Bill Evans - Everything Happens to Me: A Musical Biography (Book) [Paperback] Review

I also prefer How My Heart Sings over this one -I'm a huge Evans fan and as a jazz musician, I was thrilled about finding a "musical biography". Well, just repeating the same old stories as all the other books on the subject and then throwing in comments about the recordings -some of them suspiciously harsh, even- does not make it any more musical than any other biography. Not only that, but the times he comments on the actual music, he is almost invariably mistaken and wrong; "Freddie Freeloader" in NOT in a minor key and "These Things Called Changes" is based on "What Is This Thing Called Love", not "All The Things You Are" as Shadwick suggests. If he ever really studied the Manne-Hole live recordings instead of undeservedly dismissing them, he would know that Evans was already using the very same changes. As a collector of everything about Mr.Evans, I had to get this but I would not recommend it to anyone. Two stars for the subject alone.

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Product Description:
A Grammy winner and pioneer of multi-track jazz recording, Bill Evans was the pianist on Miles DavisÕ classic Kind of Blue album and a key figure in the development of modern jazz piano. This new Backbeat book details his wide-ranging and absorbing career, from freelance work in the 1950s, through his groundbreaking trios and solo releases, to his relationships with various record labels, to the intense final phase before his death in 1980. Printed on top-quality stock, the book includes fantastic full-page photos throughout, and a special color section.

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Marian McPartland's Jazz World: All in Good Time (Music in American Life) [Hardcover] Review

If you're a fan of Marian McPartland's Piano Jazz show on NPR, you'll adore reading this fabulous book about her life in the music business. Music flows through her writing. It's clear that her radio skills stem from her uncanny ability to really listen to what's going on around her, and she achieves the same warm and intelligent result with her writing. As my friend Daryl Sherman says, Marian is one of the wonders of the world.

[ASIN:0879308826 Piano Girl: A Memoir]]

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Product Description:
In this collection of musical portraits, jazz pianist and radio host Marian McPartland pays tribute to such beloved and legendary figures as Benny Goodman, Bill Evans, Joe Morello, Paul Desmond, Alec Wilder, Mary Lou Williams, and others. McPartland's reminiscences and anecdotes about these jazz greats are informed by her encyclopedic knowledge of their music, making this richly detailed collection an important addition to the literature of jazz.
In a preface to this new edition -- originally published as All in Good Time -- McPartland extends her commentary to include details of her long-running National Public Radio show "Marian McPartland's Piano Jazz" and memories of her late husband, famed Chicago trumpeter Jimmy McPartland.

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The Artistry of Bill Evans Vol.2 [Paperback] Review

This is actually Volume 2 (1995), and contains EIGHT (not eighty) transcriptions of Bill Evans piano parts off the recordings. This collection is better than Vol. 1.First, vol. 1 did not transcribe thecomping behind the bass solos.Second, vol. 1 focused on the late Fantasy& early Warner Bros. recordings (1970s), while this collection rangesfrom the first trio on Riverside, some Verve solo and trio sides, and solosides from Fantasy. Gripe: when transcribing trio recordings, is it toomuch to ask that the bass part also be transcribed? Songs: "AutumnLeaves" (mono version), "Spring is Here," and "What isThis Thing Called Love" from PORTRAIT IN JAZZ; "Here's That RainyDay" from ALONE; "I Should Care" and "Make SomeoneHappy" from TOWN HALL; "The Touch of Your Lips" and"What Kind of Fool am I" from ALONE (AGAIN). No extras (vol. 1had a short essay and photos).

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Product Description:
Eighty transcriptions from the late, great jazz master Bill Evans. Titles are: Autumn LeavesHere's That Rainy DayI Should CareMake Someone HappySpring is HereThe Touch of Your LipsWhat Is This Thing Called Love?What Kind of Fool Am I?

