BILL EVANS THIS ESSENTIAL NEW FOLIO REFLECTS THE UNIQUE TALENT OF AN INNOVATIVE & EXTRAORDINARILY GIFTED MUSICIAN FOURTEEN CLASSICS EDITED & TRANSCRIBED BY JACK LONG JAZZ PIANO WISE PUBLICATIONS LON DON-NEW YORK: PARIS:-SYDNEY-COPENHAGEN-MADRIDExclusive Distributors: MUSIC SALES LIMITED 8/9 Frith Streets London WIV STZ, England MUSIC SALES PTY LIMITED. 120 Rothschild Avenge, Rosebery, NSW 2018, Australia Order No, AMBI9S4 spy 0-7119-4070-5 “This hook © Copyright 1996 by Wie Publications Unauthorised reproduction of any part of this publication by any ‘mean including photocopying is am infringement of copyright Music edited & transcribed by Jack Long Music provested by Enigns Music Production Services Compiled by Peter Evans ook design by Pearce Blarchbank, Stadio Twenty ‘Computer production by Ben lay Photographs courtesy of David Redlern/ Redfern YOUR GUARANTEE OF QUALITY As publishers, we ative to produce every book co the highest commercial standards, {The must has heen freshly engraved nd the book has been careflly designe to'mintmise shard page taras and to make playing from ta real pleasore Particular care bas been given to specifying acid freer newtralsized paper made from pulps snhich have not Been elemestal chlofine Bleached, Thie pulps from farmed sustanable Forests nd wat produced with special regard for the eavirontent Throughout, the printing and binding have been planned co envore a stwed suractive publication which should pive sears of enjoyment 1 your copy fails wo meet eur high stondarde, plese aform us and we will gladly replace i Music Salee" complete catalogue describes chousand of titles and is available in fll colour sections by subject, direct from Maste Sales Limited Please state your area of interest snd send a cheque/ postal order for £1.50 for postage to Music Sales Limited, Newmarket Road, Bury St. dmands, Sffolk 1833 3¥B, VISIT THE INTERNET MUSIC SHOP hpi / (sewn musicsles.c0 uk Alto available COUNT BASIE JAZZ PIANO Seventeen superb piano arrangements by Stephen Duro, includ Tit" Darl: Spanky, The fig Walk snd Vine Street Rumble. DUKE ELLINGTON JAZZ PIANO Seventeen classic jaze pieces arranged for sole piano by Stephen Duro, ‘hased on original recordings of the Duke Ellington Orchestra ‘Includes: Caravan, I'm Beginning To See The Light, Perdido, Satin Doll and Take The ‘A’ Traia. JAZZ CLUB PIANO SOLOS: VOLUME ONE Fiftecn great standards arranged for piano in jazz style by Steve Hii, including A Night In Tunisia, Come Fly With Me, Fascinating Rhythm, so Nice and That Ole Devil Called Love. JAZZ CLUB PIANO SOLOS: VOLUME TWO Twelve jazz standards arranged by Stephen Duro, including ever, Lary River, Let's Get Away From It Ally Quiet Nights OF Quiet Stars (Corcovado) and Walkin’ Shoes JAZZ CLUB PIANO SOLOS: VOLUME THREE Twelve all-time jazz favourites arranged by Stephen Duro, including Georgia On My