Rating: 
Summary: Waltz for Bill
Review: I love Bill Evans. It took me a while to find this book but I'm glad I did. There are so many great pianists in jazz it's hard to choose one. After hearing Evans on Miles Davis "Kind of Blue" I knew I had found a pianist unlike any other. Pettinger does a wonderful job of bringing Evans back to life through this book. Truly a great read about a great musician.
Rating:
Summary: Waltz for Bill
Review: I love Bill Evans. It took me a while to find this book but I'm glad I did. There are so many great pianists in jazz it's hard to choose one. After hearing Evans on Miles Davis "Kind of Blue" I knew I had found a pianist unlike any other. Pettinger does a wonderful job of bringing Evans back to life through this book. Truly a great read about a great musician.
Rating:
Summary: Re: Person I Knew
Review: I was tremendously moved by this book. I can't imagine why there seems to be some grousing about the supposed effectiveness of the author's technique. Because he chooses not to dwell inordinately on the drug use? Because he offers extensive critical analysis? Jeez, the info on the European boots alone makes the book a bargain. If you're reading these reviews in an attempt to get some guidance, do yourself a favor and buy the book. You'll learn a ton about a tortured genius. As for the self-appointed critics, I tremble awaiting your creative lunges, at music, at writing, whatever.
Rating: 
Summary: let the music do the talking
Review: I've been around a lot of "musicians" in my day and they make me ill. It amazes me that musicians talk more than they play and very few have kind words towards each other. I'll take any information I can get on Bill Evans and I'm glad a biography has finally come out. But words really don't matter. The bottom line is that Bill Evans did more with one note than countless musicians can do in an entire show. Bill Evans kicked ass on piano and nobody can ever touch him.
Rating:
Summary: Solid, welcome biography and resource.
Review: I've enjoyed Pettinger's unpretentious study of Evans' life and music as much as any comparable jazz title that comes to mind. The British author admits that he never met Bill Evans and has little to offer in the way of exclusive, privileged information about a subject whose personal habits might tempt lesser writers to manufacture salacious prose along with much amateur psychoanalyzing. Having lowered the expectations, Pettinger proceeds to give a personal biography of the man and chronological account of the musical career that is ultimately a remarkably illuminating portrait of a jazz artist.Admittedly, the book is essential reading primarily for the listener who already counts himself among Evans' admirers and is aware of the pianist's artistry and influence. More than likely, such a reader will find many of his suspicions validated--from the pianist's rigorous classical training to his self-effacing personality to his discomfort as a member of Miles Davis' Quintet to his creative rejuvenation during the last year and months of his life. In addition, he will undoubtedly discover, on practically every page, something unexpected--Evans' affinity for Russian language and culture (clearly demonstrated on the pianist's brooding, darkly dramatic, extended introductions to "Nardis"), his curious attraction to garish '70's clothing styles, his strange personal and musical relationship with "speed" buddy Philly Joe Jones. Pettinger knows enough about music, pianos, and piano playing to insure that his discussion of the music is accessible and instructive without becoming erudite or pedantic. Although it would be, in my opinion, impossible to overstate the influence, sophistication, and singular beauty of Evans' music, Pettinger wisely does not try to do so. The definitive work on the extraordinary moment in music history for which Evans is responsible remains to be written. But Pettinger's book is certainly a worthy start. And the plentiful discography is clearly presented and annotated--in itself worth the price of the book to any collector of Evans' extraordinary recorded legacy.
Rating:
Summary: Solid, welcome biography and resource.
Review: I've enjoyed Pettinger's unpretentious study of Evans' life and music as much as any comparable jazz title that comes to mind. The British author admits that he never met Bill Evans and has little to offer in the way of exclusive, privileged information about a subject whose personal habits might tempt lesser writers to manufacture salacious prose along with much amateur psychoanalyzing. Having lowered the expectations, Pettinger proceeds to give a personal biography of the man and chronological account of the musical career that is ultimately a remarkably illuminating portrait of a jazz artist. Admittedly, the book is essential reading primarily for the listener who already counts himself among Evans' admirers and is aware of the pianist's artistry and influence. More than likely, such a reader will find many of his suspicions validated--from the pianist's rigorous classical training to his self-effacing personality to his discomfort as a member of Miles Davis' Quintet to his creative rejuvenation during the last year and months of his life. In addition, he will undoubtedly discover, on practically every page, something unexpected--Evans' affinity for Russian language and culture (clearly demonstrated on the pianist's brooding, darkly dramatic, extended introductions to "Nardis"), his curious attraction to garish '70's clothing styles, his strange personal and musical relationship with "speed" buddy Philly Joe Jones. Pettinger knows enough about music, pianos, and piano playing to insure that his discussion of the music is accessible and instructive without becoming erudite or pedantic. Although it would be, in my opinion, impossible to overstate the influence, sophistication, and singular beauty of Evans' music, Pettinger wisely does not try to do so. The definitive work on the extraordinary moment in music history for which Evans is responsible remains to be written. But Pettinger's book is certainly a worthy start. And the plentiful discography is clearly presented and annotated--in itself worth the price of the book to any collector of Evans' extraordinary recorded legacy.
