There is a great book in the life of Bill Evans. Contributor to one of Miles Davis' greatest groups and indespensible to the resultant recording 'Kind of Blue'. Founder and core of the great Bill Evans Trio with Scott LaFaro and Paul Motian. Touring and recording from the late 1950's up until late September of 1980 creating often profound music and redefining the sound of jazz piano, Evans is one of the real giants of the music.

Unfortunately, this is not that great book. The descriptions of the recordings are excellent and the author provided real insight into how the music itself works. The story of Bill Evans the person is not told here. Bill never springs to life in the pages of this book as he does on his recordings. The intelligent, articulate and apparently humorous fellow eludes us in this biography.

As I anticipated from a concert pianist and author Peter Pettinger, his book about Bill Evans is a brilliant account of the musical development of the keyboard genius. This is a book which focusses much of the time on the musical finesse of Bill Evans. As a jazz musician I was very enriched by the great love and attention Pellinger has given to the musical details - with a lesser entanglement with the side tracks or curiosities and value judgements which are pursued by some biographers. Neither is this a superficial account of Evans life; the pianistic and other life challenges of Bill's ever increasing drug addiction are adequately covered. The biography excels in presenting rich musical insights about a musicians musician; the technical analysis of Bill's musical talent is surely the integral part of his story. This biography of Bill Evans is outstanding because it has been written by a fellow musician who has the ability to understand and document the sheer musical genius of Bill Evans - at a higher professional level than most writers could ever achieve.

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.