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 Rothchild Avenue, Rosebery, NSW 2018, Australia Order No, AMBI956 1SBx'0.7119-4070.5 “This book © Copyright 1996 by Wine Publications Unauthorised reproduction of any pare ofthis publieation by any Imcans including photocopying am infringement of copyright Music edited & transcribed by Jack Long. 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Ths pulp Is from farmed wustalnable Forests nd was preductd with special regerd for the environment ‘Throughout, the printing tnd binding have been planned to ensure 2 sturdy, tractive publiction which should give years of enjoyment 1 your copy file so meet ur high standards, plese inform us and we will gladly replaces Music Saler’ complete catalogue describes thousands of titles and is Iabte in fall colour sections by subject, divect from Music Sales Liited Sour areas of Interent and send cheque /postl order for 50 for postage eo fe, Suffolk 1P33 3B Music Seles limited, Newmarket Road, Bury St Edo VISIT THE INTERNET MUSIC SHOP tsp ewe muster Alto available COUNT BASIE JAZZ PIANO Seventeen superb plano arrangements by Stephen Duro, including Lil Darlin’, Splanky, The Big Walk and Vine Street Rumble. DUKE ELLINGTON JAZZ PIANO Seventeen latse Jaze picees arranged for solo piano by Stephen Duro, ‘based om original fecordings of the Duke Fllington Orchestra. Tncludegs Carsvany I'm Beginning To See The Ligh, Perdido, Sutin Doll and Take The A’ Trala JAZZ CLUB PIANO SOLOS: VOLUME ONE Fifteen great standards arranged for piano in jazz style by Steve Hill sneluding A Night In Tunisia, Come Fly With Me, Fascinating Rhytha, So Nice and That Ole Devil Called Love JAZZ CLUB PIANO SOLOS: VOLUME TWO ‘Twelve jazz standards arranged by Stephen Duro, including ‘Fever, Lazy River, Let's Get Away From It All, Quiet Nights Of Quiet Siars (Corcorada) and Walkin Shoes JAZZ CLUB PIANO SOLOS: VOLUME THREE ‘Twelve all-time jazz favouriter arranged by Stephen Duro, including Georgia On My Mind, Lullaby of Birdland, Night Train, Sunny and Sophisticated Lady, THE BEATLES FOR JAZZ PIANO Eleven classic Beatles songs arranged in jazz style for piano by Steve Hill, ‘neluding All My Loving, Eleanor Rigby, Michelle and Yesterday ELTON JOHN JAZZ PIANO A doren of Elton John's greatest hits arranged in jaz style by Jack Lon ‘clades Candle ln THe Wind, Daniel, Goodbye Yellow Brick Road, = Sterifice and Song For GuyAUTUMN LEAVES EPILOGUE HOW MY HEART SINGS MINORITY MY FOOLISH