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The Harmony of Bill Evans (keyboard instruction) [Paperback] Review

This book is unique in a couple of ways.It is a compilation of articles on how Bill Evans used harmony.Obviously, Evans' extensive studies in college and beyond went far beyond what one thin book can cover, but it does what it does efficiently and well.The author is an unabashedly effusive fan of Evans and throws this energy into the work to make it as clear and understandable as possible.

Articles include:
Peri's Scope-Harmonic Analysis (includes Evans' intensive regimen for learning new songs)
Peri's Scope-Thematic Analysis (good discussion of developing a musical theme)
Times Remembered-Harmonic Analysis
Times Remembered-Modal Analysis
Times Remembered-Intervalic Analysis
"Funny Man" and "I Should Care" (lots of practical discussion of reharmonization techniques
I Fall in Love Too Easily (more reharmonization)
Twelve Tone Tune (probably of more academic than practical interest)
How Deep is the Ocean (advanced reharmonization)
B Minor Waltz (more advanced reharmonization)

For instant gratification, the book provides a rigorous method for learning new songs.For reassurance, it reminds the reader of how much Bill Evans worked on songs before they were "battle ready" and how long the author took to work out fingerings to one Evans song (eight months).It is amazing that jazz musicians have any time to perform at all, given all the techniques they have to learn.For future reference, the book constantly trumpets the virtue of Arnold Schoenberg's 1911 Theory of Harmony, the influence of which is pointed out periodically in Evans' work.

The book presents articles in a fairly logical order of increasing difficulty.It is presented in a fashion easily understandable to me, who knows a good deal of theory, but has no degree in music.

The bad news is, this book will not have an instant and noticeable effect on your piano playing.The good news is, this book is by a highly skilled, true blue Evans fan, who provides enough material to keep most musicians of above-average skill very busy for a long time.Plus, with careful reading and intensive practice, the book should eventually move the dedicated Evans fan a few steps closer to understanding how to play a bit more like him.

I may be a little hard giving this bargain of a music book only four stars.Except for the author's "groupie" tone, the lack of instant magic for my piano playing, and lack of chapters on my favorite tunes, this book would rate five stars from me.It definitely gets my recommendation for people seeking what it offers.

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Product Description:
Bill Evans, the pianist, is a towering figure acknowledged by the jazz world, fans, musicians and critics. However Bill Evans, the composer, has yet to take his place alongside the great masters of composition. Therein lies the sole purpose of this book. A compilation of articles - now revised and expanded - that originally appeared in the quarterly newsletter Letter from Evans, this unique folio features extensive analysis of Evans' work. Pieces examined include: B Minor Waltz * Funny Man * How Deep Is the Ocean * I Fall in Love Too Easily * I Should Care * Peri's Scope * Time Remembered * and Twelve Tone Tune.Author Jack Reilly is a pianist, composer and educator in both the jazz and classical genres. He has chaired the Jazz Studies departments of the New England Conservatory of Music, Mannes College of Music, and The New School. He is presently Jazz Piano Professor at Rowan College in New Jersey.

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Bill Evans: How My Heart Sings [Paperback] Review

