![]() ![]() But the way he and his final trio play is definitely more "direct" and "straightforward", compared to his trio with LaFaro which imo is more "subtle". Similar to his trio with LaFaro, there's a lot of interplay with the bass and the piano (which was lessened in his trio with Eddie Gomez, at least the way I hear it and what I've heard so far). With that being said though, in an interview he actually considered his last trio being more similar with his trio with LaFaro than any of his past trios and that's totally true. Kinda reminds me of Coltrane's playing in his final years, where he just pushed him and his band to the limit and it's like they knew they were dying soon. The way he played in those last months, I can't imagine him 15+ years prior playing like that. Others requiring special software, such as no-substitutes Microsoft Office or Windows 10 are AccuTran, Ubiqus/Verbal Ink, Silent Secretary, FF Transcription, and several of these also want you to commit to work. His playing is a lot more aggressive, his right hand is crazier while still keeping that classic left-hand playing. Tigerfish insists you purchase special nonstandard transcribing software costing almost 200 if youre accepted, so thats right out. Definitely wildly different to his work with Eddie Gomez but this just might be Bill Evans at his best, in my opinion. It's a live recording with his last trio with Marc Johnson and recorded just 1-2 weeks before his death. If you really want some Bill Evans at his most intense though, I recommend listening to the "The Last Waltz" box set. I appreciate his Village Vanguard albums with Scott LaFaro and I can see how people can prefer those compared to later Bill Evans, but his work with Eddie Gomez, in the 70s especially, are more enjoyable to me. I wasn't that big into Bill Evans either until I listened to the 3 volumes of Live in Paris 1972. Bill Evans:The Miscellany Of Rare Transcriptions. The Tokyo Concert and Live in Paris 1972 (Volumes 1-3) are similar to Live in Switzerland in style. Okay, Bill, you wrote this chord (plonk), but. For two hours we went through three songs, bar by bar, me at the piano, phone nestled between my ear and shoulder. I know this post is already 7 months old but some of these weren't mentioned. I discovered that Evans’ recommendations sometimes contradicted the recordings, and called him at his Fort Lee, New Jersey apartment, some three months before his untimely death. The arrangements range from three to five pages, and deliver the following song list: Alice In Wonderland. Information - Concerts, News,FAQs, Archives. Volume 19 in the Jazz Piano Solos library is a 98-page book printed on white paper, with a stiff, but fairly flexible spine and gloss card cover: Aside from the contents page, the book has no extra frills the music itself begins on page two. Organs - Electronic (B3 etc.), Pipe, Theatre. Who's Who - Professional Pianists on Piano World Member Recordings - Non Classical Pianist CornerĮVENTS! Piano Concerts, Recitals, Competitions.įun Stuff! - Parties, Tours, Projects & More.įorum Members Parties, Tours, Cruises, & M. MY NEW PIANO or KEYBOARD! - Share Your Story! Old Man River (you smoke a little tea and sing o solo mio 1:50)ĭigital Pianos - Electronic Pianos - Synths &a. I don't know if it's available commercially but it blows my mind. Notice how the lyrics are underscored at around 1:48 with the dissonant chords. Anyway please share some anecdotes.Įllington w/Al Hibbler doing Old Man River I have a theory that Strayhorn did many of his arrangements. I'm sharing what I think are some mind blowing stuff by Mr. One time when he wanted to quit and forge his own career and name, Ellington lured him back(can't remember all the details) and sent him to Paris for 3 weeks (as I recall). And Ellington kept him creatively employed. Billy Strayhorn was gay in a time when one couldn't be open. A lot of rich folklore in Ellington's universe. I'm overstocked on books but please share any good anecdotes. I read about the Ellington bio by Teachout on amazon. Just started reading the Ellington bio by Terry Teachout. So it turns out that I am on a bit of an Ellington/Strayhorn binge at the moment. I don't even dictate anything to the other players. And really it's about playing together for so many gigs and just sensing what's going to happen. One thing that people notice though is that our transitions are so smooth (even with a new tune) that people think everything we do is rehearsed. Everyone else in the band seem to be the same as I am. Bill Evans doesn't talk or interact with the audience. Everything else is secondary to me (including smiling at the audience). But the number one thing that I get concerned about is to see and hear what the other guys are doing. Sometimes I'm looking at the keyboard, sometimes I'm looking at the audience. But always my peripheral vision is on the band particularly on transitions. Usually I'm looking at the book on a new tune. Hey jjo, I've looked at several pictures of my performances and apparently I do it every which way. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |