Born and raised in New Jersey, Evans was recruited for Southeastern Louisiana University on a flute scholarship, where he received a thorough background in theory, played in the marching band, and also led his football team to a league championship as a quarterback. Graduating as a piano major in 1950, he started to tour with the Herbie Fields band, but the draft soon beckoned, and Evans was placed in the Fifth Army Band near Chicago. After three years in the service, he arrived in New York in 1954, playing in Tony Scott's quartet and undertaking postgraduate studies at Mannes College, where he encountered composer George Russell and his modal jazz theories. By 1956, he had already recorded his first album as a leader for Riverside, New Jazz Conceptions, still enthralled by the bop style of Bud Powell but also unveiling what was to become his best-known composition, "Waltz for Debby," which he wrote while still in the Army.
In spring 1958, Evans began an eight-month gig with the Miles Davis Sextet, where he exerted a powerful influence upon the willful yet ever-searching leader. Though Evans left the band that autumn, exhausted by pressured expectations and anxious to form his own group, he was deeply involved in the planning and execution of Davis' epochal Kind of Blue album in 1959, contributing ideas about mood, structure, and modal improvisation, and collaborating on several of the compositions. Although the original release gave composition credit of "Blue in Green" to Davis, Evans claimed he wrote it entirely, based on two chords suggested by Davis (nowadays, they receive co-credit).
Evans returned to the scene as a leader in December 1958 with the album Everybody Digs Bill Evans, which included the famous "Peace Piece," a haunting vamp for solo piano that sounds like a long-lost Satie Gymnopédie. Evans' first working trio turned out to be his most celebrated, combining forces with the astounding young bassist Scott LaFaro and drummer Paul Motian in three-way telepathic trialogues. With this group, Evans became a star -- and there was even talk about a recording with Davis involving the entire trio. Sadly, only ten days after a landmark live session at the Village Vanguard in June 1961, LaFaro was killed in an auto accident -- and the shattered Evans went into seclusion for almost a year. He re-emerged the following spring with Chuck Israels as his bassist, and he would go on to record duets with guitarist Jim Hall and a swinging quintet session, Interplay, with Hall and trumpeter Freddie Hubbard.
Upon signing with Verve in 1962, Evans was encouraged by producer Creed Taylor to continue to record in more varied formats: with Gary McFarland's big band, the full-orchestra arrangements of Claus Ogerman, co-star Stan Getz, and a reunion with Hall. The most remarkable of these experiments was Conversations with Myself, a session where Evans overdubbed second and third piano parts onto the first; this eventually led to two sequels in that fashion.
By 1966, Evans had paired with Puerto Rican bassist Eddie Gomez and formed a trio with drummer Jack DeJohnette. Though short-lived, the group garnered attention, picking up a Grammy Award for the 1968 concert album Bill Evans at the Montreux Jazz Festival. That same year, DeJohnette left to be replaced by Marty Morell. This version of Evans' trio continued to work for a decade, releasing albums like 1969's What's New and 1971's Grammy-winning The Bill Evans Album. Evans also picked up a Grammy in 1970 for his solo piano date Alone.
In his only concession to the emerging jazz-rock scene, Evans dabbled with the Rhodes electric piano in the 1970s but eventually tired of it, even though inventor Harold Rhodes had tailored the instrument to Evans' specifications. He recorded further trio sessions with Gomez and drummer Eliot Zigmund before launching a final trio in the late '70s with bassist Marc Johnson and drummer Joe La Barbera. Often considered one of the pianist's best configurations since the LaFaro-Motian team, their brief time together was documented on 1979's Grammy-winning We Will Meet Again, also featuring trumpeter Tom Harrell and saxophonist Larry Schneider.
By the late '70s, Evans' health was rapidly deteriorating, aggravated by long periods of heroin and cocaine addiction. He died on September 15, 1980, at Mount Sinai Hospital in New York City. He was 51 years old. Along with a 1994 Grammy Lifetime Achievement Award, a flood of unreleased recordings from commercial and private sources helped to further elevate interest in Evans' work. Turn Out the Stars: The Final Village Vanguard Recordings arrived in 1996, followed by 2000's The Last Waltz, recorded at Keystone Korner in 1980. Resonance Records also released three archival albums featuring Evans' late-'60s trio: 2016's Some Other Time: The Lost Session from the Black Forest, 2018's Another Time: The Hilversum Concert, and 2020's Live at Ronnie Scott's.
