Bill Evans: “Waltz for Debby”
Bill Evans Trio on “Waltz for Debby” LP (1961)
Bill Evans (1929–1980)
Bill’s piano playing is “like drops cascading down from a clear waterfall”. Not exactly known for making compliments, Miles Davis would however make an exception for Bill Evans and regularly paid tribute to his friend and ex-bandmate.
Bill Evans was one of the most influential Jazz players of the 20th century. Born in 1929 in Plainfield, New Jersey, the young Bill grew up in a family, which nurtured his formidable musical potential from a very young age. He graduated in Classical studies from Southeastern Louisiana University and, following a stint in the military, moved to New York City in 1955 to start a career in Jazz.
Playing for a few years as a sideman for various bands, Bill Evans quickly gained a lot of experience and a strong reputation within the Jazz circuit. This prompted Miles Davis to ask him in 1958 to tour with his Jazz sextet, whose members included masters such as John Coltrane and Cannonball Adderley.
Together they recorded in 1959 the all-time masterpiece “Kind of Blue” often dubbed by critics as the greatest record of Jazz. Evans had a major influence on the record, Miles Davis having planned the record around Bill’s piano playing.
By then, Bill decided to create his own band. In 1959 the Bill Evans Trio was born. This first trio featured Bill Evans at the Piano, Scott LaFaro at the double bass and drummer Paul Motian. This setting became legendary for the four albums it recorded between 1959 and 1961. Unfortunately the band ceased to exist in this form following the sudden death of the bass player Scott LaFaro in a car accident in early July 1961.
In June 1961, The Bill Evans Trio was booked for two weeks at the Village Vanguard, the famous club located for eighty years in Greenwich Village, Manhattan.
When Village Vanguard first opened its doors in 1935, it used to showcase various types of performances, mostly ranging from poetry reading, Blues and Folk music or standup comedians. As the 1930’s and 1940’s unfolded, Jazz gradually became a leading feature of the club. By 1957, the Vanguard eventually decided to turn itself into a Jazz club and started hosting the likes of Miles Davis, Charlie Mingus, Stan Getz or Bill Evans to mention a few.
Learning that Evans and his band were booked for two weeks at the Vanguard, producer Orrin Keepnews, who had already worked with Evans and his band, decided to plan for a recording of a few shows. These recordings were made on June-25th, 1961 and released a year later on two separate Live albums “Sunday at the Village Vanguard” and “Waltz for Debby”. Both albums are said to be amongst Jazz’s finest live-recorded performances.
O n the “Waltz for Debby” LP, the title track instantly captures the heart and souls of the listeners with its lyrical romanticism and its softness. Crafted with a simple melody and doted rich harmonies, “Waltz for Debby” is one of Evans finest compositions and has become a Jazz standard. The young Mr. Evans is said to have written the track for his little niece and was obviously very much inspired. “Waltz for Debby” is a joy to listen to and should be prescribed as a medicine to anyone fighting off depression.
Bill Evans had originally recorded a first one-minute version of this track on his first album “New Jazz Conception”, which he made in 1956. The performance of the Bill Evans Trio on the 1961 Live album hwever lasts much longer. This version gives you a sense of immediacy and proximity, not least through the sound of glass clicking and chats from the live audience. One can also hear the Trio having a good time as they laugh out through parts of the performance.
It is often said that French composers of the late 19th century such as Satie, Fauré or Debussy had influenced Bill Evans’ style.
Whereas the opening notes on “Waltz for Debby” are romantic and impressionist, Bill Evans also gets more percussive and expressionist in his playing as the track unfolds.
The track starts off on the mode of a soft lullaby and gradually gets jazzier with vivid exchanges between the LaFaro’s double bass’ humming sound and Bill Evans’ piano while Paul Motian steadily brushes hiss snare drum. This way, the music of “Waltz for Debby” turns out very atmospheric and very earthy at the same time.
This piece also reminds me of French Jazz composer, Michel Legrand whom Bill Evans had worked on “Legrand Jazz” LP in 1958. Similarly, its opening echoes some of the main theme of Jacques Tati’s timeless movie “Mr. Hulot’s Holidays” released in 1953.
