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CD |
Kérjen
árajánlatot! |
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| 1. | Bud and Bird
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| 2. | Half Man, Half Cookie
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| 3. | Gates-Illuminations
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| 4. | Nicaragua Blues
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| 5. | Groove Form the Louvre
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Jazz
Recorded live in 1986.
Gil Evans - Arranger, Flute, Piano, Sax (Soprano), Sax (Tenor)
Bill Evans - Flute, Sax (Soprano), Sax (Tenor)
Chris Hunter - Flute, Sax (Alto), Sax (Soprano)
Danny Gottlieb - Drums
Dave Bargeron - Trombone
Dave Tucker - Trombone (Bass)
Gil Goldstein - Synthesizer
Hamiet Bluiett - Clarinet, Clarinet (Bass), Sax (Baritone)
Hiram Bullock - Guitar
John Clark - French Horn, Horn
Johnny Coles - Flugelhorn
Lew Soloff - Trumpet
Mark Egan - Bass
Miles Evans - Trumpet
Pete Levin - Synthesizer
Shunzo Ohno - Trumpet
* Dan O'Leary - Assistant Engineer
* Dave Shirk - Pre-Mastering Engineer
* Hatsuro Takanami - Mixing, Mixing Engineer
* Horst Liepolt - Producer
* John Rutherford - Assistant Engineer
* Kazunori Sugiyama - Engineer
* Masahisa Segawa - Liner Notes
* Shigeru Uchiyama - Photography
* Shigeyuki Kawashima - Producer
* Shigo Yamaguchi - Art Direction
* Steven Remote - Engineer
* Thomas Vilot - Art Direction
Although best known for his pioneering work with Miles Davis, Gil Evans is also recognized as one of the greatest arrangers in modern Jazz. This 67 minute CD features many well-known players in the 16 piece big band including Bill Evans, Hiram Bullock, and Metheny-ites Mark Egan and Danny Gottlieb.
Gil Evans celebrated his 75th birthday shortly before this session was issued in Japan. He was not looking back, judging from the progressive, animated quality of these numbers. They included some extensive, rollicking numbers, songs with multiple movements, and energized solos from John Clark on French horn, trumpeter Lew Soloff, bass trombonist Dave Tucker, and bassist Mark Egan. Special guest Johnny Coles chimed in on "Half Man, Half Cookie." Some critics rapped Evans' '80s orchestras for their almost chaotic sound and loose feel. But Evans wanted a sprawling sensibility, and although his bands often seemed disorganized, they always maintained discipline in the midst of what others thought sounded like musical anarchy.
---Ron Wynn, All Music Guide
Gil Evans
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: May 13, 1912 in Toronto, Ontario, Canada
Died: Mar 20, 1988 in Cuernavaca, Mexico
Genre: Jazz
Styles: Progressive Big Band, Cool, Fusion, Post-Bop, Modern Big Band, Progressive Jazz, Experimental Big Band
One of the most significant arrangers in jazz history, Gil Evans' three album-length collaborations with Miles Davis (Miles Ahead, Porgy and Bess and Sketches of Spain) are all considered classics. Evans had a lengthy and wide-ranging career that sometimes ran parallel to the trumpeter. Like Davis, Gil became involved in utilizing electronics in the 1970s and preferred not to look back and recreate the past. He led his own band in California (1933-38) which eventually became the backup group for Skinnay Ennis; Evans stayed on for a time as arranger. He gained recognition for his somewhat futuristic charts for Claude Thornhill's Orchestra (1941-42 and 1946-48) which took advantage of the ensemble's cool tones, utilized French horns and a tuba as frontline instruments and by 1946 incorporated the influence of bop. He met Miles Davis (who admired his work with Thornhill) during this time and contributed arrangements of "Moon Dreams" and "Boplicity" to Davis' "Birth of the Cool" nonet.
After a period in obscurity, Evans wrote for a Helen Merrill session and then collaborated with Davis on Miles Ahead. In addition to his work with Miles (which also included a 1961 recorded Carnegie Hall concert and the half-album Quiet Nights), Evans recorded several superb and highly original sets as a leader (including Gil Evans and Ten, New Bottle Old Wine and Great Jazz Standards) during the era. In the 1960s among the albums he worked on for other artists were notable efforts with Kenny Burrell and Astrud Gilberto. After his own sessions for Verve during 1963-64, Evans waited until 1969 until recording again as a leader. That year's Blues in Orbit was his first successful effort at combining acoustic and electric instruments; it would be followed by dates for Artists House, Atlantic (Svengali) and a notable tribute to Jimi Hendrix in 1974. After 1975's There Comes a Time (which features among its sidemen David Sanborn), most of Evans' recordings were taken from live performances. Starting in 1970 he began playing with his large ensemble on a weekly basis in New York clubs. Filled with such all-star players as George Adams, Lew Soloff, Marvin "Hannibal" Peterson, Chris Hunter, Howard Johnson, Pete Levin, Hiram Bullock, Hamiet Bluiett and Arthur Blythe among others, Evans' later bands were top-heavy in talent but tended to ramble on too long. Gil Evans, other than sketching out a framework and contributing his keyboard, seemed to let the orchestra largely run itself, inspiring rather than closely directing the music. There were some worthwhile recordings from the 1980s (when the band had a long string of Monday night gigs at Sweet Basil in New York) but in general they do not often live up to their potential. Prior to his death, Gil Evans recorded with his "arranger's piano" on duets with Lee Konitz and Steve Lacy and his body of work on a whole ranks with the top jazz arrangers.
---Scott Yanow, All Music Guide |
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