Biography by Richard S. Ginell
There are other artists with the same name:
2.) Bill Evans (born 9th February 1958 in Clarendon Hills, Illinois, USA) is an American jazz saxophonist. His father was a classical piano prodigy and until junior high school Evans studied classical clarinet. Early in his studies he was able to hear such artists as Sonny Stitt and Stan Getz live at the Jazz Showcase in Chicago. He attended Hinsdale Central High School and studied with jazz tenor saxophonist Vince Micko.
He plays primarily tenor and soprano saxophones. Evans attended North Texas State University and William Paterson University, where he studied with Dave Liebman, who had played with Miles Davis. Moving to New York City in 1979 he spent countless hours in lofts playing jazz standards and perfecting his improvisational style. At the age of twenty-two he joined Miles Davis. In the early to mid-1980s, Evans played with Davis and was instrumental in his musical comeback. Notable albums recorded with Miles include The Man with the Horn, We Want Miles, and Decoy.
In addition to playing with Miles Davis he has played, toured and recorded with artists such as Herbie Hancock, John Mclaughlin (and his Mahavishnu Orchestra), Michael Franks, Willie Nelson, Mick Jagger, Les McCann, Mark Egan, Danny Gottlieb, Ian Anderson, and Randy Brecker, among others. He is featured on the Petite Blonde album with Victor Bailey, Dennis Chambers, Mitch Forman, and Chuck Loeb.
Two of his most recent albums Soul Insider and Soulgrass were nominated for Grammy awards. Soulgrass was a groundbreaking bluegrass-jazz fusion concept involving such musicians as Béla Fleck, Sam Bush, Bruce Hornsby, and Vinnie Colaiuta. Although his latest projects are musically eclectic, his stylistic roots remain in the history of jazz saxophone, influenced by such players as Sonny Rollins, Joe Henderson, Sonny Stitt, John Coltrane, Hank Mobley, Stan Getz, and Steve Grossman.
3.) San Francisco Bay Area musician and Virginia native Bill Evans has been involved with bluegrass music and the banjo for over twenty-five years as a player, teacher, writer, and historian. He occupies a unique niche in the banjo world: celebrated worldwide for his traditional and progressive bluegrass banjo styles as well as his innovative original compositions, he also enjoys a reputation as an outstanding instructor as well as being an expert player of nineteenth-century minstrel and classic/parlour banjo styles.
Comrade Conrad
Bill Evans Lyrics
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Yo, give it to me.. give it to me
Bitch give it to me.. give it to me
Nigga give me that cash, bitch give it to me
Bitch give it to me, or I'll smack the shit out you
Give it to me.. yo yo yo yo yo!
Give it to me..
Yo, yo yo yo, yo, yo check it
Yo I'm too old for these young whippersnappers out here
I'm a legend, you should be poppin corks to my beer
When I appear, full gear, down from the rear
Sliced so quick, you thought Doc -- whispered in your ear
Yeah, there's too many MC's, but not enough MC's
are raw like that liquid that you pour on mint leaves
Look around the premises, spot blemishes
Call me Doc O-Dog, more Menace than Dennis
It's him in this, the raunchy shit I prefer
So every word be hard to turn when you stir
My grill, my balls, my jaws, stretch twelve floors
Vacate your college dorm halls
I can stand still and ricochet off the walls
The gun sparks yourself cause your pee ate the stall
Who Shot J.R.? I did, right in the melon
So I could own a ranch and start fuckin Sue Ellen!
I do murders that's hard to solve through forensic
Any clash of hash able to burn I bent it
You push a 6 while I push a rented Tempest
Rockin, hoe hoppin, bumpin Lil' Kim shit!
Aiyyo, niggaz poppin shit Red - "I Don't Kare"
Bitches say you don't got money - "I Don't Kare"
Yo niggaz say he nicer than you - "I Don't Kare"
"I'm Knockin Somebody Right the Fuck Out" (Milk - "I don't care!")
He got a big icy chain - "I Don't Kare"
He got a Benz and a Range - "I Don't Kare"
His records get mad airplay - "I Don't Kare"
"I'm Knockin Somebody Right the Fuck Out" (Milk - "I don't care!")
Yo yo, fuck all you radio that wanna play clean singles
I cleaned mine for years and still ain't hit a million (WHY??!?!)
I get the buddha heads buggin, shit
I should be four mil' and better for that shit I'm Unpluggin
Doc rocked every corridor in Florida
Watch the formula pour sucka absorb it up
And while you foamin up from the two in your Nautica
I orchestrate the orchestra to Arkestra
Never trust no bitch, map your click
She ain't with it, Call Tyrone to pack her shit
Funk Doc, Goldeneye, Double-Oh agent
I be in court more than them dollar cap Haitians
Lick a shot, BLAOW, think the Doc is goin pop?
