ET TE Re Warren Bernhardt Chuck Israels Peter H. Larsen Ron Nethercutt Board of Advisors: ABi-Monthly Pre to Dette Bi rsee og Bill Evans SSCL ame ea Us) ‘Sep/Oct, 1991 ISSN # 1056-4170 News Tris issue could be described asan issue of discov- cry. I have discovered several new jez pianists ‘who are saying something new. They are doing it with varying degrees of success, but L admire their ‘will, determination, and their music. ‘Another delightful discovery isthe writing talent of LFE sibscriber Ted Gioia, His approach to jazz writing is among the best that Thave encountered. His insights and perceptions are those of a musician who listens. His writing is clear, concise and straightforward. Don't miss any opportunity to read what this guy hes to say mAs this issue goes to press, the Russian Military Estab- lishment has taken over the goverment in that country and isposcd its leader Mikhail Gorbachev. Bill Evans's mother and Bill and Harry Evans felt a close Kinship to macther Russia. Bill Evans refused ro do a coucert tour in that country for political xeasons. Most jazz musicians steer clear of polities, but Bill Evans was concerned about these matter. Twas talking to a local U.S. Post Office employee recently (where I spend 2 lot of time), and noticed that East Germany and West Germany were still lisied as separate countries. He ‘explained that the U.S. Post OF fice wasin the process of chang- ing this designation to more accurately reflect the present and suggested that all mail to ‘either country simply te labeled GERMANY. I joked with the clerk, asking him if this was a permanent change. News... Letters. . Corrections j Book Reviow-Tod Giol In this issue: Audio Reviews, Gioia, Hersch S Music Printing Software Reviews. . Bill Evens-Since We Met-Review . . - "B Minor Waltz” - Jack Reilly .. . - TRO now publication ad Vol. 3, Number 1, Price $5.00 This issue bas the first majoraricte about mousic software. Itis timely, since Thave received calls from subscribers and others interested in what I use to publish the musical exam ples in LFE. Four companies have been kind enough to furnish review packages. I'm no MIDI-MAN, just an acous tic bass player who needs to notate readable music in profes- sional and educational contexts. I've reviewed these packages from that perspective fm In-the-Works Department I've started on an index to LFE. Once completed, it will be ‘updated and printed regularly in the publication. Also, I'm working on a complete list of music written by Bill Evans, ‘whether it has been published, and its carrent availability. I'l include individual cones printed in antholo books, both legitimate and illegitimate. The other day I found my wife Ellen (a legit flutist and Associate Bitor of LFE) playing Bill's “TT:T. Twelve Tone Tune.” She remarked ‘whata pleasure it was ta play 2 twelve fone row that was so ‘melodic, Bill was So dedicated to melody that the technical sequizement of using all twelve notes in a row before repeat inga note did nat impede his gift for melodic flow. It's great tune, and it weaves an indelible tack in my brain just as the more conventionally melodic Waltz for Debby” of “Laurie.” Coming soon t© these pages will be an interview with Pat fans, widow of Bill's brother Harry, father of Debby in “Waltz for Debby.” Thanks to LFF Beard ‘of Advisors member Ron Nether- cet for this. mt Renewals are coming in stead ily, and many have been geverors with gifts above and beyond the subscription price. They are listed elsewhere in this issue, Thanks very much,Letter from Evens, September/October, 1991 Tho Jazz Contral organization gave another tribute concert to Bill Evans on Saturday, Aug. 17, 1991, at § PM at the Musicians’ Union Building, Local 47, Ametican Federation of Musicians in Hollywood, CA. This Concer is always sched Uled on the Saturday evening closest to Bill's birthday, Aug, 16, 1929, Scheduled wo play were the Mike Melvoin Tio, the Joanne Graver Trio, and fluglehomist Stacy Rowles. | coald ‘otattend this year. LFE subscriber and well known jazz writer Scott Yenow, attended the concer and recently sent me a review. It wll bein the next issue. ‘That evening was not without some musical rewards, iow- ever as I was Incky enough to play in a band opposite Mel “Torme and his trio. Former teaching associate, guitarist, pian istextraordinate and friend, Jack Peterson, played piano inthe Tobby, Jack and I worked together atthe University of North Floida, Pianist and LFE contributor, Frank D. “Bubba” Kolb, played inside with me on electronic instruments, That group played the more mundane, popular dence music forthe con- vention atlendees. 