As a jazz pianist who has studied Evans' music for nearly 40 years, it always struck me how Bill Evans could start out his career with such musical curiosity, adventure and brilliance, only to settle into a longperiod of simply going through the motions. And while Bill Evans goingthrough the motions is still a beautiful thing, now I know why. We all knewBill Evans was a junkie, but somehow dealing with it on an everyday basisin this book puts it all into perspective. Bill Evans started out straight,so straight that he didn't turn to drugs until he was already in thespotlight in Miles Davis' group (in contrast to someone like Stan Getz whowas into it from his earliest gigs). But unlike Davis and Getz, who hadlonger periods of sobriety to clean up their act and renew their approachto their craft, Bill Evans did not.
The result is a flash of light thatglows into the mid sixties, but then dies out in a sea of repetition,hemming in his style into a smaller and smaller box as he went along. Wesee the mind of an intelligent, educated man, drawing on his classicalinfluences to create a unique voice; we see perhaps his initial exposure todrugs producing a shimmering impressionistic sound that is foreverrecognizable, and then we see it all wear off into a self imposed lifesentence, cutting off his imagination, if not all of his feelings. BillEvans did not take care of himself, and for that we are all worse off. Thathe could die partially of malnutrition just underscores the very sadpoint.
One does see a curiously ascetic individual-drug abusenotwithstanding-who simply doesn't seem to care about much other than hisart (as he states in his video, The Universal Mind of Bill Evans). Someonealmost religiously wedded to this calling, who cares only about hisrelationship with his craft, and let the chips fall where they may. Thisdedication in jazz musicians, often with scant financial reward, is alwaysfascinating, and gives us all an understanding of what their commitmentmeans.
Pettinger does us all a great favor by chronicling his life, andhis knowledge of classical music is of great assistance as he traces Evans'influences among European composers. But his lack of knowledge of jazzalmost cancels that out, as he seems unable to interpret Evans' jazztechnique at all. The fact that he never states that Evans key innovationwas to introduce the interval of the second (major and minor) into the jazzharmonic repertory-devising a new system of voicing with a unique sound-isa major omission. He refers to this throughout as the "scrunch"sound. The "scrunch" is a minor second, folks.
To really tellthe story of Bill Evans, you need to understand the influence of drugs onthe artist's work; but here Pettinger has no clue. For instance, one can"hear" the heroin affecting his sound in the classic Sundayafternoon recordings: soft touch, liquid sound, fluid legato approach, evenup tempo numbers have a delicate swing. Toward the end of his life, we"hear" cocaine-hard driving, more rhythmic, more aggressive. Forsomeone like Evans, who it seems hardly ate at all, drugs had an importantphysical impact on his life, and certainly affected the direction of hisart. But this is a blind spot for the classically oriented Pettinger.
Healso seems unable to distinguish between truly important and pedestrianperformances; he's a bit too star struck for my taste. He also totallymisreads the Gary Peacock trio (Trio `64) which, while very different fromhis others, is his best after the classic trio with Scott LaFaro. I canattest to this from two tables away from the piano at the Village Vanguardback in 1964. Peacock, with his prodigious imagination, technique andsound, was giving Evans exactly the creative impetus he needed as Evansreeled from depression after Scott LaFaro's tragic death. Peacock, had henot gone for a "diet and meditation trip" could have pushed thepianist into a new creative mode. But that was not to be, and Evans settledinto comfortable repertory. Pettinger doesn't grasp thesignificance.
Other works that don't get their due: The Bill Evans andSymphony Orchestra album, easily the best I've ever heard of the genre. Butit's great not because Ogerman and Evans "do" the classics;rather it's great because they capture the feeling of these classics,something that serious musicians seldom do. And Evans is improvising on thechanges, the way the great masters once did, in a truly inspired fashion.In this book, it's just another album. Similarly, the Symbiosis album isglossed over. Another Ogerman work, this time covering challengingmodernistic terrain while still maintaining a high level of feeling,balancing Appolonian and Dionysian extremes brilliantly. The extended reedstatement in the second movement, with complex, long lines that flirt inand out of tonality; the following improvisation using the most complexseries of chords I've ever heard in a jazz piece, many with roots a minorsecond above or below the fundamental chord. It's breakthrough stuff, butonly gets a quick take from Pettinger.
We could have used some straighttalk about the trios. Evans almost lost it after LaFaro's death, and hisnext trio was an effort at survival. But you have to admit that ChuckIsraels left a lot to be desired in the early going, all the morenoticeable in contrast to LaFaro. On How My Heart Sings, he just doesn'tmake the changes. He grew considerably over the years, and got to be asolid compliment to Evans. But we do see after LaFaro and Peacock aconscious shift toward a more dependable type of music, and a moredependable bass player. Eddie Gomez, viewed against LaFaro or Peacock issimply dependable. Talented? Yes. But dependable¾not inspired.
So Evans,hobbled by drugs, chooses to work his craft, dependably, for the rest ofhis career. And indeed, he produces many great moments. But we can't helpbut wonder whether he spent the rest of his life mourning that first,wonderful trio. And who could blame him? But we wish he could have gottenover it, that he could have had the courage to take some risks. Perhaps hewould have found something that place again. We'll never know. But I'd liketo have known a bit more about what Evans' choice of partners, andrepertory meant.
I'm also not a great fan of books that attempt tocharacterize endless discography in layman's terms. After a while, we needto know more than the fact that a solo was "shimmering" or"beautiful". Trudging through the discography, however, we seeclumps of albums that Evans did just to support his habit, and the unevenresults become more clear, as does the sometimes endless repetition ofmaterial. He did find new ways to do all those tunes; but he did stretchhis repertory quite thin; and now we understand why.
For all hisproblems with drugs, we see relatively little of the first hand impact ofhis dependence. This is very unlike "Stan Getz: A Life in Jazz"which chronicles Getz' frequent personal and emotional problems. Theseproblems do illuminate the artist's approach to his craft, andunfortunately they are mostly missing here.
In the end, Bill Evans is theguiding light of modern jazz piano, whose legacy extends to practicallyeveryone who has played from 1960 on. But his output and life were quiteuneven; a more realistic appraisal would have been helpful withoutdetracting a bit from his legendary contributions.
But with itsshortcomings, the book is still an essential read for anyone interested inEvans, jazz piano, or modern jazz history. There ain't nothin' else on thesubject as of yet, but hopefully with this, there will eventually bemore.
Finally, books like this bring us to the influence of drugs onjazz-the music and musicians. We'd like to say now that jazz is free of thetyranny of drugs, but where does that leave us? We have a major star thatis a Harvard MBA, we have commercial success at Lincoln Center, but whereis the inspiration? Where is the innovation? Certainly an acceptableinterval has passed since Miles, Bill Evans and John Coltrane were on thescene, but the torch has not been passed. Jazz, if free from the tyranny ofdrugs, needs to move to the next level-innovation and inspiration withoutdrugs. Having mastered career and made inroads in the market, maybe now wecan step back and focus on the music again,. the way masters like BillEvans, Miles and Coltrane did. When we get there, we'll look back at thesefallen idols and thank them for their inspiration, and for the bitterlessons that they taught us.

