Chris Lomheim’s first keyboard was the family organ, and as a child he studied both organ and piano in Minneapolis. He focused on R&B in the 1980s, playing with such bands as Big John Dickerson and Down Right Tight. Gaining a reputation as a composer as well as performer, he was featured at the West Bank School of Music Composer’s Forum in 1991. A member of the acclaimed Illicit Sextet in the 1990s (and recently reunited), Lomheim has played and/or recorded with a long list of Twin Cities’ musicians, including Gordy Johnson, Kelly Rossum, Reid Kennedy and vocalists Debbie Duncan, Christine Rosholt, Patty Peterson, Lucia Newell, and Vicky Mountain. As leader, he has made two acclaimed trio recordings, And You’ve Been Waiting? (1994, IGMOD) and The Bridge (2002, Artegra). Jeremy Walker of Brilliant Corners called Lomheim “the most sensitive and romantic player you will hear around the Twin Cities' scene. He has prodigious piano technique and an individual ear for harmony.”  

Few fans of jazz need much of an introduction to Bill Evans. A piano prodigy from Plainfield, NJ, Evans was “discovered” in the 1950s and signed to Riverside, releasing his classics Waltz For Debby and Everybody Digs Bill Evans before joining Miles Davis’ for the legendary Kind of Blue session. Despite chronic health problems leading to his untimely death in 1980 (related to chronic narcotics addiction), Evans had a prolific recording and performing career, winning six Grammies and leading multiple editions of the finest piano trios of the 20th century. Among his many compositions are some of the most popular and beloved in modern jazz. Often called the “Fountainhead of Modern Jazz Piano,” Evans had a significant influence on many of today’s masters, including Keith Jarrett, Herbie Hancock, Chick Corea, Brad Mehldau, Fred Hersch, Bill Charlap and, of course, Chris Lomheim. 

Long compared stylistically to his musical hero, Lomheim attributes his adolescent transition from organ to piano to Bill Evans’ Affinity recording, and the “Body and Soul” track in particular. “When I first heard Bill Evans it was on a tape that my organ teacher, Herb Wigley, made for me,” recalls Lomheim. “I remember it like it was yesterday… with Toots Thielemans on harmonica and Larry Schneider on tenor and soprano sax. The rich harmonies I heard Bill play along with the haunting melodies drew me inside the music unlike anything I had ever heard before. I felt happiness and sadness all wrapped in one…It made me cry sometimes because of its honesty and beauty.” And from that point on, Chris switched from organ to piano, “except for some R&B and blues stints in the late 80's.” 

Lomheim was soon an Evans scholar. “…I bought up every album I could find of him. I began transcribing Evans’ music and assimilating his chord voicings and improvisation ideas.” Beyond his talents as pianist and composer, Bill Evans was known and revered for his development of the piano trio format, and for assembling several historic ensembles. Notes Lomheim, “One of the most important things I noticed and learned from Bill Evans was how he gave his bass player and drummer more freedom to communicate and participate in the music than most other piano trios.  There was a sense of complete trust in the music and the musicians he chose to work with.” Of Evans’ trios, Chris won’t identify a favorite. “Evans was so brilliant at picking his players so its hard for me to pick. I do think the trio with Eddie Gomez and Marty Morell from the 70's was an amazing combo that recorded some very deep material. Also his final group with Mark Johnson and Joe LaBarbara was very wonderful.” And for those looking for an introduction to the music of Bill Evans, Lomheim suggests starting with one of Evans’ earlier trios: “If you are an aspiring jazz musician I would say listen to the early 60's Village Vanguard Sessions when Bill had Scott LaFaro on bass and Paul Motian on drums. These were truly groundbreaking recordings that still sound brand new, the level of communication is amazing and the playing is virtuoso on many levels.” 

Chris finds it easier to identify favorite Evans’ compositions—“‘We Will Meet Again’ which is a beautiful short waltz written in memory of his late brother Harry Evans, it is so simple and melancholy… but also ‘Turn out the Stars.’”  

The Bill Evans Birthday Party will provide long-time Chris Lomheim fans with an evening filled with Evans and more; those not yet familiar with this pianist or this trio will have an opportunity to see/hear first-hand how well Lomheim has applied his idol’s conception of an egalitarian ensemble, as he too gives “his bass player and drummer more freedom to communicate and participate in the music…” Yet be assured this pianist (and this trio) are not Bill Evans’ imitators. Evans provides the inspiration, but Lomheim, Johnson and Epstein will create their own special music. 
 

The Chris Lomheim Trio performs in tribute to Bill Evans at the Artists Quarter in downtown St. Paul (408 St. Peter Street) on Thursday, August 16th at 9 pm (www.artistsquarter.com). For a lot more about Bill Evans, visit http://www.billevanswebpages.com