Evans received a music scholarship to Southeastern Louisiana College (now Southeastern Louisiana University) in Hammond, Louisiana, where he majored in music, graduating in 1950. There is an archive there now dedicated to him administered by Ron Nethercutt. His professors faulted him for not playing the scales and exercises correctly, although he could play the classical pieces perfectly with ease. In college he discovered the work of Horace Silver, Bud Powell, Nat King Cole and Lennie Tristano, who was to have a profound influence on him. He also participated in jam sessions with guitarist Mundell Lowe and bassist Red Mitchell. After college he joined reedman Herbie Fields' band. It was in this last position that he learned to accompany horn players. After that he spent 1951 to 1954 in the army, during which he managed to gig around Chicago. Upon his discharge he decided to pursue a jazz career and settled in New York. There he worked in the dance band of clarinetist Jerry Wald and saxophonist Tony Scott, and became known as an exceptional player in musicians' circles. His first professional recording was made accompanying singer Lucy Reed in 1955, and in 1956 he joined George Russell's avant-garde band and began studying Russell's Lydian Chromatic Concept. First Recording as Leader
In 1956 Mundell Lowe called Orrin Keepnews at Riverside and prevailed upon him and his partner Bill Grauer to listen to a tape of Evans over the phone. This was highly unusual, but Keepnews and Grauer heard enough to convince them they had to record Evans. But first they had to convince him! The very self-effacing Bill Evans didn't believe he was ready to record, and Keepnews and company had to persuade him to the contrary. The atmosphere in the studio was relaxed. Evans had chosen Paul Motian, his drummer with Tony Scott, and Teddy Kotick, an excellent young bassist, who had already worked with Charlie Parker and Stan Getz. They recorded 11 pieces in a single day in September of 1956-it was Riverside's money saving policy-including four Evans originals: "Five," "Conception," "No Cover, No Minimum," and the eventual classic "Waltz for Debbie." This last tune was one of three short (under 2 minutes) piano solos Evans recorded after the other members were dismissed. The album, entitled "New Jazz Conceptions" was a critical success, winning Evans very positive reviews in Down Beat and Metronome (by Nat Hentoff). But it only sold 800 copies in a year. Gaining Experience
As a sideman that year and the next he also recorded with trombonist Bob Brookmeyer, trumpeter Art Farmer, and reedmen Lee Konitz and Jimmy Giuffre, vibest Eddie Costa, and avant-garde conductor-composer (-pianist) George Russell, whose Lydian harmonic system Evans had found very useful. That year he also met Scott LaFaro, while auditioning him for a place in an ensemble led by trumpeter Chet Baker. Evans was impressed by the young bassist, whom he found overflowing with almost an uncontrolled energy and creativity. When Evans later chose LaFaro for his own trio he found that LaFaro had his talents under better control.
During a concert at Brandeis University in 1957, which combined written-out classical style music and jazz improvisation (before Gunther Schuller had founded the "third stream" movement, which claimed to do just that) Evans distinguished himself during a long solo on George Russell's "All About Rosie." Schuller and Russell were part of the event, along with jazz bassist Charles Mingus, Jimmy Giuffre and composers Milton Babbitt and Harold Shapiro. The solo constituted the announcement of the arrival of a new major talent, which his subsequent recordings would soon confirm. Miles Hires Him
Evans' big break, though, came when Miles Davis hired him shortly thereafter, putting him in a rhythm section behind John Coltrane and Cannonball Adderley in addition to himself. Miles' former pianist, Red Garland, had walked out on him, and Miles needed someone more versatile anyway. He was looking for a player who could handle modal playing, and Evans was it. He had met Evans through George Russell, with whom Evans was studying.
A performance of the Ballet Africaine from Guinea in 1958 had originally sparked Miles' interest in modal music. Miles had very big ears and was always listening for new musical currents, both inside himself, from his past, and to new sources fellow musicians brought him. This African music, which featured the finger piano or kalimba, was the kind of music which stayed for long periods of time on a single chord, weaving in and out of consonance and dissonance. It was a very new concept in jazz at the time, which was dominated by the chord-change based music of bebop, which was really an extension of the American popular song. Miles realized that Evans could follow him into modal music. Moreover, Evans introduced Miles to Rachmaninoff, Ravel and Khachaturian, revealing new scales to him and generally expanding his appreciation for classical music.