance, here he is as much poignant and inventive as he is distracted and removed at times from the melodies. Since this endeavor is his first as a solo pianist, and the second issued volume of these sessions minus outtakes, perhaps Evans was more uncomfortable without rhythm mates and not as confident. The story told by Lees, with his undeniable support for Evans and frank honestly about his plight, needs to be read and understood. It is Evans as an incredible player -- albeit diminished on any minimal or distinguishable level -- that deserves close attention to appreciate both his beauty and pain. During Love Is Here to Stay, Evans is clearly having difficulty, yet he rallies out of an unsure thought to carry this theme onward. On What Kind of Fool Am I? (misidentified by Lees in the liner notes as Who Can I Turn To?), the pianist recalls a pensive and introspective, almost gut-wrenching mood, perhaps a self-examination of his condition. The better reinterpretations include a wonderfully spacious version of All the Things You Are, a playful medley of Autumn in New York and How About You?, and the lively jazzed-up Santa Claus Is Coming to Town. The tricky Charlie Parker bop anthem Ornithology has the pianist rambling off the beaten path in a carefree but a rough dissertation. Apparently Evans did not care for these recordings, but listeners have two CD editions to enjoy, and despite his lessened capacity, they are still enjoyable in their flawed but brilliant way. After all, this is the great Bill Evans, and he remains so for all time.
    AllMusic Review by Michael G. Nastos

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    Bill Evans Trio - The Greatest Masterpieces - Jazz Music

    1:34:56

    Classic Mood Experience The best masterpieces ever recorded in the music history.
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    Bill Evans Trio
    The Greatest Masterpieces

    Tracks
    00:00 Bill Evans Trio - Beautiful Love (Take 2) (1961)
    04:58 Bill Evans Trio - Israel (1961)
    11:04 Bill Evans Trio - In Your Own Sweet Way (Take 1) (1962)
    17:56 Bill Evans Trio - Nardis (1961)
    23:41 Bill Evans Trio - Summertime (1962)
    29:37 Bill Evans Trio - I Should Care (1962)
    34:27 Bill Evans Trio - Show-Type Tune (1962)
    38:47 Bill Evans Trio - How Deep Is The Ocean? (1961)
    42:15 Bill Evans Trio - Walking Up (1962)
    47:06 Bill Evans Trio - Speak Low (1956)
    52:11 Bill Evans Trio - Very Early (1962)
    57:08 Bill Evans Trio - Displacement (1956)
    59:38 Bill Evans Trio - Five (1956)
    01:03:31 Bill Evans Trio - Stairway To The Stars (1962)
    01:08:17 Bill Evans Trio - Haunted Heart (1961)
    01:11:38 Bill Evans Trio - Beautiful Love (Take 1) (1961)
    01:17:25 Bill Evans Trio - Our Delight (1956)
    01:22:00 Bill Evans Trio - The Boy Next Door (1961)
    01:27:01 Bill Evans Trio - Minority (1958)
    01:32:16 Bill Evans Trio - I Fall in Love Too Easily (1962)

    William John Bill Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, singing melodic lines continue to influence jazz pianists today.
    Born in Plainfield, New Jersey, he was classically trained, and studied at Southeastern Louisiana University. In 1955, he moved to New York, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.
    In late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.
    In 1963, Evans recorded Conversations with Myself, an innovative solo album using the unconventional (in jazz solo recordings) technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years. Several successful albums followed, such as Bill Evans at the Montreux Jazz Festival, Alone and The Bill Evans Album, among others.
    Many of his compositions, such as Waltz for Debby, have become standards and have been played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted in the Down Beat Jazz Hall of Fame.
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    Explore Classic Mood Experience music, the best  jazz, blues, rock, pop, R&B, soul, lantin songs ever recorded by Etta James, Billie Holiday, Bill Evans, Stevie Wonder, Ray Charles, Nina Simone, Muddy Waters, Django Reinhardt, Louis Armstrong, Miles Davis, James Brown, Chet Baker, Frank Sinatra, Ella Fitzgerald, Harry Belafonte, Nat King Cole, Louis Prima, Duke Ellington, Elvis Presley, Count Basie, Little Walter, Herbie Hancock, Edith Piaf, Aretha Franklin, Charlie Parker, Lightnin' Hopkins, Son House, B.B. King, Thelonious Monk, Howlin' Wolf, Quincy Jones, Johnny Cash, Glenn Miller, Chuck Berry, Dizzy Gillespie, Paul Anka, John Coltrane, John Lee Hooker, Coleman Hawkins, Robert Johnson, Dean Martin, Oscar Peterson, George Gershwin, Ben E. King, Big Bill Broonzy, Hank Williams, Benny Goodman, Art Tatum, Big Joe Turner, Bing Crosby, Jimmie Rodgers, Mamie Smith, Ma Rainey, Dave Brubeck, Mahalia Jackson, Fats Domino, Marvin Gaye, Bud Powell, Sonny Rollins, Fats Waller, Tony Bennett, Dinah Washington, Sarah Vaughan, Perry Como, Gerry Mulligan and many more.

