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.
Some Day My Prince Will Come
Bill Evans Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There is someone I'm longing to see
Someone I simply can't help but adore
Someone who'll thrill me forever
Some day my prince will come
Some day I'll find my love
And how thrilling that moment will be
When the prince of my dreams comes to me
And steal a kiss or two
Though he's far away
I'll find my love some day
Some day when my dreams come true
Some day I'll find my love
Someone to call my own
And I'll know her the moment we meet
For my heart will start skipping a beat
Some day we'll say and do
Things we've been longing to
Though she's far away
I'll find my love some day
Some day when my dreams come true
The lyrics of "Someday My Prince Will Come" by Bill Evans Scott LaFaro Paul Motian reveal a yearning for love and the hope for a perfect prince charming to arrive someday. The song builds on the traditional fairy tale perception of happily-ever-after, longing for a romantic spark with a dream figure. The singer speaks of their intense love and affection, describing their excitement and the thrill of finally finding the love of their life.
The song offers hope to the listener, that despite distance and time, love will prevail. The lyrics suggest that the wait will be worth it even if it takes several years. The line "Though he's far away, I'll find my love someday" reinforces hope in the potentiality of eventually finding true love.
The song's upbeat, happy-go-lucky tune and the playful lyrics resemble the optimism of the classic Disney fairy tales. The nostalgic allusions of the song express the idea that people are never fully content unless they find true love. The song reflects the individual's pursuit of happiness and the desire to find 'the one.'
Line by Line Meaning
Somewhere waiting for me
There's a place that is meant for me to eventually arrive at.
There is someone I'm longing to see
I have a deep desire to physically witness someone.
Someone I simply can't help but adore
I have a strong affection for this person that is out of my control.
Someone who'll thrill me forever
This person will bring everlasting excitement into my life.
Some day my prince will come
In the future, I will find the man I've been waiting for.
Some day I'll find my love
One day, I will discover the person meant for me.
And how thrilling that moment will be
The moment I find this person will be incredibly exciting.
When the prince of my dreams comes to me
The man I've been dreaming of will eventually make his way to me.
He'll whisper, I love you,
He will softly say 'I love you.'
And steal a kiss or two
He will sneak in a few kisses.
Though he's far away,
Even though he is currently distant from me,
I'll find my love some day
I will eventually find the person that I am meant to be with.
Some day when my dreams come true
I will meet my true love in the future when my dreams have been fulfilled.
Someone to call my own
I will have someone that belongs to me.
And I'll know her the moment we meet
As soon as we meet, I will have an immediate recognition of her.
For my heart will start skipping a beat
My heart will start to race with excitement.
Some day we'll say and do
In the future, we will eventually express in words and actions
Things we've been longing to
The things we've been yearning to do.
Though she's far away
Even though she is currently distant from me,
I'll find my love some day
I will eventually find the person that I am meant to be with.
Some day when my dreams come true
I will meet my true love in the future when my dreams have been fulfilled.
Lyrics © Universal Music Publishing Group, Songtrust Ave, Kobalt Music Publishing Ltd.
Written by: Frank Churchill, Larry Morey
Lyrics Licensed & Provided by LyricFind
@erikasdiary3111
i was reading "Jazz For Two" and i immediately searched this song when Taeyi said he's listening to this
@mwc3123
HeyItsErika SJAHHAHA SAME
@cat-eo8gr
SAMEEE! Because of JFT I started listening to some Jazz now I like it! I actually want more of this in my playlist!
@bakugoukatsuki5518
Omg same❤😭👌😂
@muschattifrischmann8991
Fuck off weebs this is the jazz segment
@mwc3123
Muschatti Frischmann I came here for jazz and jazz for two-
@nanachii9532
came here from both Kids on the Slope and Jazz for two and quite thankful to have discovered this
@Srrrgp
あーこういうジャズを聴いたら、東京の街を思い出す。4年間住んでいて懐かしすぎる。
@user-os7pj4gl5s
ビルエバンスはコード進行の天才だと思います👍🎶
@BenjaminForsell-wn3cy
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