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Bill Evans: How My Heart Sings
Acclaimed by musicologists and illustrated with dozens of photographs, a detailed, painstakingly researched and finely written biography examines the life and music of the influential, classically trained jazz pianist Bill Evans and includes a full discography of his recordings. UP.
362 pages, Hardcover
First published August 11, 1998
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April 1, 2020
In the heady world of jazz, there are a few standout piano legends: Thelonious Monk, Ahmad Jamal, Erroll Garner, Chick Corea, Keith Jarrett, and the legendary Bill Evans. Peter Pettinger has written a perfect biography of this seminal artist perfectly blending some music theory (but not too much for folks that have only a superficial understanding of score sheets like me) with biographical detail as well as a comprehensive analysis of Bill's incredible catalog of recorded music. With this review, I want to analyze Bill Evans in the context of jazz piano, jazz trios, and his impact on jazz overall.
The piano originated in around 1700 and evolved to what is known as the modern piano in the early 19th C. Bill Evans' earliest training (and his degree in music from Southeastern Louisiana College in 1950) was in classical form and he idolized masters such as Frederic Chopin and Franz Lizst who were among the greatest piano players before the 20th century. However, he very quickly moved to the freer forms of jazz where he felt more able to improvise. The position of the piano in jazz has always been a central one with geniuses such as Fats Waller, Fats Domino, Art Tatum, Oscar Peterson and Duke Ellington all moving the piano from a rhythm instrument to a central part of the jazz repertory. In terms of his contemporaries, Bill Evans sits in the middle of a continuum from the swing of Oscar Peterson and the more eclectic sounds of Thelonious Monk. His ballads are of unspeakable beauty while his technique is perfect and clean but also with a virtuoso touch.
The bebop era in the 50s saw a movement from larger orchestral settings of the swing era (Duke Ellington, Count Basie, Bennie Goodman, etc) towards smaller groups. The core of most groups was the piano-bass-drums trio to which horn and sax players (as well as flute, vibes and other instruments as well) to form quartets, quintets, sextets, etc. Some piano players decided to forgo the wind instruments altogether and perform just with the three core instruments. Nat "King" Cole pioneered the trio lineup of piano-guitar-drums lineup in 1939 and was followed by Art Tatum and Oscar Peterson in this regard who replaced the guitar with the standup bass. About the same time that Bill Evans created his first trio groups between 1955 and 1958, Ahmad Jamal recorded the landmark album But Not For Me in 1958 with Israel Crosby and Vernell Fournier and Erroll Garner recorded his greatest album, the classic Concert By The Sea with Eddie Calhoun and Denzil Best. On both of these live albums, the spotlight is truly on the piano player where the bass and drums get some solos, but they are clearly there in a supporting role. In the case of Bill Evan's trios - and in particular, his greatest trios the first with Scott La Faro & Paul Motian, those with Gary Peacock & Paul Motian and Eddie Gomez & Larry Bunker, and the last one with Marc Johnson & Joe La Barbera), there was a lot more space left for the bass and drums for improvisation and soloing. As Pettinger points out, Bill needed a strong bass player to drive his creativity and he found his perfect match in Scott La Faro. Unfortunately, Scotty died in a fatal car accident after only recording a total of two and a half hours of music and his death was a blow to Bill Evans. As for drummers, Pettinger notes that his perfect drummer was Philly Joe Jones, but they only recorded together on a handful of occasions due to both Jones' other commitments and their mutual substance abuse issues. What is truly fascinating to see in his evolution (and detailed in the book), is precisely how Bill's music adapted to personnel changes and the strong relationships he formed with the other trio members.
Bill Evans style is a light touch and an inimitable tonality that sets him apart from most other jazz pianists. His composition catalog is vast having authored many songs with became jazz standards ("Very Early," "Waltz for Debbie", etc) but also many jazz standards ("'Round Midnight", "In A "Sentimental Mood") and lots of show tunes including favorites such as Santa Claus is coming to town and the "Theme from M*A*S*H". Once you dive in, it is nearly limitless in scope and extremely pleasurable to listen to. Evans brought gave a central place to the ballad and influenced all of the pianists that came after him. Marc Copland, Brad Mehldau, Vijay Iyer, and even Keith Jarrett all bear influence of his style in their recordings.
Arguably, Evans' best work, besides the aforementioned trios, was his collaboration with Miles Davis at Newport 1958 and on the quintessential jazz masterpiece from 1959, Kind of Blue. Pettinger gives a long, fascinating narrative of this collaboration and focused on how Evans influenced and augmented Miles' ideas in terms of modal (as opposed to scalar) composition. He plays on every track except for Freddie Freeloader, where Wynton Kelly took the chair behind the ivories. If there is just one jazz album you ever listen to, it should be Kind of Blue. It was a credit to Miles to keep the young white piano player around despite comments from black jazz musicians who resented Miles for not taking a black pianist to replace Red Garland. Pettinger attributes the dislocation of Bill Evans in the world of jazz dominated by black musicians as one of the reasons for his long-time addiction to heroin in order to fit in and nurse a darker, more mysterious side to his personality.
There are, of course, other incredible albums in his long discography (Pettinger details 164 separate recordings in the book), perhaps the most important being Sunday at the Village Vanguard featuring Scott La Faro and Paul Motian which bears listening to over and over again. The first studio recording with the First Trio, Portrait in Jazz, is an absolute masterpiece as well. Of note is Pettinger's explanation of how Evans made the notes sing on this album (pg. 95). However, the other trios that he formed after the death of Scotty with various bassists and drummers are not to be missed. Sadly, before the end of his short life, he found an entirely new dynamic with the Last Trio of Marc Johnson and Joe La Barbera, but died only 18 months after forming that group.
The central tragedy of jazz is the premature death of many of its greatest protagonists, many of which were drug-related. When Bill Evans was making his start in New York, jazz was already rife with addicts of heroin, most notably the ill-fated but truly spectacular sax player Charlie Parker. Bill Evans suffered hepatitis his entire life, a problem exacerbated by his heavy addiction to heroin starting during these early days in the emulation of his idols on the jazz scene. There was a brief period in the early 70s when he kicked the needle, but unfortunately, he replaced it only a few years later with cocaine. I already mentioned the catastrophic loss of his friend and colleague Scott La Faro in 1961. When he left Ellaine Schultz, his live-in girlfriend for twelve years, for Nenette in 1973, Ellaine jumped in front of a subway in NYC. In 1979, his brother Harry shot himself with a shotgun. These violent deaths most likely had a non-negligible impact on his psyche and on the deepening of feeling in his music. Bill Evans himself died at only 51 years old on September 15, 1980, from hemorrhaging and bronchial pneumonia, but it was really the result of decades of substance abuse.
