how did bill evans die

The Bill Evans Album - Evans, Bill: Musik Wählen Sie Ihre Cookie-Einstellungen Wir verwenden Cookies und ähnliche Tools, um Ihr Einkaufserlebnis zu verbessern, um unsere Dienste anzubieten, um zu verstehen, wie die Kunden unsere Dienste nutzen, damit wir Verbesserungen vornehmen können, und um Werbung anzuzeigen. His sister-in-law Pat Evans has stated that she knew Bill would not last long after Harry's death and she wondered if that is what prompted her to buy three plots in a Baton Rouge Cemetery, where Harry was interred. His shelves held works by Plato, Voltaire, Whitehead, Santayana, Freud, Margaret Mead, Sartre and Thomas Merton; and he had a special fondness for Thomas Hardy's work. Evans had overcome his heroin habit and was entering a period of personal stability. [72] However, Evans believed he had been lucky to gain some exposure before this profound change in the music world, and never had problems finding employers and recording opportunities. [10] The album began Evans's relationship with Riverside Records. [47], Music critic Richard S. Ginell noted: "With the passage of time, Bill Evans has become an entire school unto himself for pianists and a singular mood unto himself for listeners. He soon dropped those instruments, but it is believed they later influenced his keyboard style. He was fascinated with Eastern religions and philosophies including Islam, Zen, and Buddhism. [16] Around this time he met multi-instrumentalist Don Elliott, with whom he later recorded. That year, he also recorded The Soul of Jazz Percussion, with Philly Joe Jones and Chambers. I have always admired your [Magee's] teaching as that rare and amazing combination – exceptional knowledge combined with the ability to bring that same knowledge, that lies deep within the student, to life. [13] During high school, Evans came in contact with 20th-century music like Stravinsky's Petrushka, which he called a "tremendous experience", and Milhaud's Suite provençale, whose bitonal language he believed "opened him to new things." This book is about a complex, exciting, and finally the gut-wrenching relationship between two people that felt something very special for each other, regardless of their age difference. With this technique, he created an effect of continuity in the central register of the piano. [10][34] Davis used to tease him and Evans's sensitivity perhaps let it get to him. [10] During this time, Helen Keane began having an important influence, as she significantly helped to maintain the progress of Evans's career despite his self-destructive lifestyle, and the two developed a strong relationship. He may have played on some of Wald's discs, but his first proven Wald recording is Listen to the Music of Jerry Wald, which also featured his future drummer Paul Motian. Some known examples are: "Waltz for Debby", for his niece; "For Nenette", for his wife; "Letter to Evan", for his son; "NYC's No Lark", in memory of friend pianist Sonny Clark; "Re: Person I Knew", an anagram of the name of his friend and producer Orrin Keepnews; "We Will Meet Again", for his brother; "Peri's Scope", for girlfriend Peri Cousins; "One for Helen" and "Song for Helen", for manager Helen Keane; "B minor Waltz (For Ellaine)", for girlfriend Ellaine Schultz; "Laurie", for girlfriend Laurie Verchomin; "Yet Ne'er Broken", an anagram of the name of cocaine dealer Robert Kenney; "Maxine", for his stepdaughter; "Tiffany", for Joe LaBarbera's daughter; "Knit For Mary F." for fan Mary Franksen from Omaha.[78]. Although a critical success that gained positive reviews in Down Beat and Metronome magazines, New Jazz Conceptions was initially a financial failure, selling only 800 copies the first year. [42], One of the pieces to appear on the album was Leonard Bernstein's "Some Other Time". Bill Goldberg: And [in] this portion of the Miles Davis Festival, we’re fortunate to have with us pianist-composer Bill Evans, and Bill was with Miles in the late ’50s, and he was on that classic recording Kind of Blue, which is still probably one of the best-selling jazz records. [41] During this sojourn, the always self-critical Evans suddenly felt his playing had improved. There is no more influential jazz-oriented pianist—only McCoy Tyner exerts nearly as much pull among younger players and journeymen. In 1965, the trio with Israels and Bunker went on a well-received European tour and recorded a BBC special. Bill Evans Death. He did not record or perform in public again for several months. [52] On one occasion while injecting heroin, he hit a nerve and temporarily disabled it, performing a full week's engagement at the Village Vanguard virtually one-handed. 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. [38] Another influence was George Russell's treatise. Jones. Evans joined the group in April 1958. Lying around middle C, in this region the harmonic clusters sounded the clearest, and at the same time, left room for contrapuntal independence with the bass. The album won him his first Grammy award. As people criticized his musical conceptions and playing, he lost confidence for the first time. [10], When Ken Burns' television miniseries Jazz was released in 2001, it was criticised for neglecting Evans's work after his departure from the Miles Davis' sextet.