Bill Evans - For All We Know Lyrics | SongMeanings
We Will Meet Again We'll meet again Don't know where Don't know when But I know we'll meet again some sunny day We'll meet again Don't know where. We Will Meet Again (For Harry) song lyrics by Bill Evans. Find the accurate lyrics from singcom. Bill Evans - We Will Meet Again Lyrics. We'll meet again Don't know where Don't know when But I know we'll meet again some sunny day We'll meet again.
He took his place alongside the great masters of composition, demonstrating all of the style characteristics that have distinguished him as one of the most innovative pianists in jazz. His compositions often utilized a few basic formulas or patterns combined into a complex structure over which he then improvised. He composed throughout his career, but especially in the last years before his untimely death his compositions as well as his playing showed more harmonic richness.
Several compositions were written as theme and variations over an ostinato bass like "Peace Piece", while another took the form of a fugue like the classical counterpoint in the intro melody of "Fudgesickle Built for Four", a long-forgotten Evans obscurity on the Loose Blues album from Evans was particularly in his last years a very productive composer. An excerpt from the Merv Griffin Show, Sept 23, Our next guest is considered one of the most influential piano soloists in the jazz world today, and his new album is called We Will Meet Again.
Would, you welcome the great Bill Evans! I'm gonna change up on you. Every once in a while I'll go [imitates chicken squawking], and there's a new tune! It seemed to be making more and more of a statement, the more we played it.
So I would like to do this, which I think is a little more serious, maybe, for your audience. I won't improvise, just play two choruses of the melody. He became well-known for the close and fruitful working friendship and musical empathy with Bill Evans, who played and recorded his compositions along his entire musical career. Evans particularly favored the waltzes "Elsa" and "How My Heart Sings", which evolved into jazz standards over the pianist's productive recording career.
He had a magical, almost mystical communication with the piano and music, and he had the ability to draw tone from the instrument and make it sing, especially in his ballads" Interview by Leda Hanin with Earl Zindars as an alumni of the DePaul School of Music.
One song in particular should be mentioned: Bill Evans was not the composer. Pianist and psychiatrist Denny Zeitlin wrote this enduring balladthat became a longtime favorite of Bill Evans and a staple of his life sets and recordings. He recorded the song for the first time in on his second overdubbed album Further Conversations With Myself Verveand named his album Quiet Now Affinity after this Zeitlin composition. Bill Evans played this exquisite in almost every concert for around 20 years.
Listen to Denny Zeitlin's comment on this fact. Download Adobe Flash Player The most historically significant contributions of the Evans trio recordings were to loosen the common practises of the bop style rhythm section which had become standard during the 50s, walking bass, drummer playing ride rhythms and snapping shut hi-hat cymbal on the second and fourth beats.
In the Bud Powell-style trio is the amount of rhythmic and melodic interaction between bassist and pianist relatively limited because the pianist fills up most of the spaces with lines of his own. By contrast what Bill Evans did not play, is his thoughtful and restrained manner of playing and masterful use of silence, which allowed bass and drums players to interact as much as they did, emancipating the piano, bass and drum roles.
What distinguishes the music of Bill Evans from all or almost all other music genres is its poetic dimension. A form of communication that says as much by what it doesn't say as by what it does. Bill Evans is always engaged in a duet with silence, and the silence says as much as he says. Evans' essence was defined by his tastful economy of expression.
BILL EVANS - WE WILL MEET AGAIN LYRICS
The notes he chose not to play were fully as crucial as the ones he did. He was the master of the silent note, both in his reharmonizations of traditional jazz standards and his own original compositions. One of the best ways to study Evans' approach is to look at transcriptions which are note-for-note renderings of his playing.
Win Hinkle compared commercially available notated transcriptions with the actual recordings and attempted to determine just what can and cannot be captured by traditional music notation. Pianist Kenny Werner about Evans transcriptions: Download Adobe Flash Player Pascal Wetzela French pianist and teacher, made for more than 35 years note-for-note transcriptions of compositions and standards played by Bill Evans. Four books of his work on Bill Evans' music have been released at this time, three of them being devoted to his own compositions, following a book of standards: And I discovered a magic world, a music whose perfection was really astonishing, being unwritten: I realized the music that I got on paper was richer than I could imagine when simply listening.
The transcription of jazz comes from a recording. If the player of the transcription first listens attentively to the recording, it reveals the slightest playing nuances, including touch. This is a huge advantage. It is therefore necessary and desirable to use it.
As a pianist, I cannot imagine learning a transcription of Bill Evans without carefully referring to the original recording. Interpreters of a jazz transcription must also use their ears, just as the transcriber did! For that, it would be necessary to comment on almost every note in detail, which is impossible. A score is the translation of sounds and their durations into written form. Therefore, it is inherently formulaic and limited.
It does, however, act as a basic scenario which can be realized in different ways. Clavier CompanionMarch-Aprilpages Jack Reilly is a pianist, composer and educator in both the jazz and classical genres, who made an extensive in depth analysis of Bill's harmonic development of several Evans tunes in his book The Harmony of Bill Evans Hal Leonard Corporation, In March a second volume has been released, including a CD.
As she explains to writer Bob Blumenthal in the liner notes: He let me know that there a place for me in jazz, that I could use my voice in this manner. He had introduced something new and fresh -- that bittersweet, harmonic sense of his, never too sweet, with that undercurrent of tragedy.
The charts are unique: I found myself playing it again and again. Doing it just once through was a brilliant choice -- as a composition it is so full of its own inherent inventiveness and its stands alone. A very nice touch, and another intelligent performance. His lines are clean, lyrical and just superb; they pay homage to the master in some of their velvety essence, yet are without obvious Evanisms.
This is to his great credit, what with all these tunes recorded many times by Bill Evans.
Bill Evans - We Will Meet Again (For Harry) Lyrics
Yet the spirit of Bill is all over the place in this record. He swings beautifully, too, never overplaying.
Teirney may have made the definitive vocal version of this lovely piece. Surely any future performance will have to be compared to this one.