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Jade Visions: The Life and Music of Scott LaFaro (North Texas Lives of Musician Series) [Hardcover] Review

Jade Visions is the first and only biography devoted to the too-brief life and meteoric career of jazz bassist Scott LaFaro. Known best as a member of pianist Bill Evans' dream trio, which included the still-vital drummer Paul Motian, LaFaro also performed across the entire spectrum of jazz in the '50s and early '60s, from the big bands of Benny Goodman and Stan Kenton, to romantic balladeer-trumpeter Chet Baker, to the free jazz adventures of Ornette Coleman and Gunther Schuller.

Little has been known about LaFaro's life off-stage until now. A private person, judged as aloof and even unlikeable by some who encountered him casually, he was already obsessed by music and the uncompromising pursuit of excellence by the time he reached high school. Jade Visions, written by his sister Helene LaFaro Fernandez, tells an engaging tale of their unconventional upbringing, along with their three younger sisters, by rather free-thinking parents in a large and affectionate Italian-American family.

LaFaro's short life was not dramatic compared to the well-chronicled meltdowns and often self-inflicted health problems of similarly gifted artists. He did not face racial discrimination, as did so many jazz stars of the era. He helped watch over his four sisters and mother after the premature death of his father. He sent playful postcards to his family from the road, and checked out his kid sister Helene's dates to make sure they measured up to his expectations. But on stage and in the practice room, he was, to sum up in a single word, intense.

Passages by the author describing their family life alternate with insights into LaFaro's prodigious musical gifts by Gene Lees, Eddie Gomez, Gary Peacock, Marc Johnson, Rufus Reid, Stanley Clarke, Herb Mickman, Jeff Campbell, Phil Palombi and dozens of others. The great classical soloist Gary Karr was also aware of LaFaro as he was launching his own fabled career, and relates how he was inspired to continue pushing the boundaries of what was considered possible on the double bass in part due to the example of LaFaro's innovations.