[10]. Several bassists were tried, with Michael Moore staying the longest. Kaufen Sie Platten, CDs und mehr von Bill Evans auf dem Discogs-Marktplatz. [10] Evans performed a notable solo in "Concerto for Billy the Kid". Be the first to answer! Bill passed away on September 15, 1980 at the age of 51 in New York, New York, USA. Evans habitually had to borrow money from friends, and eventually, his electricity and telephone services were shut down. Evans's first long-term romance was with a black woman named Peri Cousins (for whom "Peri's Scope" was named), during the second half of the 1950s. Why Did I Choose You? Evans also appeared on albums by Charles Mingus, Oliver Nelson, Tony Scott, Eddie Costa and Art Farmer. [72], Evans never embraced new music movements; he kept his style intact. His girlfriend Ellaine was also an addict. I hear music differently. [12], Evans remembered Leland with affection for not insisting on a heavy technical approach, with scales and arpeggios. [8][9] He had a brother, Harry (Harold), two years his senior, to whom he was very close. Ironically, after recording, Evans was utterly unwilling to release it, believing the trio had played badly. As Laurie continues her searching, she goes on to share and draw you into a period of time when mixing with the likes of Dennis Hopper and other avant-garde characters on the Vancouver, BC scene, and her return to Edmonton. Evans has left his mark on such players as Chick Corea, Diana Krall, Ralph Towner, Herbie Hancock, John McLaughlin, John Taylor, Steve Kuhn, Vince Guaraldi, Don Friedman, Marian McPartland, Denny Zeitlin, Paul Bley, Bobo Stenson, Warren Bernhardt, Michel Petrucciani, Lenny Breau, Keith Jarrett, Vicente Inti Jones Alvarado, and Rick Wright of Pink Floyd, as well as many other musicians worldwide. His friends and relatives believe that this event precipitated his own death the following year. Services were held in Manhattan on Friday, September 19. [32], That year, Evans also met bassist Scott LaFaro while auditioning him for a place in an ensemble led by trumpeter Chet Baker, and was impressed. [10][46] Evans also penned the liner notes for Kind of Blue, comparing jazz improvisation to Japanese visual art. He hosted a jazz program on the camp radio station and occasionally performed in Chicago clubs, where he met singer Lucy Reed, with whom he became friends and later recorded. He took a sabbatical year and lived with his parents, where he set up a studio, acquired a grand piano and worked on his technique, believing he lacked the natural fluency of other musicians. 95. [10], Evans liked to paint and draw. On September 15, 1980, Evans, who had been in bed for several days with stomach pains at his home in Fort Lee, was accompanied by Joe LaBarbera and Verchomin to the Mount Sinai Hospital in New York, where he died that afternoon. [62] Apart from "Nardis" and "Elsa", the album consisted of jazz standards. Soon, Bill and Kent, who was the best student in their class, became best friends, working together in the computer lab and then "talking on the phone all the time," once they'd left school. He started with one gram per weekend, but later started taking several grams daily. "[15][51], Evans never allowed heroin to interfere with his musical discipline, according to a BBC record review article which contrasts Evans's addiction with that of Chet Baker. "I don't think too much about the electronic thing, except that it's kind of fun to have it as an alternate voice. Many of his tunes, such as "Waltz for Debby", "Turn Out the Stars", "Very Early", and "Funkallero", have become often-recorded jazz standards. He was 87 years old. According to Evans: "What happened was that I started to play the introduction, and it started to get so much of its own feeling and identity that I just figured, well, I'll keep going." Media & Design. In 1968, drummer Marty Morell joined the trio and remained until 1975, when he retired to family life. Shortly thereafter, Evans received his draft notice and entered the U.S. Army. [68] With this group Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among band members. [41] He was also a keen golfer, a hobby that began on his father's golf course. Another important influence was bassist George Platt, who introduced Evans to the theory of harmony. On May 26, Evans made his first studio recordings with Davis, which were first issued as part of Jazz Track,[37] and later reissued on 1958 Miles. With new bassist Chuck Israels, they recorded in December Nirvana, with flautist Herbie Mann,[6] soon followed by Undercurrent, with guitarist Jim Hall. [12] At age 7, Bill began violin lessons, and soon also flute and piccolo. The music of Bill Evans continues to inspire younger pianists including Fred Hersch, Bill Charlap, Lyle Mays, and Eliane Elias[75] and arguably Brad Mehldau[76] early in his career.

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