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    Bill Evans Sunday at the Village Vanguard Not Now Music 1

    1:22:21

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    Bill Evans Live 64 75

    1:35:24

    Just great!

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    Bill Evans - Like Someone in Love

    6:29

    Probably my favorite track from Bill. His genius is on full display here.

    Amazing stuff.

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    Bill Evans Peace Piece

    6:46

    Virtual Museum Exhibit: Pasos Peace Museum (visit: www. pasospeacemuseum.org)—Bill Evans's Peace Piece is an unrehearsed modal composition that he recorded for his Everybody Digs Bill Evans LP in 1958. It is hailed as one of the most beautiful and evocative solo piano improvisations ever recorded.

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    Bill Evans - Waltz For Debby

    4:30

    Bill Evans - Waltz For Debby,players' cast shown in comment of [lk2u] and [stefshop].thanks for the information.

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    Bill Evans - Never Let Me Go

    14:42

    Evans's Universal Mind

    Alone. 1968

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    Unlocking Your Inner Bill Evans — Piano Stylings of Bill Evans | Piano Lesson

    21:46

    More videos like this jazz piano lesson 👉
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    Sweetwater's Jacob Dupre explores the musical style of jazz great Bill Evans, and shows you how you can incorporate some of his techniques in your playing.


    #Sweetwater #PianoLesson #PianoStylings


    The Zoom F8N Multitrack Field Recorder was used to record the audio in this video, and can be purchased here:

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    Bill Evans Live at Molde Jazz Festival

    42:35

    At the Molde Jazz Festival, August 1980.

    Personnel: Bill Evans (p) Marc Johnson (b) Joe La Barbera (dr)

    0:00 - Re: Person I Knew
    5:55 - Days of Wine and Roses

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    Bill Evans Trio - Autumn Leaves

    4:41

    The Oslo Concerts

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    Bill Evans - Beautiful Love

    4:51

    ---
    Bill Evans, Niels Hening Orsted Pedersen, Alan Dawson - Beautiful Love - Jazz Piano Workshop Berlin 1965

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    Bill Evans Chords | Jazz Piano

    12:17

    Today we are going to be looking at one of the most influential jazz musicians in the past century, BILL EVANS.
    We will be studying one of the techniques he uses in his playing and figuring out how to apply it to our own playing.

    Hope you Enjoy!

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    Bill Evans - Live in Switzerland

    1:18:01

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    Bill Evans - When I Fall In Love

    4:55

    Bill Evans - Portrait in Jazz - When I Fall In Love

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    Bill Evans Trio - Some Day My Prince Will Come - 19 Mar 65

    5:06

    London, March 19, 1965

    For those who know of Evans as primarily a lyrical player, listen to these chops.

    Personnel:

    Bill Evans - p
    Chuck Israels - b
    Larry Bunker - d

    Set:

    Part I

    Five (theme)
    Elsa
    Summertime
    Come Rain Or Come Shine
    My Foolish Heart
    Re: Person I Knew
    Israel
    Five (theme)

    Part II

    Five (theme)
    How My Heart Sings
    Nardis
    Who Can I Turn To?
    Some Day My Prince Will Come
    How Deep Is The Ocean?
    Waltz For Debby

    Notes:

    Some Day My Prince Will Come was written by Larry Morey (lyrics) & Frank Churchill (music) for the 1937 Walt Disney animated film SNOW WHITE AND THE SEVEN DWARFS.

    This is the third incarnation of Bill Evans' great '60s piano trios, playing at a very high level. Chuck Israels' bass work, in particular, is nothing short of virtuosic. His playing shows the influence of Scott LaFaro -- especially in his use of counterpoint -- but he's supremely inventive.

    Background:

    Evans' first (and greatest) trio featured the irreplaceable Scott LaFaro on double bass and Paul Motian on drums. After LaFaro's tragic death in a car accident in 1961 (at age 25), Evans was so overcome with grief that he didn't play again publicly for almost a year. In early '62, he reformed his trio and hired Chuck Israels to replace LaFaro. Motian departed the trio in 1964, and was replaced by Larry Bunker.

    If you're interested in hearing the greatest of all piano trios, here are the CDs to buy:

    PORTRAIT IN JAZZ (1959)
    EXPLORATIONS (1961)
    THE COMPLETE VILLAGE VANGUARD RECORDINGS, 1961 (3-CDs representing the trio's complete five sets at the Village Vanguard on Sunday, June 25, 1961, 11 days before LaFaro's death).

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    Beautiful Love

    3:52

    Beautiful Love, written by Wayne King, Victor Young and Egbert Van Alstyne. One of my top two favorite solos of all time!

    Want to purchase one of my transcriptions or request a new one?
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    Bill Evans, piano
    Scott LaFaro, bass
    Paul Motian, drums

    Original: youtu.be/ohRjLmERfH4

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    Bill Evans plays Reflections in D + my transcribed score

    7:02

    FREE PDF SCORE: available at my website:


    _____
    Piece: Reflections in D - Duke Ellington
    Bill Evans, piano.
    Album: New conversations (1978), Warner Bros.

    Transcribed by ear by me, recording cited for educational purposes only.
    -----------

    Even though that recording belongs to New Conversations, it features very few passages with noticeable overdubbing, so unlike the other tracks of the album, it's been possible for me to transcribe it normally for piano 2 hands.

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    Bill Evans - Youre Gonna Hear From Me

    50:37

    You're Gonna Hear From Me is a live album by jazz pianist Bill Evans with Eddie Gómez and Marty Morell recorded at the Jazzhus Montmartre in Copenhagen in 1969 but not released until the 1980s on the Milestone label. The same concert also produced the album Jazzhouse.

    Personnel: Bill Evans (p) Eddie Gómez (bs) Marty Morrell (dr)
    Released: 1988
    Recorded: November 24, 1969 at the Jazzhus Montmartre in Copenhagen, Denmark
    Label: Milestone M 9164
    Producer: Helen Keane

    0:00 You're Gonna Hear From Me (Dory Previn, André Previn)
    3:07 'Round Midnight (Thelonious Monk)
    9:33 Waltz for Debby
    15:04 Nardis (Miles Davis)
    24:06 Time Remembered
    29:11 Who Can I Turn To (When Nobody Needs Me) (Leslie Bricusse, Anthony Newley)
    35:37 Emily (Johnny Mandel, Johnny Mercer)
    40:39 Love Is Here to Stay (George Gershwin, Ira Gershwin)
    44:36 Someday My Prince Will Come (Frank Churchill, Larry Morey)

    This CD reissue is the companion to Jazzhouse, for both were recorded on the same night at the Montmartre in Copenhagen. Evans' regular trio of the time (which included bassist Eddie Gómez and drummer Marty Morell) is in exuberant form performing before an enthusiastic crowd. In addition to versions of his famous Waltz for Debby and Time Remembered, Evans plays seven of his favorite standards, including You're Gonna Hear from Me, Nardis, and Emily. An excellent all-around set that was not originally released until 1988.

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    Bill Evans - Eloquence

    40:53

    Eloquence is an album composed of songs played by jazz musicians Bill Evans and Eddie Gomez between the years of 1973 and 1975. It was released posthumously in 1982 on Fantasy Records

    Personel: Bill Evans (p) Eddie Gómez (bs)
    Released: 1982
    Recorded: November 19, 1973 Fantasy Studios, Berkeley
    Label: Fantasy F-9618
    Producer: Helen Keane, Orrin Keepnews

    0:00 Gone With the Wind (Herbert Magidson, Allie Wrubel)
    5:36 Saudade Do Brasil (Antônio Carlos Jobim)
    11:19 In a Sentimental Mood (Duke Ellington, Manny Kurtz, Irving Mills)
    17:29 But Beautiful (Johnny Burke, Jimmy Van Heusen)
    21:11 All of You (Cole Porter)
    26:10 Since We Met (Bill Evans)
    29:52 Medley: But Not for Me (George Gershwin, Ira Gershwin) / Isn't It Romantic? (Richard Rodgers), Lorenz Hart / The Opener (Bill Evans)
    34:59 Medley: When in Rome / It Amazes Me (Cy Coleman)

    This interesting album was originally released posthumously in 1982. Pianist Bill Evans is featured on four duets with his longtime bassist Eddie Gomez in 1974-75, exploring a quartet of superior standards. The second half of the program (which dates from 1973 and 1975) is not on the same level. Evans is heard playing two songs he was not all that familiar with late at night at a club, and he performs two other songs and a wandering medley while rehearsing in a recording studio. Being a musical perfectionist, it is a bit doubtful if he would have wanted this music to be released although longtime Bill Evans collectors will find the explorations to be intriguing.

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    Bill Evans Trio - Autumn Leaves

    6:01

    Album: Portrait In Jazz
    Year: 1959
    Label: Riverside

    Bill Evans - piano
    Scott LaFaro - bass
    Paul Motian - drums

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    Bill Evans - One For Helen

    5:23

    From the album At The Montreux Jazz Festival
    Recorded June 15, 1968

    Bill Evans - Piano
    Eddie Gomez - Bass
    Jack De Johnette - Drums

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    Turn Out The Stars - Bill Evans & Jim Hall

    7:36

    Inter Modulation  Apr.7, 1966

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    Bill Evans - Live in Paris vol. I-II-III

    2:58:36

    This compilation collects the complete February 6, 1972 concert by the Bill Evans Trio that was first aired by A la Masion de la Radio in Paris and subsequently issued on two individual CDs by France's Concert.