Mind, Lullaby af Birdland, Night Train, Sunay and Sophisteated Lady. THE BEATLES FOR JAZZ PIANO leven classic Beatles songs aresoged in jazz style for piamo by Steve Hill, Including All My Loving, Eleanor Rigby, Michelle and Yesterday canal LEQN JOHN JAZZ, PIANO A dozen of Elton Jotin's greatext hits arranged in jazz style by Jack Lon ineiaaes Candie tn THE Wind, Daniel, Goodbye Yellow Brick Roady Sterifice and Song For GuyAUTUMN LEAVES EPILOGUE HOW MY HEART SINGS MINORITY MY FOOLISH HEART OLEO PEACE PIECE PEAU DOUCE PERU'S” SCOPE QUIET NOW TWO LONELY PEOPLE TIME REMEMBERED WALTZ FOR DEBBY WHO CAN L TURN TO?BILL EVANS: ‘At one time it used to be said, disparagingly, by people who should have known better, that Bill Evans was in reality not a jazz player at all, He was, they claimed, no more than a superior kind of cocktail pianist. Though somewhat misguided, it’s easy to see where the idea comes from: the mistaken belief that the only essential element in jazz is ‘swing’ and, consequently, “it don't mean a thing if it ain’t got that swing”! Certainly, many of Bill’s more soulful performances were concerned less with rhythm than with the harmonic possibilities of the number he was playing; and if that were all there was to his style, this criticism might have carried some weight. But the simple fact is — as the briefest dip into any one of his sadly too few albums will show ~ when the occasion demands, his incisive left hand punches and sparkling right hand flurries, working in total sympathy with a hard-driving bass line, demon- strate an unquestionable ability to swing with the best. In this book, we have set out to give you a taste of both sides of the work of this deeply serious and extra- ordinarily gifted musician You'll find a few minor flaws. Like every jazz player that ever lived, he didn’t always hit the note or chord intended. (There’s a simple explanation: the brain works faster than the fingers. Much faster!) But, contrary to the assertions of technique was unquestionably superb. It’s just that he didn’t make it his first priority, He was too introspective, too interested in the music itself to indulge in irrelevant braggadocio. His taste, however, seemed to lead him towards a quieter, more reflective approach. He probes, examines, discards what he considers irrelevant and develops what he considers to be the essential ingredients of a tunes ingredients which aren't always what you'd expect. some critics, his AN THE INFLUENTIAL INNOVATOR In other words, he sets out to create something totally new every time he plays. You could say that, more than almost any of the great stylists, his playing comes across not so much as the performance of a finished piece, but as the process of composition itself. This probably explains why his repertoire was not as extensive as that of his contemporaries. He worked and re-worked the same