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The music on this tour, though, was presented in bolder more appealing strokes, while being at the same time more relaxed.
This was matched by a new awareness of public image.
That memorable concert was also the last occasion in which Evans availed himself of the collaboration of Chuck Israels.
A series of personality conflicts had finally succeeded in breaking down their four-year-plus working relationship.
Evans, in fact, revealed the best of his infinite harmonic vocabulary in that concert and, perhaps influenced by the setting of the hall itself, exhibited a variety in touch and sound quality worthy of a true classical concert musician.
The impressive way he was able to merge and become one with his instrument did the rest, and the resulting enthusiasm of the critics and the audience was justified.
When in the 1960s the music-for-the-masses and Free Jazz movements were inadvertently conspiring to reduce the public appeal of Jazz, Bill Evans was becoming a world-wide ambassador for the more serious, artistic aspects of the music.
A piece that perfectly incarnates Evans' idea of harmony as an expansion from and return to the tonic.Gomez, in fact, continued and extended La Faro's insights and contributed to making the bass an instrument "equal" to other melodic instruments in its expressive potential.In October of 1966 they made their first studio recording, alongside Evans [both LPs have been combined on one disc as Verve 837 757 2].The pianist was scheduled to give an important concert a few days later at Town Hall in New York City [, Verve 831-271-2].It was to be his debut at this prestigious venue and he was undecided as to whether he should cancel the engagement or not.