The book is written in an enjoyable, conversational style, and a number of never before published photos are included, as well as a complete discography, bibliography and archival magazine articles. Jade Visions is not only a snapshot of life as a working musician in the late 1950s and early 1960s, but also the intimate story of a single-minded young musician who transformed himself in seven short years from high school band student to DownBeat magazine rising star.

History has already passed judgment on his accomplishments and declared him a superstar for the ages. Christian McBride observes, "Scotty's playing was the bible for bass players...Jimmy Blanton the old testament, Scotty, the new." Almost a half century after his death, LaFaro's photo recently graced the cover of Bass Player magazine, along with a feature length essay on LaFaro's continuing relevance today by jazz historian and bassist John Goldsby. By the time you read this review, Jade Visions will be back on the presses for a second printing, less than six months after its release. Read it to the soundtrack of Pieces of Jade, a companion CD that includes rehearsal tape of Evans and LaFaro working out the changes to My Foolish Heart.

Jazz fans around the world owe Helene LaFaro Fernandez a huge debt of gratitude for sharing the personal story of her brother Scotty, whose artistry remains timeless.

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Mel Bay's Essential Jazz Lines: Piano Style of Bill Evans [Paperback] Review

What's satisfying about this slim volume is the number of practice sequences it contains in its play-along CD. With the ii-V cadences, cycles, and turnarounds in all keys, there is plenty of valuable background for comping and practicing voicings, employing the many suggested patterns, and improvising your own lines.
The introduction explains some of the approaches of Bill Evans, particularly the scales he might have employed in certain situations. It's not an exhaustive analysis of his style; no one book can really do that. What follows, however, is important material for any student of jazz in general--not just individuals seeking to learn the nuances of Evans.
The tracks are separated into major, minor, and dominant cycles followed by ii-V cadences resolving to major and minor. Each chapter has patterns of varying complexity; these can beassimilated and modified to taste. Most importantly, you'll have a context wherein to practice them.
The book concludes with a sample improvisation piece inspired by the presented patterns and two critical progressions in the jazz canon--"Confirmation" and "Pent-up House," also included on the CD.
I've had it for over a year now, and I continue to use it, since it's flexible enough to tie into any part of a jazz practice regimen. Many other books have play-along tracks, but none are as complete as this one, covering all keys and offering tempo variations--all in an unpretentious and easy-to-use format. This is well worth the time and money.

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Product Description:
Bill Evans (1929-1980) is one of the highest regardedjazz pianists in the history of jazz. His harmonic and rhythmiclanguage in combination with superb taste and technical perfectionplaces him in a category by himself. His style of harmonization andimprovisation has been an inspiration to countless pianists as well asother instrumentalists in the field of jazz.This book of originalmusical studies and analyses by Corey Christiansen and Per Danielssonis designed to help you develop your own personal improvisingstyle. It presents numerous musical lines in the style of Bill Evans,grouped by the harmony they can be used against. The accompanyingplay-along CD provides a rhythm section backup for each of theexercises. To help the player master all keys, each section also has aplay-along on the CD that modulates around the circle of fourths.Some of the techniques used in the style of Bill Evans are discussedand examples shown, helping musiciansanalyze each of the ideaspresented, further insuring mastery of these ideas. When assimilatedinto the student's musical vocabulary, these ideas will help studentscreate their own original jazz solos.

