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Bill Evans (1929-1980) played a major role in the history of modern jazz. The New Jersey-born pianist's groundbreaking ideas were so widely absorbed by his peers and subsequently by every new generation of musicians that he can be classed among the most influential figures in post-war jazz, ranking alongside Thelonious Monk, Charles Mingus, Miles Davis, John Coltrane, Charlie Parker and Dizzy Gillespie.
Evans first came to wide attention during his six-month stay with the Miles Davis Sextet in 1958 and his return the following year to help record Davis's classic album Kind Of Blue. That same year saw Evans form the remarkable first version of his trio featuring bassist Scott LaFaro and drummer Paul Motian. Evans continued until 1962 as a hard-working freelancer, appearing in concert and on record with a variety of leaders including Chet Baker, Cannonball Adderley, John Lewis, Tony Scott, Oliver Nelson and George Russell.
Evans achieved near-iconic jazz status worldwide when he worked with Creed Taylor at the Verve record company, from 1962 also tackling major projects and performing with a number of different ensembles - though the working trio remained his home base. But Evans's popular success coincided with a fresh tide of avante-garde creativity in jazz that would overtake him. His later musical explorations ran contrary to the jazz trends of the day, but as this book reveals it is in these ventures - just as much as his late trio work, both live and in the studio - that the full musical harvest of Evans's early promise is to be found.
Evans first came to wide attention during his six-month stay with the Miles Davis Sextet in 1958 and his return the following year to help record Davis's classic album Kind Of Blue. That same year saw Evans form the remarkable first version of his trio featuring bassist Scott LaFaro and drummer Paul Motian. Evans continued until 1962 as a hard-working freelancer, appearing in concert and on record with a variety of leaders including Chet Baker, Cannonball Adderley, John Lewis, Tony Scott, Oliver Nelson and George Russell.
Evans achieved near-iconic jazz status worldwide when he worked with Creed Taylor at the Verve record company, from 1962 also tackling major projects and performing with a number of different ensembles - though the working trio remained his home base. But Evans's popular success coincided with a fresh tide of avante-garde creativity in jazz that would overtake him. His later musical explorations ran contrary to the jazz trends of the day, but as this book reveals it is in these ventures - just as much as his late trio work, both live and in the studio - that the full musical harvest of Evans's early promise is to be found.
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