Bill Evans and “Someday My Prince Will Come” tune (1979 and other recordings).

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There are at least 28 Bill Evans recordings of “Someday My Prince Will Come,” a song that the pianist first recorded in 1959 and kept in his repertoire until his death in 1980.

Obviously, Bill Evans loved the tune, and he never seemed to run out of fresh ideas to play on the song, which debuted in the 1937 Walt Disney film Snow White and the Seven Dwarfs.

Few know that the earliest jazz recording of the song was by pianist John Williams (not the film director) in 1955, soon followed by singer Ruth Price.

When Dave Brubeck recorded it in 1957, it caught on as a jazz standard.

This Bill Evans version from 1979 is one of his most uptempo renditions and features him with his last trio, which also included bassist Marc Johnson and drummer Joe LaBarbera.

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Bill Evans Live – Someday my Prince Will Come (live, 1979).

Bill Evans Live – Someday my Prince Will Come

Live from Iowa. 30th January 1979.

Bill Evans: The Poetic Genius of Jazz Piano

Introduction

Bill Evans (1929–1980) remains one of the most influential and revered pianists in jazz history. Known for his lyrical touch, harmonic sophistication, and introspective improvisations, Evans redefined jazz piano with his impressionistic approach, blending classical influences with bebop and modal jazz. His work with the Miles Davis sextet on Kind of Blue (1959) and his own trio recordings set new standards for group interplay and emotional depth in jazz. This article explores Evans’ life, musical style, essential albums, discography, and notable videos and documentaries.

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Biography

Early Life and Education

William John Evans was born on August 16, 1929, in Plainfield, New Jersey. His mother was an amateur pianist, and young Bill began playing piano at age six, later studying flute and violin. By his teens, he was deeply immersed in jazz, drawing inspiration from Nat King Cole, Bud Powell, and Lennie Tristano.

Evans attended Southeastern Louisiana University, graduating in 1950 with a degree in piano performance and composition. After a brief stint in the U.S. Army, he moved to New York in 1955, immersing himself in the jazz scene.

Rise to Fame

Evans gained recognition playing with George Russell, contributing to Russell’s Jazz Workshop (1956) and exploring modal jazz concepts. His big break came in 1958 when Miles Davis invited him to join his sextet, leading to Evans’ contributions to Kind of Blue (1959), particularly on “Blue in Green” and “Flamenco Sketches.”

The Bill Evans Trio and Musical Innovations

In 1959, Evans formed his legendary trio with bassist Scott LaFaro and drummer Paul Motian. Their telepathic interplay, especially on Sunday at the Village Vanguard (1961), redefined jazz trio dynamics. Tragically, LaFaro died in a car accident days after the recording, devastating Evans.

Despite personal struggles with drug addiction and depression, Evans continued evolving, collaborating with Eddie Gómez (bass) and various drummers, including Marty Morell and Jack DeJohnette. His later work incorporated electric piano (From Left to Right, 1970) while maintaining his acoustic lyricism.

Final Years and Legacy

Evans’ health declined due to long-term heroin and cocaine use. He died on September 15, 1980, from complications of cirrhosis and pneumonia. Despite his short life, his influence endures, inspiring pianists like Chick Corea, Keith Jarrett, and Brad Mehldau.

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Musical Style

Bill Evans’ playing was characterized by:

1. Harmonic Sophistication – Evans used rich chord voicings, often incorporating modal interchange and cluster chords.
2. Lyrical Melodic Sense – His improvisations were deeply melodic, with a singing quality.
3. Subtle Rhythmic Nuance – He employed displaced phrasing and rubato (flexible tempo) for expressive effect.
4. Trio Innovations – His trios emphasized egalitarian interplay, with bass and drums as equal melodic voices.
5. Classical Influences – Evans admired Debussy, Ravel, and Scriabin, blending impressionism with jazz.

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Essential Albums

1. Portrait in Jazz (1960)

• Evans’ first trio album with LaFaro and Motian.
• Standout tracks: “Autumn Leaves,” “Someday My Prince Will Come.”

2. Sunday at the Village Vanguard (1961)

• A landmark live recording, showcasing telepathic trio communication.
• Highlights: “Gloria’s Step,” “Waltz for Debby.”

3. Waltz for Debby (1962)

• Posthumous release featuring LaFaro’s final recordings.
• Evans’ most emotionally resonant work.

4. Conversations with Myself (1963)

• Evans experiments with overdubbing, playing multiple piano parts.
• Won a Grammy for Best Jazz Instrumental Album.

5. The Bill Evans Album (1971)

• First Grammy-winning solo effort, featuring “Comrade Conrad.”

6. You Must Believe in Spring (1981, posthumous)

• A melancholic yet beautiful final studio statement.

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Discography (Selected)

As Leader

• New Jazz Conceptions (1956)
• Everybody Digs Bill Evans (1958)
• Explorations (1961)
• Moon Beams (1962)
• Alone (1968, solo piano)
• The Tokyo Concert (1973)

With Miles Davis

• Kind of Blue (1959)
• Jazz Track (1958, includes “On Green Dolphin Street”)

Collaborations

• Undercurrent (1962, with Jim Hall)
• Affinity (1978, with Toots Thielemans)

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Videos and Documentaries

Live Performances

1. Bill Evans Trio – “Autumn Leaves” (1966)

• Classic rendition from French TV.

1. Bill Evans – “My Foolish Heart” (1975)

• Solo piano brilliance.

1. Bill Evans Trio – “Nardis” (1970)

• A hypnotic live version.

Documentaries

1. Bill Evans: The Universal Mind of Bill Evans (1966)

• Rare interview and performance footage.

1. Time Remembered (2016)

• A comprehensive documentary on his life and music.

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Bill Evans’ legacy

Bill Evans’ music transcends jazz, offering a deeply personal and poetic exploration of harmony and emotion. His influence persists in modern jazz, classical crossover, and beyond. Whether through his groundbreaking trio work, solo recordings, or collaborations, Evans’ legacy as a visionary pianist remains unparalleled.

For those new to his music, starting with Sunday at the Village Vanguard or Portrait in Jazz provides a perfect entry point into his timeless artistry. His recordings continue to inspire musicians and listeners, ensuring that Bill Evans’ voice will never fade.

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Dave Brubeck (1957) [SOMEDAY MY PRINCE WILL COME]

From the album ‘Dave Digs Disney’, featuring Paul Desmond – alto saxophone, Dave Brubeck – piano, Norman Bates – bass, and Joe Morello – drums. Recorded June 30, 1957, in New York.