Rating: 
Summary: RE: The person I didn't get to know
Review: Let me start by saying I am a tremendous fan of Bill Evans. There is no other pianist who has influenced my own playing as much as Evans. I have spent years transcribing and absorbing his music. I believe that he was constantly refining his concepts, honing them down to their essence, until his untimely death. When this book first came out I rushed to my local book store with the intention of buying it. I excitedly perused its pages and was sadly disappointed to discover that while this book shared Bill's disciplined, academic approach with regards to its subject, it committs a sin that Evans was never guilty of: it is bone dry and for the most part devoid of emotion, that is except for its unbridled enthusiasm for Evan's music. As far as I could see, this book is more of a glorified discography than a biography. As a reference tool, I suppose it might be useful, although many of the boxed sets now provide similar details of the sessions. If you are looking for Evans the man, you will not find him here. But as this is still the only book out on this extraordinary artist, it may be worth picking up for the few interesting passages that pepper it.. There is certainly a more engaging , definitive portrait yet to be written.
Rating:
Summary: Half the Story Told
Review: Peter Pettinger's "Bill Evans How My Heart Sings" thoroughly examines the music of Bill Evans. However, this book is not for the reader wanting to know about Bill Evans the person and his music. While pouring through this book (it is easy to read) I was often annoyed with the author who, inexplicably, fails to present Bill Evans as a person. In order for the reader to gain a full understanding of Bill Evans' the reader must by another book that gives the full dimension of Evans as a person. I appreciate Pettinger's efforts and am glad to have read this book BUT was left feeling that half the book was missing.
Rating: 
Summary: A must for fans, though lacking in some areas.
Review: Pettinger should be commended for taking the high road by focusing on Evans' music and not the sordid details of his long years of addiction. However, there is more to biographical writing than merely presenting a sequence of events. Pettinger's research in the area of recordings, live performances, and collaborators is exhaustive, but I found the reading tedious (and I'm a fan of Evans) due to the repetitive construction of the chapters.
On some occasions, his writing captures the music with uniquely employed details, and the reader sees that he is genuinely passionate about Evans' body of work. As a musician, I enjoyed these parts, and I respect Mr. Pettinger's insight.
But there is an implicit focus on the importance of classical training in Evans' pianistic development, and I have to disagree with the emphasis placed on this. Evans' sound and nuanceful playing are more a result of his dedication and vision as an artist. Classical training does not necessarily make a great pianist, and Pettinger stresses in various ways that Evans' knowledge of classical music infinitely aided him in revolutionizing jazz with his sound. Perhaps--but this is a bias of the author.
Had he written about Thelonius Monk, he probably would have criticized his unorthodox technique, though clearly, someone like Evans had nothing but respect and admiration for Monk--precisely because Monk was unafraid to develop a unique approach that worked for him. Both pianists were obviously most noted for the unmistakable personalities of their sounds.
The refinement of style through years of practicing, performing, and introspection is more important--and exciting--than the author's erudite allusions to classical pieces pertinent to Evans' compositions.
Pettinger's writing is solid but incomplete for fans who want a dimensional presentation of this genius of the 20th century. Essentially, the writer lacks a risk-taking style and presents us with a thorough, well-documented companion piece to Evans' recordings.
When Evans is quoted, this biography comes alive. I only wish he had written a book (he was noted for excellent commentary in liner notes), for I believe his writing was just as eloquent as his music.
Rating:
Summary: Bill Evans--the companion
Review: Reading this book, I was struck how, compared to biographies of figures from other fields, biographies of jazz figures really have no set mold. Perhaps that's because there aren't very many "definitive" jazz bios out there that define the field (the best books tend to remain autobiographies, like those of Hampton Hawes or Art Pepper; or bundles of quick but incisive sketches like Whitney Balliett's _American Musicians II_). Unlike, say, a novelist, a jazz musician doesn't produce artworks that are obviously enhanced by a biographical reading, nor (conversely) do they provide much useful information for a biographer. There are good books out there, but they range wildly from books basically interested in the life & its socal context (Hadju's _Lush Life_) to those that are highly technical in their focus on the music (Porter's _John Coltrane_). & of course there's lots of bad stuff out there by hacks like Leslie Gourse. So where does Pettinger's book fit in this? Think of it as if it were retitled _Bill Evans: A Companion_, & you'll be happy with it. It's got the basic facts of the life, & more; & it often has revealing information (for instance, it's fascinating to know Evans' favourite author was Thomas Hardy); but it's basically a recording-by-recording companion to his musicial output. Pettinger was a classical pianist, & his slant is useful in some ways, unhelpful in others. He's immensely articulate & revealing about Evans' piano technique, for instance, but says virtually nothing about his harmonic innovations, which are precisely where Evans' influence on subsequent generations has been most pervasive. Some of his judgments will anger jazz fans: for instance, that Rudy Van Gelder was a terrible sound engineer (see p.136); or that Lee Konitz & Warne Marsh play too sharp (p.242); or that when played as a ballad "Lover Man" is "vapid" (p.148). On the other hand he's very useful & detailed on demonstrating how classical music informed Evans' music. This is unlikely to be the final word on Evans. But it's a good start, & will reward any fan of Evans' music.
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