External links
- "Waltz for Debby" at jazzstandards.com
| "Waltz for Debby" | |
|---|---|
| Song by Bill Evans | |
| from the album New Jazz Conceptions | |
| Released | 1956 |
| Genre | Jazz |
| Length | 1:20 |
| Composer(s) | Bill Evans |
| Lyricist(s) | Gene Lees |
"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-old niece, Debby Evans, whom he often took to the beach. [3]
The "definitive performance" of the piece is usually considered to be the live recording from the third set on 25 June 1961 at the Village Vanguard by the classic Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian. [4] (It was also recorded as part of the second set, and that less famous version, take 1, has been made available on various releases as a bonus track.)
Evans later accompanied vocal versions of the waltz by both Monica Zetterlund (in Swedish) and Tony Bennett (the only time Evans made a recording with the Gene Lees lyrics). Including many posthumous releases, several dozen recordings of the waltz by Evans are now in circulation. His final recording of it dates from 7 September 1980, live at the Keystone Korner, just eight days before he died. [5]
The waltz has been widely covered and recorded more than 300 times. [6] Ted Gioia notes that in about 20% of cover versions, "Debby" is misspelled as "Debbie." [7] "Waltz for Debby" is known in Swedish by the name "Monicas Vals"; lyrics were written by Beppe Wolgers; and in Finnish by the name "Ankin Valssi"; lyrics were written by Jukka Kuoppamäki. [8]
Evans had a particular fondness for the waltz form: Of his 50+ original compositions, at least 10 are waltzes, including "Very Early" (1949), "G Waltz" (1967), "B Minor Waltz" (1977), and "We Will Meet Again" (1977), [9] and he frequently performed waltzes by others, such as Earl Zindars's "Elsa" and Gary McFarland's "Gary's Theme." [10]
On New Jazz Conceptions (1956):
On Waltz for Debby (1961):
William John Evans was an American jazz pianist and composer who worked primarily as the leader of his trio. His use of impressionist harmony, block chords, innovative chord voicings, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.
Rocco Scott LaFaro was an American jazz double bassist known for his work with the Bill Evans Trio. LaFaro broke new ground on the instrument, developing a countermelodic style of accompaniment rather than playing traditional walking basslines, as well as virtuosity that was practically unmatched by any of his contemporaries. Despite his short career and death at the age of 25, he remains one of the most influential jazz bassists, and was ranked number 16 on Bass Player magazine's top 100 bass players of all time.
Portrait in Jazz is the fifth studio album by American jazz pianist Bill Evans as a leader, released in 1960. It is the first of only two studio albums to be recorded with his famous trio featuring bassist Scott LaFaro and drummer Paul Motian.
Explorations is an album by jazz pianist Bill Evans that was originally released by Riverside Records in 1961. It was the second and final studio album Evans recorded with his classic trio featuring Scott LaFaro on bass and Paul Motian on drums.
New Jazz Conceptions is the debut album by jazz pianist Bill Evans, recorded in two sessions during September 1956 for Riverside Records.
Sunday at the Village Vanguard is a live album by jazz pianist and composer Bill Evans and his Trio consisting of Evans, bassist Scott LaFaro, and drummer Paul Motian. Released in 1961, the album is routinely ranked as one of the best live jazz recordings of all time.
The Tony Bennett Bill Evans Album is a 1975 studio album by singer Tony Bennett and pianist Bill Evans.
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.
Together Again is a 1977 studio album by singer Tony Bennett and jazz pianist Bill Evans. It was originally issued on Bennett's own Improv Records label, which went out of business later that year, but was subsequently reissued on Concord.
Know What I Mean? is a 1962 jazz album by alto saxophonist Julian "Cannonball" Adderley, accompanied by Bill Evans and the rhythm section of the Modern Jazz Quartet. It was released on the Riverside label as RLP-433.
"Blue in Green" is the third piece on Miles Davis' 1959 album Kind of Blue. One of two ballads on the recording, it is the only piece on the album which does not feature alto saxophonist Cannonball Adderley.
You Must Believe in Spring is an album by American jazz pianist Bill Evans, recorded by him with bassist Eddie Gómez and drummer Eliot Zigmund in August 1977 and released in February 1981, shortly after Evans's death in September 1980.
Donald John Sebesky was an American composer, arranger, conductor, and jazz trombonist. He was a multi-instrumentalist and could play a number of other instruments: keyboards, electric piano, organ, accordion, and clavinet.
At Shelly's Manne-Hole is a live album by American jazz pianist Bill Evans, released in 1963 as his last recording for the Riverside label. The trio featured Chuck Israels, who followed Scott LaFaro on bass in autumn 1961, and Larry Bunker on drums, who just joined the reformed trio, after Paul Motian had left. An additional eight performances recorded during the trio's May, 1963 engagement at Shelly's Manne-Hole were released on the album Time Remembered.
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The Bill Evans Album is a recording by the jazz pianist Bill Evans, released in 1971 on the Columbia label. It was his first album to feature all compositions written, arranged, and performed by him. On the record, Evans plays both an acoustic and a Fender Rhodes electric piano.
Alone (Again) is a solo piano album by American jazz pianist Bill Evans, recorded in December 1975. A follow-up to his earlier solo album Alone, it was released in 1977 on Fantasy Records and reissued on CD in 1994 by Original Jazz Classics. At the time it was recorded, Evans had been playing an increasing number of solo dates and was inspired after hearing Marian McPartland play solo in Monterey. Evans's manager Helen Keane commented:
As much as Bill enjoyed playing alone at home, and although by this time he regularly included a solo section in his concert program, he found recording in this context very difficult. It was probably the only area he felt insecure about musically, and the fact that he'd gotten a Grammy for Alone didn't seem to help.
Waltz for Debby is a 1964 album in English and Swedish by the trio of American jazz pianist Bill Evans and the Swedish singer Monica Zetterlund. Evans met her on a tour of Sweden and was "bowled over" by her EP recording of "Waltz for Debby" with a Swedish text titled "Monicas Vals." Evans's manager, Helen Keane, set up a recording session for them at the end of the Swedish tour.
Since We Met is a live album by jazz pianist Bill Evans with Eddie Gómez and Marty Morell, recorded at the Village Vanguard in New York City in 1974 and released on the Fantasy label in 1976. Additional recordings from Evans's 1974 Village Vanguard performances were also issued on the album Re: Person I Knew, released posthumously in 1981. Since We Met was digitally remastered and reissued as a CD in 1991 on Original Jazz Classics.
Midnight in San Juan is a smooth jazz studio album by Earl Klugh released on February 19, 1991. The album was a commercial success as it reached No.1 on many jazz radio and retail charts, including hitting No.1 on the Top Contemporary Jazz Albums charts. In this release, Klugh lays heavy emphasis on Latin and Caribbean elements. Two songs on the album feature legendary NEA Jazz Master Jean "Toots" Thielemans on the harmonica and Grammy Award winner Don Sebesky as conductor and arranger.
