Lush Life: A Biography of Billy Strayhorn [Hardcover] Review

Billy Strayhorn'scontribution to the work of Duke Ellington is immeasurable--at last he is given his full due in David Hajdu's perceptive and insightful portrait of this largely unsung genius of 20th centurymusic. Hajdu's sensitive biography, derived from countless interviewswith friends, family and fellow musicians, reveals Strayhorn as a complex,creative individual who preferred to stay discreetly in Ellington's shadow throughout much of his life.It also provides a telling portrait of a manwho lived his life as a gay African-American musician completely out in the open during a time in this country when it was both difficult anddangerous to do so.Hajdu has givenus telling portraits as well of manyof Strayhorn's contemporaries such as Lena Horne, Ella Fitzgerald, JohnnyHodges, Ray Nance and the Duke himself who loved "Swea-Pea"(Strayhorn's nickname) as a part of himself.Not only a portrait of acreative, intellectual genius, "Lush Life"also gives us aninsightful look into the world of jazz and African-american popular musicthat grew out of an age of racism and discrimination.The concludingchapters that chronicle Strayhorn's involvement inthe civil rightsmovement of the early '60's andhis friendships with Martin Luther Kingand Medgar Evans and his own battle with the throat cancer that cut hislife short (at age fifty-one) areespecially powerful.Throughout thebook, Hajduprovides lively anecdotal writing while remaining a respectfuljournalist and chronicler of his subject.I highly recommend this book toanyone interested in jazz history, popular culture, orpurely for aportrait of an understated genius.

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In a Silent Way: A Portrait of Joe Zawinul [Illustrated] [Hardcover] Review

One of the things that makes this such an interesting book is that it is about the music as much as it is about the personality of Joe. It has details such as how two Drummers were used on one of the Black Market Tracks. I so enjoyed listening to the songs after reading about them.

Half the book is about the Weather Report years, the other half is pre and post Weather Report.

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Joe Zawinul pioneered a seismic shift in American jazz, incorporating international rhythms and new electronic tonalities.

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The Contemporary Keyboardist and Expanded (Instructional) [Plastic Comb] Review

John Novello is an amazing musician.Having a book that gives insite into his approach would be quite valuable all by itself, but he has put together a very comprehensive work that is a must have for any musician looking to expand his/her knowledge and abilities.In this modern age where the electronic keyboard provides the easiest access to the world of instrumentation, as a songwriter/arranger I find John's Contemporary Keyboardist to be an essential reference, especially as my main instrument is the guitar.

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Product Description:
This comprehensive, 562-page method, called "Solid, readable and relevant" by Keyboard magazine and "The major work for today's pianists" by International Musician, is divided into four sections. The first, "A Philosophy of Music," deals with communication, cause-effect principles and practice disciplines. The second section, "Mechanics," covers all the basics of keyboard music and playing (notation, harmony, improv, sight reading, etc.), as well as their applications. The third section, "The Business Scene," contains guidelines and industry advice for contemporary keyboardists. Section four, "Interviews," provides insights into the artistry and technique of famous players such as Herbie Hancock, Henry Mancini, Edgar Winter, Keith Emerson, Paul Shaffer and many more. Includes an index.

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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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Improvising Blues Piano (w/cd) (Music Sales America) [Paperback] Review

Martan Mann can most definately play piano.The accompanying CD may almost be worth the price to hear him play.However, you're looking for instruction if you're reading this.I don't want to slam his product too hard.I'll just say he doesn't teach well and there's not allot of real meat here for beginners.I've also purchased Andrew D. Gordon's 100 Ultimate Blues Riffs.Riffs in all keys with many many different basslines and virtually zero instruction.Then, finally, I got my hands on something I absolutely love and can recommend wholeheartedly to anyone without a vast musical background who wants to play the blues.Check out the book/cd combos level 1 and 2 by David Bennet Cohen.You won't be dissappointed.I just ordered "Improvising Blues Piano" by Tim Richards and am very excited about it as well.One more you might look into.

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Product Description:
Unlock the mystery of blues improvisation as you develop an understanding of different blues styles and express yourself through your music. Contains scores of exercises designed to get you playing the blues.

