Him which took over, and he would just grab the bass and just work and work and He seemed to master a whole area so that…I don’t know, it’s difficult toĮxplain, but his technique was built through fire, as some kind of a spark in Not a studied approach it was a total encompassing, enveloping approach where ![]() His approach to the bass was this total approach. His intuitive insight into the hidden mechanics, the secret mechanics of Work it, and he would develop an insight and would force himself farther into Stop or quadruple stop or whatever, and he would just work it and work it and ![]() Or one particular type of cross fingering or cross string fingering or double He would just pick it up and get involved, with maybe one particular figure One of those things like it’s three o’ clock and now I’m going to play for an Never picked up the bass unless he just walked over and picked it up. Sit at the piano unless I just walk to it and sit down and play, and Scott Were traveling, and I would say that we have a similar approach in that I never To the bass was a beautiful thing to see. He adds that the two shared a similar approach to practicing, which was more a matter of sudden inspiration and long stretches of intense practicing, rather than steady, regular routine: What he was trying to get out, but you could definitely hear what was there,Īnd I think that any perceptive person that had musical ears knew that this wasĪ very unique and exceptional talent. He was falling over himselfĪnd tripping over himself, you know, with the intensity of trying to get out Getting anything together in any organized way, it was just bubbling over.Įverything was bubbling out and it was too much. Instrument, he was trying to let out so much at once that he wasn’t really In his interview with Klabin, though, he does talk at length about his relationship with the bassist. I'm not too familiar with the literature on Evans, but I suspect that he preferred not to talk too much about LaFaro in the following years. The sudden passing of LaFaro 10 days after the recorded Bill Evans Trio Vanguard performances was a deep blow to Evans. On a recent trip to Princeton Record Exchange, I dropped a few dollars on a 2009 novelty CD called Pieces of Jade, which compiles a variety of LaFaro miscellanea, including a 1961 trio performance with Pete LaRoca and Don Friedman, a 22-minute long rehearsal tape with Bill Evans working out "My Foolish Heart" (the change in the fourth bar becomes a topic of extended discussion, including different voicing options where Evans tries out a whole lot of different voice-leading paths, even mentioning something about stacking "two diminished chords"), and a 1966 interview with Bill Evans conducted by one George Klabin, president of Resonance Records, which released this compilation. ![]() It's all recorded-you can listen to it now!-but we just need a bit more help to get to the finish line. †If you enjoy the content on this blog, please consider supporting my band's homegrown effort to get our record through the final stages of mastering and production. Monday's will feature Gerry Mulligan and Charlie Rouse, born exactly three years apart on April 6. Yesterday's installment discussed the John Coltrane Quartet's performance of "I Want To Talk About You" (sans cadenza) on Apat the Half Note. Debating the relative merits of designating specific days or months for celebrating heritages, traditions, and the like aside, Jazz Appreciation Month is at the very least an excuse to dig into some material that I've been interested in for a while on the blog. International Jazz Day, so-designated by UNESCO in partnership with the Thelonious Monk Institute of Jazz, is on the last day of April, the 30th it was first celebrated in 2012. Every weekday this month I'll be posting new content in observance of Jazz Appreciation Month (J.A.M.), so-designated by the Smithsonian National Museum of American History beginning in 2001.
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