Eat a cock, BLAOW, ready for real hip-hop to
rock you block, BLAOW, all chicks I turn em out
Send they boyfriends back home, takin the garbage out
Ha ha, yo, I'ma sewer rat the tracks
With gats bigger than Will Smith gat in Men in Black
And if it's Friday, you better double your lap
I hit you on the floor sayin, "My neck and my back!"
Yo, let's settle it out of court for ten dollars smoke
Two-fifty in Jawbreakers, dollar in envelopes
Yo, how tight are you? -- Tighter than a Federal jail
How High? -- You better check XXL!
Yo niggaz say you ain't shit - "I Don't Kare"
Yo bitches say you broke as fuck - "I Don't Kare"
Niggaz say he better than you - "I Don't Kare"
"I'm Knockin Somebody Right the Fuck Out" (Milk - "I don't care!")
Yo yo, he got a lot of fuckin ice - "I Don't Kare"
Yo, he got a Benz and a Range - "I Don't Kare"
He get forty spins a day! - "I Don't Kare"
"I'm Knockin Somebody Right the Fuck Out" (Milk - "I don't care!")
"I Don't Kare"
"I'm Knockin Somebody Right the Fuck Out" (Milk - "I don't care!")
"I Don't Kare"
"I'm Knockin Somebody Right the Fuck Out" (Milk - "I don't care!")
Give it to me, yo yo give it to me
Demanding something forcefully
Yo, give it to me.. give it to me
Repeating the demand
Bitch give it to me.. give it to me
Using derogatory language to make the demand
Nigga give me that cash, bitch give it to me
Making a forceful demand for money
Bitch give it to me, or I'll smack the shit out you
Threatening violence to get what is demanded
Give it to me.. yo yo yo yo yo!
Repeating the demand with urgency
Give it to me..
Once again repeating the demand
Yo, yo yo yo, yo, yo check it
Introductory statement to start rapping
Yo I'm too old for these young whippersnappers out here
Claiming seniority over younger rappers
I'm a legend, you should be poppin corks to my beer
Boasting of legendary status
When I appear, full gear, down from the rear
Being ready for battle from the back
Sliced so quick, you thought Doc -- whispered in your ear
Being quick and agile like a doctor
Yeah, there's too many MC's, but not enough MC's
Complaining of the oversaturation of rappers
are raw like that liquid that you pour on mint leaves
Comparing good rappers to a raw and pure substance
Look around the premises, spot blemishes
Being a critical observer and identifying imperfections
Call me Doc O-Dog, more Menace than Dennis
Adopting a menacing persona
It's him in this, the raunchy shit I prefer
Preferring to present as an obscene and profane rapper
So every word be hard to turn when you stir
Using difficult-to-ignore lyrics to maintain attention
My grill, my balls, my jaws, stretch twelve floors
Boasting about the size of genitals/teeth
Vacate your college dorm halls
Ejecting from a certain space forcefully
I can stand still and ricochet off the walls
Being energetic and bouncy
The gun sparks yourself cause your pee ate the stall
Indulging in toilet humor
Who Shot J.R.? I did, right in the melon
Referencing the TV show 'Dallas' to claim responsibility for something
So I could own a ranch and start fuckin Sue Ellen!
Lustful comment about a character from 'Dallas' TV show
I do murders that's hard to solve through forensic
Metaphorically killing other rappers with skillful lyrics
Any clash of hash able to burn I bent it
Being able to handle any confrontation that arises
You push a 6 while I push a rented Tempest
Boasting about having better cars than other rappers
Rockin, hoe hoppin, bumpin Lil' Kim shit!
Enjoying listening to and rapping about Lil' Kim
Aiyyo, niggaz poppin shit Red - "I Don't Kare"
Not caring about what other people say
Bitches say you don't got money - "I Don't Kare"
Not caring about women's opinions about financial status
Yo niggaz say he nicer than you - "I Don't Kare"
Not caring about other rappers' skills
"I'm Knockin Somebody Right the Fuck Out" (Milk - "I don't care!")
Willingness to use physical violence
He got a big icy chain - "I Don't Kare"
Not impressed by a flashy chain
He got a Benz and a Range - "I Don't Kare"
Not impressed by luxury cars
His records get mad airplay - "I Don't Kare"
Not caring about commercial success on radio
Yo yo, fuck all you radio that wanna play clean singles
Disliking the preference for clean radio-friendly music
I cleaned mine for years and still ain't hit a million (WHY??!?!)
