Bill Evans was drafted shortly after he began his music career on tour with Herbie Fields. After three years in the service, he continued on tour while taking graduate school classes at Manne College in New York. At Manne College, he encountered George Russell, a pianist and composer who had a great influence on modal jazz. George Russell wrote Lydian Chromatic Concept of Tonal Organization, which presented the concept that the Lydian mode had a greater compatibility with tonality than the major scale did. Bill Evans, who was already familiar with Russell’s theory, began to work with him. In 1956, Russell assembled a group to make some recordings. This group, along with Bill Evans, included the great trumpeter Art Farmer, guitarist Barry Galbraith, and bassist Milt Hinton. Bill Evans, who had an important solo in the song “Concerto for Billy the Kid”, featured in Russell’s album, drew some attention from guitarist Mundell Lowe. Lowe convinced a producer to record Evans. “By 1956, he had alread...
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... would have various experiments, including those with Gary McFarland’s big band and Stan Getz. Upon these experiments emerged Conversations With Myself. Mostly, Bill Evans would continue to work with various trios, having encounters with some of the greatest Jazz musicians.
Bill Evan’s career as a whole was a series of influential movements into the modern jazz era. Through his work with Miles Davis, the album Kind of Blue would fuse rock and classical music into jazz. This would inspire many musicians not only from jazz, but in the rock era as well. His revolutionary approach to the trio, he would inspire generations of artists through the obstacles of a declining audience. In general, no word could describe Bill Evan’s career more than this: influential. Artists today are still influenced by his work, and artists in the future will continue to be influenced by him.
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