JH2 Bill Evans and Modern Keyboard

Playlist:
All About Rosie Bill Evans w. George Russell Orch.
Sweet and Lovely- Thelonious Monk
Sweet and Lovely Bill Evans
Someday My Prince Will Come Dave Brubeck
Someday My Prince Will Come Bill Evans
Time Remembered Bill Evans
Emily Bill Evans 1980 version w. Marc Johnson & Jo LaBarbara

Bill Evans has long been the preferred reference point for modern piano.
Much of his work has been transcribed for performance and study, great
pianists like Richie Beirach and Andy LaVerne studied with him. The
Harmony of Bill Evans by Jack Reilly is among the most advanced text
books in jazz piano pedagogy. Peter Pettingers biography of Bill Evans is
one of the outstanding examples of jazz biography and musical
discussion. John Mehegan, himself a jazz pianist and pioneer of formal jazz
teaching focused on BE. The only comparable figure is the less known
Lennie Tristano who was a great teacher but didnt record often and didnt
play with as many well-known musicians. The Wikipedia bio of Bill Evans
draws on Pettinger and other good sources, so read that to become
familiar with his life and career in addition to the reading you already have
for Jazz History.

In retrospect, the centrality of Bill Evans in modern piano can be seen as

completing the transition from piano as one-man-band to piano as a
special instrumental voice. Bud Powell emulating Charlie Parkers
vocabulary of lines and licks with a minimal comping pushed the
development of piano in this direction. Horace Silver had a strong style
that featured lots of blues inflection and minimal chord voicings, moving
away from stride. It is most often said of Bill Evans that he studied
classical piano at conservatory. This gave him an approach to the
instrument and to composition that was different from the practice of
earlier jazz pianists. All of these statement are a matter of degree, not
absolutes, but I will try to show what I mean through examples.
The biggest difference Bill Evans made to the understanding of the
instrumental possibilities was in the elusive area of sound. Many pianists
had a sound before and since, but Bill really used sound expressively,
like a horn player, and was consciously in control of his sound as an

integral aspect of technique, as important and studied as his harmony and

so on. When we examine modern pianists who came since BE, well see
that the way they sound has come to the fore. In my opinion, this is the
biggest influence classical study had on BE and in turn tends to have on
all modern pianists. I cant think of any famous pianists now who havent
benefited from some classical training.

Modern Pianist Associated with Miles Davis after Bill Evans

Chick Corea (b. 1941)
Huge spectrum of music from post-bop jazz to Latin to Fusion.
Steps: What Was (Now He Sings Now He Sobs) 1968
Spain Return to Forever -1971
Armandos Rumba- My Spanish Heart 1976

Herbie Hancock (b. 1940)

Although capable of virtuoso jazz and classical, his outings as leader often
lean toward funk or collaborations with non-jazz artists like Joni Mitchell
(2007). Played Rhodes with Miles (as did Chick and Keith at times.)
Obsessed with synths. Rivalry with Stevie Wonder. His simple stuff is
played by everyone. Real jazz style is more apparent with Miles.
Watermelon Man Takin Off 1962
Watermelon Man Head Hunters 1973
ESP (as member of Miles Davis Quintet) 1965

Keith Jarrett (b. 1945)

Lead ECM artist. Movement of aestheticizing jazz according to Joachim
Berendt.
Although American, KJ was at the heart of European movement away from
the tradition of jazz based on improvising on tunes. Improvised solo piano
concerts.
As a group pianist played on the edge between avant garde and
mainstream. Started touring with Charles Lloyd (when I heard him.) His
own quartets featured Jan Garbarek or Dewey Redman.
Also known for doing the opposite by forming The Standards Trio in 1983
Birth w. Dewey Redman, Charlie Haden, Paul Motian 1971

Five Brothers w. Gary Peacock, Jack DeJohnette

All of the pianists mentioned made unique and long-lasting contributions
to the development of jazz and even the development of electric keyboard
music. All three have made classical recordings and experimented with
different kinds of fusions.
My personal summary is that Keith Jarrett is the most obvious successor of
Bill Evans, not just in style but in intent. Chick Corea brought in the
barrio (Spanish for neighbourhood) meaning Spanish/Latino influence in
his writing and playing. Herbie brought in the music of his hood, blues
and gospel, and later on, Holly-hood. Jarrett aims for a kind of instrumentbased musical aesthetic that doesnt call on any ethnic reference points.
Like BE, he draws from most recent styles of jazz but is intent on making
and expressing his own musical meanings.