bill evans nardis solo transcription stolen

Bill Evans Nardis Solo Transcription Stolen How To Make The

Upon its return to Chicago, Evans and Aton worked as a duo in clubs, often backing singer Lurlean Hunter.

In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell.

In 1958, Evans joined Miles Davis s sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.

During that time, Evans was also playing with Chet Baker for the album Chet.

In 1961, ten days after finishing an engagement at the New York Village Vanguard jazz club, LaFaro died in a car accident.

After months of seclusion, Evans reemerged with a new trio, featuring bassist Chuck Israels.

In 1966, he met bassist Eddie Gmez, with whom he worked for 11 years.

Evans received 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame.

His father was of Welsh descent and ran a golf course; his mother was of Carpatho-Rusyn 5 ancestry and descended from a family of coal miners.

The marriage was stormy because of the fathers heavy drinking, gambling, and abuse.

He had a brother, Harry (Harold), two years his senior, to whom he was very close.

There, Harry began piano lessons somewhere between age 5 and 7 with local teacher Helen Leland.

Bill was thought to be too young for lessons, but he began to play what he had heard during his brothers, 10 11 and soon both were taking piano lessons.

He quickly developed a fluent sight-reading ability, but Leland considered Harry a better pianist.

At the age of seven, Bill began violin lessons, and soon also flute and piccolo.

He soon dropped those instruments, but it is believed they later influenced his keyboard style.

He later named Mozart, Beethoven and Schubert as composers whose work he often played.

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 provenale, whose bitonal language he believed opened him to new things.

Around the same time came his first exposure to jazz, when aged 12 he heard Tommy Dorsey and Harry James s bands on the radio.

At the age of 13, Bill stood in for a sick pianist in Buddy Valentinos rehearsal band, 14 where Harry was already playing the trumpet.

Soon he began to perform for dances and weddings throughout New Jersey, playing music like boogie woogie and polkas for 1 per hour.

Around this time he met multi-instrumentalist Don Elliott, with whom he later recorded.

Another important influence was bassist George Platt, who introduced Evans to the theory of harmony.

Bill Evans Nardis Solo Transcription Stolen How To Make The

That really got me into starting to want to think about how to make the music.

You were certainly my biggest inspiration in college, and the seeds of the insights that you have sown, have in practice borne fruit many times over.

Kohnop, John Venettozzi, and Ronald Stetzel.

A key figure in Evanss development was Gretchen Magee, whose methods of teaching left a big imprint on his compositional style.

He was a founding member of SLUs Delta Omega chapter of Phi Mu Alpha Sinfonia, played quarterback for the fraternitys football team, and played in the college band.

In 1950, he performed Beethovens Piano Concerto No.

Bachelor of Music in piano and a bachelors in music education.

Evans regarded his last three years in college as the happiest of his life.

The three relocated to New York City, but their inability to attract bookings prompted them to leave for Calumet City, Illinois.

In July 1950, Evans joined Herbie Fields s band, based in Chicago.

During the summer, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlems Apollo Theater and shows in Philadelphia, Baltimore, and Washington, D.C.

The band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton.