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Never posted before but I think this 1966 documentary, "The Universal Mind of Bill Evans," is a worthy mention and some will definitely enjoy it. It was recently posted on the following website and can be viewed for free:
You're welcome Scott. As a beginner, I found a number of his thoughts concerning the relationship between jazz and classical very interesting, such as he stated near the 6:49 mark of the documentary:
"... but I think it's more of a revival in a different form of what went on in classical music before. In other words, in the 17th Century there was a great deal of improvisation in classical music..."
I was also impressed by his assertion that simplicity and structure were key elements in his development and later he stresses that it took much time and labor before he was able to achieve a certain level of play as he wasn't as talented as others, something on the scale of 20 years from when he first started playing at age 6.
Anyway, I wish there more exchanges/interviews such as this one.
Look up Bill Evans will Marian Mc Partland on NPR Jazz. He will walk you you his thought process when playing something like 'the touch of your lips' its mind blowing. McPartland, who is a fantastic pianist is caught saying "wow" while Bill demonstrates. Later, she joins him for a duet.
Also take a look at Dave Frank's Masterclass on Bill Evans, he will walk you through some of the technique Bill might have used on a tune like 'A time for love'.
Finally, there are books for beginners that will get you playing some of bills composition, played in his style. Look at Andy Laverne's book of Bill Evans' tune. Beautifully arranged.
Thanks for the encouragement, suggestions and resources knotty. I do have a piano teacher and will inquire about possibly incorporating any of the above if appropriate for the time being. The short minuet I'm currently working on is quite a challenge as it is.
I was also impressed by his assertion that simplicity and structure were key elements in his development and later he stresses that it took much time and labor before he was able to achieve a certain level of play as he wasn't as talented as others, something on the scale of 20 years from when he first started playing at age 6.
Anyway, I wish there more exchanges/interviews such as this one.
Many thanks venice for joining this forum and for posting this video. It was one of the best videos I've ever watched. What an intelligent, analytical and humble gentleman.
Some of the key points for me were:
1. Evans' approach to music was a process of analysis followed by intuition. The structure of this process of improv is the mastering of a thing explicitly prescribed in order to burn it into the subconscious for later use.
2. Most don't understand the immensity of the problem so they either quit or they rush.
3. Do not approximate the final product. Be very real, clear, analytical at every level, however elementary your level.
Certainly custard and you're welcome. So far I've enjoyed reading the vast amount of posts but have been hesitant to jump into the fray as many of the posts on this site are informative and instructive. In fact, I can't keep up with a good percentage of them.
As far as Mr. Evans is concerned, it's too bad he wasn't with us longer but what he left us is more than most will ever contribute. Your, "What an intelligent, analytical and humble gentleman" can also be applied to his NPR interview with Marian McPartland referred to by knotty.
It will take me a few years to grasp what he and others truly say about piano playing and music in general, but I really expect it to be a long memorable journey. The three key points you stated about the video are on the money. Trying to apply them hopefully won't be too daunting of a task.
A Bill Evans video tip. This is imo some of Bill's best playing, the interplay between them is marvellous.
Thanks for this Chris, I really liked Elsa, I didn't know this beautiful tune before. The trio seemed to have such a great understanding of each other's rhythm.
I'm on holidays in May and have lots of time to read.
I see from the Amazon sampler that the author interviewed Art Farmer, that's very cool as Art was never scared to give his opinion. Also the last chapter is on Letter to Evan, I played Andy LaVerne's beautiful arrangement of this.
Before this thread, and therefore that wonderful interview, gets relegated to the "second browsing page" and beyond, I would like to bump it back up to the top.
I had almost forgotten how erudite Steve Allen was - what elegant expression! And the brief look into the mind of the then-young Bill Evans is absolutely priceless!
Thank you, Ed
In music, everything one does correctly helps everything else.
Before this thread, and therefore that wonderful interview, gets relegated to the "second browsing page" and beyond, I would like to bump it back up to the top.
I had almost forgotten how erudite Steve Allen was - what elegant expression! And the brief look into the mind of the then-young Bill Evans is absolutely priceless!
Thank you, Ed
Steve Allen was one of my favorite people. He was fearless about trying almost anything. I think the term "Renaissance man" is overused, but Allen certainly was one!
. . . . . I had almost forgotten how erudite Steve Allen was - what elegant expression!
Steve Allen was one of my favorite people. He was fearless about trying almost anything. I think the term "Renaissance man" is overused, but Allen certainly was one!
Words to live by, Gary!
In music, everything one does correctly helps everything else.
Before this thread, and therefore that wonderful interview, gets relegated to the "second browsing page" and beyond, I would like to bump it back up to the top.
I don't want to see this Bill Evans thread die either.
1965: 1. Interesting that Bill credited his strong swing to Oscar Peterson's influence 2. I really believe him when he said his 1965 trio never rehearsed. To me, that trio had a telepathic sense of each other's rhythm
1980 1. What did Bill mean when he said at 3:12 that "there was a hierarchy in the changes, some changes were more important than others" ? 2. Interesting that Bill didn't learn by ear. He humbly admitted that he had to learn "stone by stone, layer by layer". 3. Bill didn't transcribe but rather would find the principle to apply with each recording. 4. Reinforces Coltrane's work ethic. When Coltrane started with Miles Davis', Coltrane kept on "fumbling" on stage.
I enjoyed both interviews a lot. . . . . What did Bill mean when he said at 3:12 that "there was a hierarchy in the changes, some changes were more important than others" ?
We could sort of guess, based on the fact that Evans was describing having the bass player call to him the chord changes, that Bill learned which changes were essential, and which could be ignored.
For example, one can play through SUMMERTIME acceptably with only four different chords. Those would be the most important in Bill's "hierarchy". Many of us are going to use substitutes and extensions, bringing our number of chords up to 10 or 12 or maybe even more, but those "extra" chords are incidental colors, or "passing harmonies", and would be considered lower in that hierarchy.
That's my guess. Ed
In music, everything one does correctly helps everything else.
