He brings all of these diverse musical performing interests together in his solo concert The Banjo in America. Bill successfully bridges traditional and contemporary sounds and playing techniques, creating a new music that is firmly within the bluegrass tradition but draws upon a broad knowledge of classical, jazz and world music, drawing upon his experiences as a graduate student in Music at the University of California, Berkeley and as the associate director of the International Bluegrass Music Museum.īill is also an expert player of mid-19th century minstrel banjo and late 19th and early 20th century classic banjo styles, authentically performing these styles on historical instruments. As a performer, teacher, writer and composer, he brings a deep knowledge, intense virtuosity and contagious passion to all things banjo, with thousands of music fans and banjo students from all over the world in a music career that now spans over thirty-five years.īill's banjo artistry is best experienced in live performance and on his recordings Fine Times At Fletcher's House with Fletcher Bright (2013), In Good Company (2012), let's do something with Megan Lynch (2009), Bill Evans Plays Banjo (2001) and Native and Fine (1995). Is an internationally recognized five-string banjo life force. A thoughtful and (despite the overdubbing) spontaneous-sounding set of melodic music." (Scott Yanow, AMG) In particular, his versions of Johnny Mandel's "Emily" and "Santa Claus Is Coming to Town" are most memorable. The program is brief, but Evans plays quite well throughout. "For Bill Evans' second solo record of unaccompanied but overdubbed piano solos, he decided to simplify the concept used in Conversations with Myself (which had him playing three pianos) by only playing two this time. Evans' amazing musical comprehension is given center stage while running through classic jazz sides like "'Round Midnight," "Stella By Starlight" and "Just You, Just Me." "Blue Monk" showcases a muscularity to Evans' playing that he rarely displayed, while the "Love Theme From Spartacus" showcases Evans' signature use of space, time and inference.” (AllAboutJazz) In each song, it is as if three distinctive "sides" or "personalities" of Bill Evans are playing together.each keenly aware of what the others are doing, and perhaps more importantly, will do. Evans work on the ten tunes included here is truly inspired and amazing to behold. "Garnering a 5 star review from Downbeat in 1963, and a Grammy, Conversations With Myself was an instant classic for the jazz community. Recording with Glenn Gould's piano, CD 318, at studio sessions on February 6 and 9, and May 20, 1963, Evans used the then controversial method of overdubbing three different yet corresponding piano tracks for each song.” “Conversations with Myself is a 1963 album by American jazz musician Bill Evans.
The album itself was impossibly good and is acknowledged to be one of the most stunning ventures ever recorded. The mere conception is enough to clear all eight sinus passages. In it, Bill became a trio-recording one piano track and then, using headphones, adding a second track, then a third. The idea for this album is an extension of the idea behind an album Bill made four years ago, called, Conversations With Myself. " Santa Claus Is Coming to Town" ( J.Info for Further Conversations With Myself (Remastered)." Yesterdays" ( Otto Harbach, Jerome Kern) - 3:50." Emily" ( Johnny Mandel, Johnny Mercer) - 4:56.Writing for Allmusic, music critic Scott Yanow called the album "A thoughtful and (despite the overdubbing) spontaneous sounding set of melodic music." Track listing
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All the pieces are solo with piano overdubs, a method Evans used on his earlier release Conversations with Myself. Further Conversations with Myself is a 1967 album by jazz pianist Bill Evans.
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