numbers over and over, exploring their harmonic and melodic potential, finding new things cach time and expressing them in ever more subtle ways. Sometimes this consists of paring down the left hand to almost nothing: an isolated rhythmic stab, apparently barely related to any underlying harmonic shape the improvisation might contain. Indeed, on occasions he dispenses with the left hand altogether for a chorus or s0, leaving the bass to provide the ground on which to build his complex melodic lines. These lines are frequently formed by a conjuror-like unravelling of immense chord structures; often amazing, always impressive Above everything else, Bill Evans was an incredibly important innovator; especially (and despite what's just been said) where the left hand was concerned. Moving forward from the simple fourths and sevenths of the bebop era, he deconstructed the original harmonies, emptying and inverting the chords, leaving an accompani- ment that was just as percussive but more relevant to what was happening in the right hand. His influence on all subsequent piano jazz has been, enormous. A huge percentage of what we hear today comes from what he did then. So forget the critics. Jazz. is music of the moment: a spontaneous development of melodic, harmonic and rhythmic ideas, By any definition, Bill Evans was a great exponent of this art. INTRODUCTION BY EDITOR JACK LONGGm6 ALB D7(K9) Gm6 Cm7(05) F7 ba Ebm6(maj7) BG Eom6 Bb6/9 > Am7(>5) D7(09), Gm6 D709) Gm6 D7(¢9) Grea)HOW MY HEART SINGS Fast jazz waltz Em9 Am9 Dm9 G13 a4 4 4 4 Cmaj7 Finaj7 Bm7(05) 7 Am = Gidim Fim7(b5) Bm7(b5) Gidim Am — Am(maj7) Am7_ Fém7(b5) —1— 6 Adim/E Fm7 B13Dmaj9 Amaj9 Dimajo Amaj9 Em9 Am9 Dm9 G13 Cmaj7 Fmaj7 Bm7(5) E7 —s—, ~~, —~ 4 Am G#dim Fim7(5) Bm7(b5) Gtdim Am — Am(maj7) Am7 Fam7(o5)— Cmaj7(5) —1—— 10Cmajo E7(>5)aug Am9 —— Gedim Am7 D749) G7(9)aug — C6 NC. Am6 N.C. >——_—_ Cmaj9 Bom Abmaj7_— Gomaj7_——-Em(maj7) Dm(maj7)_ Domaj9(#11) — i FO soar C69 = (DIC) RE RH,MINORITY BY GIGI GRYCE Fm?[maj’] Fms Gmc 1D Pepe CBE Fm?{maj?] Fms EPmaj/B?— GmS{maj7) (BY B’maj’4yB>FO9/A Bem9/A? “Ab13/G? BbIG. ‘A>m/G? Ge DPB/R Fim'/Bfada’s) —BO9/DF Gmiyp C8O%yB 74Fm’{maj’] Fmé Gmc 1D ofp cade Fm?{maj7} Fmé Ehmaj/B'Gm maj?) /BPEPmaj7#9/Bb F13%)/4, Boms/A> Av1/GP BBG Abm/G? fp D/P To-- Coda Fhmi/B [adds] BIsé9ypt GmifF C309/BGm"/F codons Fm?[inaj?] >MY FOOLISH HEART WORDS & MUSIC BY NED WASHINGTON & VICTOR YOUNG Gtaug — G#7(#9)aug Ctm7 C8749) Fem Bm9 E9 E7(09) Amaj7 Bm9 Dmaj7_ Dm(maj7)_A6/9/Fi CHIH) —3 3SFm Faug Esus4 BUDE E13 Cemi1 Fe13 Bm9 G#Taug G#749)aug, 3 Chm7——C#7(R9) Fim7 Bi3 Bm9 47Gtmil — C#7@9)aug Fm Fmaj7 Fmaj7(65) 3 3 3 Amaj7/E Fem add G75) F#7 Bm b5 3 go 3 3 Freely B13/F¢ E>7/F AGE E9 = Amaj7_ ss C#mi1 F#13 Bm9 Fmaj7(o5) 3 Ctm9— Ftm7 Bm9 E13 Bbmaj7(b5) A add9 3 2OLEO BY SONNY ROLLINSAb auglG? aug GaugiF Poaug/B? 3 To- Coda 71D.C. al Coda copa Bodin anPEACE PIECE