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Monk [Paperback] Review

Obviously the reviewer for Kirkus Reviews knows nothing about jazz nor about Monk. There is very liitle biographical detail about Monk that is available because his family (particularly his wife Nellie) will not speak publicly about Thelonius. That said, de Wilde's bookis a brilliant evocation of Monk's genius as both a player and a composer. As opposed to Straight No Chaser, Monk attempts to capture the esssence of the man by a mixture of musicological study, an analysis of the recording scene and industry at the time, and a vivid, imaginative journey through a master musician's mindset. Any lover of jazz will appreciate this effort!

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Product Description:
From the stance of writer, musician, cultural critic, and jass historian, Laurent de Wilde has created a biographical tour-de-force, capturing the genius of the music and artistry of Thelonius Monk and the mid-century New York jazz scene.

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Touched by Jazz: Gospel Favorites for Piano [Paperback] Review

I consider myself to be a late-intermediate pianist.I can't memorize to save my life, but I pride myself in my sight reading ability.With other piano jazz books that I have purchased, I have been able to sit down and read through the book with few hiccups.However, this book is definitely the most challenging I have in my collection.I am not rating it as a three simply because I can't play it as well as I would like to, but because even when I do take the time and effort to get all the notes, I don't likethe arrangements.Some of they are simply beautiful, and then some are less so.

I would recommend this book to an advanced accompanist.The hymns that Paxton arranges in this book are difficult to find elsewhere as piano solos, so if you're looking for good old favorites and can devote the time to learning them, get this book.

However, if you are interested in getting some easier jazz piano pieces for performing in church, I would highly recommend the Phillip Kevern series.

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Product Description:
Touched by the warm, lush harmonies of the jazz idiom, these ten gospel gems are given an endearing new sparkle by the deft compositional hand of David Paxton. Improvisatory in nature, fresh in spirit, and imbued with many "oh, that's nice" moments, these tastefully crafted settings are a joy to play and hear.

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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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Charlie Parker for Piano Featuring the Paul Smith Trio BK/CD (Artist Transcriptions) [Paperback] Review

I was searching for a piano jazz book with a cd.My background is years of classical and I play by ear too-rock,pop,blues etc.but struggle with jazz.This lets me hear it and then i can see how the jazz scale patterns are used.Without the cd-the reading alone would be too much work.knowing what the outcome is is the greatest help.The cd is great too-wonderful and upbeat,and outstanding piano riffs!The only thing to be aware of,is that this is written to the cd...as the piano sounds with the bass and drums,so when playing it solo,it doesnt work well with the left hand(at least for me)But ...the chords are written above so what I do is mix some of the left hand part in-use the chord symbols-do walking bass at times.I would also like cds with other jazz piano solo books

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FASTFORWARD: 12-BAR BLUES PIANO (Fast Forward (Music Sales)) [Audiobook] [Paperback] Review

This book provides a painless introduction to playing blues piano in six styles: Basic Shuffle, Boogie Woogie, Walking Bass, Stride, Jazz,and Rock. It presents the left and right hand parts separately, then throws them together. Each example has two tracks on the CD, with and without the piano part. The left hand parts are quite complete, but the right hand parts are a little thin, leaving out slides, crushed notes and tremelos. However, the backing tracks on the CD are outstanding. Once you master the material in the book, you can reuse the CD backing tracks with licks from other books like David Bennet Cohen's Blues Piano or Mark Harrison's Blues Piano. Had the author included more material, this could be a 5 satr book.

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Product Description:
Learn to play the 12-bar blues using authentic techniques to get the real blues sound.

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Jazz Hanon (Hanon Series) [Paperback] Review

I have mixed opinions on this one... To be honest, you can probably get an even better bang for the buck by purchasing the full version of Hanon's Virtuoso Pianist and practising the exersizes with swing feel (play chords in your LH and the patterns in your RH), then you could then go out and get some of David Baker's Bebop Pattern books and dig down even deeper... (If you don't know what swing time and swing feel is, you should probably sit in a few lessons with a Jazz improv instructor anyway... sometimes it doesn't come through in writing anyway.)- - Of course what's most important is being able to take the pattern concepts, and applying them to the scales and modes that fit in with different chords, so for that purpose, you should definitely get your hand on a good Jazz Improv book... and also be sure to learn them in all keys... whatever the case, the most important thing to realize is that this is a TECHNIQUE book... not an improv book... hence,you should use this book for the purpose of building your dexterity not for solo ideas...If you're looking for a good HOW TO PLAY JAZZ book, check out my AMAZON list on Essential Jazz Learning Resources.

