JH2 Bill Evans and Modern KeyboardPlaylist:All About Rosie Bill Evans w. George Russell Orch.Sweet and Lovely- Thelonious MonkSweet and Lovely Bill EvansSomeday My Prince Will Come Dave BrubeckSomeday My Prince Will Come Bill EvansTime Remembered Bill EvansEmily 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 EvansChick Corea (b. 1941) Huge spectrum of music from post-bop jazz to Latin to Fusion.Steps: What Was (Now He Sings Now He Sobs) 1968Spain Return to Forever -1971Armandos 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 1962Watermelon Man Head Hunters 1973ESP (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 1983Birth w. Dewey Redman, Charlie Haden, Paul Motian 1971Five Brothers w. Gary Peacock, Jack DeJohnetteAll 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 instrument-based 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.