HEART OLEO PEACE PIECE PEAU DOUCE PERI'S SCOPE QUIET NOW TWO LONELY PEOPLE TIME REMEMBERED WALTZ FOR DEBBY WHO CAN | 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 a) Gm6 cm705) ri E>m6(maj7) B>6 Ebm6 Bb6/9 Am7(5) D709) Gmé6 D109) br ama 4 be Gm6 D7(¢9) Gm6/9(maj7) 2HOW MY HEART SINGS BY EARL ZINDARS Fast jazz waltz Em9 Am9 Dm9 G13 = _— I 4——1 Cmaj7 Fmaj7 Bm7(»5) E7 Am Gidim Fém7(5) Bm7(b5) Gidim Am Am(maj7)Am7_ Fém7(65) —i— 6 Adim/E Fem7 BI3Dmaj9 Amaj9 Dimajo Amaj9 Em9 Am9 Dm9 G13 Cmaj7 Fmaj7 Bm7(5) 7 SS 7 Am Gé#dim Fim7(55) Bm7(65) Gtdim Am — Am(maj7) Am7 Fm7(bS) — Cmaj7(5) ——4—5 10Cmajo E7(>5)aug Am9 —— Gedim Am7 D749) G7(b9)aug — C6 NC. Amé6 N.C. Bom Apmaj7 — Gpmaj7_—— Em(maj7) Dm(maj7)__ Demaj9(¢11) —™ oJ Oo ToMINORITY BY GIGI GRYCE Medium fast Fm9{maj7) “Fé Gmic ID Fy cade Fm{maj?] Fmé FPmajB° — Gm6{maj?] (BP E?maj?da/p>— FBOO/A, Bhms/ab ‘Absig? BG Ab mPIG? ct FemI/B [add 5] BBbspe Gm'/F C3o9yB 3Fm'[maj’] Ff Gmic 1D FAypb cadoyp, Fim?{maj?] Fmé Ebmaj/B'Gm%{maj’]_ BP E’maj™#9/B> F969 B>m9/A> ‘ADLYG> BPG Abm9G? @ypp> Dh To-- Coda Fém!Y/B [adds] BRby/DF Gm/F CBem/ED.C. al Coda ‘copa GmvF cubome Fina] _ 2 |MY FOOLISH HEART WORDS & MUSIC BY NED WASHINGTON & VICTOR YOUNG Giaug — GE7(#9)aug Cem? C87(#9) Fim Bm9 E9 E7(09) Amaj7 Bm9 Dmaj7 Dm(maj7) A6/9/F# e749) re TJFm Faug Esus4 BUDE E13 Ctm11 Fe13 Bm9 G#7aug G#79)aug 3 Chm7—CHT7(H9) Fim7 B13 Bm9 47Gtmil — C#7@9)aug Fm Fmaj7 Fmaj7(65) i 3 3 Amaj7/E Fhm add G05) F#7 Bm9 65 3 go 3 3 Freely BI13/F¢ Eb7/F A6/E E9 Amaj7 C#m11 F#13 Bm9 Fmaj7(pS) 3 Ctm9 Fim7 Bm9 E13 Bbmaj7(b5) A add9 3 2OLEO BY SONNY ROLLINSAb auglG? aug Gaug/F Paug/e? 3 To Coda 71D.C. al Coda copa pen anPEACE PIECE BY BILL EVANS Medium slow: lyrically and freely Molto legato 35=~ AASABA fs If, LI) Use Lis eee ye pan jo PP 26(8) “loco 27se------21 loco: atempo rit. 28raul Kl {1/914 & 399 esPEAU DOUCE BY STEVE SWALLOW Medium slow Dm add4 C#m add4 Cm6 God F705) Ev13.- Dm o—3—_, Gm(maj7) D1) C 3 AbT(@S)/E> — Gaug —Ab9(65) —3 Gm Dm Gm7 — Emadd4 Bom7(b5)A9_ C7 Dmaj9 Ddim —3— 7 r anDadd9_ Bm7 G#7sus4 ATsus4 | _ | Daddd Bsus4 Dim7Em7 — C9(#11) Bm7 — Gtm7(55)_—Ab7(no 3rd) Db(b9) Dm add4 Cm add4 ji I roo oF 3 cm6 G9 F765) -Eb13.sdDm9 = Em9_-sdDm9-— Gm(maj7)_—— D> (11) cB Ab7(bS/E> Gaug Ab9(»5) Gm Dm Gm7 3 31Emadd4 A9 Dmaj9 Ddim Dadd9_ Bm7 r G#7sus4 ATsus4 Dadd9 Bsus4 Dim? Em? coat) —3i3—_— Bm7 G#m7(65) Ab7(no 3rd) Db(o9) Dmadd4 Ctmadd4 Cm6 Gb13 F7(b5) —j— ¥ Bol3 Gm7add4/D —Bb(bS)-— Deadd9/Ab — Gm(maj7) Do9#11) C9 32€m(maj9) D7(65)aug