All in all, Pettinger's book provides a comprehensive and entertaining look at one of the 20th centuries greatest musicians and is a fantastic gateway into his unique, fertile musical universe.
The piano originated in around 1700 and evolved to what is known as the modern piano in the early 19th C. Bill Evans' earliest training (and his degree in music from Southeastern Louisiana College in 1950) was in classical form and he idolized masters such as Frederic Chopin and Franz Lizst who were among the greatest piano players before the 20th century. However, he very quickly moved to the freer forms of jazz where he felt more able to improvise. The position of the piano in jazz has always been a central one with geniuses such as Fats Waller, Fats Domino, Art Tatum, Oscar Peterson and Duke Ellington all moving the piano from a rhythm instrument to a central part of the jazz repertory. In terms of his contemporaries, Bill Evans sits in the middle of a continuum from the swing of Oscar Peterson and the more eclectic sounds of Thelonious Monk. His ballads are of unspeakable beauty while his technique is perfect and clean but also with a virtuoso touch.
The bebop era in the 50s saw a movement from larger orchestral settings of the swing era (Duke Ellington, Count Basie, Bennie Goodman, etc) towards smaller groups. The core of most groups was the piano-bass-drums trio to which horn and sax players (as well as flute, vibes and other instruments as well) to form quartets, quintets, sextets, etc. Some piano players decided to forgo the wind instruments altogether and perform just with the three core instruments. Nat "King" Cole pioneered the trio lineup of piano-guitar-drums lineup in 1939 and was followed by Art Tatum and Oscar Peterson in this regard who replaced the guitar with the standup bass. About the same time that Bill Evans created his first trio groups between 1955 and 1958, Ahmad Jamal recorded the landmark album But Not For Me in 1958 with Israel Crosby and Vernell Fournier and Erroll Garner recorded his greatest album, the classic Concert By The Sea with Eddie Calhoun and Denzil Best. On both of these live albums, the spotlight is truly on the piano player where the bass and drums get some solos, but they are clearly there in a supporting role. In the case of Bill Evan's trios - and in particular, his greatest trios the first with Scott La Faro & Paul Motian, those with Gary Peacock & Paul Motian and Eddie Gomez & Larry Bunker, and the last one with Marc Johnson & Joe La Barbera), there was a lot more space left for the bass and drums for improvisation and soloing. As Pettinger points out, Bill needed a strong bass player to drive his creativity and he found his perfect match in Scott La Faro. Unfortunately, Scotty died in a fatal car accident after only recording a total of two and a half hours of music and his death was a blow to Bill Evans. As for drummers, Pettinger notes that his perfect drummer was Philly Joe Jones, but they only recorded together on a handful of occasions due to both Jones' other commitments and their mutual substance abuse issues. What is truly fascinating to see in his evolution (and detailed in the book), is precisely how Bill's music adapted to personnel changes and the strong relationships he formed with the other trio members.
Bill Evans style is a light touch and an inimitable tonality that sets him apart from most other jazz pianists. His composition catalog is vast having authored many songs with became jazz standards ("Very Early," "Waltz for Debbie", etc) but also many jazz standards ("'Round Midnight", "In A "Sentimental Mood") and lots of show tunes including favorites such as Santa Claus is coming to town and the "Theme from M*A*S*H". Once you dive in, it is nearly limitless in scope and extremely pleasurable to listen to. Evans brought gave a central place to the ballad and influenced all of the pianists that came after him. Marc Copland, Brad Mehldau, Vijay Iyer, and even Keith Jarrett all bear influence of his style in their recordings.
Arguably, Evans' best work, besides the aforementioned trios, was his collaboration with Miles Davis at Newport 1958 and on the quintessential jazz masterpiece from 1959, Kind of Blue. Pettinger gives a long, fascinating narrative of this collaboration and focused on how Evans influenced and augmented Miles' ideas in terms of modal (as opposed to scalar) composition. He plays on every track except for Freddie Freeloader, where Wynton Kelly took the chair behind the ivories. If there is just one jazz album you ever listen to, it should be Kind of Blue. It was a credit to Miles to keep the young white piano player around despite comments from black jazz musicians who resented Miles for not taking a black pianist to replace Red Garland. Pettinger attributes the dislocation of Bill Evans in the world of jazz dominated by black musicians as one of the reasons for his long-time addiction to heroin in order to fit in and nurse a darker, more mysterious side to his personality.
There are, of course, other incredible albums in his long discography (Pettinger details 164 separate recordings in the book), perhaps the most important being Sunday at the Village Vanguard featuring Scott La Faro and Paul Motian which bears listening to over and over again. The first studio recording with the First Trio, Portrait in Jazz, is an absolute masterpiece as well. Of note is Pettinger's explanation of how Evans made the notes sing on this album (pg. 95). However, the other trios that he formed after the death of Scotty with various bassists and drummers are not to be missed. Sadly, before the end of his short life, he found an entirely new dynamic with the Last Trio of Marc Johnson and Joe La Barbera, but died only 18 months after forming that group.
The central tragedy of jazz is the premature death of many of its greatest protagonists, many of which were drug-related. When Bill Evans was making his start in New York, jazz was already rife with addicts of heroin, most notably the ill-fated but truly spectacular sax player Charlie Parker. Bill Evans suffered hepatitis his entire life, a problem exacerbated by his heavy addiction to heroin starting during these early days in the emulation of his idols on the jazz scene. There was a brief period in the early 70s when he kicked the needle, but unfortunately, he replaced it only a few years later with cocaine. I already mentioned the catastrophic loss of his friend and colleague Scott La Faro in 1961. When he left Ellaine Schultz, his live-in girlfriend for twelve years, for Nenette in 1973, Ellaine jumped in front of a subway in NYC. In 1979, his brother Harry shot himself with a shotgun. These violent deaths most likely had a non-negligible impact on his psyche and on the deepening of feeling in his music. Bill Evans himself died at only 51 years old on September 15, 1980, from hemorrhaging and bronchial pneumonia, but it was really the result of decades of substance abuse.
