Bill Evans, one of the most influential and tragic figures of the post-bop jazz piano, was known for his highly nuanced touch, the clarity of the feeling content of his music and his reform of the chord voicing system pianists used. He recorded over fifty albums as leader and received five Grammy awards. He spawned a school of "Bill Evans style" or "Evans inspired" pianists, who include some of the best known artists of our day, including Michel Petrucciani, Andy Laverne, Richard Beirach, Enrico Pieranunzi and Warren Bernhardt. His inescapable influence on the very sound of jazz piano has touched virtually everybody of prominence in the field after him (as well as most of his contemporaries), and he remains a monumental model for jazz piano students everywhere, even inspiring a newsletter devoted solely to his music and influence.
Yet Bill Evans was a person who was painfully self-effacing, especially in the beginning of his career. Tall and handsome, literate and highly articulate about his art, he had a "confidence problem" as he called it, while at the same time devoted himself fanatically to the minute details of his music. He believed he lacked talent, so had to make up with it by intense work, but to keep the whole churning enterprise afloat he took on a heroin addiction for most of his adult life. The result was sordid living conditions, a brilliant career, two failed marriages (the first ending in a dramatic suicide), and an early death.
Bill Evans was born in Plainfield, New Jersey, in 1929, of a devout Russian Orthodox mother and an alcoholic father of Welsh origins, who managed a golf course. Evans' Russian side accounts for the special feeling many of his Russian fans have for him that he is one of them. Bill received his first musical training in his mother's church; both parents were highly musical. He also held a lifelong attachment to the game of golf.
Bill began studying piano at age six, and since his parents wanted him to know more than one instrument, he took up the violin the following year and the flute at age 13. He became very proficient on the flute, although he hardly played it in his later years. Proficiency at these instruments in which great emphasis is laid on tonal expressiveness, might have encouraged Evans to seek the similar gradations of nuance on piano. He did, of course, thereby extending the expressive range of jazz piano.
Evans' older brother Harry, two years his senior, was his first influence. Harry was the first one in the family to take piano lessons, and Bill began at the piano by mimicking him. He worshipped his older brother and tried to keep up with him in sports too, and was devastated by his death in 1979 at the age of 52.
By age 12 he was substituting for his older brother in Buddy Valentino's band, where at one point he discovered a little blues phrase by himself during a stock arrangement performance of "Tuxedo Junction." It was only a Db-D-F phrase in the key of Bb, but it unlocked a door for him, as he said in an interview, "It was such a thrill. It sounded right and good, and it wasn't written, and I had done it. The idea of doing something in music that somebody hadn't thought of opened a whole new world to me." This idea became the central one of his musical career.
Also, by the late 40s Evans considered himself the best boogie-woogie player in northern New Jersey, according to an interview with Marian McPartland on the radio show Piano Jazz. That was the musical rage at the time; later, however, Evans rarely played blues tunes in his performances or on his recordings.
Evans' Reading Habits
Evans' mother was an amateur pianist herself and had amassed piles of old sheet music, which the young Bill read through, gaining breadth and above all speed at sight reading. This enabled him to explore widely in classical literature, especially 20th century composers. Debussy, Stravinsky, notably Petrouschka, and Darius Milhaud were particularly influential. He found this much more interesting than practicing scales and exercises, and it eventually enabled him to experience broad quantities of classical music. As he told Gene Lees, "It's just that I've played such a quantity of piano. Three hours a day in childhood, about six hours a day in college, and at least six hours now. With that, I could afford to develop slowly. Everything I've learned, I've learned with feeling being the generating force." (Lees, Meet Me, p. 150). And as he later told Len Lyons, playing Bach a lot helped him gain control over tone and to improve his physical contact with the keyboard (Great Jazz Pianists, 226).
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.