    Personnel: Bill Evans (p) Eddie Gómez (bs) Marty Morrell (dr)
    Released: January 10, 2006
    Recorded: February 6, 1972
    Label: -

    CD1
    0:00 Présentation André Francis
    1:35 Re : Person I Knew (Bill Evans)
    10:39 Turn Out The Stars (Bill Evans)
    16:01 Gloria's Step (Scott LaFaro)
    24:48 Two Lonely People (Bill Evans)
    33:21 Waltz For Debby (Bill Evans)
    42:21 What Are You Doing The Rest Of Your Life (M. Legrand)

    CD2
    47:58 Twelve Tone Tune (Bill Evans)
    55:38 Sugarplum (Bill Evans)
    1:04:25 Quiet Now (Denny Zeitlin)
    1:10:02 Very Early (Bill Evans)
    1:15:37 Autumn Leaves (Joseph Kosma)
    1:19:53 Time Remembered (Bill Evans)
    1:26:31 My Romance (Lorenz Hart, Richard Rodgers)
    1:37:14 Someday My Prince Will Come (Frank Churchill)

    CD3
    1:43:50 Elsa (E. Zindars)
    1:51:12 Detour Ahead (Ellis, Frigo, Carter)
    1:56:42 34 Skidoo (B. Evans)
    2:03:05 Alfie (Bacharach, David)
    2:08:14 Peri's Scope (B. Evans)
    2:17:19 Blue'n Green (B. Evans, M. Davis)
    2:21:25 Emily (J. Mandel)
    2:28:10 Who Can I Turn To (Newley, Bricusse)
    2:34:45 Some Other Time
    2:40:04 Nardis (M. Davis)
    2:51:44 Waltz for Debby (B. Evans)

    This compilation collects the complete February 6, 1972 concert by the Bill Evans Trio that was first aired by A la Masion de la Radio in Paris and subsequently issued on two individual CDs by France's Concert. The pianist, joined by bassist Eddie Gomez and drummer Marty Morell, is in top form throughout the performance, even if the first half of the concert is a bit laid-back for Evans. But drawing from a walk of material, including numerous originals, there's also the haunting Turn Out the Stars and the bittersweet The Two Lonely People, on which the trio gathers steam in the second half, with a wild romp through Evans' demanding Twelve Tone Tune and a delightfully breezy treatment of Very Early (showcasing Gomez), along with a moving rendition of Denny Zeitlin's gorgeous requiem Quiet Now among the highlights. The final track is from a Yugoslavian jazz festival recorded a few months later and previously issued on the Enja compilation Live at the Festival with British drummer Tony Oxley in Morell's place. Evidently due to lack of rehearsal and familiarity working with Evans, Oxley never really blends in very well with the pianist and Gomez in the extended workout of Nardis. But due to the excellent performances by Evans and Gomez, this is a rewarding disc that returns once rare music to print.

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    Someday My Prince Will Come/Bill Evans Trio *Public domain

    4:55

    いつか王子様が ビル・エヴァンス・トリオ (1960) 注)パブリックドメイン

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    Bill Evans interveiw 1970

    8:51

    Bill Evans Trio At Helsinki, Finland 1970, interview excerpts

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    Bill Evans - The Two Lonely People

    6:14

    Siguenos en Facebook:
    Del álbum The Bill Evans Album (1971)

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    Bill Evans with Tony Bennett on Johnny Carsons Tonight Show 10/27/75

    5:21

    Bill Evans with Tony Bennett on Johnny Carson's Tonight Show 10/27/75

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    Bill Evans Trio - Displacement

    2:33:59

    This Video include 30 tracks of Bill Evans Trio.
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    Tip: click on the time and listen your favorite song
    Track list:

    Bill Evans Trio - Displacement (Full Album)
    ---------------------------------
    1 | 00:00 | Bill Evans Trio - You Got to My Head
    2 | 05:03 | Bill Evans Trio - Epilogue
    3 | 05:44 | Bill Evans Trio - Autumn Leaves
    4 | 11:10 | Bill Evans Trio - I Love You
    5 | 18:09 | Bill Evans Trio - Cold Breeze
    6 | 22:00 | Bill Evans Trio - The Man I Love
    7 | 27:58 | Bill Evans Trio - Let's Go Back to the Waltz
    8 | 32:29 | Bill Evans Trio - Polka Dots and Moonbeams
    9 | 37:31 | Bill Evans Trio - Yearnin'
    10 | 43:53 | Bill Evans Trio - Alice in Wonderland
    11 | 52:27 | Bill Evans Trio - Displacement
    12 | 55:01 | Bill Evans Trio - The Way You Look Tonight
    13 | 1:02:40 | Bill Evans Trio - Spring Is Here
    14 | 1:07:50 | Bill Evans Trio - Jubilation
    15 | 1:12:05 | Bill Evans Trio - I Believe in You
    16 | 1:17:56 | Bill Evans Trio - When You Wish Upon a Star
    17 | 1:23:40 | Bill Evans Trio - My Man's Gone Now
    18 | 1:30:05 | Bill Evans Trio - Goodbye
    19 | 1:35:14 | Bill Evans Trio - It Might As Well Be Spring
    20 | 1:41:19 | Bill Evans Trio - Who Cares
    21 | 1:47:17 | Bill Evans Trio - In Love in Vain
    22 | 1:52:17 | Bill Evans Trio - Fair Weather
    23 | 1:58:00 | Bill Evans Trio - Some Other Time
    24 | 2:03:00 | Bill Evans Trio - What Is There to Say
    25 | 2:07:55 | Bill Evans Trio - Lucky to Be Me
    26 | 2:11:35 | Bill Evans Trio - Minority
    27 | 2:16:56 | Bill Evans Trio - Darn That Dream
    28 | 2:20:54 | Bill Evans Trio - Mox Nix
    29 | 2:25:32 | Bill Evans Trio - Jade Visions
    30 | 2:29:16 | Bill Evans Trio - I Hear a Rhapsody

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    Bill Evans - I Will Say Goodbye

    45:56

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    Bill Evans - All The Things You Are

    9:02

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    Bill Evans Trio - Alice In Wonderland

    8:36

    Album: Sunday At The Village Vanguard
    Year: 1961
    Label: Riverside

    Bill Evans - piano
    Scott LaFaro - bass
    Paul Motian - drums

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    Spartacus Love Theme - Nardis - Bill Evans Solo

    8:39

    Bill Evans The Solo Sessions, Vol. 1

    Bill Evans (pf)

    Recorded at NYC, January 10, 1963

    Milestone M 9170

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    Bill Evans - Heres That Rainy Day

    5:25

    Here's That Rainy Day is a popular song with music by Jimmy Van Heusen and lyrics by Johnny Burke, published in 1953. It was introduced by Dolores Gray in the Broadway musical Carnival in Flanders.

    William John Evans, known as Bill Evans (August 16, 1929 -- September 15, 1980), was an American jazz pianist and composer who mostly worked in a trio setting. He is widely considered to be one of the greatest jazz pianists of all time, and is considered by some to have been the most influential post-World War II jazz pianist. Evans's use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, singing melodic lines continue to influence jazz pianists today. Unlike many other jazz musicians of his time, Evans never embraced new movements like jazz fusion or free jazz.

    Born in Plainfield, New Jersey, Evans was classically trained, and studied at Southeastern Louisiana University. In 1955, he moved to New York, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.

    In late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.

    In 1963, Evans recorded Conversations with Myself, an innovative solo album using the unconventional (in jazz solo recordings) technique of overdubbing over himself. In 1966, he met bassist Eddie Gomez, with whom he would work for eleven years. Several successful albums followed, such as Bill Evans at the Montreux Jazz Festival, Alone and The Bill Evans Album, among others. In 1973, he married Nenette Zazzara, with whom he had a son, Evan, who became a film composer.

    Despite his success as a jazz artist, Evans suffered personal loss and struggled with drug abuse. Both his girlfriend Elaine and his brother Harry committed suicide, and he was a long time user of heroin, and later of cocaine. As a result, his financial stability, personal relationships and musical creativity suffered until his death, in 1980.

    Many of his compositions, such as Waltz for Debby, have become standards and have been played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted in the Down Beat Jazz Hall of Fame.

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    Bill Evans Chords: A Tutorial on their Voicing

    11:45

    Here's a quick look at how Bill Evans tended to voice his left hand jazz piano chords: usually rootless, with higher degrees. I'll also share some of Evans' classic voicings, like his voicings of minor 11 or dominant 13th chords. Overall, this video should give you general ideas on how voice these chords in context and into the style of Bill Evans as a whole. I hope you enjoy!

    Added Dec 4, 2018: One of the viewers, X YZ, has notated the chords using the online Muse service which is free for all. He has kindly shared the link to his work:

    Thanks X YZ, on behalf of myself and the viewers!

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    Bill Evans Trio - Summertime

    6:01

    Album: How my heart sings! (1962) Bill Evans: piano, Chuck Israels: bass, Paul Motian: drums; Composition: Dubose Heyward, George Gershwin, Ira Gershwin

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    Bill Evans - Sometime Ago

    4:40

    Album: You Must Believe In Spring (1977) (released in 1981)
    Bill Evans: piano, Eddie Gomez: bass, Elliott Zigmund: drums;
    Composition: Sergio Mihanovich

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    Universal Mind of Bill Evans

    44:16

    Bill Evans on the Creative Process and Self-Teaching
    Conversation With His Brother Harry, 1966

    Songs appeared:
    0:00 Spartacus Love Theme (aka Emily)
    13:06 I Like New York in June, How About You?
    17:53 Star Eyes (Analyzing the Melody and Harmonics)
    22:07 Star Eyes (Full Song)
    40:52 Very Early
    42:15 Time Remembered
    43:07 My Bells

    “I believe that all people are in possession of what might be called a universal musical mind. Any true music speaks with this universal mind, to the universal mind in all people. The understanding that results will vary only in so far as people have or have not been conditioned to the various styles of music in which the universal mind speaks. Consequently, often some effort and exposure is necessary in order to understand some of the music coming from a different period or a different culture than that to which the listener has been conditioned. I do not agree that the layman’s opinion is less of a valid judgement of music than that of the professional musician. In fact, I would often rely more on the judgement of a sensitive layman than that of a professional, since the professional, because of his constant involvement with the mechanics of music, must fight to preserve the naivety that the layman already possesses.“

    In 1966, legendary jazz pianist Bill Evans (August 16, 1929–September 15, 1980) sat down with his composer brother, Harry Evans, for an intense and deeply insightful conversation later released as Universal Mind of Bill Evans: The Creative Process and Self-Teaching. From filmmaker William Meier comes this gorgeous cinematic adaptation of Evans’s thoughts on the autodidactic quality of creativity and the value of working at the intersection of clarity, complexity, and spontaneity.
    The whole process of learning the facility of being able to play jazz is to take these problems from the outer level in, one by one, and to stay with it at a very intense, conscious-concentration level until that process becomes secondary and subconscious. Now, when that becomes subconscious, then you can begin concentrating on that next problem, which will allow you to do a little bit more.

    I don’t consider myself as talented as many people but in some ways that was an advantage because I didn’t have a great facility immediately so I had to be more analytical and in a way — that forced me to build something.

    Most people just don’t realize the immensity of the problem and, either because they can’t conquer it immediately, think that they haven’t got the ability, or they’re so impatient to conquer it that they never do see it through. If you do understand the problem then you can enjoy your whole trip through.

    People tend to approximate the product rather than attacking it in a realistic, true way at any elementary level — regardless of how elementary — but it must be entirely true and entirely real and entirely accurate. They would rather approximate the entire problem than to take a small part of it and be real and true about it. To approximate the whole thing in a vague way gives you a feeling that you’ve more or less touched the thing, but in this way you just lead yourself toward confusion and ultimately you’re going to get so confused that you’ll never find your way out.

    It is true of any subject that the person that succeeds in anything has the realistic viewpoint at the beginning and [knows] that the problem is large and that he has to take it a step at a time and that he has to enjoy the step-by-step learning procedure. They’re trying to do a thing in a way that is so general [that] they can’t possibly build on that. If they build on that, they’re building on top of confusion and vagueness and they can’t possibly progress. If you try to approximate something that is very advanced and don’t know what you’re doing, you can’t advance.

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    Bill Evans Trio - Emily

    5:32

    Bill Evans Trio
    At Ilkka Kuusisto's home,
    Lauttasaari, Helsinki
    Finland
    1970 (or 1969)

    Bill Evans - p
    Eddie Gomez - bs
    Marty Morell - dr

    1. Emily

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    Bill Evans - You Must Believe In Spring

    5:50

    You Must Believe in Spring, recorded in 1977, was the first album published after the death of Bill Evans, in 1980. Themes like absence, loss, death (so close to Bill, after the death of his brother, and his friend Scott La Faro) are expressed in the musical research & development of this cd, a pearl in his Jazz recording history. This is the title track, #2, You Must Believe in Spring.

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    Bill Evans & Stan Getz - But Beautiful

    1:9:46

    But Beautiful is a jazz album by the Bill Evans Trio with Stan Getz, recorded live in Europe in 1974 and released in 1996.

    Personel: Stan Getz (tsx) Bill Evans (p) Eddie Gómez (bs) Marty Morell (dr)
    Released: 1996
    Recorded: August, 1974
    Label: Milestone MCD 9249-2
    Producer: Helen Keane

    0:00 Grandfather's Waltz (Lasse Farnlof, Gene Lees)
    8:08 Stan's Blues (Gigi Gryce)
    13:56 But Beautiful (Jimmy Van Heusen, Johnny Burke)
    19:38 Emily (Johnny Mandel, Johnny Mercer)
    25:18 Lover Man (James Davis, Roger Ramirez, Jimmy Sherman)
    33:21 Funkallero (Bill Evans)
    39:57 The Peacocks (James G. Rowles)
    47:12 You and the Night and the Music (Arthur Schwartz, Howard Dietz)
    54:50 See-Saw (Coleman)
    1:01:32 The Two Lonely People (Bill Evans, Carol Hall)

    Aside from a series of studio sessions a decade earlier for Verve, this LP represents the only other meeting featuring Stan Getz with pianist Bill Evans. Originally issued by the notorious bootleg label Jazzdoor with six selections from a Laren, Holland concert in 1974, Milestone acquired the masters for a legitimate release and added four bonus tunes from a concert in Antwerp, Belgium a week later. Getz meshes almost perfectly with Evans' trio (with bassist Eddie Gómez and drummer Marty Morell), with only one sore spot: Getz ignored the pianist's request not to play the under-rehearsed Stan's Blues, which provoked Evans into quickly dropping out and signaling his sidemen to avoid solos of their own. But the remaining tracks are all invigorating, particularly Evans' brisk Funkallero and the lush take of Jimmy Rowles' ballad The Peacocks. It seems a shame that there were not additional opportunities for Getz and Evans to work together on other occasions, but it is possible that their strong personalities would have clashed. Highly recommended!

