“ . . . such an integral part of the jazz scene in Denver that imagining it without him is virtually impossible.” —Colorado Music Hall of Fame
Experience an intimate evening of profound jazz as Denver’s celebrated pianist Eric Gunnison performs a solo concert dedicated to the enduring musical legacy of the late Bill Evans. Gunnison, a stalwart of the Denver jazz scene and a musician with international acclaim, has long shared a deep artistic affinity with Evans — one of the most influential pianists in jazz history.
In this special concert, Gunnison explores the subtle, lyrical, and harmonically rich world that Evans created during his seminal association with Miles Davis in the late ’50s. This fertile collaboration resulted in classic recordings such as the Jazz at the Plaza volumes, Birth of the Blue, and the best-selling jazz album of all time, Kind of Blue.
Known for his tenure with jazz legend Carmen McRae and countless other icons, Gunnison applies his masterful technique and expressive sensitivity to explore Evans’ nuanced style and deep lyricism, drawing from compositions from those classic Miles Davis albums including compositions and signature arrangements by Evans and Davis. Gunnison’s own playing draws comparisons with Evans’ distinctive touch and vision: a blend of introspective melancholy, crystalline clarity, and deep swing. This is a rare opportunity to hear one jazz master pay tribute to another, offering a heartfelt and virtuosic journey into the essence of the art of Bill Evans.
Eric Gunnison
Bill Evans: Blue in Green
Sun, April 12
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2:00 PM
Presented by Denver Jazz Fest – TICKETS AT THE DOOR
PERSONNEL
Eric Gunnison: piano
Ticket prices: $20
Gimme 5
Five questions with Eric Gunnison
Don Lucoff: What was the scene like coming up in western New York in the mid to late ’70s? Chuck Mangione and Spyro Gyra were also getting going correct?
Eric Gunnison: I did grow up in Western New York in Buffalo during the ’70s, but I had left town by 1975 to go to the Berklee College of Music, so I didn’t have much experience as a participant in the scene. I did know of some of the people you mentioned, notably Spyro Gyra, which was originally called the Buffalo Jazz Ensemble. I believe Chuck Mangione had been part of the scene in Rochester for many years, I actually saw him play with Art Blakey and the Jazz Messengers featuring a young Keith Jarrett on piano.
DL: When you went to Berklee that must have been a very fertile time with the likes of Gary Burton, among countless others. What was the takeaway for you?
EG: Berklee and Boston were extremely inspiring for me in the late ’70s because of my exposure to people like Jerry Bergonzi, Mike Stern, Herb Pomeroy, and James Williams. Some of these people were my teachers and some were people I played with in bands around town. Gary Burton was one of the main attractions of Berklee but I only had one class with him and it was a music business class and he was only there for probably two of the 13 weeks because at that time, he was very busy recording and touring.
DL: When did you come to Denver? And was the Carman McRae association a result of that?
EG: I came to Denver in 1980. I met some of the amazing musicians of the time here in Denver and started to play around town. One of my main influences was a bass player named Paul Warburton. He introduced me to a guitarist named Tonk Edwards, who had played with Sarah Vaughan. Tonk recommended me to Sarah’s manager who at that time was also starting to manage Carmen McRae, so I started doing some gigs for this guy named Larry Clothier. I played a little bit with Nat Adderley and Benny Carter for him and the Carmen gig became available and I auditioned for her out at her house in Los Angeles and worked with her for about five years and did some recording and traveled extensively.
DL: Your program is a thematic take on Bill Evans’s music that he wrote for Miles Davis, and music Bill performed and recorded with Miles during a very influential time for both artists.
EG: My upcoming program is based on the music that Bill Evans wrote for Miles Davis and it’s kind of interesting because Bill probably had a hand in the creation of a good portion of the music on Kind Of Blue. I hope to demonstrate some of that at the concert. Most notably he wrote “Blue in Green” which was really his tune and credited to Miles. But Bill Evans also influenced Miles in other ways other than just composition, but also in the way he would voice chords and the harmony he introduced on standard tunes. I think Evans really influenced Miles from that point on and I’m gonna talk to that and play some music hopefully that demonstrates that point.
DL: Tell us how Bill’s musical language has influenced and informed your music as a composer and performer.
EG: I think Bill Evans’s influence on me has to do with clarity of sound and conception. Also touch.