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Product Description:
Here are graded études and progressive exercises for developing strength, facility, and necessary techniques in jazz piano styles. Included are elements of jazz harmony, chromatic alterations, voicing, swing, bebop, and a chord symbol appendix.

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The Very Best of Oscar Peterson: Piano Artist Transcriptions [Paperback] Review

Any transcription of OP is worth serious attention especially when we should be doing our own... However, this book is a gem and kudos to the guy(s) who did the transcriptions.The Hal Leonard series of Artist Transcriptions are all uniformly excellent (I have many) and are absolutely indispensible for learning from the greats.What's more all the books are beautifully produced.For what it contains this book is essential.So, do not hesitate.Buy it now!

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18 transcriptions from one of the greatest and most revered jazz pianists, including: A Child Is Born • The Continental • The Girl from Ipanema • Gravy Waltz • I'm Old Fashioned • It Ain't Necessarily So • Little Girl Blue &b



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Yuletide Jazz: 20 Christmas Favorites (The Phillip Keveren Series) [Paperback] Review

I only discovered Phillip Keveren within the last year and a half, when I purchased another book by him: Hymns with a Touch of Jazz: 15 Traditional Hymns Arranged in Jazz Style (The Phillip Keveren Series).I initially only played a few songs out of it, but eventually pulled it out and spent some time learning all of them.I loved it so much and got so many positive comments from the congregation that I decided I should buy another book of his.Being the holiday season I purchased this one and can't say enough.The songs are each arranged beautifully.There are so many of those "Ah" moments.I am actually using this book in service this Sunday.

To those who are wondering if it is appropriate for your skill level, know that most, if not all, of his books are arranged for late intermediate/ early advanced players.There are some tricky rhythms (especially syncopation), accidentals, fingerings and the like, but it's well worth the time and effort needed to perfect these pieces and bring them up to a performance standard.

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Product Description:
Jazz up your Christmas festivities with over 20 songs masterfully arranged by Phillip Keveren for solo piano. For the first time in his series, a CD is included with stunning recordings of Phillip performing each selection! Includes: Angels We Have Heard on High * Carol of the Bells * Deck the Hall * The First Noel * Here We Come A-Wassailing * The Holly and the Ivy * In the Bleak Midwinter * O Christmas Tree * Up on the Housetop * and more.

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Dance of the Infidels: A Portrait of Bud Powell [Paperback] Review

Obviously any serious Bud fan will have to read this, being one of only a handful of books devoted to the genius. That being said I ended getting much more out of the read besides examining a period in a musician's life. Even if this book were not about one of my favorite musicians I still would recommend it highly and would call it one of the more interesting reads I have had. (I read it about 6 months ago.)
This book also becomes, inadvertently I believe, a study into human personality. Bud had numerous mental problems, many of which were pigeonholed as manic-depressive or schizophrenic. But the author's fly on the wall psychology savant observations (many obviously from journal entries) show that these diagnoses are simple and barely scratch the surface of the behavior of Bud Powell.
I think about this book often particularly when I am considering what makes a person a person. Before I read this book I thought I had an idea, but after reading it I am not so sure.It also led me to read more direct analyses of personality by Lucan and Piaget.
Bud begins the book in horrible shape, mental & physical, completely reliant on someone who cares nothing for his well being.He is unkempt and rarely speaks. You wonder how he could have reached the age he has with so few of the skills which are required for human survival.
When the author begins to interact with Bud it is almost always wordless, with the author describing Bud's input with non-verbal actions. How "looking into his eyes I could tell how Bud felt."
I was very skeptical believing perhaps the author's worship of Bud were clouding his judgment about Bud. Maybe the author wanted to communicate with Bud so bad he was sub-consciencely creating Bud's side of the conversation.
This hero worship by the author made certain that there was a bias to anything in the book, but a careful reader can still infer what actually took place.(It is nowhere near as revisionist as Miles Davis' autobiography.) And after reading the book I honestly believe that Mr. Paudras would never intentionally lie about anything to do with Bud Powell
As the action of the book proceeds you realize there must be something happening to Bud because of the healthy changes occurring and the gains Bud makes. Bud begins to perform again, gets healthier, and begins to take more control of his life. But major barriers still remain. Often he will only communicate with Francis. It went as far as when someone would ask Bud a question he would ignore it until Francis repeated the question to Bud and then Bud would only answer Francis.Also, Bud was greatly affected by even the smallest portion of alcohol, which would haunt him for the remainder of his life.
By the end of the book I was engrossed.There is even a heart-wrenching climax that was more affecting than most novels I have read. The denouement is too powerful to describe. (I am choosing my words carefully as not to give away anything)
There is a measurable action by Bud which makes me doubt the assessments that he was merely a child with a prodigal gift allowing him to never mature. Apparently, Bud would write poems to go along with most of his songs. Most have been lost. The poem by Bud included in the book is so lucent and shows a startling awareness that I was left contemplating why Bud behaved the way he did. Francis spent so much time with him it could not have been and act. Also, Bud hurt himself by acting this way that you have to believe he would have stopped if he could.
This book has helped make Bud's amazing art even more poignant for me.I believe every person has trouble relating to the world around him or her. To me, Bud music is about expressing these difficulties. Somehow trying to reconcile the sublime beauty of the world with the horrible darkness it also contains.
Although, my belief in heaven is dubious at best, if I could pick two people who deserve to be there it is Bud Powell & Francis Paudras.
My final comments are about the fate of the author who recently committed suicide. After getting to know a side of him through his book. (And I do believe the seeds of his demise are hinted at in the reading particularly in the last scenes.) It also opens up a whole slew of questions about when is life worth living, and is there any reward for those who love and bring goodness to the world when all they seem to receive is senseless pain.
As you can tell I have thought about this book considerably so if you have any insights you'd like to share please drop me a line at derek_weisel@hotmail.com. Thanks. DW.

