Autumn in New York, transcription from Bill Evans (Solo Sessions Vol. 2), together with some drivers ed homework in the background, haha. Broke the video into 2 parts... #billevans#piano#jazzpiano#pianocover
Miles Davis - Kind of Blue
Blue coloured vinyl reissue LP on Columbia
Originally released August 17, 1959
1."So What" 9:04
2."Freddie Freeloader" 9:34
3."Blue in Green" 5:27
1."All Blues" 11:33
2."Flamenco Sketches" 9:26
A jazz classic, Kind of Blue has been regarded by many critics as the greatest jazz record, Davis's masterpiece, and one of the best albums of all time. In 2003 it was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Kind of Blue is based entirely on modality, in contrast to Davis's earlier work with the hard bop style of jazz and its complex chord progression and improvisation. The entire album was composed as a series of modal sketches, in which each performer was given a set of scales that defined the parameters of their improvisation and style.
Now Playing. Miles Davis - Kind of Blue. One of the best jazz and albums of all time. “It must’ve been made in Heaven” is the quote often heard when describing this album. It’s such a drastic departure from “Birth of the Cool”. You can hear a sort of preview to this record in Davis’ score for the movie “Elevator to the Gallows”. The musicians assembled here were given only a general outline of the scales and melodies. The results are quite impressive. Every song plays to the strength of the ensemble. “All Blues” is my favorite as it feels like that song could go on forever. This is the best starting point for anyone interested in jazz or Davis’ work. It’s such a perfect record and it’s influence is spread far and wide. Pink Floyd, Allman Brothers and Q-Tip have all cited this record as massively influential. It’s as perfect as albums can get.
Ontem assisti três vezes o documentário sobre meu ídolo do piano grande Bill Evans, presente do meu amigo e super pianista Lissandro Massa. Este tema (Blue in Green) eu toco desde menino pequeno e sempre me emociono. Quem sabe por isso minhas cores favoritas sejam azul e verde... É de se pensar que Miles Davis roubou o crédito da composição para si quando convidou Bill para gravar o álbum antológico Kind of Blue, que nunca seria tão genial sem o aporte do pianismo refinado de Evans, estudioso dos grandes mestres do teclado. Fico pensando que pessoas truculentas e manipuladoras existem em qualquer ambiente e que estamos neste planeta para crescer no humanismo, não regredir à barbarie. Obrigado e bom domingo. #gershwin#milesdavis @mehmari #kindofblue#blueingreen#billevans
Daily Song — DAYS OF WINE AND ROSES, Tony Bennett and Bill Evans (1975)
They’re closing things up for the winter at Mammoth Hot Springs Hotel, the northern-most resort at Yellowstone National Park. Two inches of snow fell here this morning. It’s fitting for the last day of the season. When we head south tomorrow for Old Faithful Inn, they’ll lock the gates behind us and leave the property to the herds of elk that linger about.
We made the most of the snowy day, staying inside to read this morning. Luke and I stepped out into the grassy area encircled by cabins for a snowball fight. We had lunch in the dining hall before heading east and north, almost to Montana. We saw herds of buffalo, snow-covered mountains, and lodge pole pines. We spotted two coyotes in an open field, wagging their tail over their afternoon catch. We stopped by a stream dotted with snow-capped rocks, where Luke and I had one more epic snowball battle. It was like we had all of Yellowstone to ourselves.
We returned to the Terrace Grill in their last hour of operation. They were down to a few final scoops of ice cream — plenty for us — as the staff moved out the tables and chairs, began quietly sweeping the floor.
The house system played Louis Armstrong, Jimmy Durante, and “The Days of Wine and Roses.” They’ll close the doors and say goodbye before dispersing for Arizona, Washington, Texas, and elsewhere, another season done until they see each other in the spring.
“They are not long, the days of wine and roses. Out of a misty dream. Our path emerges for a while, then closes. Within a dream.”
#billevans#tonybennett @itstonybennett @yellowstonenps @ynplodges @ynpforever #mammothhotsprings#travel#wyoming#music#musicblogger
(For the music and more, follow the link in the bio.)
DAY 1 for Waltz for Debby.
Iv been slacking off a bit lately. So my brain said, "Hey, lets do a Bill Evans tune!" I know i have to work on things here. But you gotta understand this is no easy pie.
Bill Evans wore his heart on his sleeve in his playing, even if the composition or tempo seemed inconsistent with his emotional state-of-mind. Throughout ‘How My Heart Sings!’, sadness sounds amazingly upbeat—the swing and bounce is Evan’s effort at laughing away his hurt, and grinning at his misery. Following the death of bassist Scott LaFaro in 1961, Bill Evans went into a period of self-imposed exile. Depressed, hooked on heroin and artistically struggling after losing his friend and 1/3 of the trio that gave the jazz world two of the most important and beloved live jazz records of all-time, he finally emerged in the spring of 1962 to head into the studio with Chuck Israels (bass) and Paul Motian (drums). The tracks recorded during those sessions would be released across two albums on Riverside—the ballads on ‘Moonbeams’ and the mid/up-tempo tracks on ‘How My Heart Sings!’. Both are essential, and as the sun struggles to break through the rain this morning, this one sounds just. exactly. perfect. This is an original 1962 pressing with silver mic/reels Riverside logos RS 9473, stereo #jazzandcoffee#billevans#vinyl#jazz#riversiderecords#nowspinning#jazzrecords
And so the Bill Evans obsession continues... Here's one of those situations where, in my view, the second pressing is preferable to the first. Why should that be? Well, the first pressing is exceptionally rare and thus extremely expensive. Moreover, I much prefer the second pressing cover with its Robert Andrew Parker watercolour portrait of Evans. The clinching factor is that I'm almost certain that the second pressing used the same metalwork as the first and it sounds really fresh: crisp drums, crystalline piano and firm bass. Why is Everybody Digs... so muddy by comparison?
As for the music, New Jazz Conceptions is like Bill Evans in microcosm. All the traits that would come to define his style are already there ready to be honed over the years to come. Plus several of his standard repertoire are already in place with the first versions of Five, Waltz for Debby and My Romance.
Record Bump 1️⃣ First Jazz album I ever listened to a couple years back sparking my weird ass fetish for the genre and was the launching point to me collecting Jazz records.
If you’re looking to get into Jazz or just need something to whack on in the background whilst you study or work then I would deffo recommend 👌
10/10 thanks Bill 😘