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Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got was like crystal notes or sparkling water cascading down from some clear waterfall. I had to change the way the band sounded again for Bill's style by playing different tunes, softer ones at first. Lees, Gene. Meet Me at Jim & Andy's: Jazz Musicians and Their World. New York: Oxford University Press, 1988 (Bill Evans).

It was one of those magic moments in your life when you expect a horror story, and the doors of heaven open up. I knew there and then he wasn't going to get away.In July 1958, Evans appeared as a sideman on Adderley's album Portrait of Cannonball, featuring the first performance of " Nardis", specially written by Davis for the session. While Davis was not very satisfied with the performance, he said that from then on, Evans was the only one to play it in the way he wanted. The piece came to be associated with Evans's future trios, which played it frequently. [9] Forte, Allen (2000). "Harmonic Relations: American Popular Harmonies (1925–1950) and Their European Kin", pp. 5–36, Traditions, Institutions, and American Popular Music (Contemporary Music Review , Vol. 19, Part 1), p. 7. Covach, John and Everett, Walter; eds. Routledge. ISBN 90-5755-120-9.

In his November 26, 1962 review for DownBeat magazine jazz critic Pete Welding states: "This collaboration between Evans and Hall has resulted in some of the most beautiful, thoroughly ingratiating music it has been my pleasure to hear." In the early 1970s, Evans was caught at New York's John F. Kennedy International Airport with a suitcase containing heroin. Although the police put him in jail for the night, he was not charged. However, both he and Ellaine had to begin methadone treatment. [48] [57] In 1974, Bill Evans recorded a multimovement jazz concerto written for him by Claus Ogerman entitled Symbiosis. Evans returned to the Davis sextet in early 1959, at the trumpeter's request, to record Kind of Blue, often considered the best-selling jazz album of all time. [3] [45] HORWITZ: Lovely impressionistic music that draws a perfect winter afternoon picture, but this is not to say that they don't swing on this record.We needed people that were interested in each other, so that we could spend a year or two just growing, without ambitions, just allowing the music to grow. And allowing our talents to merge in a very natural way.

In early 1960, the trio began a tour that brought them to Boston, San Francisco (at Jazz Workshop), and Chicago (at the Sutherland Lounge). After returning to New York in February, the band performed at Town Hall on a multi-artist bill, and then began a residency at Birdland. While the trio did not produce any studio records in 1960, two bootleg recordings from radio broadcasts from April and May were illegally released in the early 1970s, which infuriated Evans. [50] Later, they would be posthumously issued as The 1960 Birdland Sessions. [9] At the beginning of a several-week tour of the trio through the Pacific Northwest in the spring of 1979, Evans learned that his brother, Harry, who had been diagnosed with schizophrenia, had died by suicide at age The liner notes to Bill Evans – The Complete Riverside Recordings, published in 1984, give credit to both Evans and Davis ((Davis-Evans) Jazz Horn Music/Warner-Tamerlane Publ. — BMI). It was Tony Bennett who initiated the collaboration with Bill Evans. The two musicians had mutual respect for each other's talent. Bennett and Evans performed together for about two years. Although Evans was using cocaine regularly during this period, he was reported sober when recording the albums with Bennett. [58] In May 1960, the trio performed at one of the Jazz Profiles concerts, a series organized by Charles Schwartz. Around this time, Evans hired Monte Kay as his manager. During one of his concerts at the Jazz Gallery, Evans contracted hepatitis, and went to his parents' house in Florida to recuperate. During this time period, Evans also participated in the recordings The Great Kai & J. J. and The Incredible Kai Winding Trombones for Impulse! Records. In May and August 1960, Evans appeared on George Russell's album Jazz in the Space Age. In late 1960, he performed on Jazz Abstractions, an album recorded under the leadership of Gunther Schuller and John Lewis. [9]

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Pettinger, Peter (2002) [1999]. Bill Evans: How My Heart Sings (Newed.). Yale University Press. ISBN 0-300-09727-1. Born in Plainfield, New Jersey, United States, he studied classical music at Southeastern Louisiana University and the Mannes School of Music, in New York City, where he majored in composition and received the Artist Diploma. 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 ever. [3] In February 1958, at Miles Davis's urging, Russell drove Evans over to the Colony Club in Brooklyn, to play with Davis' sextet. At this time, John Coltrane, Cannonball Adderley, Paul Chambers and Philly Joe Jones were the other members of Davis' group. Red Garland had recently been fired, and Evans knew he was not merely filling in for one night but auditioning to become the group's regular pianist. By the end of the night, Davis told Evans that he would be playing their next engagement in Philadelphia. [35] [36] The band had been known for playing a mixture of jazz standards and bebop originals, but by the time Evans arrived, Davis had begun his venture into modal jazz, having just released his album Milestones.

Evans grew up in North Plainfield, New Jersey, the son of Harry and Mary Evans (née Soroka). His father was of Welsh descent and ran a golf course; his mother was of Rusyn ancestry and descended from a family of coal miners. [5] [6] The marriage was stormy because of his father's heavy drinking, gambling, and abuse. [7] [8] Bill had a brother, Harry (Harold), two years his senior, with whom he was very close. [8] Early, Gerald Lyn (2001). Miles Davis and American Culture. Missouri Historical Society Press. ISBN 1-883982-38-3. Evans performing at the Montreux Jazz Festival with his trio consisting of Marc Johnson, bass, and Philly Joe Jones, drums, July 13, 1978. a b May, Chris (July 12, 2009). "Album review: Tony Bennett / Bill Evans: The Complete Tony Bennett/Bill Evans Recordings". All About Jazz . Retrieved July 10, 2023. Music critic Richard S. Ginell wrote: "With the passage of time, Bill Evans has become an entire school unto himself for pianists and a singular mood unto himself for listeners. There is no more influential jazz-oriented pianist—only McCoy Tyner exerts nearly as much pull among younger players and journeymen." [80]

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Deluke, J. R. (January 29, 2008). "Eliane Elias: Something for Bill (Evans)". All About Jazz . Retrieved July 28, 2012.