UCBill Evans
In 1955, Evans began working with Tony Scott and George Russell. His subtly swinging, lucidly constructed solos with these leaders quickly attracted attention, and provided Evans with an opportunity to begin recording under his own name. By 1958, he spent several months in Miles Davis’ band, where he became a central figure in Davis's shift to modal improvisation. By the end of 1959 he organized his own trio, which featured bassist Scott LaFaro and drummer Paul Motian. The Bill Evans Trio developed a new and more interactive approach to trio playing, one in which all instruments carried melodic responsibilities and functioned as equal voices. While Evans excelled in even more intimate playing situations—he made memorable duet music with guitarist Jim Hall, singer Tony Bennett, and bassist Eddie Gomez. His lyrical melodic inventions, intricate phrasing, complex voicings, and beautiful touch remain as unmistakable influences on pianists more than 40 years after his passing.
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In 1955, Evans began working with Tony Scott and George Russell. His subtly swinging, lucidly constructed solos with these leaders quickly attracted attention, and provided Evans with an opportunity to begin recording under his own name. By 1958, he spent several months in Miles Davis’ band, where he became a central figure in Davis's shift to modal improvisation. By the end of 1959 he organized his own trio, which featured bassist Scott LaFaro and drummer Paul Motian. The Bill Evans Trio developed a new and more interactive approach to trio playing, one in which all instruments carried melodic responsibilities and functioned as equal voices. While Evans excelled in even more intimate playing situations—he made memorable duet music with guitarist Jim Hall, singer Tony Bennett, and bassist Eddie Gomez. His lyrical melodic inventions, intricate phrasing, complex voicings, and beautiful touch remain as unmistakable influences on pianists more than 40 years after his passing.