![]() ![]() It was during this period that, with Scott LaFaro’s unique approach, Evans redefined the role of the piano in the modern jazz piano trio. Those recordings are New Jazz Conceptions, Everybody Digs Bill Evans, Portrait in Jazz, The 1960 Birdland Sessions, Explorations, Sunday at the Village Vanguard, Waltz for Debbie, and Evans’s work on Miles Davis’s Kind of Blue. It was during this time period that collaboration with bassist Scott LaFaro sparked some of Evans’ most far-reaching and influential recordings. ![]() This study focuses on Evans’s harmonic influence on jazz, looking mostly on his work from 1958-1962. Western Classical training mixed with bop vocabulary were a key synthesis which yielded a harmonic language for generations to come. ![]() Evans was specifically influenced by his study of the French composers Ravel and Debussy, as well as music theorist Lenny Tristano. Evans advanced harmonic jazz playing with a modality and challenging intervallic relationships which can be attributed to the combination of his training as a “classical” pianist and bebop vocabulary from his primary bebop influence, Bud Powell. Bill Evans was the most influential post-bop jazz pianist of the twentieth century. ![]()
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