All in all, Pettinger's book provides a comprehensive and entertaining look at one of the 20th centuries greatest musicians and is a fantastic gateway into his unique, fertile musical universe.
October 27, 2010
Some biographical subjects haven't gotten their due, and Bill Evans is a prime example. The guy made some of the most incredible music in all of jazz, and yet Pettinger's book is really the only work available. As such, it can get away with only providing the barest essentials of this great artist's life, leaving us with more information about his playing schedule and discography than about the man himself.
I realize that Pettinger is not a writer - let alone a biographer - and I realize that as a pianist, his focus may have tended towards musical specifics that are over my head, but I don't think that excuses the huge holes this work leaves. Take for example the time when his girlfriend of 12 years kills herself by jumping in front of a subway train only days after Bill has informed her that he was marrying someone else. This gets a line in a paragraph - and no discussion of how Bill felt, how it happened, how he approached her about it, nothing.
Or what about Bill's heroin use - yes, jazz fans know Bill was a junkie. But how does a kid from Plainfield New Jersey suddenly become hooked? And why (and how?) did he kick it? And then why did he go on to cocaine in the 70s? And the hepatitis he suffered from all his life - where did that come from, and how aware of it's consequences was Bill? Was it like a sword hanging over his head? Or did he not think about it at all?
These questions are not gossip - they lend insight into an artist of stunning originality and sophistication - insights that can help us appreciate his struggle even more - and inspire us during our own.
By not even attempting to address them, I feel Pettinger's work comes up short, leaving the door still open for the appreciation Evans deserves.
I realize that Pettinger is not a writer - let alone a biographer - and I realize that as a pianist, his focus may have tended towards musical specifics that are over my head, but I don't think that excuses the huge holes this work leaves. Take for example the time when his girlfriend of 12 years kills herself by jumping in front of a subway train only days after Bill has informed her that he was marrying someone else. This gets a line in a paragraph - and no discussion of how Bill felt, how it happened, how he approached her about it, nothing.
Or what about Bill's heroin use - yes, jazz fans know Bill was a junkie. But how does a kid from Plainfield New Jersey suddenly become hooked? And why (and how?) did he kick it? And then why did he go on to cocaine in the 70s? And the hepatitis he suffered from all his life - where did that come from, and how aware of it's consequences was Bill? Was it like a sword hanging over his head? Or did he not think about it at all?
These questions are not gossip - they lend insight into an artist of stunning originality and sophistication - insights that can help us appreciate his struggle even more - and inspire us during our own.
By not even attempting to address them, I feel Pettinger's work comes up short, leaving the door still open for the appreciation Evans deserves.
October 20, 2007
This biography was incredible and is undoubtedly one of my top favorite reads. Of course, I'm rather partial, since Bill Evans is a favorite musician of mine. But in all fairness, I was impressed by the crisp, clean language of the biographer/author (who incidentally is a concert pianist himself). By excising all unnecessary and emotional blathering about how depressing much of Bill's life was, Pettinger imbued the text with a starkness that was more heartwrenching than expected. "How My Heart Sings" is definitely something I'll read again.
July 1, 2017
It has taken me a while to read and digest this enthralling book about Bill Evans as I constantly cross-referenced Pettinger's forensic examination of the recorded works of Evans, my favourite jazz pianist of all time, with my own comprehensive collection of his music - on CD, on vinyl and some by download. This approach has made the reading of this classic biography all the more enjoyable and I know I will be revisiting the text on a regular basis.
Peter Pettinger was a keen pianist. His classical training took place at the Royal Academy of Music, where he studied with pianist Vivian Langrish and composer Hugh Wood. He was also intrigued by jazz music, in particular that of Dave Brubeck and of course, Bill Evans. The book is laid out in chronological order as Pettinger discusses the making of every important Evan's recording and the discography lists 168 of these.
Evans was vexed by heroin addiction for much of his career (as were so many jazz musicians of his era) and suffered with chronic, low-grade hepatitis. Evans's life could be summed up by both personal tragedies and commercial successes. His technique stood head and shoulders above any other jazz pianist of his time. His compositional methods and approach to ensemble playing have become his legacy.
As I read How My Heart Sings I found myself listening to Sunday At The Village Vanguard recorded 25th June 1961, with Scott LaFaro on bass and Paul Motian on drums, considered by many to be his best triumvirate. LaFaro was just 25 years old, a bassist of unbelievable talent. Ten days after this set was recorded LaFaro was driving back late to his parents' home in upstate New York when he veered off into a tree and was killed outright. Evans had embraced LaFaro as a kind of alter ego. The bass player's death killed something in the pianist himself. Evans and Motian were both devastated at the news. Evans did not play for many months after this, not even at home. I cannot listen to this album without getting rather choked up.... Just one of the tragedies that befell this giant of jazz composition and unique style of playing.
If you enjoy jazz, especially jazz piano, you should get yourself a copy of this wonderful, critical commentary on the life of Bill Evans, who died on Monday September 15th 1980, aged just 51. He lies at rest in Baton Rouge, Louisiana. There is not a week goes by that I do not listen to something played by this jazz legend....
Peter Pettinger was a keen pianist. His classical training took place at the Royal Academy of Music, where he studied with pianist Vivian Langrish and composer Hugh Wood. He was also intrigued by jazz music, in particular that of Dave Brubeck and of course, Bill Evans. The book is laid out in chronological order as Pettinger discusses the making of every important Evan's recording and the discography lists 168 of these.
Evans was vexed by heroin addiction for much of his career (as were so many jazz musicians of his era) and suffered with chronic, low-grade hepatitis. Evans's life could be summed up by both personal tragedies and commercial successes. His technique stood head and shoulders above any other jazz pianist of his time. His compositional methods and approach to ensemble playing have become his legacy.
As I read How My Heart Sings I found myself listening to Sunday At The Village Vanguard recorded 25th June 1961, with Scott LaFaro on bass and Paul Motian on drums, considered by many to be his best triumvirate. LaFaro was just 25 years old, a bassist of unbelievable talent. Ten days after this set was recorded LaFaro was driving back late to his parents' home in upstate New York when he veered off into a tree and was killed outright. Evans had embraced LaFaro as a kind of alter ego. The bass player's death killed something in the pianist himself. Evans and Motian were both devastated at the news. Evans did not play for many months after this, not even at home. I cannot listen to this album without getting rather choked up.... Just one of the tragedies that befell this giant of jazz composition and unique style of playing.
If you enjoy jazz, especially jazz piano, you should get yourself a copy of this wonderful, critical commentary on the life of Bill Evans, who died on Monday September 15th 1980, aged just 51. He lies at rest in Baton Rouge, Louisiana. There is not a week goes by that I do not listen to something played by this jazz legend....
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December 22, 2018When I first started reading Peter Pettinger’s “Bill Evans: How My Heart Sings” I was raving about it to anyone who would listen. This is, as far as I know, the only – therefor definitive – biography of the renowned jazz pianist, Bill Evans. He also happens to be a love of a lifetime for me, the last few years I have probably listened to his music more than any other single artist. His music moves me to tears, to smiles – like few other could. Pettinger captures this emotive strike in Evan’s music right off the bat, while also delving deeper into Evans background in classical music, his approach to music from an intellectual standpoint and his totally head-on style with music as art and communication. Pettinger is in many ways a fantastic writer, and yet upon finishing this book I find myself retreating slightly on my unconditional appraisal for this biography. This is not to say that the book was bad, far from it. But it dawned on me that it would not necessarily be a book for someone new to Evans – it would probably not help them fall in love with his music or curious to experience it further, unless they were already head over heels. In short, this is not a ‘good biography’ in the sense that it’s not likely to appeal to a wider audience (a good example of such a bio is Romantic Outlaws by Charlotte Gordon); in my opinion a good biography should not require previous knowledge of the subject to be pleasurable to read. Therefor, I would not recommend this book to everyone, but if you are a Bill Evans aficionado then it is certainly in many ways a feast to explore.
FULL REVIEW: https://curiousreaderr.wordpress.com/...
FULL REVIEW: https://curiousreaderr.wordpress.com/...
December 18, 2011
A simple and beautifully written book about a brilliant, tragic life in music. The focus is almost exclusively on Evans musicality and performance. Pettinger's singular focus is Evan's musicianship. But even when he turns to highly technical discussions of harmony and piano technique, the non-musical reader (eg like me) is carried along by Pettinger's passion and ability to evoke the resulting impact of the music both on musicians and listeners. I found his discussions of how Evan's trio groups evolved especially interesting. It feels like a real peek into the empathy and communication at the heart of jazz improvisation, and really in great music in any genre. Evans used heroin for 20-some years and experienced a series of tragic personal losses culminating in his own death at just 51. Pettinger treats these personal episodes in very short, simple vignettes but they are no less poignant. There is much more to know about Evans life than this biography covers, but I finished it not with a desire to read more, but to go back to the music and listen.
January 26, 2008
A tribute to this bountiful jazz pianist. This man lived a tortured life that somehow produced a keyboardist's manuscript and genre. His arrangements and compositions will live as long as one listens to jazz. Friends of mine ask why I like his stuff ( I am not a keyboardist ). It's simply that Evans's virtuosity is emotionally descriptive. Jazz is an individualistic and existential experience; It only happens once. Evans spent himself on his own excellence. This is a fine account and a very good look at a great jazz man, although it spares us of the torture he must have actually inflicted on himself.
March 18, 2008
I guess I wanted more than just the dates and personnel on recording sessions.
May 24, 2022
Sublime.
There's a word I've always found a bit cheesy - a word I try to avoid using in writing. But, when it comes to the master's piano art, it is the word that comes to mind. Bill Evans's music was and is sublime.
How My Heart Sings is an engrossing read for any jazz lover. Peter Pettinger, himself an accomplished pianist, gives us not only a year-by-year account of Bill Evans's life but an actual song-by-song description of the legend's career work. There are people who listen to songs and forget them; people who listen and remember; then, there are those who listen to only the bass in a song, then the keyboards, then the percussion, vocals, horns...Pettinger is of this last group of music lovers.
How My Heart Sings is among the best of music biographies. I recommend that you listen to some Bill Evans before reading - Blue In Green, Some Other Time, Peace Piece, Emily... Use your earbuds and turn out the lights. Then, read the book. It's right up there with One Long Tune: Life & Music of Lenny Breau.
Evans, Ellington, Peterson. Experience the sublime.
There's a word I've always found a bit cheesy - a word I try to avoid using in writing. But, when it comes to the master's piano art, it is the word that comes to mind. Bill Evans's music was and is sublime.
How My Heart Sings is an engrossing read for any jazz lover. Peter Pettinger, himself an accomplished pianist, gives us not only a year-by-year account of Bill Evans's life but an actual song-by-song description of the legend's career work. There are people who listen to songs and forget them; people who listen and remember; then, there are those who listen to only the bass in a song, then the keyboards, then the percussion, vocals, horns...Pettinger is of this last group of music lovers.
How My Heart Sings is among the best of music biographies. I recommend that you listen to some Bill Evans before reading - Blue In Green, Some Other Time, Peace Piece, Emily... Use your earbuds and turn out the lights. Then, read the book. It's right up there with One Long Tune: Life & Music of Lenny Breau.
Evans, Ellington, Peterson. Experience the sublime.
March 6, 2024
Ååååå Bill Evans har hela mitt hjärta! Jag absolut älskade att få lära mig mer om hans liv och hans verk! Det var något speciellt hur hans spelande är beskrivet och nästan ögonöppnande för man inser att det är sant. Fantastiska människa.
July 12, 2015
Evans is one of the most lyrical and sensitive piano players in any genre of music. Wonderful composer, too, but this bio is clunky and rather flat. It's a sad, sorta paint by numbers affair here with respect to storytelling.
September 23, 2015
I didn't expect that reading a biography of one of my favorite musicians would be so enjoyable. It transformed my experience of listening to his albums. There are a few bits of notated music in the book used to illustrate a point, but they were a bit above my skillset to grok.
March 13, 2018
A very good review of this brilliant musician's triumphs and tragedies. Bill Evan's contributions to modern music were profound and intellectual, yet accessible and deeply emotional. I still mourn his passing - after all these years.
