Found your recommendation 6 years after you posted it. Fascinating, and I've only watched the first 4 minutes. I'll be watching the whole thing. Thanks so much for posting - that's a gem I had no idea even existed!
Bill was/is one of the best ever. I once heard a d J call him "The Monet of the piano". As he aged he simply got better.. My favorite song of his is "Waltz for Debby" and going WAY back, one called "Periscope" on an old Riverside vinyl sampler. R I P Mr. Evans for your music will be around forever!!!
No one said it better than Igor Stravinsky when he said, I know that the twelve notes in each octave and the variety of rhythm offer me all the opportunities that all of human genius will never exhaust". That's why Bill Evans sounds like Bill Evans, Oscar Peterson sounds like Oscar Peterson etc., Great transcription and analysis!
Music is a language, and Evans was a great orator. I love how music like this can be analyzed, but even without the analysis it clearly "speaks" when you listen to it.
That is a brilliant solo that had previously been lost on me in the midst of all the other equally brilliant Evans' inventions. Not only does he drop left-hand rhythm accompaniment, but he drops the left hand altogether! Other pianists try it, but it doesn't work because they lack the momentum and swing of Bill's note choices.
This is my favorite jazz recording of all time. I learned the first half or so of this solo as a final project (aural transcription) for an improvisation class I took last year. It was crazy hard to get down just that one section of the melody! I can't believe something this intricate and challenging was improvised.
However the overall similarity between Bird, Stitt, Woods, and that guy who used to lend Bird a horn a couple of times, anyway, indicates that if you focus on the bop approach too exclusively then your gonna sound idiomatically early 50s. Circling tones target notes with triplets also the bop scale all add up to a highly stylised sound Also licks are associated with boppers that also reinforces that iconic sound. At the end of the day it's less of a blank canvas than what J. Abersold was trying to teach. Just playing devils advocate here. Bill was alot more than a bop player literally. He wasn't just running changes. And great analysis!
@@andrewei609 in fact i find cole porters use of gb diminished instead of f#m7 more interesting because you can consider f#m7 part of the chromatically descending progression of the latter 8 bars in each section
Don't play Jazz...jazz blues...ragtime, but Bills chords the way he plays Em7 with a on C bass for a CM9 I use. Works great for pop without the extentions. Guy is smooth.
Have you ever met Jamey? He's a very nice person and he has helped to keep jazz alive. Most people who study jazz won't continue to play it, but if they understand it, maybe they will support it. Jamey helps people to understand jazz.
Modes are just a way of conceptualising harmony, they emerge when you view harmony from a modal perspective. Personally I've moved away from this kind of perspective, but others find it very helpful.
Maybe it's just semantics, but couldn't you pretty much group enclosures and (non-diatonic) passing tones into approaches? At least that's how I was taught.
Wrong. Bill Evans studied classical piano at Southeastern Louisiana U., later studied classical composition at Mannes in NYC, then famously studied with George Russell, which led to him and Miles introducing the modal concept to jazz. He knew as much theory as anyone.
Jarutas Kitsaad You've probably already moved on or figured this out. When it says "chord suggests" it means that Bill is playing something over a chord as if it were a different chord. He is IMPLYING a different chord, he is suggesting something other than what is written as the chord.
Odd..... but in the history books Bill Evans is not considered a Bebop pianist but a Modern Modal Piano player who broke away from bebop "hinges" like the g# in the major bebop scale by using a completely new language based on models. He is not a Bud Powell stylist as much as he is a spearhead in the modern movement. He is his own man. He is the Bill Evans style & is completely different from Powell. He was the 2nd to do so, after Lenny Tristano, & along with Cecil Taylor, Paul Bley, McCoy Tyner, Herbie Hancock, Chick Corea & Keith Jarrett + Ornette Coleman & Eric Dolphy on sax. Changed the way we think & showed us a different way to solo outside of bebop. Yes he plays standards but uses modal playing not bebop. If you want bebop go to Bud Powell .Oh, don't go to Oscar Peterson either, for he to is his own style, he is a go between the Stride/Boogie era & the "Hard Bop" era & completely jumps over bop. Do check out Phineas Newborn Jr though. ...Great Job at transcribing his solo....... that's not easy.
True but not that much. Clearly he has major bebop influence, he uses the same devices and play several of the same tunes. What you are doing is justifying the final sound of Bill Evans like it has only one angle of doing so. Saying that someone changed the way we play is not a way to analise. Yes, he played modal ideas, but he also played a lot of bebop music. Of course Evans is Evans, but a lot of Evans is Bebop, just like every single one of those players you mentioned are.