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    Bill Evans Copenhagen Rehearsal Tape

    44:56

    Bill rehearsing for a concert with Monica Zetterlund swedish singer, and Alex Riel danish drummer in Copenhagen, Denmark.
    1966 Oct. 25

    16:44 - Very Early
    22:04 - Who Can I Turn To
    28:09 - If You Could See Me Now
    32:34 - Autumn Leaves
    36:35 - Five

    Personnel: Bill Evans (p) Eddie Gómez (b) Alex Riel (dr)
    Video is from Alex Riel's private achive.
    All rights reserved to Alex Riel and the Danish Broadcasting Corporation

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    Bill Evans - Peace Piece

    6:46

    Bill Evans..♥

    Everybody Digs Bill Evans. 1958

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    Bill Evans, Round Midnight

    6:04

    Bill Evans Trio,
    'Round Midnight ,
    Sweden-1970 Eddie Gomez Marty Morrell.
    'Round Midnight is a 1944 composition by pianist Thelonious Monk.
    It is the most recorded jazz standard composed by a jazz musician.

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    Bill Evans - So What

    7:05

    From Bill Evans' Blue in Green: The Concert in Canada, 1974 © Milestone

    Bill Evans: piano, Eddie Gomez: bass, Marty Morell: drums
    Recorded in Camp Fortune, Ottawa, Canada in August, 1974.

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    Bill Evans - Summertime

    2:44:57

    Bill Evans - Summertime (Full Album)
    --------------------------------------------------------------------------------------------------------
    Tip: click on the time and listen your favorite song
    Track list:
    1 | 00:00 | Bill Evans Trio - Show-Type Tune (Bill Evans)
    2 | 04:22 | Bill Evans Trio - Gloria's Step (Miles Davis, Scott Lafaro)
    3 | 10:31 | Bill Evans Trio - Walking Up (Bill Evans)
    4 | 15:29 | Bill Evans Trio - Our Delight (T. Dameron)
    5 | 22:06 | Bill Evans Trio - In Your Own Sweet Way (Dave Brubeck)
    6 | 28:01 | Bill Evans Trio - I Should Care (Paul Weston)
    7 | 32:56 | Bill Evans Trio - I Wish I Knew (Mack Gordon, Harry Warren)
    8 | 37:37 | Bill Evans Trio - How My Heart Sings (Earl Zindars)
    9 | 42:36 | Bill Evans Trio - Come Rain Or Come Shine (Arlen)
    10 | 47:11 | Bill Evans Trio - The Boy Next Door (Ralph Blane, Blane Martin, Hugh Martin)
    11 | 52:18 | Bill Evans Trio - My Man's Gone Now (George Gershwin, Ira Gershwin, Dubose Heyward)
    12 | 58:39 | Bill Evans Trio - Waltz For Debby (Bill Evans, Gene Lees)
    13 | 1:05:33 | Bill Evans Trio - Autumn Leaves (Prevert)
    14 | 1:12:21 | Bill Evans Trio - Sweet And Lovely (Gus Arnheim, Jules Lemare, Harry Tobias)
    15 | 1:18:15 | Bill Evans Trio - Jade Visions (Scott Lafaro)
    16 | 1:22:03 | Bill Evans Trio - Summertime (Ira Gershwin)
    17 | 1:28:03 | Bill Evans Trio - Blue In Green (Bill Evans)
    18 | 1:34:17 | Bill Evans Trio - Milestones (Miles Davis)
    19 | 1:40:50 | Bill Evans Trio - All Of You (Cole Porter)
    20 | 1:49:07 | Bill Evans Trio - Beautiful Love - Five (Closing Theme) (Bill Evans)
    21 | 1:54:31 | Bill Evans Trio - Haunted Heart (Carl Deitz, Howard Dietz, Arthur Schwartz)
    22 | 1:57:58 | Bill Evans Trio - 34 Skidoo (Bill Evans)
    23 | 2:04:20 | Bill Evans Trio - My Foolish Heart (Ned Washington, Victor Young)
    24 | 2:09:14 | Bill Evans Trio - Elsa (Earl Zindars)
    25 | 2:14:25 | Bill Evans Trio - I Loves You, Porgy (George Gershwin, Ira Gershwin, Dubose Heyward)
    26 | 2:20:24 | Bill Evans Trio - Israel (Johnny Carisi)
    27 | 2:26:35 | Bill Evans Trio - Speak Low (Weill)
    28 | 2:33:21 | Bill Evans Trio - Ev'rything I Love (Cole Porter)
    29 | 2:37:34 | Bill Evans Trio - Nardis (Davis)
    30 | 2:45:00 | Bill Evans Trio - How Deep Is The Ocean (Irving Berlin)