March 22, 2018
This is the only complete biography of the jazz pianist Bill Evans. It lacks in personality, which is made up for with stories about Bill Evans, who was quite the character himself. I suppose that is the downside to non-fiction. A must-read for ardent fans of Bill Evans.
7.5/10
7.5/10
December 30, 2018
Bill Evans is one of my all-time favorite piano player so I was predisposed to like this book. Pettinger lays out such a great examination of Evans life in four sections. Going through all of evans's highs and lows... and really low lows.. made for captivating reading.
October 4, 2023
Bill Evans’ music has accompanied me throughout my whole adult life. My brother, Julian, introduced me to the album Portrait in Jazz when I was 16, and I would use it as background music while studying. At the time, I was drawn to it mainly due to the fact that it was an instrumental album which (with alternate takes) lasted about an hour - the upper end of the duration of my focus back then. Over time, I developed a deeper appreciation of it; Evans’ sublime lyricism, LaFaro’s expressive and expansive lines, Motian’s steady propulsion and above all, the space which the trio afforded each other. I know nothing about the reading and writing of music, nor of the technical and mathematical principles underpinning the writing of music, but the trio’s chemistry (what Pettinger calls “in-group affinity”) was conveyed very clearly to me very early on in my attempts at a careful listening of this album. Evans would probably attribute this to his idea of the innate (and often quoted) “universal music mind” which he believed every individual, lay and trained, to possess. Maybe, though that cannot and does not discount the synergy with which the band plays on this album. Of an example of their playing, Pettinger writes, more eloquently than I ever can, “finally, the note was delivered with total confidence in Scott LaFaro’s richly supporting bass line, which was used as a cushion upon which to rest and blend the tone. The note sang.” This is the first feature of the trio’s playing which struck me.
The second feature, which relates to Evans in particular, is the feeling that his playing was speaking to me directly. Pettinger captures this feeling brilliantly, writing that “a listener felt like an eavesdropper, communing on a privileged, one-to-one level” with Evans. Related to this is the introspection which I feel Evans’ music provokes in his listeners. Here, I am likely biased by the iconic image of Evans hunched over his instrument, his focus absolute. Nat Hentoff recalls “his narrow back hunched over the piano, Evans, after a few minutes, gives the impression of having entered the instrument. The body we see is simply a husk waiting to be filled again when the set is over.”
For those interested in jazz history or Bill Evans in particular, this is a magnificent and moving book. Pettinger’s writing is beautiful, full of empathy and nuance. The book is not an exhaustive biography, but instead chooses to focus on the salient points of Evans’ life, with particular focus on his discography as well as the context in which, and the motives with which, each album was conceived and each trio was assembled. It is truly a book to savour. Bill Evans’ music is eternal, and I think this is a lovely accompaniment to a body of work of such width and depth.
The second feature, which relates to Evans in particular, is the feeling that his playing was speaking to me directly. Pettinger captures this feeling brilliantly, writing that “a listener felt like an eavesdropper, communing on a privileged, one-to-one level” with Evans. Related to this is the introspection which I feel Evans’ music provokes in his listeners. Here, I am likely biased by the iconic image of Evans hunched over his instrument, his focus absolute. Nat Hentoff recalls “his narrow back hunched over the piano, Evans, after a few minutes, gives the impression of having entered the instrument. The body we see is simply a husk waiting to be filled again when the set is over.”
For those interested in jazz history or Bill Evans in particular, this is a magnificent and moving book. Pettinger’s writing is beautiful, full of empathy and nuance. The book is not an exhaustive biography, but instead chooses to focus on the salient points of Evans’ life, with particular focus on his discography as well as the context in which, and the motives with which, each album was conceived and each trio was assembled. It is truly a book to savour. Bill Evans’ music is eternal, and I think this is a lovely accompaniment to a body of work of such width and depth.
March 28, 2019
Summary:
Born in 1929 in Plainfield, New Jersey, Bill Evans grew up in a musical household, with his father Harry singing regularly in a barbershop quartet and his mother being a singer and classical pianist. He branched off and studied not only piano, but violin and flute. However, it was clear from a young age that Evans preferred the piano, having sightread and studied a number of works by the classical masters by the age of 13.
Evans garnered a taste for improvisation--a key element of jazz music--by playing with a local Dixieland band. He specifically recalled creating a new riff on a tune called "Tuxedo Junction," and subsequently became fascinated by the mechanics of music created in the moment. He found it very challenging to determine what medium of piano playing was right for him, as he enjoyed both classical and jazz music.
After high school, Evans attended Southeastern Louisiana University on a flute scholarship, playing in the college band while continuing his piano studies. Following college, he served a short stint in the Army, also playing flute and piano. Evans remembered facing lots of adversity during his time in the Army, and felt it was necessary to take a sabbatical. Lacking confidence in his own playing, he spent an entire year at home developing his chops. Evans was again faced with a hard choice: classical or jazz? Evidently he chose the latter, as he would become considered one of the most well-respected jazz pianists of the 20th century. But by no means did he arrive at that point naturally.
Knowing that the Big Apple was where everything was "happening," Evans moved and took musical odd jobs to pay the bills. He would occasionally sit in on jazz gigs, but these were few and far between. However slow the career advancements were, he persevered. His patience and work ethic eventually paid off, as by 1958 he was playing and recording with the legendary Miles Davis. Evans' session work on the landmark album Kind of Blue would skyrocket his career.
While his small-group work with horns was nothing less that transcendent mastery, Evans felt most comfortable playing with bass and drums. His several recordings with luminaries such as Scott LaFaro , Paul Motian, Chuck Israels, Larry Bunker, Eddie Gomez, Marty Morell, Elliot Zigmund, Joe LaBarbera, and Marc Johnson would set the standard for how a jazz piano trio interacted. Evans' playing and development influenced--and continues to influence--jazz artists and classical musicians alike.
Despite his success as a musician, Evans couldn't hold down a stable life. He dabbled with drugs, struggling with a heroin addiction for years and a cocaine addiction later in his life. His first wife and brother tragically committed suicide. He was rarely home due to his demanding tour schedule. The melancholy and mourning nature of his music was seemingly reflective of his descent into personal chaos leading up to his death. Evans passed in the fall of 1980 due to liver complications/hepatitis, likely exacerbated by drug use. Evans is not only remembered by fans, friends, and family for his beautiful music, but for his calm and kind presence. Even to this day, Bill Evans' music continues to inspire thousands, if not millions of listeners from around the world.
