The performances of ‘Nardis’ closed each evening. This direction would reach fruition in April, 1959, in the masterpiece “Kind of Blue” (with Adderley on alto sax)  (SoTW 079). Waltz for Debby (Riverside, 1962) It was a bleak time. Nardis (live) • Breakout from the first-ever career spanning retrospective covering 1956-1980 featuring 5-discs and over 60 tracks titled Everybody Still Digs Bill Evans. Verified Purchase. I’ve been puzzling over this for weeks now, and feel no closer to The Answer. He does not know his departure date, but his readiness is made evident to those who know how to listen. Listening to this series of performances I think of the nature shows where a vegetable-growth slow process is compressed to a few seconds. A shimmering waft becomes an open wound, transformed by naked pain. Bill Evans, 1961. by Steve Shapiro. Its a fascinating look into ‘The Mind of Bill Evans’ On A Monday Evening (Live) Moon Beams [Original Jazz Classics Remasters] The Complete Village Vanguard Recordings, 1961. Other choice recordings of “Nardis” include versions by Richie Beirach, Horace Parlan, Phil Woods, Jimmy Raney, and Tony Rice. But the solo piano introductions achieve an artistic expression of a rare – if not unique – intensity. Bill describes this distortion with such fury and a great sadness. Bill Evans? Lyrics. An aptly titled album from the Bill Evans Trio, Quiet Now is the jazz pianist at his most ambient and cerebral. The previously unreleased concert took place on June 20, 1975, at Oil Can Harry's, Vancouver, BC. It turned up again and again on a number of different studio and concert releases by the pianist, both before and after his death. The second album by the original Bill Evans group - released in 1961 - was recorded after the pianist, bassist Scott LaFaro, and drummer Paul Motian had spent a year working together and honing the telepathy that established a . More by Scott Lafaro '58 Jazz Sessions - Live & Rare. Marc Johnson’s bass solo is one of the best I’ve ever heard him play (with a few Pastorius-style bits thrown in, which Bill clearly enjoyed – he is smiling from ear to ear at this point!) Coltrane's return to Davis’s group in 1958 coincided with the "modal phase" albums: Milestones (1958) and Kind of Blue (1959) are both considered essential examples of 1950s modern jazz. Tommy LiPuma was one of America's most influential record producers, whose work with icons like Miles Davis, Barbra Streisand, and Willie Nelson has sold 75 million records, with five trips up the Grammy red carpet. Bill Evans Trio* = ビル・エヴァンス・トリオ* Bill Evans Trio* = ビル・エヴァンス・トリオ* - Explorations = エクスプロレイションズ ‎ (LP, Album, RE) Milestone (4) SMJ-6038: Japan: 1974: Sell This Version Chronologically, this is the third Bill Evans Trio from a lineage of great trios consisting of Chuck Israels on bass and Larry Bunker on drums. From early 1958, alto saxophonist Cannonball Adderley was a member of Miles Davis’ group together with John Coltrane. Summertime on three notes. 6,687. Listen to Bill Evans’ transcendent, weightless reading of what can hardly be called the same composition. Here it is. Music, radio and podcasts, all free. Up until now, the only recordings that existed of this group were the Grammy-winning LP Bill Evans at the Montreux Jazz Festival and a handful of bootleg recordings. A moving finale to a remarkable career, The Last Waltz was recorded during a nine-night stand at San Francisco's legendary Keystone Korner one week prior to jazz piano icon Bill Evans' death at age 51. Bill Evans Trio - Explorations (LP) Default Title - Sold Out. can just drone on…sometimes I wonder if he was listening to what Half a year later, Miles brought Bill into his group in order to further explore modal jazz, at which Evans was considered an expert. It already here includes an extended bass solo, a feature that would reappear in the song over the next decades—but never again in the hands of Scott LaFaro. Above: Bill Evans Trio - 'Nardis' Joe LaBarbera, renowned drummer and longtime faculty member of The Herb Alpert School of Music at CalArts, performs with his trio on Saturday (Aug. 1) at the Boston Court Performing Arts Center in Pasadena, Calif., in a program that honors the late, great jazz pianist and composer Bill Evans.. LaBarbera, who has worked with a number of influential . It is well researched. I’d love to read a novel with a voice