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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.
For over a year now, Evans had sported long hair and a moustache, and the choice for the trio of black tuxedos with pink frilly shirts was all part of the new character.
Here was a musician who had risen painstakingly to an enviable position in the jazz world by dint of dedicated application of his musical ideals and dogged hard work.
The latter is built on an extraordinary harmonic progression that seems truly to have no end, to "go into orbit", every once in a while returning hesitantly to itself, to then spin off again.
A piece that perfectly incarnates Evans' idea of harmony as an expansion from and return to the tonic.
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.
He was perfectly aware of the volume problems that a drummer, discreet as he may be, could pose to his music.
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.
And as can be seen from the following quotations from Peter Pettinger’s book about Bill and his music, Evans soon became equally at home at concert halls in Paris and Tokyo, Ronnie’s Scott’s club in London and the Montreux Jazz Festival in Switzerland as he was at The Village Vanguard in Greenwich Village, New York.“The French capital was to become one of the pianist’s favorite places to play, and over the next fifteen years he nurtured a special rapport with his audience there.
He played pieces that he hadn't played since the days of the trio with La Faro, like subtly suggest his loneliness, his "loss" - that destiny to be faced all alone, with darkness the single inescapable destination.
The critics pointed out, and not incorrectly, that this medley of original selections represented Evans' highest achievement as a composer, especially in terms of his ability to transform Broadway show tunes and worn-out standards into real "compositions", rich in content.