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Stride and Swing Piano: Hal Leonard Keyboard Style Series [Paperback] Review

Normally books like these present you with the "dumbed down" and easy version of piano music--music you can play with one hand while drinking a sweet iced-tea with the other. Not so with this book. The methods and techniques Valerio teaches are the real thing, and the pieces within the book are those transcribed straight from the big boys--Waller, Johnson, Wilson, Tatum, Joplin, and Morton. This is an excellent introduction/continuation for those interested in stride piano.

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Product Description:
Focusing on styles such as classic ragtime, early blues and boogie woogie, New Orleans jazz, stride and swing, this new book/CD pack in the Hal Leonard Keyboard Style Series teaches left- and right-hand techniques including chords, bass runs, patterns and more. Key players of these styles - Scott Joplin, Jimmy Yancey, Pete Johnson, Jelly Roll Morton, James P. Johnson, Fats Waller, Teddy Wilson and Art Tatum - are prominently referenced. Includes 14 full songs to play, and an accompanying CD!

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Improvising Blues Piano [Paperback] Review

This is a great book! I'm a beginning/intermediate piano player, I went through the first two Alfred's All-in-One Adult piano books and really enjoyed them (and recommend them!). But I found myself at a fork in the road: I was happy to continue memorizing "pieces", and practicing "technique", but I found myself wanting to know more about improvising. I play drums in a blues band, and I've had some music theory for keyboard percussion, so I'm not a total musical-novice. I tried out some other books (Mark Harrison's "Blues Piano: Hal Leonard Keyboard Style Series", but it's still a little over my head, perhaps in a year or so it'll be good for me. Also "David Bennett Cohen Teaches Blues Piano: A Hands-On Course in Traditional Blues Piano", but it really didn't light my fire either, and if I recall correctly, didn't have finger markings which I still find helpful.)This book pulls it all together for me: some blues music theory, some blues history, clearly-marked "assignments", a CD included, (a spiral binding that lays flat on the stand!) ... I'm hooked!

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Product Description:
The basic principles of blues piano explained for the intermediate-level pianist in an easy-to-grasp fashion.

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48 Razor-Sharp 12-Bar Blues Riffs for Swing Bands and Blues Bands: C Instruments Edition [Plastic Comb] Review

This is a beautiful little book filled with the type of excellent horn riffs played by bands like Louis Jordan, Bill Haley, swing bands, etc.

A lot of musicians overlook "riff" playing, but playing riffs as tune heads, outros, background, or even solos adds a lot of excitement and drive to blues songs.

Swing / blues riffs are easy enough for a beginner to play but also have pro application. I am enjoying playing my accordion along with the saxaphone and rhythm section.

The CD is high-quality and features a tight band and every example played note-for-note on the CD.

