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Reader,
I told one of my students last week that I was on a serious Bill Evans kick. He laughed and said, "I've been on a Bill Evans kick for 30 years." Fair point!
I'm obsessed with 16 bars of his solo on Emily. It's a mini-masterclass in smooth voice leading, perfect rhythm, and colorful target notes.
Here’s exactly why I can’t stop listening…
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Join our workshop this Friday
This week we're reviewing our scale running approach by applying the same ideas to a new tune, Georgia on my Mind. This will give us a chance to handle some new situations, as well as to add a new scale to our arsenal.
On Zoom at 1pm Eastern, this Friday, March 28.
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Today's 2-5-1
Each week I share 2 transcribed phrases, 5 ideas observed from 1 featured jazz recording.
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Emily
Recorded on You're Gonna Hear From Me by the Bill Evans Trio in 1969 (released 1988). Bill Evans (piano), Eddie Gómez (bass), Marty Morell (drums)
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Here are 5 observations I have about this tune as a whole.
- Bill is the king of voice leading. Look at how each phrase starts where the previous one ended. It creates such a smooth transition, and overall sweeping gestures.
- The triplet lines are where its at! With so much of this line based on 8th notes, the triplets create rhythmic interest to keep you engaged.
- I know I mention this all the time, but it's worth repeating. Look at the range covered by each of his phrases. In just a 1-2 measure phrase, he covers 1.5 - 2 octaves.
- Look at which notes Bill uses to start and end his phrases -- his targets. More often than note, its a colorful chord tone (3, 9, or extension) rather than the roots or fifths.
- Like the bebop artists who inspired Bill, his use of chromaticism in this solo is largely chromatic approaches or enclosures.
This week on the YouTube channel
 3 Levels of Jazz Harmony on Over the Rainbow
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Josh Walsh
Say hi 👋🏻 on YouTube or BlueSky.
Or, just reply to this email.
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