Overview:
Bill Evans' music is one of the biggest influences on my own playing. I found the book a wonderful resource for digging into the nitty-gritty details of the jazz giant's life, musical and otherwise. Peter Pettinger, the author/concert pianist, is the perfect man for the job, as he writes intelligently about Evans in a way that makes it informative and engaging.
Cons:
One of the most challenging aspects of the book is keeping track of all the names/places/events that occur. Non-musicians may have to do some research to understand all the references Pettinger makes.
Pros:
The wonderful and thoughtful details collected by Pettinger add so much depth to the story of Evans' life. The book also comes with a thorough discography, several pictures, and some music examples. While his writing and research is an adequate sketch of Evans's life, these "bonus features" are excellent supplements.
Offensive Content:
Some readers might struggle reading about the several problems that plagued Evans' social and familial life. Details about Evans' drug problem and his wife's and brother's suicides may be difficult to digest. Some foul language also appears.
Two Excerpts:
1. (George Russell on how Bill Evans met Miles Davis):
Miles was having a problem with substance abuse in his band and asked me if I knew of any pianist who could play the job. I recommended Bill.
"Is he white?" asked Miles.
"Yeah," I replied.
"Does he wear glasses?"
"Yeah."
"I know that mother******. I heard him at Birdland--he can play his *** off. Bring him over to the Colony in Brooklyn on Thursday night..."
(Pettinger):
Evans gave a different account, Miles's growl and all: "Although I'd never really met the man, the phone rang one day and I picked it up and said hello and I hear, 'Hello. Bill this is Miles--Miles Davis. You wanna make a weekend in Philadelphia?' I almost--you know--fainted; I made that weekend in Philadelphia and he asked me to stay with the band."
2. The [Village] Vanguard's policy at that time was to schedule a Sunday matinee as well as an evening performance, and those afternoon sessions--like the one that Peter Titelman and his father attended--were a focus for the most discerning jazz audience in New York City. On June 25, 1961, the trio played five sets--two in the afternoon and three in the evening--each one comprising four or five numbers and lasting about half an hour. The long day afforded the Riverside team generous leeway for whatever recording hazards might arise on site. And so, with the pianist himself finally in favor of the project, the equipment was lugged downstairs and the scene set for a memorable day's recording. Two albums resulted at the time: Sunday at the Village Vanguard and Waltz for Debby, a further selection of takes appearing posthumously as More from the Village Vanguard.
Born in 1929 in Plainfield, New Jersey, Bill Evans grew up in a musical household, with his father Harry singing regularly in a barbershop quartet and his mother being a singer and classical pianist. He branched off and studied not only piano, but violin and flute. However, it was clear from a young age that Evans preferred the piano, having sightread and studied a number of works by the classical masters by the age of 13.
Evans garnered a taste for improvisation--a key element of jazz music--by playing with a local Dixieland band. He specifically recalled creating a new riff on a tune called "Tuxedo Junction," and subsequently became fascinated by the mechanics of music created in the moment. He found it very challenging to determine what medium of piano playing was right for him, as he enjoyed both classical and jazz music.
After high school, Evans attended Southeastern Louisiana University on a flute scholarship, playing in the college band while continuing his piano studies. Following college, he served a short stint in the Army, also playing flute and piano. Evans remembered facing lots of adversity during his time in the Army, and felt it was necessary to take a sabbatical. Lacking confidence in his own playing, he spent an entire year at home developing his chops. Evans was again faced with a hard choice: classical or jazz? Evidently he chose the latter, as he would become considered one of the most well-respected jazz pianists of the 20th century. But by no means did he arrive at that point naturally.
Knowing that the Big Apple was where everything was "happening," Evans moved and took musical odd jobs to pay the bills. He would occasionally sit in on jazz gigs, but these were few and far between. However slow the career advancements were, he persevered. His patience and work ethic eventually paid off, as by 1958 he was playing and recording with the legendary Miles Davis. Evans' session work on the landmark album Kind of Blue would skyrocket his career.
While his small-group work with horns was nothing less that transcendent mastery, Evans felt most comfortable playing with bass and drums. His several recordings with luminaries such as Scott LaFaro , Paul Motian, Chuck Israels, Larry Bunker, Eddie Gomez, Marty Morell, Elliot Zigmund, Joe LaBarbera, and Marc Johnson would set the standard for how a jazz piano trio interacted. Evans' playing and development influenced--and continues to influence--jazz artists and classical musicians alike.
Despite his success as a musician, Evans couldn't hold down a stable life. He dabbled with drugs, struggling with a heroin addiction for years and a cocaine addiction later in his life. His first wife and brother tragically committed suicide. He was rarely home due to his demanding tour schedule. The melancholy and mourning nature of his music was seemingly reflective of his descent into personal chaos leading up to his death. Evans passed in the fall of 1980 due to liver complications/hepatitis, likely exacerbated by drug use. Evans is not only remembered by fans, friends, and family for his beautiful music, but for his calm and kind presence. Even to this day, Bill Evans' music continues to inspire thousands, if not millions of listeners from around the world.
Overview:
Bill Evans' music is one of the biggest influences on my own playing. I found the book a wonderful resource for digging into the nitty-gritty details of the jazz giant's life, musical and otherwise. Peter Pettinger, the author/concert pianist, is the perfect man for the job, as he writes intelligently about Evans in a way that makes it informative and engaging.
Cons:
One of the most challenging aspects of the book is keeping track of all the names/places/events that occur. Non-musicians may have to do some research to understand all the references Pettinger makes.
Pros:
The wonderful and thoughtful details collected by Pettinger add so much depth to the story of Evans' life. The book also comes with a thorough discography, several pictures, and some music examples. While his writing and research is an adequate sketch of Evans's life, these "bonus features" are excellent supplements.
Offensive Content:
Some readers might struggle reading about the several problems that plagued Evans' social and familial life. Details about Evans' drug problem and his wife's and brother's suicides may be difficult to digest. Some foul language also appears.
Two Excerpts:
1. (George Russell on how Bill Evans met Miles Davis):
Miles was having a problem with substance abuse in his band and asked me if I knew of any pianist who could play the job. I recommended Bill.