Bill Evans completely absorbed the bebop language, he had loved and studied Bud Powell, along with numerous others - he used this as a jumping off point, along with his deep knowledge of classical music's various composers and eras, to create his own highly distinctive and influential approach to harmony, melody and rhythm. You can hear that in this solo and in many others - check out "Minority" from "Everybody Loves Bill Evans", as another great example. Classifying Evans as a modern modal player is way too simplistic - sure he was one of the first too master that approach, but he absorbed that too, along with his bebop and classical background, all into a completely individual voice. If you want to study a more straight ahead bebop solo I suppose you could take one by Bud's or Barry Harris, but this solo demonstrates how that bebop foundation can be extended, how it's a musical approach that has wonderful implications beyond it's origins - bebop language continues to evolve in the hands of a master player and musical mind.
Bebop is a language and Bill Evans utilizes the bebop language to create his own style. Sure, He can play modal jazz and go beyond bebop, but his jazz approach is rooted in the bebop language. Your statement is uneducated and incompetent.
This solo doesn't contain any modal stuff per se. That's not to say that he was incapable of it. Check out his solo in "So What" if you want modal Evans. Also Evans' early stuff (Everyone's Talking about Bill Evans, or Conception) are really just extensions of Bud Powell type lines, and over the years his style changed and grew more "impressionistic" with more parallel chords and locked hands stuff. His late stuff got very dense and almost Scriabin-like in places. He was a restless soul, and within the confines of his style he was always searching, even if it isn't so obvious on the first listen.
This is great for study. But in my opinion after playing this back and forth at both speeds and knowing Bills style, there is no way he made this up on the fly. This was written out well before the session.
I think you are fundamentally misguided in understanding how the process of learning jazz improvisation works. If there are thousands that know nothing, I've yet to meet any. The "mass of info" part is what happens in the practice room, which is what enables you to later go on the bandstand and "just play" because the vocabulary and repertoire has already been mastered. Evans himself had said that he would spend all day working on a tune.
I recommend watching the Bill Evans video "The Creative Process and Self Teaching" as well as his interview on Marian Mcpartland's Piano Jazz.
Found your recommendation 6 years after you posted it. Fascinating, and I've only watched the first 4 minutes. I'll be watching the whole thing. Thanks so much for posting - that's a gem I had no idea even existed!
Bill was/is one of the best ever. I once heard a d J call him "The Monet of the piano". As he aged he simply got better.. My favorite song of his is "Waltz for Debby" and going WAY back, one called "Periscope" on an old Riverside vinyl sampler. R I P Mr. Evans for your music will be around forever!!!
Harry Giovanoni I love Peri’s Scope, that album Is called Portrait in jazz. Featuring Paul Motion And Scott LaFaro
Sunday at the Village Vanguard . I love that "The Monet of the Piano" quote. His life, Trane and Miles' lives, are fascinating for me.
Sugar Plum is one of my favorites!!
Thank goodness I ‘discovered’ Bill Evans a week or two before the Covid lockdown. Can’t get enough.
You are in for a lifetime of pleasure.
Evans' solo break is one of the most amazing things I've ever heard. It just flows so smoothly.
All his solo breaks are amazing. He offers in those the best introduction to his solos
Bill Evans ....a genius .... a poet...outstanding
Over my head and I totally love it. Bill Evans. Good God.
Thank you for the video.
No one said it better than Igor Stravinsky when he said, I know that the twelve notes in each octave and the variety of rhythm offer me all the opportunities that all of human genius will never exhaust". That's why Bill Evans sounds like Bill Evans, Oscar Peterson sounds like Oscar Peterson etc., Great transcription and analysis!
Music is a language, and Evans was a great orator. I love how music like this can be analyzed, but even without the analysis it clearly "speaks" when you listen to it.
That is a brilliant solo that had previously been lost on me in the midst of all the other equally brilliant Evans' inventions. Not only does he drop left-hand rhythm accompaniment, but he drops the left hand altogether! Other pianists try it, but it doesn't work because they lack the momentum and swing of Bill's note choices.
This is my favorite jazz recording of all time. I learned the first half or so of this solo as a final project (aural transcription) for an improvisation class I took last year. It was crazy hard to get down just that one section of the melody! I can't believe something this intricate and challenging was improvised.
Fantastic breakdown of Evan's solo!
Wow Bill could really swing. Such a range of talent.
phew! too right a lifetime of glorious work here
wow i didn't know there was sooooo much to understanding jazz.. thank you!
Makes me realize what I take for granted just listening to it,..,
However the overall similarity between Bird, Stitt, Woods, and that guy who used to lend Bird a horn a couple of times, anyway, indicates that if you focus on the bop approach too exclusively then your gonna sound idiomatically early 50s. Circling tones target notes with triplets also the bop scale all add up to a highly stylised sound Also licks are associated with boppers that also reinforces that iconic sound. At the end of the day it's less of a blank canvas than what J. Abersold was trying to teach. Just playing devils advocate here. Bill was alot more than a bop player literally. He wasn't just running changes. And great analysis!