like that. copyright 2010 Laurie Verchomin Includes 1 print + interactive copy. CONSECRATION II. My Funny Valentine. It’s a song he played from its very first recording in 1959 through virtually his very last breath in September, 1980. Scott Lafaro. As Evans continued to explore “Nardis” as his career progressed, his interpretations lengthened, starting with an abstract solo piano introduction that only hinted at its theme, finally reverting to it as his rhythm section joined him. The piece would come to be associated with Evans's future trios, which played it frequently. Nardis is one of my favourite Bill Evans tracks and a good pick for a bellweather of Evans performances. motion picture | Made-for-TV series. Told by his sister, this book uniquely combines family history with insight into LaFaro's music by well-known jazz experts and musicians Gene Lees, Don Thompson, Jeff Campbell, Phil Palombi, Chuck Ralston, Barrie Kolstein, and Robert Wooley ... Tracks 5-8 recorded in France on Feb, 1965. Glad you’re enjoying the posts. How Deep Is The Ocean Bill Evans Trio. There are a dozen more recordings like this scattered through the Gomez years, but from what I’ve been able to find, Evans never recorded ‘Nardis’ from 1972-1979. Nardis The Bill Evans Trio. Bill Evans usually played the piece in E minor. Here they are playing ‘Nardis’ in a live performance from 1964. This stay is documented in the 8-CD boxed set “The Last Waltz”. In his later years, this song would feature long solos by both Evans’ bassist and drummer; usually closing a set with a flourish. To my knowledge these are the first recordings released of this gorgeous song by Evans. The career of Bill Evans (1929-1980) had an unusual curve. Evans explicitly deems the work as very "modal", see quote. The musical output was that of a genius coasting, feeding his drug habit, struggling to stay afloat, gradually destroying his body. ‘NYC’s No Lark’ comes from the name of fellow pianist and junkie Sonny Clark. (Piano Solo Personality). 24 essential Evans standards arranged for piano solo, including: Alice in Wonderland * Autumn Leaves * But Beautiful * Everything Happens to Me * Here's That Rainy Day * How Deep Is the Ocean (How High Is the Sky) ... I hope you feel I did justice to this moving body of music. 6,694. "Explorations" is another fine example of Evans' classic trio of Scott LaFaro and Paul Motian. ∙ Evans recorded his Grammy-winning 1968 album, Bill Evans - At The Montreux Jazz Festival, with bassist Eddie Gomez and . Evans introduces the tune: “We’ve learned from the potential of the tune, and every once in a while a new gateway opens and it’s like therapy.” Here he gives birth to a new music that goes beyond anygenre distinction. Bill Evans Trio's Nardis is a cover of: Nardis by Julian Adderley Quintet (1958) see more Cover versions of Bill Evans Trio's Nardis: Nardis by Bob James Trio (1963) Nardis by Joe Henderson Sextet (1967) Nardis by The Cannonball Adderley Quintet (1968) see more. [4][5] This group backing Davis, Coltrane, and Adderley, with Evans returning for the recording sessions, would make Kind of Blue, often considered the greatest jazz album of all-time. [6][7][8][9] Adderley left the band in September 1959 to pursue his own career, returning the line-up to a quintet. Bill closes the set tonight with an extended version of “Nardis”, his seven minute solo intro a distorted exploration of the Miles Davis tune he has been revisiting for 20 years now. "Nardis" by Bob James Trio is a cover of Bill Evans Trio's "Nardis". In June, 1961, at the Village Vanguard, the trio would create a floating pas de trois. Among the pieces Evans played is ‘Nardis’, in an interpretation as profoundly different from that by the first trio half a year earlier as is white from black, life from death. The history of the flute in jazz told mainly through interviews with jazz flutists and other musicians, scholars and record producers. Bill's trio on the bandstand and me squeezed into the bench against the wall of the room. I loved this post so much I ran out and bought the disc. From August 31 to September 8, 1980, the trio appeared at the Keystone Korner in San Francisco. Bill Evans was many things – wise, and good, and wild, and grave; but he never came near old age, doomed to an early death from twenty years of self-destruction, first by heroin, in these last years by