    --------------------------------------------------------------------------------------------------------
    iTunes:
    Deezer:
    YouTube Video:
    YouTube Playlist:

    --------------------------------------------------------------------------------------------------------
    Copyright © 2016 Jazz Arena
    Music Publisher: Copyright Control

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    Bill Evans - Montreux III

    42:27

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    Bill Evans - Consecration

    7:22:00

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    Bill Evans Trio - Jazz 625 complete

    1:10:43

    Bill Evans
    Chuck Israel
    Larry Bunker

    BBC Studios London, March 19th 1965

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    Those 7 Times Bill Evans Went Next Level Genius | bernies bootlegs

    12:44

    Thanks for checking out my video and don't forget to SUBSCRIBE for more killing jazz content!

    For in-depth interviews with world-class musicians make sure to check out the podcast:

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    Here are 7 solo moments of the one and only William John Billy Boy Evans just being the unbelievable genius that he was. Which was your favorite? Which solos did I leave out? Who should be next? Leave a comment!

    NOTE: Strictly my opinion

    ** Sorry for the skip at the end of #5, not sure how that happened but it was in the original video as well **

    Don't forget to like, share, & subscribe for more jazz videos! Your support helps to keep this channel going.





    0:00 Israel / Five (theme) - 19 Mar 65 (5 of 11)
    1:28 Emily (Helsinki 1969)
    3:35 If You Could See Me Now
    5:45 My Romance (tune3)
    7:48 Stella by Starlight
    9:21 Someday my Prince Will Come (Jazz Piano)
    11:20 Nardis - 19 Mar 65 (7 of 11)

    Sources:
    [1]
    [2]
    [3]
    [4]
    [5]
    [6]
    [7]

    Bill Evans was born in Plainfield, New Jersey on August 16, 1929 and began his music studies at age 6. Classically trained on piano; he also studied flute and violin as a child. He graduated with a degree in piano performance and teaching from Southeastern Louisiana College (now University) in 1950, and studied composition at Mannes College of Music in New York. After a stint in the Army, he worked in local dance bands, and with clarenetist Tony Scott, Chicago-area singer Lucy Reed and guitarist Mundell Lowe, who brought the young pianist to the attention of producer Orrin Keepnews at Riverside Records.

    Evans' first album was New Jazz Conceptions in 1956, which featured the first recording of his most loved composition, Waltz for Debby. It's follow-up, Everybody Digs Bill Evans was not recorded for another two years; the always shy and self- deprecating pianist claiming he had nothing new to say. He gradually got noticed in the NYC jazz scene, for his original piano sound and fluid ideas, when in 1958, Miles Davis asked him to join his group (which also featured John Coltrane and Cannonball Adderley) He stayed for nearly a year, touring and recording, and subsequently playing on the all-time classic Kind of Blue album -- as well as composing Blue in Green, now a jazz standard. His work with Miles helped solidify Bill's reputation, and in 1959, Evans founded his most innovative trio with the now-legendary bassist Scott LaFaro and with Paul Motian on drums. The trio concept of equal interplay among the musicians was virtually pioneered by Evans, and these albums remain the most popular in his extensive catalog. They did two studio albums together in addition to the famous 'live sessions at NYC's Village Vanguard in 1961. LaFaro's tragic death in a car accident a few weeks after the Vanguard engagement -- an event which personally devastated Bill -- sent the pianist into seclusion for a time, after which he returned to the trio format later in 1962, with Motian again, and Chuck Israels on bass.

    His 1963 Conversations With Myself album , in which he double and triple-tracked his piano, won him the first of many Grammy® awards and the following year he first toured overseas, playing to packed houses from Paris to Tokyo, now solidifying a worldwide reputation. The great bassist Eddie Gomez began a fruitful eleven year tenure with Bill in 1966, in various trios with drummers Marty Morell, Philly Joe Jones, Jack DeJohnette and others -- contributing to some of the most acclaimed club appearances and albums in Evans's career. His recorded output was considerable -- (for Riverside, Verve, Columbia, Fantasy and Warner Bros) over the years, and he also did sessions (especially early on) with some of the top names in jazz. Musicians like Charles Mingus, Art Farmer, Stan Getz, Oliver Nelson, Jim Hall, George Russell, Shelley Manne, Toots Theielmans, Kai Winding /J.J. Johnson, Hal McKusick and others all featured Evans. In the seventies, he recorded extensively-- primarily trio and solo piano now and then, but also including several quintet albums under his own name as well two memorable dates with singer Tony Bennett.

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