![]() With this he is able to wriggle variations here and there to keep it fresh while still maintaining the integrity of the strong structure he has built for the tune. I think it is because he thinks of his tune arrangements as structures (referred to in the famous interview with Marion McPartland). But somehow Evans manages (at least most of the time) to make what is planned feel present and alive. The solo is so memorable and integrated that it feels like it is part of the song. Alfie from Montreux II is a great example of this fully conceived composition that is both arrangement and solo – essentially the full experience of the tune as a jazz piece. “now I’m doing the head”, “now I’m doing solo”). How is the tune arranged and how does the solo spring forth from that? Many piano players make nice arrangements but there is often a sense of artificial division between the tune and the solo (i.e. The first level of continuity happens at the tune execution level. ![]() Tony Bennett talks about it in this video in their collaborations with Bill in the 70’s (around 3:58 in). As he explained previously, “…he has a reason for every note he plays.” Evans ponders carefully the concept he is using when recording, often working out specific details meticulously between takes. ![]() The hallmark of that solo and many others is the continuity of Bill’s conception. In the last post Bill Evans Explained Part 2, we were discussing the groundbreaking solo “Re: Person I Knew”.
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