Whoa! This is some really intense studying for me in a Friday evening! Thanks so much for the help!
Excelente,gracias!
Splendid!
Clearly rooted in bebop, but also commenting "on" it... as well as pointing to the next stage.
It's interesting how he outlines the f#m7 chord when the next one is Fm7.
also weird that he does it on a Gbdim7 (enharmonically F#dim7)
@@dishwasherdetergent3366 harmonically it´s quite similar
@@andrewei609 in fact i find cole porters use of gb diminished instead of f#m7 more interesting because you can consider f#m7 part of the chromatically descending progression of the latter 8 bars in each section
I have no idea what this analysis is...but I can feel what I am hearing, and I hear every feeling. 🐰🎸🎶🤘
That's more important!
@@DavidBennettThomas Yes! 🙃
Great work! Holy Mackeral, now I'm looking at the analysis! Wow! Thanks!
Fantastic resource! Thank you!
David,
Thank you for taking the time to post this!
uuff so much information to use and learn
Thank you!!!!❤
Man...I miss Bill Evans
Beautiful, thanks so much for posting this!
I play Mash totally different; real slow and soulful but man. how he swings it! Pure genius!!!
Great. Thank you.
Fantastic!
Thanks David, Great presentation!
Huge help and great insight. Thank you.
That solo was hot.🔥
Excellent!!! Thanks for posting!
Best jazz style for me :p
Amazing thank you!
Great. Thanks
Beautiful ~
brilliant anyalysis!
Superb video. Thanks to the creators of it! Could you explain to me what is a'Chord Outline'?
Thank you so much from Maracaibo :)
Don't play Jazz...jazz blues...ragtime, but Bills chords the way he plays Em7 with a on C bass for a CM9 I use.
Works great for pop without the extentions.
Guy is smooth.
muchas gracias por compartir esta info! saludos
A big THANK YOU.
Great! Thank you!
Nice work! Thank you
This is amazing
gold!
thanks for this....helpful
Staggering genius..
Nice work!
Thanks you so much!!
Thanks!
Thanks!!!
Bill Evans did not record Tenderly on " Explorations" album, but on "Everybody Digs".
Nobody swings like these two.
Bill and Stan were total genius Jazz Masters.
Bebop On Steriods that inspire all of us 🥳👍😎
Very helpful
Thanks a lot for your work David ! Would love to get the PDF too ?!
thank u sir
Any PDF of the solo?
thank you David, would you be willing to share the PDF transcription?
I'd kill for some transcriptions of the best of Nat King Cole's solos. From some of the performance here on youtube....
Jamey Aebersold would be mad to find no mention of the mythical "modes." :o)
what's mythical about modes?
Have you ever met Jamey? He's a very nice person and he has helped to keep jazz alive. Most people who study jazz won't continue to play it, but if they understand it, maybe they will support it. Jamey helps people to understand jazz.
Modes are just a way of conceptualising harmony, they emerge when you view harmony from a modal perspective. Personally I've moved away from this kind of perspective, but others find it very helpful.
Barry Harris would like to know your location 😂
“Modes only exist in books, never on the bandstand”- Jimmy Bruno
Nice video
음 좋은 정보네요
@ 1:26 to 1:34 is my favorite part. prettier than all those clever fast notes.
Grazie!
Hi David < Great job ! how or where can I get the transcription of this solo? Thanks
you can use melodyne, is great
I saw this in class today.
This is so beautiful...can i have permission to reshare your video? Thx
Sure! Glad you like it :)
Maybe it's just semantics, but couldn't you pretty much group enclosures and (non-diatonic) passing tones into approaches? At least that's how I was taught.
Yes, myself i find a lot of those terms very specific. To much names.
2:25 tenor madness
Check out Transcribe.
I'm wondering if Bill Evans would be considered bebop, he used to play cool jazz
I can whistle the whole song if that counts bill Evans my fav...
Wrong. Bill Evans studied classical piano at Southeastern Louisiana U., later studied classical composition at Mannes in NYC, then famously studied with George Russell, which led to him and Miles introducing the modal concept to jazz. He knew as much theory as anyone.
David, how where you able to slow the piece down? thanks
motocyclin3 I use Sound Studio. There are lots of apps to slow down music and keep it at pitch.
+motocyclin3 try transcribe
You can also slow down the speed in the video (and others) by pressing
the Settings button and adjust to speed to half (0.5)! hope this helps.
What chord is meant by the character ø?
Fø7, for instance.
Half diminished which is m7b5
@@7khon731 Gotcha, thanks!
0:49
0:57
1:02
1:17
BTW, I don't have the perfect pitch, but after brief listening, the chord in the bar 36 sounds to my ears like GMajor7( #11).
Would you agree?