Gm. Dm Gm7 Em7 A9 Dmaj9 — Ddim —3— ria c3a Dadd9 AIL G#7sus4 A7sus4. Dadd9 = Bmsus4 Dm? Em7 C9(#11) —3— Bm7 Gim7(b5) ——Ab7(no 3rd)“ Db(b9)- Dmadd4 C#madd4 Cm6 G13 F7(b5) 3 Rit. Eol3 D9 Gm(maj7)_D>9(¢11) c13 aA 33PERI’S SCOPE BY BILL EVANS Fast Dmil G9 6/9 Am7 Dm7 G9 C69 Am7 Dm) ceo Am7 E13 E7(#9)aug E/D E(5) 3 Fmaj7_ G7 Cmaj9 Am7 Dm7 G7 6/9 Am7 3I— Fmaj7 B13 E9(¢11)/B Bo9aug A13 SS — 35Dm9 G9 6/9 Am7 Dm9 G13 Em7sus4 A7/Eb Dm9 Dm7 DmIVG GI3 C69 NC. t Dmil G13 Cmaj9 = Am9 = Dm9 G13 Cmaj9 = Am9 Dm9 ao 3 oS GI3 Cmaj9 Am9 E13 E9aug E7 E6(b5/maj7) —- ETaug — 36Fmaj7 G7 C69 Am7 Dm7 G7 colo Am7 r—j— Fmaj7 B13 Gm/F Bo9aug Al3 Aaug Al3 Dm9 Go C69 Am7 Dm9 G13 Em7add4 A7aug/Ev Dm9 Dm7 Dmll G13 coo 37QUIET NOW BY DENNY ZEITLIN ad lib. (slow) F6 Fmaj7(o5) F749) E7(#9) E7(69)/F Am7 Dm7 G7 Am7 Fadd9 Fm(maj7) Fm6 Dm705) G13/F_ Gim6/F Dm6/A Ab7(b5) Am11 Gtaug(9) — Didim ——3—— ---+ loco 6 38Gmaj7 Csus4 EbT/G Abmaj7 Do13(#11) [SSS SS Lea ris i Bm add G13 FI3 E13 F13 Gol3F13 Gtm7(o5/9) F479) Bm 3 G Al3_ C#9Fém7 Bm G Gm(maj7) Cm Am7(5) Em7(o5) A13/G GH9(5) Aaug Gm/B> F = 8va basa...A tempo (medium slow) aug . sus4 e Bmll At Fdim Fém Bm7Em7 A9 G D9aug Cmaj9 D’ 7 (05) a) add2_ 3 9) — Gmaj7 COHI1) Bm add9 Bb13 Eb6 D»9@11) ——<———, Cm7 BO E6 D911) Ctm9 Gem9/E, Dmaj9 Bm —_B7(95/49)/D4 E13 PRE® ANAm9 Am An/G — Fmaj7 F7(#9) E7(49) Am? Am vf Fmaj7 GIF C6/9(maj7) Fmaj9 —_Bomaj7(b5) ATS) ——_3——_ (9) 2°) Fo ET DI3@11) Dédim Dm7(o5) G13 Gkm6 Gk (6) Molto rall. Em7 Am9 Fmaj7 G13 6/9 Fmaj7_ Bm7(o5)__ E7(>9) Am9 é AlTWO LONELY PEOPLE BY BILL EVANS Medium ‘ballad’ tempo Freely, espress. Fm6/9 Bom9 G7 Fm Pd __1 ete. sim. Bom9 G9 Fm9 Fm9/E> Cem9 FHTG9) Bmaj9 Gtm7 Gem7 (SAR Dim9 IckBm7 C#Taug(t9) Fm Gm7 FHT Bm9 Baug(>9) Gtaug Cémo F#13(09) Bm9 E13(9) Am9sus4 D13(09) Gm9 C7(09/05) Fmaj7 Bomaj7 - re * Ebmaj7 ATaug(#9) Dm7 Flaug(9) F13 ueBo E7aug Am9 D139) Gm9 AT(9) Dsus4 FI3 Bo Bm7(o5) E7(b9/5) — Am9 D7(5) Gm ATaug A7 —_D7sus4. Dm7 Ctm7(b5) Cm7addl1 F6/9 Fadd9 Bomaj7 Bb6 ATaug Dm9 1309) —cm9 F13(09/>5) Bom9 Bb13(69) Abm9 Dbl3 Gomaj9 c7g9) Fm6/9 Bom9 G7 3 Fm add9 Bom9 ‘C7aug(#9) Fm9TIME REMEMBERED BY BILL EVANS Slow ‘ballad’ tempo Freely, espress. Bm9 Cmaj9(#l1) — Fmaj7 Bm Am — Dmll_ Gm9(5) = a Ebmaj9(e11) Abmaj9 = Am Dmg Gm Cm9 Fmil Em9 E13 Ebmi1 Am9(11) jt STI Cmll Fam9(#11) Bmi3 Gm9 AGRit. A tempo Freely Ebmaj9(¢11) Dm9 m7 Bm9 Crmaj7G¢11) P33 Fimaj7 Bm7 Am9 Gm%o5) Ebmaj9(¢l1) Abmaj9(#11) —— = r3a 3 @ Am9 Dm9 Gm cmd Fmll_— Bm9 E13 Ebm11 Am9(¢11) Cmil Fam9(#11) Rit. Bml3 Gm9 