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Jazz Piano Best of Bk/Cd (Signature Licks) [Paperback] Review

I don't remember exactly what I was thinking when I purchased this book, but it had something to do with learning licks and styles from accomplished jazz musicians. That is to say, I was looking for a shortcut. I'm finding out what I already suspected, however: there are no shortcuts. What this is then is a road map, with signposts giving a clear concise sampling of solos and riffs in differing styles from eleven great jazz pianists. There are some easy runs and some hard runs, and some slow songs and some fast songs, bits of fifteen different songs in all. There's no fingering marked in the text, so having an instructor to point things out will make this book more practical. The book is staple bound so it works well on the music stand. As near as I can tell, this contains only pieces of songs, so the serious musician will definitely have to have a songbook handy (but what jazz pianist doesn't already have The Real Book: Sixth Edition?). The highlight of this book is the CD that comes with it, which contains samples of the songs, usually both with a backing band and without, as well as examples of the solos at a slower pace and at speed. Fast forwarding through them and back to them is a bit of a chore (there are 94 sample tracks), but having that resource is really great, and the book includes markings for where each track is used, making the pair way more useful. There are also brief biographies of each of the musicians covered, which I think is a nice touch. In short, it is hard not to like this book and CD set. It is well thought out, well executed, interesting, and productive. No, it isn't a shortcut and you will still have to practice. (Sorry.) And though it might not fit every pianist's concept of a learning tool, it fits mine to a `T' and I will get a lot of use out of this book for quite some time.

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Product Description:
Learn the piano styles and techniques of Bill Evans, Oscar Peterson, Errol Garner, Nat "King" Cole, Ahmad Jamal, and more with this great book/CD pack. Rizzo teaches the styles using examples from actual songs, 15 in all. Includes: Caravan * Come Rain or Come Shine * How Deep Is the Ocean (How High Is the Sky) * I'll Remember April * In a Sentimental Mood * It's Only a Paper Moon * No Moon at All * On a Clear Day (You Can See Forever) * Satin Doll * Speak Low * St. Louis Blues * Stompin' at the Savoy * Take the "A" Train * There Is No Greater Love * Wrap Your Troubles in Dreams (And Dream Your Troubles Away). CD includes demonstrations of each.

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Bossa Nova: Jazz Piano Solos Series, Vol. 15 [Paperback] Review

Most of the books in this Jazz Piano Solo series are quite good and Bossa Nova is one of the stonger ones. Good selection of well known classics mixed with some more obscure gems. Arrangements are strong yet still quite playable by intermediate/early advanced players. Most arrangements even have a modest solo added in for a bonus. I also like the chord symbols over the staff - they are a good aid to memorizing and analyzing the structure of the tune, particularly usefull for the complex bossa harmonies.

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Solo arrangements with chord names of 20 swinging Latin standards: Agua De Beber * Call Me * Estate * The Girl from Ipanema * Meditation * Quiet Nights of Quiet Stars * Watch What Happens * Wave * more!

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Bill Evans: A Step-by-Step Breakdown of the Piano Styles and Techniques of a Jazz Legend (Keyboard Signature Licks) [Paperback] Review

I have absolutely no idea what the first reviewer was complaining about with this book. The transcriptions are incredible and the accompanying CD was remarkably helpful. It helps not to have to go out and buy every piece of Evans music represented in the book if you don't have it already in your library of music. The musicians playing the pieces are very good. OK, the pianist does not sound exactly like Bill Evans but who would? I bought this book primarily for Peace Piece and the transcription is exact. So much so that when played on the accompanying CD it even came out to the exact same timing as on "Everybody Loves Bill Evans" where the original first appears. The slowed down examples are excellent. I suppose one could quibble that the author did not discuss each piece in depth measure by measure but I challenge anyone to find a more accurate set of transcriptions. As far as doing it yourself? Good luck!!! Of all the Evans music books out there that I have seen I would definitely rate this the best.

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Product Description:
An in-depth exploration of the playing style of one of the most influential pianists in jazz. This book/CD pack uses excerpts from a dozen of Evans' best songs to demonstrate his various trademark styles. The CD includes full performance examples, as well as some slowed-down piano solo parts. Songs: Five * One for Helen * The Opener * Peace Piece * Peri's Scope * Quiet Now * Re: Person I Knew * 34 Skidoo * Time Remembered * Turn Out the Stars * Very Early * Waltz for Debby. Includes an introduction by the author.

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