I first heard Nardis around a decade ago and ever since it has always been one of my favorite Jazz pieces (if not #1). It was also my introduction to Bill Evans. When researching him I was surprised to learn Nardis was composed by Miles Davis but that there was never a recording from Miles himself.
However, until I read this article I never knew there was such a following around Nardis nor was I aware that Bill Evans had such an obsession with the song. There's something quite satisfying when you discover good music independently and only then slowly discover the existing culture around it.
Incredible writing by the Author, Steve Silberman.
Evans was such a tragic figure. It's hard to reconcile his lifestyle with the beauty of his piano playing.
I'm going through a similar obsession phase with the earworm "Blue in Green"; another Miles / Evans collaboration.
Evans was both a student and master of a framework that simultaneously combined chromatic melodies, complex rhythms, and non-standard chord progressions... a formula that ultimately haunted him to the grave.
I've been listening to Evans for nearly forty years now. I know how important Nardis was to him, but "Blue in Green" has always bypassed my intellect and spoken directly to my soul.
One of the great treasures is this performance in the home of Ilkka Kuusisto', a Finnish composer. This is his post-LaFaro trio, with Eddie Gomez on bass.
Bill Evans' music doesn't get the attention it deserves, so I really appreciated this article. Even better would be having it appear in a more mainstream publication.
And as Evans' recordings go, I think his Shelly's Manne Hole performance is sheer genius.
Hadn't heard this particular recording before. Wow. Alice In Wonderland take 2 happens to be my favorite of his I think. It's from the legendary trio days.
Write a comment for this, delete it, go back to music... which is the closest you get to communicate with appropriate weight. You can never explain what you really want, but at least you can express how strongly you feel about whatever it is you are feeling. And expressions so powerful as Nardis can easily become life changing.
I can listen to it and find it pleasant. But I'm missing something - I'm not spotting the patterns. It all sounds the same and empty.
What is a good route in?
In contrast I get and like any pop/rock, if I dance I like anything ravey.
I'm into the swirling moods of Ludovico Einaudi, and the harsh to accept beautiful patterns of Philip Glass.
I struggle with Classical as much as jazz, but I don't care that I do.
I feel like I need some kind of course - tests what I get, and helps me find the next thing which is more complex (not just a bland repetition of) what I like now, but still on the edge of accessibility to me.
I'd be curious to know why you want to "get into" jazz. The world is brim-full of music, so you don't need to listen to something you find 'the same and empty'.
Anyway, that aside, I'll make 2 suggestions:
- the real magic of jazz is in its live performance. There really is nothing like it. If you have live jazz going on where you live, go and listen. If any of what you hear appeals, well that gives you a starting point for finding recordings.
- for recorded music, start with crossover or fusion jazz that shares a musical border with stuff you already like. Perhaps Keith Jarrett's Koln Concert might be worth a try (solo piano with lots of ostinato passages - not 'like' Glass, but perhaps appealing to some of the same impulses). Jazz isn't the hermetically sealed thing it used to be, and you'll find it merges off in all directions.
I started paging through encyclopedias 25 years ago, and got hold of recordings that sounded interesting. I started to pick out more and more in the music as my brain got attuned. The love affair is still going strong. I highly recommend these:
- The Illustrated Encyclopedia of Jazz - Case, Britt & Murray
- Penguin Encyclopedia of Popular Music - Donald Clarke (Editor)
Donald Clarke in particular has an infectious enthusiasm. The first Jazz album that really grabbed me was one of his recommendations: "Blue and Sentimental" by Ike Quebec.
swirling moods makes me think of Brad Mehldau, Ben Monder, Pat Metheny Groups "The Way Up", maybe some of the Chris Potter Underground or Donny McCaslin records.
Marvellous article. Bill Evans' playing is one of the great consolations of life. For anyone who likes guitar, I also highly recommend Ralph Towner's lovely Nardis interpretation on his great album 'Solo Concert'
Thanks, hadn't come across him. Great player if a bit chilly/controlled from that one example - but then again detractors have said that of Bill Evans. And solo videoing isn't the most natural milieu for music.
Musician Ben Sidran’s (mentioned in the article) record label is named Nardis. As I am not a jazzer, I had always assumed it was just his name spelled backwards. Learn something everyday.
However, until I read this article I never knew there was such a following around Nardis nor was I aware that Bill Evans had such an obsession with the song. There's something quite satisfying when you discover good music independently and only then slowly discover the existing culture around it.