- published: 12 Dec 2018
- views: 8582
'+pages+''); $('.stream > div:odd').addClass('bgr_color'); updateHeight('#history'); }); window.activateTabArea = ensure(function(tab, areas){ var parsed = false; var parts = (areas || '').split('/'); window.fsonload = $.inArray('fs', parts) >= 0; if(fsonload){ parts.splice(parts.indexOf('fs'), 1); } var replayMode = false; if($.inArray('replay', parts)>=0){ replayMode = 'replay'; } var noSoundMode = false; if($.inArray('nosound', parts)>=0){ noSoundMode = 'nosound'; } if($.inArray('ns', parts)>=0){ noSoundMode = 'ns'; } var previewMode = null; if($.inArray('p', parts)>=0){ previewMode = 'p'; } if($.inArray('preview', parts)>=0){ previewMode = 'preview'; } if($.inArray('repeat', parts)>=0){ replayMode = 'repeat'; } if($.inArray('r', parts)>=0 || $.inArray('ro', parts)>=0){ replayMode = 'r'; } if(replayMode){ parts.splice(parts.indexOf(replayMode), 1); } if(noSoundMode){ parts.splice(parts.indexOf(noSoundMode), 1); } if(previewMode){ parts.splice(parts.indexOf(previewMode), 1); } if(previewMode){ if(!parts.length){ parts = ['1-14', '999:59']; } } var area = parts[0]; if(tab == 'history' && false){ var page = parseInt(area || '1') || 1; $.ajax({ url: 'https://login.wn.com/recent/json/?pp='+history_pp+'&skip='+history_pp*(page-1), dataType: 'jsonp', success: function(response){ $ensure(function(){ renderHistory(response, page); }); } }); return true; } if(tab == 'global_history' && false){ var page = parseInt(area || '1') || 1; globalHistory.fetchStream(page, '', function(){ updateHeight('#global_history'); }); return true; } if(tab == 'my_playlists' && false){ var page = parseInt(area || '1') || 1; myPlaylists.fetchStream(page, '', function(){ updateHeight('#my_playlists'); }); return true; } if(tab == 'my_videos' && false){ var page = parseInt(area || '1') || 1; myVideos.fetchStream(page, '', function(){ updateHeight('#my_videos'); }); return true; } if(tab == 'related_sites' && areas && matchPosition(areas)){ var seconds = parsePosition(areas); scrollRelated(seconds); return false; } if(matchPosition(area) || matchAction(area)){ parts.unshift('1'); area = parts[0]; } if(tab == 'expand' && area && area.match(/\d+/)) { var num = parseInt(area); if(num < 100){ //FIX ME. 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William John "Bill" Evans (pronunciation: /ˈɛvəns/, August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.
Born in Plainfield, New Jersey, he was classically trained, and studied at Southeastern Louisiana University. In 1955, he moved to New York, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.
In late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.
William Lawrence Evans (March 25, 1919 – November 30, 1983) was a relief pitcher in Major League Baseball who played for the Chicago White Sox (1949) and Boston Red Sox (1951). Listed at 6 ft 2 in (1.88 m), 180 lb., Evans batted and threw right-handed. He was born in Quanah, Texas.
In a two-season Major League career, Evans posted a 0–1 record with a 4.36 ERA in 13 appearances, including five games finished, four strikeouts, 16 walks, and 21⅔ innings pitched. In 12 seasons in minor league baseball, he worked in 386 games and compiled a 128–127 (.502) mark, retiring after the 1955 season.
Evans served in the US Army in World War II as an infantry man, eventually earning the Bronze Star Medal and Silver Stars.
Evans died in Grand Junction, Colorado, at age 64.
William D. "Bill" Evans (born February 9, 1958 in Clarendon Hills, Illinois) is an American jazz saxophonist. His father was a classical piano prodigy and until junior high school Evans studied classical clarinet. Early in his studies he was able to hear such artists as Sonny Stitt and Stan Getz live at the Jazz Showcase in Chicago. He attended Hinsdale Central High School and studied with tenor saxophonist Vince Micko. His stylistic influences are wide ranging and include players such as Sonny Rollins, Joe Henderson, John Coltrane, Stan Getz, Steve Grossman, and Dave Liebman. He has stated that although he never transcribed solos, he was able to get a very deep intuitive feel and understanding of each of these players' styles.
He plays primarily tenor and soprano saxophones. Evans attended University of North Texas and William Paterson University, where he studied with Dave Liebman, a Miles Davis alumnus. Moving to NYC in 1979 he spent countless hours in lofts playing jazz standards and perfecting his improvisational style. At the age of 22 he joined Miles Davis and was part of his musical comeback in the early to mid-1980s. Notable albums recorded with Miles include The Man With The Horn, We Want Miles, Star People, and Decoy. In addition he has played, toured and recorded with artists such as Herbie Hancock, John McLaughlin,Michael Franks, Willie Nelson, Mick Jagger, Les McCann, Mark Egan, Danny Gottlieb, Ian Anderson, Randy Brecker, The Allman Brothers Band, and Medeski, Martin, and Wood among others. He is featured on the Petite Blonde album with Victor Bailey, Dennis Chambers, Mitch Forman, and Chuck Loeb. Two of his most recent albums Soul Insider and Soulgrass were nominated for Grammy awards. Soulgrass was a ground breaking bluegrass/jazz fusion concept involving such musicians as Bela Fleck, Sam Bush, Bruce Hornsby, and drummer Vinnie Colaiuta.
