{"id":2865,"date":"2011-08-16T17:33:31","date_gmt":"2011-08-17T00:33:31","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=2865"},"modified":"2011-08-16T17:33:31","modified_gmt":"2011-08-17T00:33:31","slug":"a-bill-evans-birthday-observance","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2011\/08\/a-bill-evans-birthday-observance\/","title":{"rendered":"A Bill Evans Birthday Observance"},"content":{"rendered":"<p>At this hour in Edmonton, Alberta, Canada, Laurie Verchomin is celebrating the 82nd anniversary of Bill Evans\u00e2\u20ac\u2122 birth. She is at Alberta College reading from her book about the brief, intense relationship with the pianist that <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Evans-Laurie.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Evans-Laurie.jpg\" alt=\"\" title=\"Evans, Laurie\" width=\"121\" height=\"121\" class=\"alignleft size-full wp-image-2866\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Evans-Laurie.jpg 121w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Evans-Laurie-70x70.jpg 70w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Evans-Laurie-110x110.jpg 110w\" sizes=\"auto, (max-width: 121px) 100vw, 121px\" \/><\/a>inspired him to write \u00e2\u20ac\u0153Laurie.\u00e2\u20ac\u009d The composition became a central part of Evans\u00e2\u20ac\u2122 repertoire in his final years. Ms. Verchomin was with him on his final day in September,1980. On the left, we see Evans with photo booth shots of Laurie. <\/p>\n<p>For a <em>Rifftides<\/em> mention of the book, <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2010\/12\/book_laurie_verchomin_on_bill.html\"target=\"_blank\">go here<\/a>. For Roger Levesque\u00e2\u20ac\u2122s story in the <em>Edmonton Journal<\/em> about Ms. Verchomin and this evening\u00e2\u20ac\u2122s event, <a href=\"http:\/\/www.edmontonjournal.com\/entertainment\/Edmonton+raised+author+revisits+relationship+with+jazz+pianist+Bill+Evans\/5253508\/story.html\"target=\"_blank\">go here<\/a>. For a performance of \u00e2\u20ac\u0153Laurie\u00e2\u20ac\u009d by Evans, Mark Johnson and Joe La Barbera in Rome in 1979, don&#8217;t go anywhere. Play this video. <\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"440\" height=\"355\" src=\"http:\/\/www.youtube.com\/embed\/Wzr71j5Too4?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><br \/>\n<\/iframe><\/div>\n<p>\n<div style=\"text-align: center;\"><strong>Bill Evans: August 16, 1929 &#8211; September 15, 1980<\/strong><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>At this hour in Edmonton, Alberta, Canada, Laurie Verchomin is celebrating the 82nd anniversary of Bill Evans\u00e2\u20ac\u2122 birth. She is at Alberta College reading from her book about the brief, intense relationship with the pianist that inspired him to write \u00e2\u20ac\u0153Laurie.\u00e2\u20ac\u009d The composition became a central part of Evans\u00e2\u20ac\u2122 repertoire in his final years. Ms. [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-2865","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2865","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=2865"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2865\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2865"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2865"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2865"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}