"Is he white?" asked Miles.
"Yeah," I replied.
"Does he wear glasses?"
"Yeah."
"I know that mother******. I heard him at Birdland--he can play his *** off. Bring him over to the Colony in Brooklyn on Thursday night..."
(Pettinger):
Evans gave a different account, Miles's growl and all: "Although I'd never really met the man, the phone rang one day and I picked it up and said hello and I hear, 'Hello. Bill this is Miles--Miles Davis. You wanna make a weekend in Philadelphia?' I almost--you know--fainted; I made that weekend in Philadelphia and he asked me to stay with the band."
2. The [Village] Vanguard's policy at that time was to schedule a Sunday matinee as well as an evening performance, and those afternoon sessions--like the one that Peter Titelman and his father attended--were a focus for the most discerning jazz audience in New York City. On June 25, 1961, the trio played five sets--two in the afternoon and three in the evening--each one comprising four or five numbers and lasting about half an hour. The long day afforded the Riverside team generous leeway for whatever recording hazards might arise on site. And so, with the pianist himself finally in favor of the project, the equipment was lugged downstairs and the scene set for a memorable day's recording. Two albums resulted at the time: Sunday at the Village Vanguard and Waltz for Debby, a further selection of takes appearing posthumously as More from the Village Vanguard.
January 4, 2021
This is truly an incredible work filled with engaging personal stories, behind-the-scenes looks at the world of jazz in the studio and on stage, and a deep exploration of the music of Bill Evans from the perspective of a highly knowledgable musician in Peter Pettinger.
The detailed descriptions of Evans’s performances are highly immersive and artfully depicted. I’ve never experienced technical musical language telling a story in the way Pettinger was able to do. I thoroughly enjoyed the journey! (My favorite way of reading was to play the albums being described and use the writing as a guide, further diving into the experience.)
It’s also a story of tragedy and loss told alongside the triumphs of love, artistic expression, and creative genius. We clearly see the heartbreaking reality of a tormented soul and a life cut too short can be painful to absorb. But from that same soul came a beauty and invention that has inspired (and will inspire) countless musicians for generations.
This book has given me such a deep appreciation for the heart and genius of this legendary artist.
The detailed descriptions of Evans’s performances are highly immersive and artfully depicted. I’ve never experienced technical musical language telling a story in the way Pettinger was able to do. I thoroughly enjoyed the journey! (My favorite way of reading was to play the albums being described and use the writing as a guide, further diving into the experience.)
It’s also a story of tragedy and loss told alongside the triumphs of love, artistic expression, and creative genius. We clearly see the heartbreaking reality of a tormented soul and a life cut too short can be painful to absorb. But from that same soul came a beauty and invention that has inspired (and will inspire) countless musicians for generations.
This book has given me such a deep appreciation for the heart and genius of this legendary artist.
February 19, 2025
I read a lot of jazz biographies but as a non musician find a lot of them quite challenging, as talk of composition is completely lost on me. Given this book is written by a concert pianist I approached it with some trepidation. Whilst there is plenty in the book that you'd need to be able to read music to appreciate there's still enough to enjoy for non musicians. I was a fan of Evans before I read it but have finished the book with a greater appreciation of his influence and his genius. Recommended.
February 6, 2023
An enjoyable portrait of Bill Evans. Most valuable from the book is understanding the progression of his career, musical growth and chronological discography. It was a bit lacking on insight into the life of the man, but then again, this wasn’t an autobiography and I don’t know if any such insight exists into Bill Evans.
October 9, 2023
Buenazo, aunque pensado para músicos y geeks del jazz. A ratos sobreabunda la información, y eso no ayuda a seguir la narración ni entender tan bien al biografiado.
October 22, 2019
Read this with my friend so we could nerd out about this amazing piano player that I've always held in high reverence, but have yet to really dive into the discography. One of the most challenging things about reading this book was when the author would talk about specific songs or albums; I felt the need to put down the book and listen to the actual tracks, which I often did. The untimely passing of Scott LaFaro, weeks after the legendary live Vangaurd recording, was one of the first scenes that hit me especially hard. The author accurately describes Bill Evans' playing as pure expression and emotion. This book significantly raised my appreciation for his sense of harmony and chords, while also illuminating the totally incomprehensible mastery that Bill Evans seemed to possess out the gate. Props to Eddie Gomez as well, dude crushes the bass.
April 26, 2021
It’s more a critique of every song and concert he ever did, and less about the actual man, Bill Evans, or his life. I found myself looking up music theory to try and understand the descriptions of various recordings and songs, which was a great learning tool, but not why I wanted to read the book. Think I was hoping for some my stories, and insight into the mind of Bill Evans. How he felt working with other musicians, why he made certain musical choices.
Instead the book read more like musical analysis, which often went over my head. I might have enjoyed it more if I had a better grasp of music theory and specifically jazz piano theory.
If my piano teacher wasn’t also reading this book, I would have put it down. I was hoping it would spark conversations, but again it only highlighted my lack of theory. Also, I was not familiar with his music before starting this book, so I spent a lot of time listening to the various albums and songs. This was a fun part of going through the book, but I still feel too much was beyond my musical knowledge. That said, I’m now a Bill Evans fan.
The good... I have started and stopped the famous Thelonious Monk book, by Robin Kelley many times. Now, with slightly better knowledge of theory and already being very familiar with Monk’s music, I have hope the next time I pick it up, I might finish it.
Instead the book read more like musical analysis, which often went over my head. I might have enjoyed it more if I had a better grasp of music theory and specifically jazz piano theory.
If my piano teacher wasn’t also reading this book, I would have put it down. I was hoping it would spark conversations, but again it only highlighted my lack of theory. Also, I was not familiar with his music before starting this book, so I spent a lot of time listening to the various albums and songs. This was a fun part of going through the book, but I still feel too much was beyond my musical knowledge. That said, I’m now a Bill Evans fan.
The good... I have started and stopped the famous Thelonious Monk book, by Robin Kelley many times. Now, with slightly better knowledge of theory and already being very familiar with Monk’s music, I have hope the next time I pick it up, I might finish it.
October 15, 2017
I enjoyed this book as a fan of Bill Evans' music... and I respect the effort the author must have put into this encyclopedic record of Evans' recordings and gigs... but in the end this biography comes up short because it is mostly just that: a very detailed discography and log of gigs. If you are seeking to understand Bill Evans the man - and how tragedy, disease and drug use shaped his life and his music - you will not find it here.