BY BILL EVANS Medium slow: lyrically and freely Molto legato 3,5% P—— nf er’ fess —__ ee tt Ban jt EP 2627rit, __a tempo 28I By 399 es eyPEAU DOUCE BY STEVE SWALLOW Medium slow Dm add4 C#m add4 Cm6 G9 F705) E13. Dm9 —3— Gm(maj7) D9#11) — C 3 AD7(0S/Eb — Gaug —-A9(b5) 7] Gm Dm Gm7 — Emadd4 Bom7(b5)A9_ C7 Dmaj9 Ddim —3I— r t anDadd9_ Bm7 G#7sus4 ATsus4 | _ | Daddd Bsus4 Dim7Em7 —C9(H11) Bm7 — G#m7(55)_—Ab7(no 3rd) Db(b9) Dmadd4 C#m add4 —3— i 3 van I ¥ Cmé6 Go9 75) Eb13.s Dm9_~— Em9_-- Dm9 = Gm(maj7)——Ds9(¢11) C13 AbT(b5)/E> Gaug Ab9%b5) Gm Dm Gm7 Ii 31Emadd4 A9 Dmaj9 Ddim Dadd9_ Bm7 7 G#7sus4 — A7sus4- Dadd9 Bsus4 Dim? Em7 C911) —3I— Bm7 Gam7(5) Ab7(no 3rd) Da(o9) Dmadd4 Ctmadd4 Cm6 Gbl3 F7(65) —3— iF Eb13 Gm7add4/D —_Bb(bS). Doadd9/Ad = Gm(maj7) Db9(¢11) co 32€m(maj9) D7(65)aug Gm. Dm Gm7 Em7 A9 Dmaj9 — Ddim —3— ria c3a Dadd9 AL G#7sus4 A7sus4. Dadd9 Bmsus4 = Dim7 Em7 —C9(#11) —ji— u Bm7 Gim7(05) —Ab7(no 3rd) Da(o9) Dmadd4 Ctm add4 Cm6 — Gbl3__F7(65) ji— Rit. E13 Dm9 Gm(maj7) D9(#11) os 33PERI’S SCOPE BY BILL EVANS Fast Dmil G9 6/9 Am7 Dm7 G9 C69 Am7 Dm9 G9 ceo Am? E13 E7(#9)aug E/D E(5) 3 Fmaj7_ G7 Cmaj9 Am7 Dm7 or, 6/9 Am7 Fimaj7 B13 E9(11)/B Bi9aug A13 SS ma 35Dm9 G9 6/9 Am7 Dm9 G13 Em7sus4 A7/Eb Dm9 Dm7 Dmi/G GI3 C69 NC. t Dmil = G13 Cmaj9 = Am9 = Dm9 G13 Cmaj9 = Am9 Dm9 a3 QS GI3 Cmaj9 Am9 E13 E9aug E7 E6(bS/maj7) — E7aug n a! 36Fmaj7 G7 C69 Am7 Dm7 G7 colo Am7 r—j— Fmaj7 B13. GwF Bo9aug Al3 Aaug A13 Dm9 9 C69 Am7 Dm9 G13. Em7add4 A7aug/E> Dm9 Dm7 Dmil G13 coo 37QUIET NOW BY DENNY ZEITLIN ad lib. (slow) Am 2 F6 Fmaj7(5) F749) E7(¢9) E7(o9)/F Am7 Dm7 G7 Am7 Fadd9 Fm(maj7) Fm6 Dm7(5) GI3/F Gim6/F Dm6/A Ab7(b5) Am11 Gtaug(#9) — Dadim —i— ---+ loco 6 38Gmaj7_Csus4 BB T/G ‘Abmaj7 Db13(#11) Bm add9 G13 F13 E13 F13 Gb13F13_ Ggm7(o5/>9) F#7(9) Bm 3 Fes = = gs 2 by > tape ——— +P G Al3— C#OFfm7 Bm G ‘Gm(maj7) Cm — Am7(5) Em7(05) A13/G GH9(5) Aaug Gm/B> *R = 8va basa...A tempo (medium slow) aug sus4 a) Bmll AgGg) Fim Fim BmTEm7 A9 — GXigg Paus Casio DI Go, Gmaj7 COI) Bmaddd Bbl3— Eb6 Dag) ——. t34 “3 3 Cm7 BO E6 D9@I1) Ctmo Gem9/E, Dimaj9 Bm —_B7(5/#9)/D4 E13 PREP ANAm9 Am An/G — Fmaj7 F7(#9) E7(49) Am? Am we Fmaj7 GIF C6/9(maj7)_ Fmaj9_— Bbmaj7(b5) ae) 3 Dm7(5) G13 Gtmé Gt o F6 Em? D131) Dédim Molto rall. Em7 Am9 Fmaj7 G13 6/9 Fmaj7 Bm7(65)_ E7(>9) Am9 é AlTWO LONELY PEOPLE BY BILL EVANS Medium ‘ballad’ tempo Freely, espress. Fm6/9 Bom9 Go7 Fm Py __1 etc. sim. Bom9 G9 Fm9 Fm9/E> Cem9 FHTG9) Bmaj9 Gtm7 Gem7(05)/AK Dim9 ictBm7 C#Taug(t9) Fm Gm7 FHT Bm9 Baug(>9) Gtaug Cém9 F #1369) Bm9 E1309) Am9sus4 D13(9) Gm9 C7(9/05) Fmaj7 Bbmaj7 # - Ebmaj7 ATaug(#9) Dm7 Fraug(9) F13 ueBo E7aug Am9 D139) Gm9 AT(9) Dsus4 FI3 Bb Bm7(o5)_E7(b9/5) Am9 D7(05) r Gm ATaug AT — D7sus4. D7 Ctm7(b5) Cm7addll F6/9 Fadd9 Bomaj7 Bb6 ATaug Dm9 G1309) | ————_——.. uscm9 F13(09/>5) Bom9 Bb13(69) Apm9 Del3 Gomaj9 C749) Fm6/9 Bom9 G7 3 Fm add9 Bom? C7aug(#9) Fm9TIME REMEMBERED