1's dirty job but someone tis to doit Tt was a pleasure to hear Mel. This was my second time. ‘The first took place sbout Ld years ago with a big band lead by Al Porcino. Mel sounded fine. Mel's book, Traps, The Drars Wonder, The Life of Buda Rick (Oxford University Press, $21.95, ISBN 0-19-S0738.0) i fresh off the press. Most readets are protably aware ofthe famous tape that has cicu- lated among musicians of Buddy fing one of his band mem- ‘bers, something be did with regularity. Beneath the difficult personality was a prest musician and complex person. Though tot within the scope of this publiation to review, it should provide interesting reading and a good example of Mcl’s Ierary sks. ‘Mel’s show was sort of an abbreviated, Me sings his hits version. This performance was for @ convention of drug deal- xs. | guess Fé better clarify that. The convention was an ‘organization ef actional drug store chains, Isuppoce Tmay got Phone calls now fram some of my seedier acquaintances saying, “Hey man, { dida'tnow we had a convention Letters A Jaze 6, 1991 Deat Win, AAs an Evans aficionado for over twenty years, as well as a {ened of Bill's in the last few years of his life, Ifeel compelled to respond to the disappointing and somewhat illogical review by Sean Petrahn of “Solo Sessions, Vol. I” from the May/June 1991 Issue. Primasily, [feel that Sean has misunderstood the “spirit” of the recording and its value as a kind of “Porta of the artist ‘a8 4 young man" (apologies to James Joyce). The reviewer"s remark that *we have no right to eavesdrop” shows a lack of LETTER FROM EVANS is pubished six imes a year ‘at an annual subscription rato of $20.00 (oulk rate) in the continental United States, $25.00 first class; $25.00 (thid class) in Alaska, Hawaii, Canada, and Mexico: The rate in all other countries is $95 (lunds in US. dollars). Previous issues are available at $7.00 each ($8.50 fcreign). The opinions expressed horein are not necessarily those of the Pubishei/Edi- tof, Win Hinkle, or the Board of Advisors. Leiters to ‘he oditor are weleomo on any subject. Advorising \will be accepted from firms that nave @ product of ‘genuine inierest to the Bill Evans enthusiast. A rato card ie available on request. Non-commercial sources of Bill Evans materials may present notices fot possible inclusion in LFE, The final determination of suitability will be made at the sole discretion of the Publishe:/Editor. The cover loge, based on a photo- ‘graph by Jim Marshall, was designed by Mike Ning and is used by permission. ‘Board of Advisors: Warren Bernhardt Chuch Israels Ren Nethercutt Peter H. Larsen Jack Reilly Staft Win Hinkle, Publisher/Editor Ellen Hinkle, Editorial Assistant Bolsy Hinkle, Production Assistant ‘Mr. MeGoo, Proofreader Letter from Evans Win Hinkle, Editor 2712 Cady Way Winter Park, FL 32792-4856 USA. Voice Phone (407) 678-7113 FAX (407) 678-7049 Letter from Evans-Japan William Montgomery, Editor Homat Orient #404 22 Iehibencho, Chiyoda-ku Tokyo 102, Japan Phone 011 813 237 1348 DISCLAIMER The editor/publisher, writers, end members of the Board of Advisors of LETTER FROM EVANS have never knowingly endorsed or promoted any illegal audio or video recordings.Letter from Evans, September/October, 1991 ‘understanding in general of, firsly, how many releases were, if you will, “unauthorized” by some artists (and released posthumously) throughout the last two decades of jazz, and secondly, the intrinsic merit of being able to hear Bill in raw form, working it out on the spot. Itisarare glimpse into Bill’s ‘mind, very much like most of side two of the “Eloquence” release on Fantasy, recorded in 1975. Lincr notes waiter Don [Nelson wrote of those sessions, “They reveal Evans as the dual person all artists are: the prober and the achiever,” and that, “We have been able wo hear him musing over something not yet within his grasp.” Pechaps Petrahn feels that the only ‘valuable work worth hearing from a master such as Billi that which is polished and finished. With this atitede in mind, it ‘might follow that Sean's musical mind could never acceptsuch milestone sessions as the Miles Davis January 1993 one with young Sonay Rollins and Bird ontenor sizes. The A&R man (iru Gitler) acknowledged that it was a bad day for everyone involved, yet produced music of particular historical impor- tance; or even Dean Bencderti's solo cxcerpts he recorded of Bird playing “live” in the fortes. The history of recorded jazz is filled with what could be perhaps considered “unacceptable” performances (ky the likes of Petraln and others) but have, in retrospect, become intimate peekings into the creative genius ‘of those who created