Marian Mcpartland's Piano Jazz

Bill Evans - Marian Mcpartland's Piano Jazz

Marian Mcpartland's Piano Jazz
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CD Details

Artist: Bill Evans
Edition: Music CD
CD Release Date: 2002-08-27
Music Label: Jazz Alliance
Soundtracks:
  1. Waltz For Debby
  2. Conversation
  3. All Of You
  4. Conversation
  5. All Of You
  6. Conversation
  7. In Your Own Sweet Way
  8. Conversatoin / Demonstration
  9. The Touch Of Your Lips
  10. Conversation
  11. Reflections In D
  12. Conversation
  13. The Days Of Wine And Roses
  14. Conversation
  15. This Is All I Ask
  16. Conversation
  17. While We're Young
  18. Conversation
  19. I Love You

Music reviews of Marian Mcpartland's Piano Jazz

Music Review: Spellbinding!
Rating: 5 Stars

I had long been aware of the existence of this CD but, as someone quite familiar with Marian's "Piano Jazz" series, I decided I could pass it up. Probably some innocuous chat and a few piano exchanges, with too little of Bill, musically or conversationally, to make for a worthwhile purchase. I'm glad I changed my mind.

Bill is in rare form, not only playing beautifully but offering an abundance of insights into his career and thought process. A few highlights from the conversation:

1. He repeatedly stresses the importance of knowing a tune's "structure," then demonstrates why that goes beyond the number of bars, fake-book chord progressions, and written melody. Everything proceeds from an understanding of "form," prompting Bill to insist that "knowledge" must lead "intuition."

2. He reveals and demonstrates the "anticipatory phrasing" that he had been working on late in his career. I recall Herbie Hancock describing Evans' time as having a "forward lean," with an implication that Bill was a rusher. Nonsense. This disc unveils the "method" behind the urgency and tension in Bill's playing.

3. He surprises by first telling Marian that he prefers solo piano to playing in a trio, then explaining that he doesn't feel sufficiently equipped to go it alone. The subsequent exchange between Bill and Marian captures everything I've discovered on my own (but never had a chance to articulate) about the challenges of playing solo (in fact, Marian's admission that Bill's strategy led her to reconsider her own replicates my own thought process regarding Bill Evans' effect on my left hand).

4. He talks about his influences (not just piano players but big bands and wind instrumentalists), his early musical gigs (polka bands, boogie woogie, society jobs), and reveals that he and I sat in the audience together at a Newport all-star solo piano concert hosted by Marian! (He says Marian was the best of the bunch--"politic" of him because I distinctly remember John Lewis stealing the show.)

I have only one regret about the conversation--Marian's not having the presence of mind to ask him about tone. No pianist plays "deeper" in the keys, extracting a richer, more complex piano sound than Bill Evans. My suspicion is that much of it is biological (mechanically, Evans was born to play the piano--look at his body, shoulders, and the diameter, not just length, of his fingers), but if he has any special tips, I want them.

His playing on this occasion is as powerful as it is sublime, offering Marian quite a challenge because of the turbulent pull of his rhythmic constructions. In her liner notes, Marian confesses to some personal intimidation and to initially having a sense of "playing against the time." Once past this threshhold, she can't contain herself, either in her praise of Bill or her childlike excitement at the very thought of playing with him. The experience clearly represents for her a high-water mark in a many-faceted career. No Bill Evans' fan or pianist can afford not to give acquisition of this session a similar priority.
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