"Just You, Just Me" is a song from the 1929 musical film Marianne, composed by Jesse Greer with lyrics by Raymond Klages. It was introduced by Marion Davies and Lawrence Gray. The song has had many revisions after its first appearance and has become one of the most enduring jazz standards of all time, having been recorded instrumentally by Red Norvo, Stan Tracey, Oscar Peterson and Lester Young, Buddy Rich, Artie Shaw, Les Paul, Benny Carter, Buddy Bregman, Tex Beneke, Coleman Hawkins, Harry James, Erroll Garner, Benny Goodman, Earl Hines, Joe Pass, Buddy Tate and Abdullah Ibrahim, Les Brown, Bill Coleman and Duke Ellington.
Thelonious Monk's 1948 composition, "Evidence", is a contrafact of "Just You, Just Me". Monk's tune was originally called "Justice" (which sounds like "Just Us", a reference to "Just You, Just Me"), then renamed "We Named It Justice", and finally "Evidence". Both songs are included in Monk's 1964 live album, Live at the It Club.
Bing Crosby made a radio recording of the song for CBS in November 1954 in Hollywood. The song has also been recorded vocally by, among others, Petula Clark, Ella Fitzgerald, Frank Sinatra, Nat King Cole, Judy Garland and Rosemary Clooney. The jazz duo of Bill Mays and Ray Drummond recorded it in 1989 on their CD One To One on YouTube
Just You, Just Me is a 1994 album by Dave Brubeck. This album is the 3rd of Brubeck's solo works preceded by Brubeck Plays Brubeck and Plays and Plays and.... There was a 37-year gap between "Brubeck Plays and Plays" and this album with Brubeck focusing on working with his quartet during that time. Brubeck writes that for this album, "...I prefer to record in the same way as I play at home..." with all of the songs on this album being first takes with no advanced editing. The exception to this is "I Understand" of which Brubeck did three takes playing each in different ways.
Bill Evans (born 1961 in Los Angeles, California) (AKA, Bass Man Bill Evans ) is an American bass guitarist who focuses on funk and rock. He currently resides in Las Vegas with his family and enjoys playing at his local church Canyon Ridge Christian Church.
At the age of fifteen Evans began playing the electric bass. He quickly moved from playing rock to funk and jazz. Evans is mainly a self-taught bassist, although he briefly studied with the bassists John Patitucci and Valda Hammick. He plays a custom Warwick fretted 4 string and fretless 5 string. He uses '"Bass Man Bill Evans"' as his career name to distinguish himself from the Jazz piano legend Bill Evans.
As a studio musician and performer, he has recorded and toured with Sony recording artist "Strongheart" with the guitarist/vocalist Wilbur Hess and drummer Bobby Arechiga. He also played and toured with Storm, James Burton and Jeff Burton with Dave Koz; and worked with the legendary team of Harry Vanda and George Young of Albert productions. He has paid his dues in many gigs throughout the world ranging from hard rock to funk/jazz.
Bill Evans (1929–1980), was a jazz pianist.
Bill Evans may also refer to:
Provided to YouTube by Universal Music Group Just You, Just Me · Bill Evans Conversations With Myself ℗ 1963 The Verve Music Group, a Division of UMG Recordings, Inc. Released on: 1984-01-01 Producer: Creed Taylor Author: Raymond Klages Composer: Jesse Greer Auto-generated by YouTube.
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Provided to YouTube by The state51 Conspiracy Just You Just Me · Bill Evans Stella By Starlight ℗ 2018 CTS Digital Released on: 2018-10-04 Composer: Greer Composer: Klages Lyricist: Greer Lyricist: Klages Auto-generated by YouTube.
Provided to YouTube by The Orchard Enterprises Just You, Just Me · Bill Evans Very Early Volume 1 ℗ 2006 E3 Records Released on: 2006-05-16 Auto-generated by YouTube.
William John "Bill" Evans (pronunciation: /ˈɛvəns/, August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.
Born in Plainfield, New Jersey, he was classically trained, and studied at Southeastern Louisiana University. In 1955, he moved to New York, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.
In late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.
Yeah, get on 'em, up on 'em
Let me see you move it on 'em
Let me see you move it on 'em
Let me see you move it on 'em
Let me see you move it on 'em
Let me see you move it on 'em
Let me see you move it on 'em
Let me see you move it on 'em
Get on 'em, up on 'em
Looking at your fine, had to switch the program
Tell the DJ that it's time to play a slow jam
Get closer to me girl, do something to me girl
Come on and choose me girl, ride it on this dance floor
When you think of sweat, you think of sex
So DJ play my shh, and girl let's get to it
I got what you need, set your body free
All you need is Keith, I'll bring out the freak floor
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(Do it till you can't take no more)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(I know you wanna, oh)
I'm trying to turn you on and turn you out
Without a doubt I'm trying to pump it on
Come on and leave this place
I'll take you to my place and freak you at my place
In the morning girl I'll drive you home
When you think of sweat, you think of sex
So DJ play my shh, and girl let's get to it
I got what you need, set your body free
All you need is Keith, I'll bring out the freak floor
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(Do it till you can't take no more)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(I know you wanna)
I just wanna take you back
To when we used to slow dance at the club
Lady show me love
I just wanna take you back
To when we used to do it, do it, do it to me good old music
Girl and when you
When you think of sweat, you think of sex
So DJ play my shh, and girl let's get to it
See I got what you need, set your body free
All you need is Keith, I'll bring out the freak floor
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(Do it till you can't take no more)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(Let me see you move it on the dance floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(Do it till you can't take no more)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(On the floor)
Let me see you move it on 'em
(I know you wanna, oh)
Let me see you move it on 'em
(All night)
Let me see you move it on 'em
(All night)
Let me see you move it on 'em
(All night)
Let me see you move it on 'em
(All night)
Let me see you move it on 'em
(All night)
Let me see you move it on 'em
(All night)