Ebmaj9(#11) Dm6/9 cm7(6/9) °F ATWALTZ FOR DEBBY BY BILL EVANS Fast jazz waltz ANG DIE our cre SOS FIE> BoD Bom6/D> C109) Am Fmaj7 Gm7 Am7 Bomaj7 C7 Dm7 Em75) — Fmaj7_ Gm7 aFimaj7/A Dm? Gm7 © ATICE DSadd9/C G1I3B CO/B> a AT Dm DmC BT E ED AICH B7sus4 Bm7 — Amaj9 AIGE AOGm9 C13 Am9 D9 Gm9 ATaug, Dm6 Gm9 Em9(b5) AT Edim F6 F6/A F6/C Aadd9 = FOC Bm7(05) Abmaj7 Domaj7 Gm9 c7g9) enFmaj7/A Dm7 Gm7 © AUG D7/Ft GIF CIE FI/E> BoD Bom6/D> C6 Gm7/D CIBb AmTadd4 FRC Bm9 Bm7/A EGE cqA tempo F7 FO Bom7 — Bbm6 de ATaug 09 cy Dm G9 Gi3aug_—G13(65) ~ oO =d FOC GOB Bbmaj7_—-G13(5/F_ F6/C G9/B_—-Bomaj7_ G13(b5)/F —— — F6IC G9/B_——-Bomaj7 G13(65)/F F6/9 NC. — 5s?F6/9 Dm9 Gm9 C13 AT D9 G9 C13 ATaug, Dm9 Gm9 C13 Am! Dm9 Gm9 c3 yY : 3 Fadd9 — D7(#9)aug.«- Gm9_ C13 AL D9 Gm9 ATaug mf! Dm9 B13 E9 Amaj7 oj — edGm9 C13. Amadd9 D9 Gm9 ATaug Dm7 Ebmaj7(b5) S33 IT TIS 3 Gm9 Alaug Dmi3 G13 Abmaj7 —- Domaj7_ Gm9 C1369) F69 Dm Gm7 C709) AI D9 G9 co ATaug Dm9 Gm? Gm9_——Domaj7 D13 Al3aug Gidim cAFem7(5)_F7 B69 = A7(#9)aug_ Dm Dm7 G13 Ds9(¢11) D9 —3I— Dd odd Fmaj7 Bm7(o5) F13_ DoT Ebmaj7 D>7 = Bomaj7 D57(#9) Fmaj7 Db7 ——j—, —3— 3 235 ——_ Bomaj7 C7 Fmaj7_F13 Db7_—-Ebmaj7D>7_—-Bomaj7_D>7(#9) G26/9 ~~ « a ( T2 Molto rit. G»6/9(maj7) Gbmaj7 Absus4. Gmaj7_Gbl3._— Fad 69 SSWHO CAN I TURN TO? WORDS & MUSIC BY LESLIE BRICUSSE & ANTHONY NEWLEY ad lib. E6/9 E>maj7 Fm7 —— BoT Bb7(b9) Eb Ebaug FSadd9 FfSadd9 Gm AbSadd9 Am — Bbm Bom9 Bb9 — Abmaj7 Abm6/9 Eomaj7 m7 Fm7 Fidim evGm7 — Gdim_—Ab6 Abm6/9(maj7) Bm7 Bb7(b9/S) Bb13, rot ED6/9 Eb6(maj7) Fmd Fm7sus4 —_ E7 E> Evang FSadd9 FeSadd9 Gm AbSadd9 Am Bom. Bom7 Bbm9 Bb7(#9)A13(b5) Abmaj7 FDm7(b5) G13(9) Cm9 F911) F9 E9aug Ep6/9 = Cm/Bb Cml1 Abmaj7 Bb13(09) E69 Ebdim = Fm9 E7(¢9) Medium tempo Bb6/9 Fm7 Bb7 B46/9 Fm9 = Gm7_Abmaj9_ Bom9.1309) Abadd9 Abm6/9 Ebmaj7 cm7 Fmadd9 = Godim Gm Gaim Av6(maj7) —-Abm6 9 BoTaug 6/9 Fm7 Bb9 Bb7(09) Eb6/9 — Fm9 Gm7 Abmaj9 Bom9‘Abmaj7 Fm Gig) Cm9 FULD) AB 30 Ta F9 F13(9) —_Ebmaj9 F709) Abmaj7_——_Bb13(9) E»6/9 Cdim Fm7 ce rs ee eee Bb13 ED6/9 Abm9(maj7) Ebmaj7/B> Bbadd4 E»6/9 Fm9 Gm7 Abmaj9 Bom9 — 4 61E>9 = Abmaj7 Abm6/9 Ebmaj7 cm Cm(maj7)— Fim9 Godim Fm7(bS)add11 Em7(b5) Gladd4/F3 Fm7(>5) — E9add4 E>6/9 Le Fm BoT (B6/9) Fm9 Gm7 62Abmaj9 — Bbm9 Al3 Abmaj9 Dm7(b5) GTaug cm9 Cm9%(maj7) F9CI1)aug D139) Ebmaj7 Freely Gmaj7 Abmaj7 Bb13(b9) Do9(05\/G 3 IEPILOGUE BY BILL EVANS Medium tempo: freely cm Gm/D Cm? BS Abs BIG BeSP EP B/D GYD Cm? BPadd? Bos Ap a Cust Abmajt Fm BYF BYE BUF Gm? Abmaj? Cm? Cm BS Cm? Gadd?/B Csus* 64 a