155:, that featured the first performance of "Nardis", specially written by Davis for the session. While Davis was not very satisfied with the performance, he said that from then on, Evans was the only one to play it in the way he wanted. The piece would come to be associated with Evans's future trios, which played it frequently.
159:
finish up featuring everyone in the trio with a Miles Davis number that's come to be associated with our group, because no one else seemed to pick up on it after it was written for a
Cannonball date I did with Cannonball in 1958—he asked Miles to write a tune for the date , and Miles came up with
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160:
this tune; and it was kind of a new type of sound to contend with. It was a very modal sound. And I picked up on it, but nobody else did... The tune is called "Nardis."
121:(1959) are both considered essential examples of 1950s modern jazz. Davis at this point was experimenting with modes—i.e. scale patterns other than major and minor.
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Unlike in the cases of Davis and
Adderley, "Nardis" was an important part of Bill Evans's repertoire, as it appears on many of his albums:
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in late 1958. This group backing Davis, Coltrane, and
Adderley, with Evans returning for the recording sessions, would make
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Among others: London (19/March/1965); Oslo (1966), Helsinki (1970); Umbria Jazz (1978); Jazz
Manteniance Shop (1980).
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146:. Adderley left the band in September 1959 to pursue his career, returning the line-up to a quintet.
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289:(1980). It also appears on many of Evans's filmed appearances. Evans' version was later sampled by
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in this tune is also present in other "Spanish" works from those dates, like Davis's
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Coltrane's return to Davis’s group in 1958 coincided with the "modal phase" albums:
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replaced Jones on drums, but Evans too left after eight months, replaced by
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From 1955 to 1958, Miles Davis was leading what would come to be called his
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Miles Davis and Bill Evans: Miles and Bill in Black & White
725:"Overpass - Marc Johnson | Songs, Reviews, Credits | AllMusic"
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In July 1958, Evans appeared as a sideman in
Adderley's album
98:, and had just been expanded to a sextet with the addition of
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Evans explicitly deems the work as very "modal", see quote.
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Davis never recorded "Nardis", and
Adderley only did once.
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Turn Out the Stars: The Final
Village Vanguard Recordings
197:(1961). Pianist Richard Beirach recorded it on his album
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520:
165:
Interview at Ilkka
Kuusisto's home, ca.1970, Bill Evans
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Nardis makes use harmonically and melodically of the
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It's About That Time: Miles Davis On and Off Record.
50:. The piece has come to be associated with pianist
632:. Rate Your Music. Retrieved on August 19, 2008.
157:
620:. Rolling Stone. Retrieved on August 19, 2008.
8:
709:The New Jazz Orchestra: Dejeuner Sur L'Herbe
54:, who performed and recorded it many times.
563:Milestones – Encyclopædia Britannica Online
500:included the composition in his 2022 album
651:. Tower.com. Retrieved on August 19, 2008.
601:. Time.com. Retrieved on August 19, 2008.
545:New York: Oxford University Press, 2005.
526:
331:Chords in Nardis as played by Bill Evans
323:. Bill Evans usually played the piece in
36:. It was written in 1958, during Davis's
630:Rateyourmusic's 'Top Albums of All-Time'
329:
271:(1969), "Live at the Festival" (1972),
256:Bill Evans at the Montreux Jazz Festival
787:(New ed.). Yale University Press.
516:
611:The RS 500 Greatest Albums of All Time
642:Tower.com – Kind of Blue review notes
7:
286:The Last Waltz: The Final Recordings
751:Jarrett, Nigel (15 November 2021).
144:the greatest jazz album of all time
66:. By 1958, the group consisted of
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215:Quartet recorded it on the album
785:Bill Evans: How My Heart Sings
274:The Paris Concert: Edition Two
128:replaced Garland on piano and
1:
16:Miles Davis' 1958 composition
827:Jazz compositions in E minor
822:Compositions by Miles Davis
585:, Sept. 2001, Ashley Kahn,
486:included an arrangement by
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783:Pettinger, Peter (2002) .
490:on the British jazz album
315:(technically known as the
205:recorded the tune for his
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268:You're Gonna Hear from Me
244:The Solo Sessions, Vol. 1
191:recorded it on his album
753:"Marc Johnson: Overpass"
474:Other notable recordings
321:thirty-two-bar AABA form
40:period, to be played by
599:The All-TIME 100 Albums
492:Le DĂ©jeuner sur l'Herbe
309:Phrygian dominant scale
211:album (1979), and The
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152:Portrait of Cannonball
47:Portrait of Cannonball
23:" is a composition by
573:Cook, pp. 93-95, 110.
317:double harmonic scale
812:1950s jazz standards
319:), and it is set in
332:
142:, often considered
100:Cannonball Adderley
64:First Great Quintet
42:Cannonball Adderley
647:2012-07-16 at the
616:2008-06-23 at the
484:New Jazz Orchestra
330:
201:(1974), guitarist
817:Jazz compositions
551:978-0-19-532266-8
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313:minor Gypsy scale
181:Sketches of Spain
176:minor Gypsy scale
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189:George Russell
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44:for the album
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660:Cook, p. 123.
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172:Phrygian mode
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124:In mid-1958,
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84:Paul Chambers
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68:John Coltrane
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762:. Retrieved
758:Jazz Journal
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734:. Retrieved
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553:, pp. 44-45.
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539:Richard Cook
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498:Marc Johnson
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283:(1980), and
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238:Explorations
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208:Solo Concert
207:
203:Ralph Towner
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139:Kind of Blue
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134:Wynton Kelly
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118:Kind of Blue
116:
115:(1958) and
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61:
45:
20:
18:
671:"- YouTube"
480:Neal Ardley
296:Madvillainy
194:Ezz-Thetics
76:Red Garland
58:Composition
34:Miles Davis
806:Categories
764:7 February
736:3 February
511:References
442:(Mm.25-32)
410:(Mm.17-24)
225:Bill Evans
130:Jimmy Cobb
126:Bill Evans
112:Milestones
52:Bill Evans
587:JazzTimes
378:(Mm.9-16)
262:Quiet Now
250:Trio Live
31:trumpeter
730:AllMusic
713:JazzWise
645:Archived
614:Archived
503:Overpass
488:Ian Carr
346:(mm.1-8)
339:Harmony
336:Section
311:and the
277:(1979),
265:(1969),
259:(1968),
253:(1964),
247:(1963),
241:(1961),
235:(1960),
221:(2016).
174:and the
163:—
25:American
676:YouTube
494:(1969).
464:Emaj Em
449:Em Fmaj
385:Em Fmaj
353:Em Fmaj
325:E minor
293:on the
791:
549:
291:Madlib
90:, and
21:Nardis
777:Books
435:Fmaj
96:drums
80:piano
38:modal
789:ISBN
766:2022
738:2022
547:ISBN
467:(B)
461:Fmaj
455:Cmaj
432:Cmaj
429:Dm G
423:Fmaj
417:Fmaj
400:Emaj
397:Fmaj
391:Cmaj
368:Emaj
365:Fmaj
359:Cmaj
303:Form
88:bass
28:jazz
482:'s
403:Em
371:Em
199:Eon
102:on
94:on
86:on
78:on
70:on
808::
755:.
727:.
673:.
541:.
519:^
458:Am
446:Em
440:A
426:Dm
420:Am
414:Am
408:B
394:Am
382:Em
376:A
362:Am
350:Em
344:A
327:.
106:.
82:,
74:,
797:.
768:.
740:.
679:.
589:.
529:.
506:.
452:B
388:B
356:B
183:.
19:"
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