To my and my piano it sounds like G#maj7(#11) and the rest of the bridges have the same harmony (bass lines)
.......wow
Hi David Im a jazz student from Thailand. Can I ask you about Chord Suggests. What does it mean.
Jarutas Kitsaad You've probably already moved on or figured this out. When it says "chord suggests" it means that Bill is playing something over a chord as if it were a different chord. He is IMPLYING a different chord, he is suggesting something other than what is written as the chord.
Bill Evans was often at his best interpreting Cole Porter.
One day....One Day...
It's really dichatumus with the break and slow/fast soloing -- I transcribed a lot of bill back in the day
I SO WISH i knew music theory
I’m back here 7 months later, and WOW. I’m definitely starting something with all this info. This is great!
@@jkrai9684 how about now? i'm in the same position you were in at the start
What software did you use to slow down the recording and keep the key?
Sound Studio.
Cool, thanks
no one out here talking about In Walked Bud being quoted right out the gate. COME ONNNNNNNNNNNNNN
Fantastic. You've done 80% of the work so we dont have to :)
Odd..... but in the history books Bill Evans is not considered a Bebop pianist but a Modern Modal Piano player who broke away from bebop "hinges" like the g# in the major bebop scale by using a completely new language based on models. He is not a Bud Powell stylist as much as he is a spearhead in the modern movement. He is his own man. He is the Bill Evans style & is completely different from Powell. He was the 2nd to do so, after Lenny Tristano, & along with Cecil Taylor, Paul Bley, McCoy Tyner, Herbie Hancock, Chick Corea & Keith Jarrett + Ornette Coleman & Eric Dolphy on sax. Changed the way we think & showed us a different way to solo outside of bebop. Yes he plays standards but uses modal playing not bebop. If you want bebop go to Bud Powell .Oh, don't go to Oscar Peterson either, for he to is his own style, he is a go between the Stride/Boogie era & the "Hard Bop" era & completely jumps over bop. Do check out Phineas Newborn Jr though. ...Great Job at transcribing his solo....... that's not easy.
True but not that much. Clearly he has major bebop influence, he uses the same devices and play several of the same tunes. What you are doing is justifying the final sound of Bill Evans like it has only one angle of doing so. Saying that someone changed the way we play is not a way to analise. Yes, he played modal ideas, but he also played a lot of bebop music. Of course Evans is Evans, but a lot of Evans is Bebop, just like every single one of those players you mentioned are.
Bill Evans completely absorbed the bebop language, he had loved and studied Bud Powell, along with numerous others - he used this as a jumping off point, along with his deep knowledge of classical music's various composers and eras, to create his own highly distinctive and influential approach to harmony, melody and rhythm. You can hear that in this solo and in many others - check out "Minority" from "Everybody Loves Bill Evans", as another great example. Classifying Evans as a modern modal player is way too simplistic - sure he was one of the first too master that approach, but he absorbed that too, along with his bebop and classical background, all into a completely individual voice. If you want to study a more straight ahead bebop solo I suppose you could take one by Bud's or Barry Harris, but this solo demonstrates how that bebop foundation can be extended, how it's a musical approach that has wonderful implications beyond it's origins - bebop language continues to evolve in the hands of a master player and musical mind.
+MrEdium So, please do your own analysis of the solo from above and actually come up with your proof Bill Evans is playing modal. I am waiting.
Bebop is a language and Bill Evans utilizes the bebop language to create his own style. Sure, He can play modal jazz and go beyond bebop, but his jazz approach is rooted in the bebop language. Your statement is uneducated and incompetent.
This solo doesn't contain any modal stuff per se. That's not to say that he was incapable of it. Check out his solo in "So What" if you want modal Evans. Also Evans' early stuff (Everyone's Talking about Bill Evans, or Conception) are really just extensions of Bud Powell type lines, and over the years his style changed and grew more "impressionistic" with more parallel chords and locked hands stuff. His late stuff got very dense and almost Scriabin-like in places. He was a restless soul, and within the confines of his style he was always searching, even if it isn't so obvious on the first listen.
So basically, he’s a genius
is "delayed resolution" a respectful way of saying he couldn't think fast enough to land on the change?
It's displacement, just a creative technique.
7.5k likes, no dislikes. Looks like everybody digs...
Did you use a program? LOL
Isn't this just...Baroque?
This is great for study. But in my opinion after playing this back and forth at both speeds and knowing Bills style, there is no way he made this up on the fly. This was written out well before the session.
I think you are fundamentally misguided in understanding how the process of learning jazz improvisation works. If there are thousands that know nothing, I've yet to meet any. The "mass of info" part is what happens in the practice room, which is what enables you to later go on the bandstand and "just play" because the vocabulary and repertoire has already been mastered. Evans himself had said that he would spend all day working on a tune.