cocaine. The Last Waltz - The Final Recordings At Keystone Korner September 1980. But what does he see? He is integrating all that he has witnessed, concocting some kind of rocket fuel for his zenith. For me, the best Nardis is the one from Molde, Norway, 9th August 1980. Feature film (over 60 minutes). MASTERING MUSESCORE is the definitive guide to MuseScore 2, the free and open source music notation program for Windows, Mac OS, and Linux. This book starts with the basics, walking you through the notation of a very simple song. Note his articulateness, the precise formation of his perceptive thoughts. Simultaneously with Gomez’ departure, Evans’ career soared. Think ‘Kind of Blue’ (SoTW 079). Bill Evans Trio, at the Edvard Munch Museum, Oslo, Norway, October 28th, 1966. "Scott LaFaro's position in the evolution of the jazz bass is considered extremely important. − +. Ten days later LaFaro died in a car wreck. Their output was uniformly excellent, but a cut below that of the first trio. INFAMOUS. In January 1979, Joe Labarbera joined the group permanently. scale patterns other than major and minor. [3], In mid-1958, Bill Evans replaced Garland on piano and Jimmy Cobb replaced Jones on drums, but Evans too left after eight months, replaced by Wynton Kelly in late 1958. Unlike in the cases of Davis and Adderley, "Nardis" was an important part of Bill Evans's repertoire, as it appears on many of his albums: Trio at Birdland (1960), Explorations (1961), The Solo Sessions, Vol. When Cannonball went into the studio to record his album “Portrait of Cannonball”, producer Orin Keepnews brought a young white boy named Bill Evans to play piano on the session. Bill’s opening solo is probably the best four minutes of music he ever did (and it’s a tough job to pick out the best bits of the catalogue of a jazz genius). The presence of Humphrey Lyttelton as host, a man who has graced Brithsh TV and jazz for decades, only adds to the . Finally exploring his suffering in public, no longer able to contain his passion, freely expressing the distortion he is directly experiencing. And now, something you've been all waiting for.The Bill Evans Trio appearing in London in 1965 for the legendary BBC TV series Jazz 625. Perhaps the single-most influential pianist in the history of jazz, Bill Evans' compositions are studied by pianists and non-pianists alike. Thanks, Jeff. Thanks for your support! Bill’s brother remembers him wandering around NYC wearing some of LaFaro’s clothes. Tracks 1-3 recorded in Italy on Feb, 1972. You might well not know this music, so I’m both proud and humbled to be the vessel of this musical offering, because it’s among the most sublime and moving artistic creations I’ve encountered. Nadirs? In spite of occasional surface noise resulting from using the earlier records as this set's source material, the music catches the trio during one of its many peaks from their last year of . NEVER will I believe Miles Davis wrote “Nardis”, he was infamous for stealing tunes. Nardis. Take) Four evenings were recorded, June 4, 5, 6 and 8. Found insideThose who joined bands to escape things that lasted found themselves in a new age, its colossal start being part of the genre's staying power. Never a Dull Moment is more than a love song to the music of 1971. The Bill Evans Trio - Volume 1 (1959-1961): Featuring Transcriptions of Bill Evans (Piano), Scott LaFaro (Bass) and Paul Motian (Drums) (Artist Transcriptions) These piano solos are a unique, memorable expression of a man staring unflinchingly into the abyss. What does it ‘mean’, this life? (SoTW 060). How is it that our perfect love, pure being, pure light is tangled up in human ideas of perfection? “Some people just want to be hit over the head, and then if they’re hit hard enough maybe they feel something. Stay tunes. No one recognizes the melody; the discord has his head rearing up, an angry mane of thick grey hair framing his broad forehead, eyebrows raised in astonished agony. Also includes fabulous photos and an essay written specifically for this edition by composer Bill Kirchner, who won a Grammy for his notes on Sony's Miles Davis/Gil Evans boxed set, and edited The Miles Davis Reader for Smithsonian ... It was a great snapshot of his soul. Even the third trio–I just listened for a few days to the piano intros to ‘Nardis’, nothing else. If the music of the second trio never reached