MUNI 20150316 – Bill Evans 3

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MUNI 20150330 – Bill Evans 5 Bill Evans Solo: Bill Evans (3 pianos multitracked) NYC, February 9, 1963 63VK303 Stella By Starlight Verve V/V6 8526 * Verve V/V6 8526, 821 984-2 Bill Evans - Conversations With Myself Bill Evans Trio: Bill Evans (piano) Chuck Israels (bass -1/4,6/9) Arnold Wise (drums -1/4,6/9) "Town Hall", NYC, February 21, 1966 8. 104810??? One For Helen (Evans) Verve 831 271-2, 314 527 953-2 * Verve V/V6 8683, 831 271-2 Bill Evans At Town Hall, Vol. 1 Bill Evans-Jim Hall Duo: Bill Evans (piano) Jim Hall (guitar) Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 10, 1966 100369 I've Got You Under My Skin Verve V/V6 8655, V/V6 8747 Bill Evans-Jim Hall Duo: same personnel Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 10, 1966 100061 Turn Out The Stars (Evans) Verve V/V6 8655 100062 All Across The City (Hall) - * Verve V/V6 8655 Bill Evans/Jim Hall - Intermodulation Bill Evans Trio: Bill Evans (piano) Eddie Gomez (bass) Philly Joe Jones (drums) "Village Vanguard", NYC, August 17 & 18, 1967 California, Here I Come Verve VE2 2545 * Verve VE2 2545 Bill Evans - California, Here I Come "Montreux Jazz Festival", "Casino De Montreux", Switzerland, June 15, 1968 105385 Nardis Verve V6 8762 * Verve V6 8762, 827 844-2 Bill Evans At The Montreux Jazz Festival Bill Evans Solo: Bill Evans (piano) NYC, October 21, 1968 106581 Here's That Rainy Day Verve V6 8792 * Verve V6 8792, 833 801-2, 314 589 319-2 Bill Evans - Alone Bill Evans Trio with Jeremy Steig: Jeremy Steig (flute) Bill Evans (piano) Eddie Gomez (bass) Marty Morell (drums) NYC, January 30, February 3 & 5 & March 11, 1969 106133 Straight, No Chaser Verve V6 8777 * Verve V6 8777 Bill Evans/Jeremy Steig - What's New Bill Evans Quartet with Mickey Leonard Orchestra: Bill Evans (piano, electric piano) Sam Brown (guitar) Eddie Gomez (bass) Marty Morell (drums) unidentified brass, woodwinds and strings, Mickey Leonard (arranger, conductor) San Francisco, CA, October 14 & 21, November 13, 1969, March 26 & 28, April 23 & 29 & May 1 & 20, 1970 What Are You Doing The Rest Of Your Life Verve 314 527 953-2 * MGM SE 4723 Bill Evans - From Left To Right Bill Evans Trio: Bill Evans (piano) Eddie Gomez (bass -1/6,8,9) Marty Morell (drums -1/6,8,9) "Yubin Chokin Hall", Tokyo, Japan, January 20, 1973 On Green Dolphin Street Epic 80329, Fantasy F 9457, CBS 465634 2 = CBS 465634 2 Bill Evans - Volume 2 „Live in Tokyo“ .

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Jim Hall's Comping On
Jim Hall’s Comping on “The Days of Wine and Roses” By Tim Fischer Many guitarists find themselves at a loss when first asked to take on the role of the sole harmonic instrument in a small jazz combo. Often times, jazz guitarists develop their comping as members of a big band rhythm section, where three-note chord voicings with the root in the bass and four quarter notes to the bar are stock- in-trade. This traditional style of rhythm guitar does not always transition well into the small jazz combo, and many guitarists without small group combo experience are left with questions about voicings, rhythms, and bal- ancing silence with interaction. Mastering accompaniment, like improvisation, is a life-long process and is best developed by studying the recordings and transcriptions of the master musicians. In this article, we will study guitar comping in the rhythm section by looking at Jim Hall’s accompaniment behind Art Farmer’s solo on the standard “The Days of Wine and Roses,” from Farmer’s 1963 album Interaction. Jim Hall helped popularize the use of the guitar as a valid replacement for the piano in the rhythm section through his sideman work with such high-profile artists as Sonny Rollins,Art Farmer, Paul Desmond, Chico Hamilton, and Jimmy Guiffre during the 50’s and 60’s. Often cited as the father of modern jazz guitar, Hall’s accompaniment style in each one of the aforementioned artists’ recordings details how Hall adapted to the musi- cal demands of each situation. As the album title states, the Art Farmer quartet of 1963 and 1964 was based on active interaction between its members, which also included Steve Swallow on upright bass and Walter Perkins on drums.
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The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
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Proquest Dissertations
A comparison of embellishments in performances of bebop with those in the music of Chopin Item Type text; Thesis-Reproduction (electronic) Authors Mitchell, David William, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 23:23:11 Link to Item http://hdl.handle.net/10150/278257 INFORMATION TO USERS This manuscript has been reproduced from the miaofillm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and contLDuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
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13. Cleveland Jazz Guitarists
13. Cleveland Jazz Guitarists itariSts who grew up in still a teenager. He joined the leveland have been among musicians' union when he was 16. By Gthe most important and most 1940, when he was 17, he was playing acclaimed in jazz history. They all at parties and country clubs around drew their inspiration from the all Cleveland. "I played with band leaders time grand masters of jazz guitar, Clint Noble and Jack Horowitz," he Django Reinhardt and Charlie said, but he had bigger plans. Christian. "In 1941, I went to New York to become famous. My father borrowed Fred Sharp $50 on his life insurance policy and Anyone who was even a casual gave me the money to go. Joe Sharp listener ofjazz in Cleveland from the never had money at all. In New York, 1940s to the '80s probably heard I put in for my union card. You had to guitarist Fred Sharp. He played with stay six months to get your card and I some ofthe biggest names in jazz and went to the union floor every day and was the man Jim Hall credited as his started to get some club dates. The teacher. scale was $7 then for a club date, but In the mid-1930s, when Sharp was most everybody paid $4." growing up in the Glenville area of Courtesy of Fred Sharp When he was still in his teens, Fred Sharp and Babik Reinhardt, Cleveland and listening to music on Sharp remembered he almost starved the 23-year-old son of Sharp's the radio, the guitar, with a few guitar idol Ojango Reinhardt, in trying to become famous in New exceptions, was not a solo jazz voice, Paris in 1967 York.
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