![]() ![]() Evans’ burning message – lyrical, textural, sensual – had to be released it had long been smoldering within him, the very core of his musicality. “For all kinds of reasons the musicians coalesced in an extraordinary way. It’s tracks like this that feed our compulsive impulses, that give ‘trolling the trash’ a good name.įrom Peter Pettinger’s indespensible musical biography, “ How My Heart Sings”: ‘ Love for Sale’ and ‘ Fran-Dance’ ain’t bad. ![]() ‘ Stella By Starlight’ and ‘ On Green Dolphin Street’ are stunning. The tracks have been buried on a bunch of minor Miles compilation albums, so I’m guessing I’m not the only one to have overlooked them. The relatively well-known live session from September, 1958, “ Jazz at the Plaza”, an exercise in gratuitous blowing, offers only frustration.īut then I recently rediscovered four tracks the same group had recorded in May, 1958, which I had previously glossed over. Many people have spent many hours and pages deliberating over that meeting of minds. Miles was at the top of his game, Bill was a virtual unknown, just beginning to make a name for himself in the New York jazz scene. So we have the Mile-Evans meeting of colossi, resulting in the indelible “Kind of Blue”, universally acclaimed as one of the most significant works of art of our time. The working band recorded one live session at a Columbia records party, never intended for release (rightfully so). He quit the band (tired of the racial prejudice against a white boy in a black environment and exhausted from his new junk habit), but was called back in March, 1959, for the “Kind of Blue” sessions. 209: The Real Group: ‘Monica Vals’ (‘Waltz for Debby’)īill Evans was with Miles’ band from April till October, 1958, replacing Red Garland, the pianist of The First Quintet.060: The Bill Evans Trio, ‘Gloria’s Step’ from “Live at The Village Vanguard”.079: Miles Davis, ‘So What’ (“Kind of Blue”).I’ve blabbered on about him at length, covering all the basses: This ain’t the place for Evans beginners. I sure appreciate her passion for Bill’s music, and it’s been a pleasure to have my own flame for him fanned. I was introduced to the word by M.E., a reader who shares with me her experiences of digging deeper and deeper into Evans’ ouvre, into his soul. a feeling of resonant connection with an author or artist you’ll never meet, who may have lived centuries ago and thousands of miles away but can still get inside your head and leave behind morsels of their experience, like the little piles of stones left by hikers that mark a hidden path through unfamiliar territory. Well, it’s not really a word (there’s a really cool guy who makes up these emotionally-laden situation-specific terms based on authentic etemologies) and I didn’t really learn it (I keep mixing up the consonants), but it’s a zinger, especially when you’re in a Bill Evans state of mind: ‘Alice in Wonderland’, the Bill Evans Trio, evening set 2 ‘On Green Dolphin Street’, the Miles Davis quintet (1958), featuring Bill Evans ![]()
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