Bill Evans type voicings

[Pete Martin]

I was watching some vids of Bill Evans today and came across this video teaching chord voicings in his style.




Thought I'd write out mandolin voicings that mimic these sounds as of course we can't voice chords like this exactly on mandolin. But these have a lot of the feel of Evans voicings.

The PDF is below, enjoy!

[mandopops]

Thanx, Pete, for your time & patience to work these out. I sometimes will look at Piano voicings for fresh approaches.
I might name some of the chords differently, but that is an individual thing. Some advice for someone trying to crunch these chords, is not to think in swing era “4 on the floor” comping. You are more likely to encounter these chords in bebop & various post-bop styles, which don’t require that steady comp. I like to take these chords & divide them in half, 2 double stops, low & high. Maybe hit the low set first, rest, then splash in the high set on an off beat, like the and of 4, leading into the next chord fragment. Nice effect. Usually when I see a #9#5 chord, I look to where it’s going (leading). Example, C7#9#5 leading to Fmaj7. The #9 (D#) & #5 (G#)are a half step from the E (maj7) & A (3rd) of the F. It makes a nice colorful slide.
Joe B

[DavidKOS]

Some advice for someone trying to crunch these chords, is not to think in swing era “4 on the floor” comping. You are more likely to encounter these chords in bebop & various post-bop styles, which don’t require that steady comp.
Joe B

Thanks for bringing that point up, Joe - this is definitely more appropriate for "modern" jazz...and quite cool in that context.

Thanks Pete.

[Pete Martin]

Evans became influential playing with Miles in the late 50's, especially his playing on Kind Of Blue. His rootless chord voicings became popular with pianists and guitarists in the following years, so these are definitely not swing era sounds.

[mandopops]

Evans role on Miles’ Kind of Blue definitely had an impact on the Jazz world. Interesting that Miles used Wyn Kelly on Freddie Freeloader, the straightest Blues track.
I did hear the Bill Evans Trio in the early 70’s in Chicago. He was very much about texture & voicings. That’s why I think his records with Guitarist Jim Hall work, very like minded individuals. Overall, I don’t think he swings as hard as Wyn Kelly, for my taste. I prefer Wyn & Wes over Bill & Jim. Nor does he play with as much intensity & passion as McCoy Tyner (my favorite). Talk about interesting voices, I’ve experimented with quartal chords, not there yet.
Another interesting cat is Jaki Byard. He played with Mingus & Roland Kirk. He could play modern, outside, then play stride. Saw him play solo once in some little place in New York, hardly anyone was there.
Sorry, I digressed. Jazz talk.
Joe B
,

[Eric Hanson]

Pete:
Thnx so much for posting this! I am currently listening to Bill Evans while caring for a few things. Such a wonderfully smooth sound. I hope one day to have the ability to play some of these well and sound jazzy.
Joe and David:
Thank you also for your insights. I enjoy so many different types of music. Jazz has been a staple for many years due to my playing trumpet while in school. I had the wonderful opportunity to see the Diz play locally, twice. I hope to continue to expand my music catalog and take in some of the musicians mentioned.

[Pete Martin]

I LOVE those Wynton Kelly Trio recordings with Jimmy Cobb and Paul Chambers. Add Wes to that and it don't get no better!!!

[Bob Buckingham]

Bill Evans was the thinking man's piano player. He would phrase a tune in chord melodies leaving the melody note out so that the hole in the chord screamed out the melody and your mind filled it in. It was a Gestalt approach to melody playing.