BY BILL EVANS Slow ‘ballad’ tempo Freely, espress. Bm9 Cmaj9(#11) — Fmaj7 Bm Am Dmll_ Gm95) = be Ebmaj9(él1) Abmaj9 = Am Dmg Gm Cm9 Fmil Em9 E13 Ebmil Am911) jst 50] Cmit Fém9(#11) Bml3 Gm9 AGRit. A tempo Freely Ebmaj9(¢11) Dm9 m7 Bm9 Crmaj7G¢11) r3 2 we AS Fmaj7 Bm7 Am9 Gm9b5) Epmaj9(#11) Abmaj9(#11) —— te: r3a_ 3g Z Am9 Dm9 Gm Cm9 Fmil_ Bm9 E13 Ebmi1 Am9(¢11) Cmil Fam9(#11) Rit. Bmi3 Gm9 Ebmaj9(#11) Dm6/9 Cm7(6/9) “F ATWALTZ FOR DEBBY BY BILL EVANS Fast jazz waltz Fmaj7/A Dm7 Gm7 ca Py ete, ANG DFE GIF CE as FIE> BoD Bom6/D> C19) Am Fmaj7 Gm7 Am? Bomaj7 C7 Dm7 Em7(5) — Fmaj7_ Gm7 aFimaj7/A Dm? Gm7 © ATICE DSadd9/C G13B COrB> a AT Dm Dm/C BT E ED AICE B7sus4 Bm7 — Amaj9 AIGE AOGm9 C13 Am9 D9 Gm9 ATaug Dm6 Gm9 Em9b5) AT Edim F6 F6/A FOC Aadd9 = FOC Bm7(05) Abmaj7 Domaj7 Gm9 C79) enFmaj7/A Dm7 Gm7 © AUG DIFt GUF CTE FI/E> B/D Bom6/D> C6 Gm7/D CIBb AmTadd4 FO RC Bm9 Bm7/A ET/GE cqPoco rit. A tempo Am F7 Bo/G FO Bom7 — Bbm6 d= ATaug 69 #9 Dm G9 Gi3aug —- G13(65) ~ FOC GOB i G13(5VF F6/C G9/B_—- Bomaj7_ G13(b5)/F — F6/C GOB Bomaj7 G13(>5)/F F6/9 NC. — 5s?F6/9 Dm9 Gm9 C13 AT D9 G9 C13 ATaug, Dm9 Gm9 C13 Am9 Dm9 Gm9 C13 Fadd9 — D7(¢9)aug_ «= Gm9_ C13 Al3 D9 Gm9 ATaug ma Dm9 BI 59 Amaj7 oj — edGm9 C13. Amadd9 D9 Gm9 ATaug Dm7 Ebmaj7(b5) S33 IT TIS 3 Gm9 Alaug Dm13 GI3 Abmaj7 —- Domaj7_ Gm9 C1309) FO9 Dm Gm7 C709) AI D9 co co ATaug Dm9 Gm7 G9 Domaj7 D13 Al3aug Gtdim cAFem7(5)_F7 B69 = A7(#9)aug_ Dm Dm7 G13 Ds9(¢11) D9 —3I— Dd dd Fmaj7 Bm7(b5) F13 D7 Ebmaj? Ds7 Bomaj7 D»7(#9), Fmaj7 Db7 — — 3 35 3—— ® — 3 Bomaj7 C7 Fmaj7_-F13 Db? Ebmaj7Db7_—Bomaj7_—Db7(#9) Gr6/9 — () ~ ( or! Molto rit. G>6/9(maj7) Gbmaj7—Absus4 = GGmaj7_— G13. Fadd9 F6/9 SSWHO CAN I TURN TO? WORDS & MUSIC BY LESLIE BRICUSSE & ANTHONY NEWLEY ad lib. 6/9 Ebmaj7 Fm7 —— BoT Bb7(b9) E> Ebaug FSadd9 F#Sadd9 Gm AbSadd9 Am = — Bbm Bom9 Eb9 — Abmaj7 Abm6/9 Ebmaj7 m7 Fm7 Fidim evGm7 — Gdim_—Ab6 Abm6/9(maj7) Bm7 Bb7(b9/S) Bb13, Fee Ev6/9 Eb6(maj7) Fm Fm7sus4 —_+~ E7 E> —- Ebaug FS5add9 F#Sadd9 Gm AbSadd9 Am Bom Bom7 Bbm9 Eb7(#9)A13(b5) Abmaj7 aDm7(b5) G13(9) Cm9 F911) F9 E9aug Ep6/9 = Cm/Bb Cml1 Abmaj7 Bb13(b9) 6/9 = Ebdim = Fm9 E7(¢9) Medium tempo Ep6/9 Fm7 Bb7 6/9 Fm9 = Gm7_ Abmaj9_— Bbm91309) Abadd9 Abm6/9 Ebmaj7 Cm7 Fmadd9 = Godim_ Ss Gm Gaim Av6(maj7) —-Abm6 59 Bo7aug Eb6/9 Fm7 Bb9 Bb7(b9) E>6/9 Fm9 Gm7 Abmaj9 Bom9‘Abmaj7 Fm Gig) Cm9 FULD) 7 30 Ta ALS F9 F13(b9) Ebmaj9 F7(69) — Abmaj7 Bb13(9) Eb6/9 Cdim Fm7 => m— BbI3 6/9 ‘Abm9(maj7) Ebmaj7/B> Bbadd4 B»6/9 Fm9 Gm7 Abmaj9 Bom — 4 61E59 = Abmaj7 Abm6/9 Ebmaj7 cm Cm(maj7)— Fm9 Godim Fm7(b5)add11 Em7(b5) Gladd4/Fe Fm7(oS) — E9add4 By6/9 oe Fm BoT (B26/9) Fm9 Gm7 62Abmaj9 — Bbm9 Al3 Abmaj9 Dm7(b5) GTaug cm9 Cm9%maj7) F9GI1aug D139) Ebmaj7 Freely Gmaj7 Abmaj7 —Bb13(69)_—_ Da 9(05G —3— 3 63EPILOGUE BY BILL EVANS Medium tempo: freely Cm Gm/D Cm’ Br Abs BG BeSF EP BPD GYD Cm? Bhadd? BPS AP a Csust Abmaj? Fm BYP EPP BOF Gm” A?maj? 64 a