Evans spent twelve years of his life with a woman, who after their breakup, threw herself in front of a subway train. The event merits one small paragraph in this volume. Evans' relationship with his brother Harry is so foundational - and one wonders how Harry's depression and suicide must have affected Bill... how all these cascading tragedies must have impacted Evans' decisions regarding his family, his health and his drug use. You won't find any answers - Harry's depression and suicide get only a couple sentences before the reader is treated to more details of gigs and record contracts.
This is a great resource for the music scholar and for some die-hard Bill Evans fans, but we are left to hope that this man's fascinating life gets a more critical examination somewhere down the line.
Evans spent twelve years of his life with a woman, who after their breakup, threw herself in front of a subway train. The event merits one small paragraph in this volume. Evans' relationship with his brother Harry is so foundational - and one wonders how Harry's depression and suicide must have affected Bill... how all these cascading tragedies must have impacted Evans' decisions regarding his family, his health and his drug use. You won't find any answers - Harry's depression and suicide get only a couple sentences before the reader is treated to more details of gigs and record contracts.
This is a great resource for the music scholar and for some die-hard Bill Evans fans, but we are left to hope that this man's fascinating life gets a more critical examination somewhere down the line.
July 1, 2013
Pettinger was an international concert pianist who taught music at Cambridge. He was also a longtime fan of Bill Evans. His deep knowledge of both the piano and evan's works makes this a rich musical biography. Pettinger is an excellent and perceptive listener and I think it's this ability as a listener that benefits the book. Despite his specialized knowledge of music, music theory, and piano technique, he writes about Evans' music as an excellent listener rather than from an overly technical or academic perspective. Although its' primarily about Evan's music, it is not academic music theory. I really liked Pettinger's extensive knowledge of Evan's recorded output, including bootleg recordings, and early role as a sideman for various other projects.
Although it is a bio of Evans, Pettinger does not focus much on the non- musical side of evans' life. Pettinger doesn't delve too deeply into Evans the person. You do get some glimpses of junkie hijinx throughout his life, but the book never spends much time on Evans' psychological or emotional history. As a musical bio of Evans, though, really good.
Although it is a bio of Evans, Pettinger does not focus much on the non- musical side of evans' life. Pettinger doesn't delve too deeply into Evans the person. You do get some glimpses of junkie hijinx throughout his life, but the book never spends much time on Evans' psychological or emotional history. As a musical bio of Evans, though, really good.
August 14, 2017
Bill Evans is arguably the greatest jazz musician to ever play piano, a big claim considering the pantheon of legends who have also played what I consider to be my favorite instrument.
So it seems almost like an oversight on the universe's part that Evans for all of his accolades doesn't really have a lot of reading material out there about him as an individual.
Pettinger's Bill Evans: How My Heart Sings looks to fix that oversight. Does it get the job done? Yes and no.
It's clear the amount of respect that Pettinger has for Evans and his work as a musician. The biography itself clocks in at less than 300 pages and largely focuses on Evans discography.
Some of the larger details of the man's life don't really seem to get much room or even an explanation in some cases. Whether this is due to a lack of information available or the author's desire to examine Evans from largely a musical perspective is unknown.
However, fans of Evans and his work will find something to take away from this biography.
So it seems almost like an oversight on the universe's part that Evans for all of his accolades doesn't really have a lot of reading material out there about him as an individual.
Pettinger's Bill Evans: How My Heart Sings looks to fix that oversight. Does it get the job done? Yes and no.
It's clear the amount of respect that Pettinger has for Evans and his work as a musician. The biography itself clocks in at less than 300 pages and largely focuses on Evans discography.
Some of the larger details of the man's life don't really seem to get much room or even an explanation in some cases. Whether this is due to a lack of information available or the author's desire to examine Evans from largely a musical perspective is unknown.
However, fans of Evans and his work will find something to take away from this biography.
April 13, 2016
Exploration that blends sketch of Evans' personality (and incidentally without much on motivation or impact, his drug use), and more detailed description of his skill and musical philosophy, including complete discography, and session and concert history. Engagingly, appreciatively, almost worshipfully written. Detailed assessment of pieces in recordings and concerts that pianists and musicians will especially appreciate, but also easily accessible to non-musicians who just hear magic happen when listening to an Evans' recording - the author highlights the unique or distinct features on the recordings. Pettinger's drilling down into each recording provides a valuable opportunity to learn from listening to the album. The detailed accounting of recordings and concerts feels long and repetitive by the end.
January 19, 2015
Interesting biography of the fantastic jazz pianist Bill Evans. This book is written by a piano player and goes into great depth about the actual music that Evans played. For musicians this makes for a great read.
For those who are not musicians or are not familiar with the work of Evans this book is not esspecially interesting as the actual details of Bill Evans life, particularly after he became a famous musician are pretty sketchy. In fact the author seems to go out of his way to avoid the elephant in the room of Evan's heroin addiction and ongoing drug abuse.
If you are a musician and love the work of Evan's...as I do...then you'll likely find this book to be a good read. Not a fan...you probably won't be won over by this book.
For those who are not musicians or are not familiar with the work of Evans this book is not esspecially interesting as the actual details of Bill Evans life, particularly after he became a famous musician are pretty sketchy. In fact the author seems to go out of his way to avoid the elephant in the room of Evan's heroin addiction and ongoing drug abuse.
If you are a musician and love the work of Evan's...as I do...then you'll likely find this book to be a good read. Not a fan...you probably won't be won over by this book.
August 28, 2012
Very good biography of the troubled jazz pianist. The music theory seems excellent, although I don't know enough to evaluate it. My one complaint is that he doesn't say much about Bill's drug use and the damage that it did until Bill is dying. His death almost comes out of nowhere, and yet it reads as if we should have seen it coming. Nevertheless, a very good book on Evans and jazz in general.
October 30, 2015
An in depth look at one of the greatest, if not the greatest jazz pianist of all time. Chock full of interesting and detailed anecdotes that jazz enthusiasts are likely to appreciate almost as much as jazz scholars, lovers of Evans's music, and musicians themselves. An excellent biography, worthy of a slow, thoughtful read.
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