Council for Research in Music Education

Bill Evans: His Contributions as a Jazz Pianist and an Analysis of His Music Style by Paula Berardinelli Review by: Wayne D. Bowman Bulletin of the Council for Research in Music Education, No. 118 (Fall, 1993), pp. 45-47 Published by: University of Illinois Press on behalf of the Council for Research in Music Education Stable URL: http://www.jstor.org/stable/40318592 . Accessed: 16/04/2012 21:24
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Dissertation Reviews
D. Wayne Bowman Brandon University Brandon,Manitoba

PaulaBerardinelli: Evans: Bill His Contributions Jazz as a Pianist an and Analysis hisMusic of Style
1992 PhD, New York University, OrderNo. 9222946 Microfilms University

The Study
Thisstudy conducted identify, was "to musical the through analysis, in character BillEvans'musical of to the distinctive style order ascertain nature hiscontributionjazz andjazz pianists" of to Five (p.7). specific were of with view a (a) subproblems identified: an examinationEvans'life ofstylistic a survey of to identifying (b) significant stages development; recorded with view identifying work a to Evans' characteristic features; (c) Bill of of detailed analyses representative Evanssolos;(d) identification in and of elements those to distinctive analyses; (e) application findingsthe "liesinits of of teaching jazz andjazz piano.The significancethestudy tojazz pedagogy" 7). (p. applicability Inaddition published articles interviews, researcher and the to sought and informationEvans'life on correspondence history through personal A with and of interviews several colleagues acquaintances. survey Evans' in works resulted a detailed aswell recorded chronological discography, as and for of summaries Evans'repertoire apparent preferences meter, key, Bill The heart thedocument of consists analyses four of of and tempo. "Waltz Debbie," for "On a ClearDay,""TheTouch Evansperformances: and to consists anoverview of ofYour Lips," "Letter Evan." Eachanalysis a discussion itsparticular of treatment sonority, of ofthearrangement, and andmelody, a detailed (chorusharmony, rhythm phrase-by-phrase analysis. by-chorus) Thestudy with concludes a discussion findings, application of their to for andjazz piano, suggestions further and research. teaching jazz

The Critique
BillEvans' influence a jazz pianist as extensive hisvoice as was as was From with Miles to distinctive. hiswork themonumental DavisSextet his Evans trio to solo recordings, left pioneering work, hisunforgettable piano mark thefield jazz. Thisstudy on of makes substantial conan indelible in valuable into tributions at leasttwoareas. It provides insights the life whose and and quiet, thoughtful, personal professional ofa jazz artist

46

Dissertation

than often nature to a somewhat led moreprivate profile self-deprecating inthefield jazz. It also offers someofhismoreflamboyant of counterparts imdetailedanalysesof theworkings evolution Evans' distinctive of and and achievements the and provisatory comping style.Bothare significant of havegreatpotential value to theseriousstudent analysesin particular to claimto applicability the fieldofjazz keyboard jazz. That the study's does not and demonstrated pedagogyis less satisfactorily convincingly in detract a majorwayfrom overallsignificance theproject. of the Berardinelli Evans' lifedefiesthestereshowsthatin many respects environand otypical "jazzer" image. He "grewup in a nurturing loving he his ment; was surrounded throughout lifebypeople whobelievedinhis talentand supportedhis efforts; possessed a musicaltalentthatwas he to hardwork, and developedthrough discipline, dedication hislife'sambiand tion"(p. 34). He earnedcollegedegreesin bothpiano performance music education,and was influenced the piano literature Ravel, of by of as Poulenc,Scriabin, Debussy, Chopinand others, wellas thestyles Bud Powell and George Shearing.His was not whathe considereda facile talent.Rather,he developedhis remarkable whathe deskillsthrough scribedas a "terribly hardand analytical process"(p. 44). Evans building in noteI play, constructed style, hiswords, his "stonebystone":"forevery I have a very and theoretical reason.. ." (p. 243). Berpreciseprinciple skillful ardinelli's withappropriate writing, interspersed quotes and extraordinarily perceptivestatements Evans, make thissectionof the by sucdocument pleasantand informative a treatment read. Her sensitive the ceeds wellinbalancing musical the and thepersonal(including deeply career. tragic)sidesofEvans' lifeand professional of Berardinelli's exploration the corpusof Evans' workis thorough and revealing.Among the distinctive of features Evans' workto which and Berardinelli drawsattention theabsenceofrock, are funk, bluesfrom control hisrepertoire, seeming his for time, hisimpeccable and 3/4 affinity over timeat treacherously slow tempos. Arguably mostsubstantial the features the study itsmusicalanalyses.While one might of are question the selectioncriteriaemployedand the particular tunes subsequently carefulstudy.The selected,the analysesare exemplary, richly repaying styleanalysischaptercomprisesnearlyhalf the document.One dares and thatthestudy havebenefitted further delimitation from suggest might theinclusion additional of analyses. Berardinelli drawsa number interesting conclusions aboutEvans' of the occasional he style.Formally, was largelyconservative, extending but or phrase forpurposesof expression modulation forthe mostpart within basic form.His formal the innovation occurredprimarily working within wherehe frequently asymmetrically. phrases, arranged subphrases He also made extensive ofchanging use tonalcenters an organizational as thanks a delito device. Evans developeda distinctive sonority, keyboard

Reviews

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his and catetouch, extraordinary sense,hisbroadpalletofdynamics lyrical Evans made extensive ofinner-voice motion densities.Harmonically, use his textures. and contrapuntal However,concludesBerardinelli, threeleft-hand rootsand fifths, amonghis were and four-note voicings, omitting more innovative and influential harmonicachievements. Rhythmically, in Evans' lefthand comping was sparse,a factwhich, conjunction witha time to gravitation theback side of thebeat,createda kindof "implicit" hislong,driving melodiesin a waythat feelthat complemented right-hand also his for was distinctively own. His fondness motivic displacement lent in themidst rocksolid of to itself a sense ofseeming rhythmic irregularity and Evansmade extensive oflongcontours motivic use time. Melodically, Takentogether heranalyses, with Berardinelli's conclusions development. and to boththecasual enthusiast theconnoisseur offer ampleopportunity of their enrich understanding Bill Evans' artistry. concludeswitha sectionin whichBerardinelli to The study attempts for"theteaching characteristics of thesestylistic derivefrom implications and jazz piano" (p. 282). Because thesectionfocuseson techniques jazz elements theEvans style, is of it to and materials helppianists incorporate to thanjazz interest theresearcher jazz piano is of greater apparentthat the in not insights, section practical pedagogy general. Although without in to tendstowardthepedestrian, particularly comparison therestofthe research on the are for the document.Similarly, recommendations further unfortunate as the wouldbe particularly "thin"side. These criticisms if, of authorearlier asserts,the primary significance her studylay in its its to judgment, significance applicability jazz pedagogy.In thisreviewer's to of function its applicability jazz pedagogyper se. is onlyan indirect evenwhen ownright, and are analysis, criticism valuablein their History, conthe linkto pedagogicalpracticemaybe onlyindirect.This study's had its "applicawould not have been seriously tribution compromised in of been abbreviated favor further tions"section analyses.Nonetheless, of of achievement it is a substantial deserving the attention thejazz recommunities. andjazz education search