Bill Evans

Summary

Dominique Pagani approaches Bill Evans mainly from the angle of harmony. He traces Evans's jazz harmonies back to Tristan, from which, in his view, they derive1, and he compares his playing to Tristan played on the piano2. In Waltz for Debby, he points out a sequence of major sevenths typical of his harmonies3. He comes back to this standard, dedicated to Evans's little sister, to comment on its form with a bridge4. He notes that Evans only has to add a seventh to a very tonal Christmas tune to make it sound "blues" at once5. Elsewhere, he plays one of his pieces to let listeners hear a dissonance he finds interesting6. He also mentions his version of Autumn Leaves with Cannonball Adderley7. He places him among the great white jazzmen and recalls that it was Miles Davis who brought him to prominence89. Finally, he picks up a word with which Evans sums up jazz: honesty10. He mentions that some sixty long videos on Evans are already in his playlists11.

1. 1At the bistro (part 1)18 Jun 2016 · 1:07:16
2. 2#4 Sound ghettos3 Dec 2020 · 15:36
3. 3#6 The jazz variation… by Beethoven15 Dec 2020 · 52:52
4. 4#14 Caves of yesterday and today: from Plato to modernity10 Jun 2022 · 1:20:22
5. 5#11 Modal and tonal music24 Jan 2021 · 27:11
6. 6#10.4 From Lascaux to modern music, the permanence of the political stakes in aesthetics3 Nov 2021 · 1:53:33
7. 7#4 Sound ghettos3 Dec 2020 · 38:13
8. 8#11 Modal and tonal music24 Jan 2021 · 1:47:36
9. 9Wagner and his interpreters, approaching Clouscard, Marx = Theseus?31 Mar 2021 · 30:25
10. 10Wagner and his interpreters, approaching Clouscard, Marx = Theseus?31 Mar 2021 · 33:09
11. 11#6 Presentation of the dominiquepagani.fr website26 Nov 2020 · 34:04

Summary produced automatically from 12 of the passages below, to be reviewed; the numbers link to the moment in the session.