Sunday, August 16, 2009


Poucos musicos ameaçavam criar um impacto no cenário jazzistico de Nova York no final dos anos 50, muito menos o pianista e compositor Bill Evans que nasceu no 16 de Agosto de 1928, em Plainfield, Nova Jersey, que com seus solos introspectivos e suave dedilhar, estava longe do que era comunmente conhecido como "hard bop". Mas, foi exatamente o que ninguem esperava o que aconteceu.

A grande virada na carreira do pianista deu-se em 1958, depois dele ter tocado por alguns meses com a banda do trompetista Miles Davis, periodo em que dividiu interpretações com os saxofonistas John Coltrane e Cannonball Adderly, tornando-se figura importante na transposição de Davis para a improvisação modal. O som de Evans foi percebido e ele rapidamente tornou-se, um dos mais influentes musicos para qualquer instrumento nos, ultimos 50 anos.

As suas criações liricas e melódicas, fraseado intrigante, leituras complexas e toque singular, permanecem como indiscutíveis influencias nas gerações de novos pianistas que surgiram, 29 anos após a sua morte prematura em 1980.

Click para ve-lo solando "Waltz for Debbie".

Few musicians seemed less likely to make an impact on the New York jazz scene in the late Fifties than pianist and composer Bill Evans born August 16,1929 in Plainfield, New Jersey, whose introspective solos and delicate touch were far removed from what was commonly considered "hard bop."Yet Evans was indeed heard, and quickly became one of the most influential musicians on any instrument of the last 50 years.

After a period in the Army, he returned to New York in 1955 and began working and recording with Tony Scott and George Russell. His subtly swinging, lucidly constructed solos with these leaders quickly attracted attention, and provided Evans with an opportunity to begin recording under his own name; but he was modest regarding his gifts, and for a time was reluctant to push himself into the limelight. All this changed after he spent several months during 1958 in Miles Davis's band, where he played alongside John Coltrane and Cannonball Adderley as well as the trumpeter and became a central figure in Davis's shift to modal improvisation.

The period with Davis allowed Evans to organize his own trio, which featured bassist Scott LaFaro and drummer Paul Motian by the end of 1959. These three players developed a new and more interactive approach to trio playing, one in which all instruments carried melodic responsibilities and functioned as equal voices. LaFaro's tragic death in a July 1961 highway accident ended the existence of this seminal unit; but not before it had recorded four albums, two in the studio and two at a Village Vanguard performance shortly before the bassist's death, that influenced several generations of pianists, bassists, and drummers.

While Evans excelled in even more intimate playing situations—he made memorable duet music with guitarist Jim Hall, singer Tony Bennett, and bassist Eddie Gomez, and on more than one occasion created fascinating studio recitals of multi-tracked piano—for the remaining two decades of his life, he continued to work in the trio format he had established with LaFaro and Motian. Personnel rarely changed in the Evans trio (Gomez was a member from 1966-1977), and the unit's repertoire slowly grew to include evocative new originals and worthy standards, as well as the tunes that led to Evans's initial fame.

Despite this consistency of format and material, Evans remained uncommonly inspired, able to reach stunning emotional depths with a quiet lucidity that was unmatched. His lyrical melodic inventions, intricate phrasing, complex voicings, and beautiful touch remain as unmistakable influences on pianists 29 years years after his death.

Reference -All Music

Tradução - Humberto Amorim

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