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Waltz for Debby is a live album by jazz pianist and composer Bill Evans and his trio consisting of Evans, bassist Scott LaFaro, and drummer Paul Motian. It was released in 1962. It was released in 1962.
"Waltz for Debby" is a jazz standard composed by pianist Bill Evans, which became "his most famous tune." [1] He first recorded it as a brief solo piano piece on his debut album, New Jazz Conceptions (1956). Lyrics were added about six years later by Evans's friend Gene Lees. [2] "Debby" in the composition's title refers to Evans's then 3-year ...
The Swedish version of 'Waltz for Debby' is a true delight because Zetterlund's voice becomes another instrument, soloing over the top of Evans' stunning selection of comping chords. In all this is an odd but special item, one that is necessary—for at least one listen—by any serious fan of the pianist and composer." [3]
Waltz for Debby: 1953 (appr.) 1956: New Jazz Conceptions: Written for his then recently born niece; lyrics later added by Gene Lees: Waltz in E ♭ 1965–67 (appr.) – – Posthumous We Will Meet Again: 1977: You Must Believe in Spring: For his brother Harry; lyrics by Bill Evans (heard in recordings by others such as Tierney Sutton) Yet Ne ...
These sets, from which the classic LPs Sunday at the Village Vanguard and Waltz for Debby were drawn, were the trio's final live recordings. Bassist Scott LaFaro would die in an automobile accident just 11 days later on July 6.
Waltz for Debby is the name of: "Waltz for Debby" (song), a 1956 jazz composition by Bill Evans later made into a song; Waltz for Debby, album by Bill Evans; Waltz for Debby, album by Monica Zetterlund and Bill Evans
Waltz for Debby: Live - Trio with Scott LaFaro (b), Paul Motian (d) Riverside 1961–62 Nirvana: Herbie Mann (flute) and Bill Evans Trio with Chuck Israels (b), Paul Motian (d) Atlantic: 1962 Undercurrent: Duo with Jim Hall (guitar) United Artists 1962 Moon Beams: Trio with Chuck Israels (b), Paul Motian (d) Riverside 1962 How My Heart Sings!
Sebesky trained in trombone at the Manhattan School of Music; in his early career, he played with Kai Winding, Claude Thornhill, Tommy Dorsey, Warren Covington, Maynard Ferguson and Stan Kenton. [1] In 1960 he began devoting himself primarily to arranging and conducting; one of his best-known arrangements was for Wes Montgomery 's 1965 album ...
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