Wondering why success is still elusive even after making clean music for years
I get the buddha heads buggin, shit
Causing trouble among fans who like rap with religious and spiritual themes
I should be four mil' and better for that shit I'm Unpluggin
Believing that unplugging from the music industry will bring deserved success
Doc rocked every corridor in Florida
Having a widespread and loyal fanbase in Florida
Watch the formula pour sucka absorb it up
Observe and appreciate the formula for rap success
And while you foamin up from the two in your Nautica
While others are getting high
I orchestrate the orchestra to Arkestra
Fond of jazz and Sun Ra's Arkestra
Never trust no bitch, map your click
Not trusting unreliable people, watch your friends' backs
She ain't with it, Call Tyrone to pack her shit
Make your unreliable partner leave and don't take her back
Funk Doc, Goldeneye, Double-Oh agent
Being a cool and smooth spy-like character on the rap scene
I be in court more than them dollar cap Haitians
Joking about court appearances
Lick a shot, BLAOW, think the Doc is goin pop?
Being ready to shoot at any challenger
Eat a cock, BLAOW, ready for real hip-hop to
Put down haters who criticize true rap
rock you block, BLAOW, all chicks I turn em out
Being able to attract women easily
Send they boyfriends back home, takin the garbage out
Being a ladies' man and making women ditch their boyfriends
Ha ha, yo, I'ma sewer rat the tracks
Being a lowlife and disrespected
With gats bigger than Will Smith gat in Men in Black
Having huge guns that outsize the one in the movie 'Men in Black'
And if it's Friday, you better double your lap
If it's Friday, be ready for twice the usual amount of rapping or partying
I hit you on the floor sayin, "My neck and my back!"
Causing violence and injury to opponents
Yo, let's settle it out of court for ten dollars smoke
Proposing to solve disputes in a friendly and casual way
Two-fifty in Jawbreakers, dollar in envelopes
Suggesting ways to make payments
Yo, how tight are you? -- Tighter than a Federal jail
Asking how tough someone is, using a prison metaphor
How High? -- You better check XXL!
Asking how successful one is, emphasizing the importance of XXL magazine's ranking list
Yo niggaz say you ain't shit - "I Don't Kare"
Not caring about other people's opinions of one's self
Yo bitches say you broke as fuck - "I Don't Kare"
Not caring about masogynist views of women
Niggaz say he better than you - "I Don't Kare"
Not getting affected by other's claim of having better rapping skills
Yo yo, he got a lot of fuckin ice - "I Don't Kare"
Not getting attaracted towards materialistic things
Yo, he got a Benz and a Range - "I Don't Kare"
Not influenced by luxurious lifestyles
He get forty spins a day! - "I Don't Kare"
Not affected by the commercial popularity of a song
"I Don't Kare"
Summing up overall feelings of not caring about others' opinions
Lyrics © EMI Music Publishing, Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc., BMG RIGHTS MANAGEMENT US, LLC, DELLA MUSIC PUBLISHING, LLC
Written by: REGGIE NOBLE, DEBORAH HARRY, CHRISTOPHER STEIN, CHAD HUGO, KIRK ROBINSON, NAT ROBINSON, V SANTIAGO, ERICK SERMON, PHARRELL WILLIAMS
Lyrics Licensed & Provided by LyricFind
Beka Gigauri
Bill and Tom together!! Both my absolutely heroes
Michael Massaro
Larry Schneider heartfelt Tenor Solo is impeccable, lyrical and beautiful !
thabiso nkomo
I could listen to this one track all day
Horacio Max Larraín
Me too
Cagatay Aydogmus
Amazing composition and recording...
R.I.P Bill Evans
Horacio Max Larraín
Gracias por subir este maravilloso álbum. El último Bill Evans Trio, más Larry Schneider y Tom Harrel. Lo había escuchado muchas veces, pero no sabía quiénes eran los excelentes instrumentistas.
Viva toda irmandade
A jazz masterpiece going through all the tones in 4/4 and 3/4. These dudes play ao smooth you can one could think there just in C mayor the whole time
Rubén Anta Glez
Maravilloso cambio con el saxo tenor y trompeta al mando de bill evans, siempre un todo un descubrimiento y un placer oirlo
Portia
Tom Harrell with Bill???? Never known..... I absolutly love just the idea!! And this is one of favorite tune!!!! Many thanks
János der Trompeter
Saw him live last year!
Even at 71 yrs his technique is outstanding!
@Gragan Ćalina: Thanks for the upload!!