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For more information please review our cookie policy. Bill Warfield. Add to Calendar. View Map View Map. Find out more about how your privacy is protected. Jan Bill Warfield Jazz Brunch. Event description. Join us for Bill Warfield Jazz Brunch. Read more Read less. Bill is Professor of Music at Lehigh University where he directs the jazz studies program.

The double life that he had established in high school--student and night owl--continued to flourish in Hammond. From a base on Magnolia Street, New Orleans, he went jamming almost nightly around the Crescent City and the surrounding countryside with his regular group, the Casuals. Later he described the sort of pocket-moneymaking gig the band undertook.

One, for example, was an outdoor affair for seventy-odd folk: "It was a church in the middle of a field--a boxlike structure about forty by twenty with nondescript paint on the outside and none on the inside. It was more like a rough clubhouse than a church. I think they built it themselves. You wondered where the hell they came from because you couldn't see any houses around. It was a dance job. We played three or four tunes for them, and then blew one for ourselves.

They didn't seem to mind. Everyone had a ball. The women cooked the food--it was jambalaya--and served it from big boards. Everything was free and relaxed.

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Experiences like these have got to affect your music. Back home, during summer vacation after his first year, he played in a group that included Russ Le Gandido on clarinet and saxophone, Connie Atkinson on bass, and the singer Eleanor Aimes. A private recording made at Point Pleasant on the New Jersey coast in August is a fascinating document of the teenage pianist. Already he was able to sustain a string of block chords underneath a newly created top line.

Rhythmically, he began to insert broad triplets into a solo, a very personal touch.


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Harmonically, he kept things simple, departing from the triad to embrace sixths and thirteenths, occasionally adding the slightly more adventurous sharp fourth. In introductions, vocal backings, and solos alike, each component was earnest. For Evans, even at that age, there was no such thing as the glib, ready-made gesture. In the clarity of the thinking, and the simplicity of the material and its presentation, lay a shining promise for the future. He took something from each. I wouldn't listen to a recording by Bud and try to play along with it, to imitate.

Rather, I'd listen to the record and try to absorb the essence of it and apply it to something else. Besides, it wasn't only the pianists but also the saxophones, the trumpets, everybody. The biggest influence on Evans at this time, though, was the pianism of Nat "King" Cole--in Bill's estimation "one of the tastiest and just swingin'est and beautifully melodic improvisers and jazz pianists that jazz has ever known, and he was one of the very first that really grabbed me hard. It is easy to see the appeal: clarity and freshness of ideas, sparkling fingers, flawless execution, pearly tone.

Evans frequently acknowledged his debt to Cole, but in one important respect they differed: attractive as the Cole sound was, the imagination of the young Evans sought something extra. Cole played delicately, "on the surface" of the keys, an approach perhaps cultivated from playing behind his own singing.

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That would not do for Evans, who, influenced in part by his ongoing classical training but mostly by his own expressive soul, demanded a deeper, more engaging tone, firmly extracted from the bed of the key. Back at college, he was playing first flute in the concert band. If playing the violin had fostered a depth to his midregister piano tone, the flute promoted a pearly treble. His piano technique evolved, meanwhile, and he soon became known as the "king of the fast-lock tens," a reference to his left-hand "walking" tenths. In later life he reflected nostalgically on that formidable keyboard prowess.

Such facility came naturally, for his attention was engaged by things higher than etudes, scales, and "practice. Evans's studies in the classical repertoire, two weekly lessons of an hour and a half each, took in sonatas by Mozart and Beethoven and works by Schumann, Rachmaninoff, Debussy, Ravel, Gershwin the Piano Concerto in F , Villa-Lobos, Khachaturian, Milhaud, and others.

Performances of some of these pieces were broadcast, and prizes came his way under the guidance of his piano teachers, Louis M. Kohnop, John Venettozzi, and Ronald Stetzel. Not surprisingly, a Russian composer was represented, Evans choosing a group of Kabalevsky's recently published Preludes. The program finished with the opening movement of Beethoven's Third Piano Concerto; Evans's teacher, Ronald Stetzel, played the orchestral part.

Later, as honor graduate on Senior Class Day, he played the whole concerto with the college orchestra. The constructional knowledge of music that Evans later brought to jazz was firmly rooted in this European tradition, as was his thoroughly trained and exquisitely refined touch at the keyboard. In later years, when interviewers observed that certain aspects of technique--his pedaling, for instance--were unusually polished for a jazz musician, Evans was invariably baffled, for the whole process had been quite unconscious for as long as he could remember.

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But even as he mastered the classics, jazz was conquering his heart. He worked for hours on end at the grammar of jazz, refining his knowledge of what he was doing when playing it.


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As colleagues from his student days who had seemed more gifted--the ones with the "easier" talent--dropped out of the profession, Evans kept working, and playing. He studied theory and composition with Gretchen Magee and became deeply appreciative of her guidance.

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With a piece called "Very Little Suite" he appeared on the college platform as composer-performer. In about his third year he produced a small masterpiece in waltz time that he called "Very Early.

Jazz Piano - Bill Evans - Portrait In Jazz Complete [ Full Album ]

It exemplifies a fundamental lifelong characteristic: the application of logic to a creative musical process. That approach was the backbone of the form and content of Evans's art. Some of the most important clubs in the jazz world have opened and closed their doors in Washington, DC; some of its greatest players and promoters were born there and continue to reside in the area; and some of the local institutions so critical to supporting this uniquely American form of music--including Congress and the Smithsonian Institution and the Library of Congress and the Historical Society of Washington, DC--remain vigorous advocates.

Edited by noted historians Maurice Jackson and Blair Ruble, this book is a collection of original and fascinating stories about the DC jazz scene, from the cultural hotbed of Seventh and U Streets to the role of jazz in desegregating the city to the great Edward "Duke" Ellington to women in jazz to seminal contributions of the University of District of Columbia and Howard University.

The book also includes three poems by Washington, DC poet E. Ethelbert Miller. A copublishing initiative with the Historical Society of Washington, DC, the book includes over thirty museum-quality photographs and a guide to resources for learning more about Washington, DC jazz. Black DCs Musical Mecca.