Council for Research in Music EducationBill Evans: His Contributions as a Jazz Pianist and an Analysis of His Music Style by Paula Berardinelli Review by: Wayne D. Bowman Bulletin of the Council for Research in Music Education, No. 118 (Fall, 1993), pp. 45-47 Published by: University of Illinois Press on behalf of the Council for Research in Music Education Stable URL: http://www.jstor.org/stable/40318592 . Accessed: 16/04/2012 21:24 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and Council for Research in Music Education are collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Council for Research in Music Education. http://www.jstor.org (p. OrderNo. rhythm phrase-by-phrase analysis. suggestions further and research.""TheTouch Evansperformances: and to consists anoverview of ofYour Lips. survey Evans' in works resulted a detailed aswell recorded chronological discography. in character BillEvans'musical of to the distinctive style order ascertain nature hiscontributionjazz andjazz pianists" of to Five (p.Dissertation Reviews D. teaching jazz The Critique BillEvans' influence a jazz pianist as extensive hisvoice as was as was From with Miles to distinctive. specific were of with view a (a) subproblems identified: an examinationEvans'life ofstylistic a survey of to identifying (b) significant stages development." 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Wayne Bowman Brandon University Brandon. left pioneering work. of ofthearrangement. by-chorus) Thestudy with concludes a discussion findings. and andmelody. a detailed (chorusharmony. key.(d) identification in and of elements those to distinctive analyses. applicability Inaddition published articles interviews. New York University. It provides insights the life whose and and quiet.Manitoba PaulaBerardinelli: Evans: Bill His Contributions Jazz as a Pianist an and Analysis hisMusic of Style 1992 PhD. hisunforgettable piano mark thefield jazz.7). (c) Bill of of detailed analyses representative Evanssolos." for "On a ClearDay. (e) application findingsthe "liesinits of of teaching jazz andjazz piano. It also offers someofhismoreflamboyant of counterparts imdetailedanalysesof theworkings evolution Evans' distinctive of and and achievements the and provisatory comping style.The selected. That the study's does not and demonstrated pedagogyis less satisfactorily convincingly in detract a majorwayfrom overallsignificance theproject. 34). Berardinelli drawsa number interesting conclusions aboutEvans' of the occasional he style. bluesfrom control hisrepertoire. Evans building in noteI play. 44). constructed style. Evans developeda distinctive sonority. are funk. make thissectionof the by sucdocument pleasantand informative a treatment read. hiswords. extending but or phrase forpurposesof expression modulation forthe mostpart within basic form. possessed a musicaltalentthatwas he to hardwork. tragic)sidesofEvans' lifeand professional of Berardinelli's exploration the corpusof Evans' workis thorough and revealing. Arguably mostsubstantial the features the study itsmusicalanalyses. hisimpeccable and 3/4 affinity over timeat treacherously slow tempos. Berpreciseprinciple skillful ardinelli's withappropriate writing.46 Dissertation than often nature to a somewhat led moreprivate profile self-deprecating inthefield jazz. richly repaying styleanalysischaptercomprisesnearlyhalf the document. He earnedcollegedegreesin bothpiano performance music education. was surrounded throughout lifebypeople whobelievedinhis talentand supportedhis efforts. interspersed quotes and extraordinarily perceptivestatements Evans. keyboard .His formal the innovation occurredprimarily working within wherehe frequently asymmetrically.Rather.Bothare significant of havegreatpotential value to theseriousstudent analysesin particular to claimto applicability the fieldofjazz keyboard jazz.the analysesare exemplary.Scriabin. Debussy. . Chopinand others." (p. Her sensitive the ceeds wellinbalancing musical the and thepersonal(including deeply career. seeming his for time. of by of as Poulenc.While one might of are question the selectioncriteriaemployedand the particular tunes subsequently carefulstudy. his "stonebystone":"forevery I have a very and theoretical reason. dedication hislife'sambiand tion"(p. and developedthrough discipline.Formally. He "grewup in a nurturing loving he his ment.and was influenced the piano literature Ravel.he developedhis remarkable whathe deskillsthrough scribedas a "terribly hardand analytical process"(p.One dares and thatthestudy havebenefitted further delimitation from suggest might theinclusion additional of analyses. wellas thestyles Bud Powell and George Shearing. of the Berardinelli Evans' lifedefiesthestereshowsthatin many respects environand otypical "jazzer" image.Among the distinctive of features Evans' workto which and Berardinelli drawsattention theabsenceofrock. was largelyconservative. phrases. arranged subphrases He also made extensive ofchanging use tonalcenters an organizational as thanks a delito device. 243).His was not whathe considereda facile talent.. This study's had its "applicawould not have been seriously tribution compromised in of been abbreviated favor further tions"section analyses. Although without in to tendstowardthepedestrian. and are analysis. concludeswitha sectionin whichBerardinelli to The study attempts for"theteaching characteristics of thesestylistic derivefrom implications and jazz piano" (p.the primary significance her studylay in its its to judgment. His fondness motivic displacement lent in themidst rocksolid of to itself a sense ofseeming rhythmic irregularity and Evansmade extensive oflongcontours motivic use time.hisbroadpalletofdynamics lyrical Evans made extensive ofinner-voice motion densities.Harmonically. section practical pedagogy general. recommendations further unfortunate as the wouldbe particularly "thin"side. and to boththecasual enthusiast theconnoisseur offer ampleopportunity of their enrich understanding Bill Evans' artistry. These criticisms if. extraordinary sense. omitting more innovative and influential harmonicachievements. Rhythmically. conjunction witha time to gravitation theback side of thebeat. Takentogether heranalyses. of authorearlier asserts. 282).Nonetheless.Similarly.concludesBerardinelli.In thisreviewer's to of function its applicability jazz pedagogyper se. conthe linkto pedagogicalpracticemaybe onlyindirect. andjazz education search . and contrapuntal However. criticism valuablein their History. Because thesectionfocuseson techniques jazz elements theEvans style. with Berardinelli's conclusions development.createda kindof "implicit" hislong.driving melodiesin a waythat feelthat complemented right-hand also his for was distinctively own.a factwhich. of of achievement it is a substantial deserving the attention thejazz recommunities. is of it to and materials helppianists incorporate to thanjazz interest theresearcher jazz piano is of greater apparentthat the in not insights. particularly comparison therestofthe research on the are for the document. Melodically.Reviews 47 his and catetouch. amonghis were and four-note voicings. threeleft-hand rootsand fifths. in Evans' lefthand comping was sparse. significance applicability jazz pedagogy. use his textures. is onlyan indirect evenwhen ownright.