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Kérjen
árajánlatot! |
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| 1. | La Nevada
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| 2. | Where Flamingos Fly
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| 3. | Bilbao Song
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| 4. | Stratusphunk
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| 5. | Sunken Treasure
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| 6. | Sister Sadie
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Jazz
Produced by Creed Taylor at the Van Gelder Studio, Englewood Cliffs, NJ on Novemeber 18 and 30, 1960 and December 10 and 15, 1960
Johnny Coles Trumpet
Phil Sunkel Trumpet
Keg Johnson Trombone
Jimmy Knepper Trombone
Tony Studd Bass Trombone
Bill Barber Tuba
Ray Beckenstein Alto Saxophone, Flute, Piccolo
Eddie Caine Alto Saxophone, Flute, Piccolo
Budd Johnson Tenor Saxophone, Soprano Saxophone
Bob Tricarico Bassoon, Flute, Piccolo
Ray Crawford Guitar
Ron Carter Bass
Elvin Jones Percussion, Drums
Charlie Persip Percussion, Drums
This is the Gil Evans Orchestra that made its initial appearance at the Jazz Gallery in New York City toward the end of 1960. After having experimented with many different instrumentation formats, Gil has settled on this one as affording the most flexible outlet for his musical ideas. His taste for developments in all music is evidenced by his choice of material, his selection of personnel and by his compositional style. While some composer-arrangers in the jazz field tend to over-write in proportion to the time they spend and the techniques they learn, Evans seems to be headed in the opposite direction. Always aware of the importance of the improvised solo, his supporting material is never overbearing. Indeed, a considerable portion of the scores he has written for this present group have been virtually nothing more than sketches.
---Tom Stewart, from the original liner notes from Out of the Cool
* Arnold Newman - Photography
* Bill Levenson - Reissue Supervisor
* Cameron Mizell - Production Coordination
* Creed Taylor - Producer
* Hollis King - Art Direction
* Isabelle Wong - Package Design
* Robert Flynn - Cover Design
* Todd Whitelock - Mastering
* Tom Stewart - Liner Notes
Out of the Cool, released in 1960, was the first recording Gil Evans issued after three straight albums with Miles Davis -- Sketches of Spain being the final one before this. Evans had learned much from Davis about improvisation, instinct, and space (the trumpeter learned plenty, too, especially about color, texture, and dynamic tension). Evans orchestrates less here, instead concentrating on the rhythm section built around Elvin Jones, Charlie Persip, bassist Ron Carter, and guitarist Ray Crawford. The maestro in the piano chair also assembled a crack horn section for this date, with Ray Beckinstein, Budd Johnson, and Eddie Caine on saxophones, trombonists Jimmy Knepper, Keg Johnson, and bass trombonist Tony Studd, with Johnny Coles and Phil Sunkel on trumpet, Bill Barber on tuba, and Bob Tricarico on flute, bassoon, and piccolo. The music here is of a wondrous variety, bookended by two stellar Evans compositions in "La Nevada," and "Sunken Treasure." The middle of the record is filled out by the lovely standard "Where Flamingos Fly," Kurt Weill-Bertolt Brecht's "Bilbao Song," and George Russell's classic "Stratusphunk." The sonics are alternately warm, breezy, and nocturnal, especially on the 15-plus-minute opener which captures the laid-back West Coast cool jazz feel juxtaposed by the percolating, even bubbling hot rhythmic pulse of the tough streets of Las Vegas. The horns are held back for long periods in the mix and the drums pop right up front, Crawford's solo -- drenched in funky blues -- is smoking. When the trombones re-enter, they are slow and moaning, and the piccolo digs in for an in the pocket, pulsing break. Whoa.
Things are brought back to the lyrical impressionism Evans is most well known for at the beginning of "Where Flamingos Fly." Following a four-note theme on guitar, flute, tuba, and trombone, it comes out dramatic and blue, but utterly spacious and warm. The melancholy feels like the tune "Summertime" in the trombone melody, but shifts toward something less impressionistic and more expressionist entirely by the use of gentle dissonance by the second verse as the horns begin to ratchet things up just a bit, allowing Persip and Jones to play in the middle on a variety of percussion instruments before the tune takes on a New Orleans feel, and indeed traces much of orchestral jazz history over the course of its five minutes without breaking a sweat. "Stratusphunk" is the most angular tune here, but Evans and company lend such an element of swing to the tune that its edges are barely experienced by the listener. For all his seriousness, there was a great deal of warmth and humor in Evans' approach to arranging. His use of the bassoon as a sound effects instrument at the beginning is one such moment emerging right out of the bass trombone. At first, the walking bassline played by Carter feels at odds with the lithe and limber horn lines which begin to assert themselves in full finger popping swing etiquette, but Carter seamlessly blends in. Again, Crawford's guitar solo in the midst of all that brass is the voice of song itself, but it's funky before Johnny Coles' fine trumpet solo ushers in an entirely new chart for the brass. The final cut, "Sunken Treasure," is a moody piece of noir that keeps its pulse inside the role of bass trombone and tuba. Percussion here, with maracas, is more of a coloration device, and the blues emerge from the trumpets and from Carter. It's an odd way to close a record, but its deep-night feel is something that may echo the "cool" yet looks toward something deeper and hotter -- which is exactly what followed later with Into the Hot. This set is not only brilliant, it's fun.
---Thom Jurek, 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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