those heights (or depths), it was infallibly impeccable. One can only assume the shirt (and its wearer) hadn’t been washed in several weeks. This rendition includes a piano introduction. Lyrics. One can only imagine what an interpretation by Miles Davis’ legendary sextet heard on Kind of Blue (with Evans, Adderley and John Coltrane) would have sounded like. I’ll tell you what they’re not—they’re not morbid or self-pitying. “Nardis” is an intriguing piece written by Miles Davis, though it evidently was never recorded by the trumpeter. There is a mystery behind the identity of it's original composer. He’s not an inferior bassist, certainly no less competent than Marc Johnson. The title reverses the spelling of Miles Davis'friend Ben Sidran. It’s serious, but not yet harrowing. RLP 351; Vinyl LP). : Em, E, F7, Am. The tune is called "Nardis.". Among others: London (19/March/1965); Oslo (1966), Helsinki (1970); Umbria Jazz (1978); Jazz Manteniance Shop (1980). Song. I’d fly to Mongolia to see Evans play like this today, but let’s face it: compared to what came before, and to what came after, he’s on auto-pilot. Found inside(Berklee Guide). Learn jazz harmony, as taught at Berklee College of Music. This text provides a strong foundation in harmonic principles, supporting further study in jazz composition, arranging, and improvisation. These five minutes of profound, unguarded introspection come from the place Evans would revisit 17 years later. Pas précieuse, mais raffinée. Featuring never-before-published photographs and stories culled from Armstrong's personal archives, Heart Full of Rhythm tells the story of how the man called "Pops" became the first "King of Pop." The music is always graceful, intelligent, refined, but rarely as memorable as the second trio, never as breathtaking as the first. Working title: Decapede. Davis never recorded "Nardis", and Adderley only did once. Note the tie and shirt. Evans: “You could see that the other guys were struggling with it. More by Bill Evans Trio. Product Information Nardis by Bill Evans Trio - Digital Sheet Music. His manager forced him into the studio for the little-known, harrowing 1962 “Solo Sessions” (SoTW 096). Everyone was sucked into this vortex, experiencing their own version of his agony. Beautiful Love. But the fact remains that all those Gomez years were Evans’ least interesting ones. These guys make this music swing so hard. I’m glad to hear someone else say that some Gomez solos Recorded by radio host Gary Barclay, the album was initially broadcast on Barclay's CHQM jazz show before languishing unheard for the next 40 years. What’s a ranid? He recorded “Nardis” on innumerable albums and reworked the piece with modal explorations each time it served as the final tune of his performances. It also appears on many of Evans's filmed appearances.[13]. Here he is experiencing the first tragedy of his life. Well done. Not long after this, he became addicted to heroin. Bill Evans Trio released it on the album Explorations in 1961. A moving finale to a remarkable career, The Last Waltz was recorded during a nine-night stand at San Francisco's legendary Keystone Korner one week prior to jazz piano icon Bill Evans' death at age 51. And what does he say? Bill Evans was a genius and you illuminated in me several realizations of different sorts. and Joe LaBarbera’s drum solo is thunderous. The vehicle for that expression became the set-closer, ‘Nardis’, especially the incredible solo piano introduction which Bill Evans created anew, night after night. 4 original compositions (One for Helen * Only Child * Orbit * Turn Out the Stars) plus "Who Can I Turn To" transcribed note-for-note from Evans' recordings. Also includes a biography and introduction. Copyright © 2021 Jeff Meshel's World. Grab your guitar, ukulele or piano and jam along in no time. “That’s why I’m here.” Let me know what you discover. Lyrics. This is a step-by-step tutorial into the techniques, theory and practical application of solo bass. the Art of Solo Bass includes actual arrangements, recordings, notation and tablature to guide you along the way. Here is December, 1979, at the Balboa club in Madrid, in an energetic, forceful version. It betrays all his classical influences, goes from ppp to fff in dynamic range, is beautifully phrased and it overflows with emotion. 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