them. ‘Scan is comect in saying that Bill would probably nothave approved of this release, all the rmore <9 in light of his wlira- perfectionist tendencies as a recording artist, which are well- ‘documented. I conversed with Bill myself several times about thie back in the seventies, and this was while he played ‘oat-takes for me from the Columbia Bill Evans Album, George Cleve, writing for thenotes for the Jncuition album wert so far as tomuse about the possiblity of Bill releasing an album of, all the takes of a given tune, humorously adding that it could, ‘be called Take Your Choice. Such was the sustaining interest in all the unrcleased takes Cleve heard while attending those Evars-Gomez duo sessions. Keepnews” comment that these solo sessions are “remarkable recordings” remains tmue, de- spite Mr. Petrahn's faulty reasoning. As a professional pianist ‘myself, | appreciate bearing Bill “naked and unashamed ‘you will — willing to take chances, knowing hie profession- alism and depth of knowledge will make it worthwhile, even ifbe is experimenting. ‘Some other observations: Sean’s statement thatthe open- ing of "What Kind of Fool Am 17” sounds “as if he doesn't, Jew the tune” is sheer absurdity and musically jgnorent as, ‘well. Bill's use of the first three notes of the melody, corning, own a fourth each time to finally rest in E Major, sews the ‘mood and cteatcs a definite impressicnistic metif while using, the sustain pedal. Sean thinks Bill’s wait the modulation to G Major ("to get a groove going”) is somehow the pianist's eficiency. I contend the deficiency is Petrakn's misunder standing of Bill's musical tendencies and stylistic tools. There are many tracks ia the Evans catalogue where Bill's tematic, siatement is intentionally rubato, even “unrhythiic™ in the sitict sense; thie was a device that, in my view, was one of Bill's favorites: He allowed usto get inside the structure from theoutside in, letting the Hstening “drink in” his rich harmoni ‘approach. It escapes me how anyone who loves Evans” music ‘could miss this Tim glad that the reviewer found that Bill is “having fun and has “complete control” of his harraonic vocabulary, re- sgading the "My Favorite Things” wack, He then calls “Easy to Love” as worth to the exquisite “When I Fall in Love,” but Tean't kelp but remind the reader that Sean concludes the review by saying, “I woulda’t buy this one, but I'll et you decide.” T believe that should speak for itself in terms of Petrahr’s consistency of thought. Then again, be remarks that since the plano used on the date seems to need regulation and ‘new homrmers (“For this reason slone..”) he would not release this record. I thank God that Petrain wes not the head of a record corapany ia the sixties; we'd have precious few records bby not only Bill, bur Barry Harris (the piano on the Preminado LPs fat worse}, Monk, Red Gatland and others. Petrahn talks about Bill's “technical perfection” (yet com- plains of wrong notes in the Newly tune), and “total control” and “spontaneous awareness of what every voice (sound) is doing,” yethas the unmitigated gall to subjectively state that ‘New Jazz Conceptions was “mach more inventive onall evels than this one.” With all due respect, perhaps Scan should not beso arbitrary in his tastes ander listen moce deeply to Bll in all is glorious stylistic periods before offering such black- and-waite opinions, I am not stating that everything Bill ever played was biiliant — surely there are references in much of {juz literature to the problems of expressiveness during this 1962-63 period, especially the trio work — but I hear, like Keepnews and critie Martin Williams, a probing, self-reveal- ing and very private Bill Evans in this session that wams my heart and makes me smile, Sean Pe:rabn’s remarks can never Jessen the richness contained in this work and the valusble ackition itis to Bill's legacy for me and many other pianists 1 know who have been touched by its magic. ‘Warm regards, Jan R, Stevens Sean’s rebuttal Dear Mr. Stevens, My thesis stil stands, When an artist seys “no” to a producer, that producer must show respect for the integrity of the artist, and bura the tapes!!! | éonot apologize for the high standards by which I judge Bill Evans, for Lhave to answer to myself, as well. Sigmund Preud's legacy bac been grossly misinterpreted. He did not ‘mean that everybody “has the right to eavesdrop” on every body else, His message was dirceted to the average, normal, sane, individwalsheJshe should eavesdrop on their own uncon scious mind in otder to better understand the belavior of their ‘conscious tind with all its shortcomings. Page 3