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On that same vein, the poker room is beholden to the max bet rule; the maximum big blind is , meaning the biggest hold’em game offered is /4 no limit (none of which were running on a Monday night). Evans’ piano work had by now achieved the maximum in evocative refinement, the tone of his chords had all but dematerialized; it seemed to speak of far-off abstract things while, nevertheless, maintaining a kind of subterranean tension and a sense of restless expectation. Jazz critic Art Lange observed that Evans’ time with Davis – little more than one year, counting Kind Of Blue recorded outside the concert phase, was a decisive moment of passage. This album represents a unique moment of convergence in the artistic paths of these two artists – a bit like one of those intersecting of orbits, that kind of extraordinary astronomic event that happens only once every several hundred years.

More about this issue in a moment. As streamers we playing more than most and have good bonuses from the casinos to create content for our viewers. But Philly Joe’s talent was stealing the show from Goodman’s big band, who complained to the management that the other group was too good. The mix was surely not pre-planned, but Evans seems to have acted as a catalyst, capable of “drawing” the whole group towards mysterious places of silence. But he was beginning to have serious problems with his health. At the beginning of the 1960s we find him ranked third (after Thelonious Monk and Oscar Peterson!) in the critics poll of Down Beat magazine. The first to leave was Dennis, replaced by Philly Joe Jones, and at that point Evans was beginning to feel good about his trio. Marc Johnson and Joe LaBarbera convinced him to go to the hospital, and even in this he succeeded in keeping his surreal wittiness and his proverbial composure: on the way there he is quoted, in fact, as having commented: “I must be close to the end, because I’m seeing all these good-looking girls go by and it’s not phasing me at all.” His condition rapidly and irreparably deteriorated.

He called in bass player Scott LaFaro (who had just finished a gig with Tony Scott in a club very close to Basin Street East) and, for the last week of that tormented gig, drummer Paul Motian. Evans had already worked with Motian on three different occasions over the previous three or four years in various groups, including those of George Russell and Tony Scott. With his adventurous piano solos in Nardis he was confirming what many years before clarinet player Jimmy Giuffre had said of him: “Bill Evans is a greater musician than Charlie Parker;” and to clarify so surprising a statement to his incredulous listeners he added: “There is an area up here where musical categories do not exist. Evans had met LaFaro at an audition for Chet Baker a couple of years earlier. The communicative force of Evans’ music in that last year was becoming more penetrating than ever. He had gone back to music as his definitive refuge from the world.

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Evans was finally happy and, knowing that he could count on Orrin Keepnews’ support, he was sure that he would be able to make some terrific recordings with this trio. Or better, he had the power to “express tenderness, love, rage, fear, happiness, despair wonder: in a word, beauty,” as Don Nelsen writes in the liner notes of Trio ’65. In the late 70’s early 80’s the mechanical lever was replaced by an electronic throttle wheel, which controlled the power of an electronic piston to propel the balls. He called in drummer Kenny Dennis and bass player Jimmy Garrison for a few evening club dates. But when the two began to work together with Motian, Evans’ respect for the 23-year-old bass player grew rapidly. Once back in America, Bill continued to work frenetically. Bill was satisfied and proud of the extremely fast progress his two partners were making, and of how in tune they were with his musical world. On September 15 1980, at the age of fifty-one, Bill Evans died.