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.
Letter To Evan
Bill Evans Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sopla en mí, Tu aliento, sopla en mí
Estoy vivo, respiro, por Tu aliento
Estoy vivo, Respiro, por Tu aliento
Resucita mis huesos hoy,
Quema en mi interior,
Y a la muerte Jesús venció,
Despiértame hoy.
Háblame voz de Dios háblame
Estoy vivo, Respiro, por Tu aliento
Estoy vivo, Respiro, por Tu aliento
Resucita mis huesos hoy
Quema en mi interior,
Y a la muerte Jesús venció,
Despiértame hoy.
"El Señor me dijo: Profetiza sobre estos huesos,
Y diles: "¡Huesos secos, escuchen la palabra del
Señor! Así dice el Señor omnipotente a estos
Huesos: 'Yo les daré aliento de vida, y ustedes
Volverán a vivir Como el Señor me lo había mandado,
Profeticé. Y mientras profetizaba, se escuchó un
Ruido muy fuerte y los huesos se juntaron. Y vi
Que en ellos aparecían tendones, y creció la carne
Y la piel los cubrió, pero no tenían vida. El Señor
Me dijo: "Profetiza, hijo de hombre; conjura al aliento
De vida y dile: 'Ven de los cuatro vientos, y dales vida.
The lyrics of Bill Evans's song, "Letter To Evan (Live)" bring a deeply meditative, spiritual message about the importance of breath and the divine energy source that fuels life. The repeated phrase, "sopla en mi, Tu aliento" (blow in me, your breath) underscores this message, invoking a direct connection to the divine source that brings life to all things. The song speaks of being alive, breathing, and existing solely because of this divine breath that animates us. It also asks for spiritual renewal, the resurrection of the soul and the power to overcome death, in the way that Jesus Christ did. The lyrics use biblical references as exhibited in the reference to Ezekiel's vision of the valley of dry bones in which the prophet was instructed to prophesize life into dry bones to bring them back to life.
The overall message of the song emphasizes the power of spiritual connectivity and the necessity of remaining connected to this divine source. It simultaneously recognizes the fragility and transience of life while poignantly acknowledging the possibilities of rebirth through faith and spiritual strength.
Line by Line Meaning
Sopla en mí, Tu aliento, sopla en mí
I am asking for your breath to fill me up and give me the energy to live.
Estoy vivo, respiro, por Tu aliento
I am alive and breathing because you give me the breath of life.
Resucita mis huesos hoy,
I am asking to be brought back to life from my current state of despair.
Quema en mi interior,
I am asking for passion and energy to consume me from within.
Y a la muerte Jesús venció,
I am reminding myself that through Jesus, death has already been defeated.
Despiértame hoy.
I am asking to be awakened to a new life and a new day.
Háblame voz de Dios háblame
I am asking to hear from God and be guided by his voice.
Resucita mis huesos hoy
I am asking to be brought back to life from my current state of despair.
El Señor me dijo: Profetiza sobre estos huesos,
I am referencing the story in Ezekiel where God told Ezekiel to prophesy to dry bones.
Y diles: '¡Huesos secos, escuchen la palabra del Señor!
I am instructing the dry bones to listen to God's word.
Así dice el Señor omnipotente a estos Huesos: 'Yo les daré aliento de vida, y ustedes Volverán a vivir
I am quoting God's promise to the dry bones that he will give them the breath of life and they will come back to life.
Como el Señor me lo había mandado, Profeticé.
I am acknowledging that I am following God's instructions to prophesy to the dry bones.
Y mientras profetizaba, se escuchó un Ruido muy fuerte y los huesos se juntaron.
I am describing how the dry bones came together in response to my prophesying.
Y vi Que en ellos aparecían tendones, y creció la carne Y la piel los cubrió, pero no tenían vida.
I am observing how the dry bones grew tendons, flesh and skin, but were still lifeless.
El Señor Me dijo: 'Profetiza, hijo de hombre; conjura al aliento De vida y dile: 'Ven de los cuatro vientos, y dales vida.
I am quoting God's command to me to prophesy and call on the breath of life to come and give the dry bones life.
Writer(s): BILL EVANS
Contributed by Parker Y. Suggest a correction in the comments below.
David Ross
Beautiful Bill as always. Loved his music for 60yrs
Reyna♡ ĐêGuanaquitoEnCanada🍁
beautiful piece 👏🏻👏🏻👏🏻
David Ross
Loved Bills music since I heard waltz for Debby on its release, havnt stopped.