Valuable "How to Use" information is found in the book, including some good tips for how to apply the material to real songs.

The book is made of high-quality materials, including acid-free paper that allows writing on with pen or pencil. This is the type of paper that was used by the big publishers before they went to cheap copy paper. The cover is heavy and the spiral binding allows the book to be folded flat on the music stand, like the Homespun books made by Happy Traum.

An excellent, innovative book for anyone who is learning or playing the blues.

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Product Description:

This valuable book is for band musicians who love the exciting sound of riff-driven uptown blues and swing music.
Book and CD - Standard Notation
Technical ability: Early intermediate
Application: Hobbyist to professional
This unique collection of forty-eight 12-bar riffs provides some great ideas for spicing up the blues songs your band plays.
In music, a riff is a repeating pattern, often played against a chord or chord progression. Horn riffs played over twelve-bar blues progressions add drive, variety, identity, and excitement to a song.
Examples of riff songs include Now's the Time by Charlie Parker; In the Mood by Glenn Miller; and Rock Around the Clock by Bill Haley and the Comets.
Riffs can be worked into most any medium-to uptempo blues.
A twelve-bar riff is a versatile arranging tool, and can be used as a tune head, solo, backing for a solo, or backing behind a singer.
Although most riffs are fairly easy to play, and easy to apply to blues progressions, many bands neglect this important aspect of arranging and performance.
For the student, riffs provide excellent practice for sight-reading rhythms. And an emerging blues musician can actually play a 12-bar riff as a solo.
Improvising musicians might use riffs as motifs upon which to base solos. Arrangers are encouraged to develop the riffs into two-or three-part section harmony parts.
The riffs in this book are arranged in the treble clef for piano (right-hand), violin, oboe, piccolo, flute, C-trumpet, accordion (right-hand) and other concert-pitched treble clef instruments. A separate notation/tablature edition is available for guitar players.
The C edition provides riffs suitable for jazz piano, blues piano, jazz violin, blues violin, jazz oboe, blues oboe, jazz piccolo, blues piccolo, jazz flute, blues flute, jazz trumpet (C), blues trumpet (C), jazz accordion, blues accordion, etc.
It is an excellent reference for the jazz and blues song writer, composer, or arranger. Invaluable also for the school stage band or jazz band musician.
Great stuff here with lots of potential for all swing band and blues band musicians.
Companion CD includes all 48 riffs, played on tenor sax with full rhythm backing.
Coil bound for your convenience.

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Open Sky: Sonny Rollins and His World of Improvisation [Paperback] Review

Eric Nisenson claims that this is not a definitive biography of Sonny Rollins.I would have to agree.Not only does this book tell us hardly anything about Sonny's personal life (his inpirations, his heartbreaks, his relationships with other jazz musicians), it has neither a discography nor an index. It's list of sources is only a page and a half, half of which seem to be previous books by Nisenson.After an inspired first chapter, Nisenson just seems to list through Sonny's albums and notable achievements, using generous quotes from Sonny describing events that were just described by the author himself.There were some good discriptions of some of the albums and some of Sonny's better solos, but most of it reads like a textbook.I would suggest that someone wait for either Sonny's autobiography (for which he's obviously saved a lot of info) or a "definitive" biography.

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The Definitive Jazz Collection (Definitive Collections) [Paperback] Review

No "fake book", or "real book" this.You get full, well-thought-out harmonizations.This isn't how Jazz pianists acquire their numbers, but hey, this graduate of the weekly visit to the traditional read-the-music-and-play-it-exactly-as-written piano teacher likes it just fine this way.Having played through about 25% of the songs, I'll say there are no really bad arrangements, and quite a few very good ones.The technical difficulty is toward the higher end of the non-classical stuff you find in the music stores -- the average song is about as hard (if you want to play all the notes) as a Chopin Waltz or a Clementi Sonatina.

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Product Description:
A once-in-a-lifetime collection of 90 of the greatest jazz songs ever compiled into one volume. Includes: Ain't Misbehavin' * All the Things You Are * Birdland * Body and Soul * A Foggy Day * Girl From Ipanema * Here's That Rainy Day * The Lady Is a Tramp * Love for Sale * Mercy, Mercy, Mercy * Midnight Sun * Moonlight in Vermont * Night and Day * Skylark * Stormy Weather * Sweet Georgia Brown.

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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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