Biography
by Ron Wynn
A superb jazz arranger and bandleader, Gil Evans rivaled Ellington and Mingus in his ability to provide imaginative frameworks for individual voices within a large orchestra. He wrote elaborate, intricate arrangements that didn't weaken or threaten his band's spontaneity. His most renowned work came in the late '50s, when Miles Davis signed with Columbia and brought Evans into the studio with a large ensemble. The resultant albums -- Miles Ahead (1957), Porgy and Bess (1958), Sketches of Spain (1959) -- became milestones in the careers of both men. Evans was hardly a purist; he began using electronics in his bands in the '70s and scandalized some by recording Jimi Hendrix material. His style got looser in later years, with more space and less precision, but certainly his music remained compelling. Evans' harmonic language, compositional and arranging skill were immense, and he was responsible for many masterpieces through either his arrangements, compositions, or conducting.
A self-taught musician, Evans led his own group in California during the mid and late '30s. He remained its arrranger after Skinnay Ennis became bandleader, until he joined Claude Thornhill's orchestra in 1941 as an arranger. His arrangements of classical bebop compositions helped shape and make Thornhill's orchestra a topflight band. He stayed until 1948, except for a stretch in the service during the mid-'40s. Evans first worked with Miles Davis in the late '40s and early '50s, creating the same magic, but with a smaller combo. He also wrote songs for Peggy Lee, Tony Bennett, and Benny Goodman, while conducting albums for Astrud Gilberto and Kenny Burrell.
Evans generated more fireworks later in the '50s and '60s with Davis, writing spectacular arrangements for the albums Miles Ahead, Porgy and Bess, and Sketches of Spain (later came Quiet Nights). Evans also played piano on some sessions. These, and his 1958 album New Bottle Old Wine remain landmark works. His own intriguing releases in the '60s included Out of the Cool, Into the Hot, and The Individualism of Gil Evans.
Evans did more writing in the '70s, penning such works as "Las Vegas Tango," "Proclamation" and "Anita's Dance." He issued more fine albums, such as 1974's The Gil Evans Orchestra Plays the Music of Jimi Hendrix and 1983's Priestess.
He continued writing, arranging and recording in the '80s, and for a lengthy period his band was the featured attraction at Sweet Basil's in New York on Monday nights. Evans recorded for Enja, Mole, and other labels in the '80s. His 75th birthday concert was held in London in 1987; he died the next year.
///////
Biografía
por Ron Wynn
Gil Evans, magnífico arreglista de jazz y director de orquesta, rivalizaba con Ellington y Mingus en su capacidad para proporcionar marcos imaginativos a las voces individuales dentro de una gran orquesta. Escribía arreglos elaborados e intrincados que no debilitaban ni amenazaban la espontaneidad de su banda. Su trabajo más reconocido llegó a finales de los años 50, cuando Miles Davis firmó con Columbia y llevó a Evans al estudio con un gran conjunto. Los álbumes resultantes -Miles Ahead (1957), Porgy and Bess (1958), Sketches of Spain (1959)- se convirtieron en hitos en las carreras de ambos. Evans no era un purista; empezó a utilizar la electrónica en sus bandas en los años 70 y escandalizó a algunos al grabar material de Jimi Hendrix. Su estilo se hizo más suelto en los últimos años, con más espacio y menos precisión, pero ciertamente su música siguió siendo convincente. El lenguaje armónico y la habilidad compositiva y de arreglos de Evans eran inmensos, y fue responsable de muchas obras maestras a través de sus arreglos, composiciones o dirección.
Músico autodidacta, Evans dirigió su propio grupo en California a mediados y finales de los años treinta. Siguió siendo su arreglista después de que Skinnay Ennis se convirtiera en director de la banda, hasta que se unió a la orquesta de Claude Thornhill en 1941 como arreglista. Sus arreglos de composiciones clásicas de bebop ayudaron a dar forma y convertir a la orquesta de Thornhill en una banda de primera categoría. Permaneció hasta 1948, salvo un tramo en el servicio a mediados de los años 40. Evans trabajó por primera vez con Miles Davis a finales de los 40 y principios de los 50, creando la misma magia, pero con un combo más pequeño. También escribió canciones para Peggy Lee, Tony Bennett y Benny Goodman, y dirigió discos para Astrud Gilberto y Kenny Burrell.
Evans generó más fuegos artificiales más tarde, en los años 50 y 60, con Davis, escribiendo espectaculares arreglos para los álbumes Miles Ahead, Porgy and Bess y Sketches of Spain (más tarde llegó Quiet Nights). Evans también tocó el piano en algunas sesiones. Éstas y su álbum de 1958 New Bottle Old Wine siguen siendo obras de referencia. Sus propios e intrigantes lanzamientos en los años 60 incluyeron Out of the Cool, Into the Hot, y The Individualism of Gil Evans.
Evans se dedicó más a escribir en los años 70, escribiendo obras como "Las Vegas Tango", "Proclamation" y "Anita's Dance". Publicó más discos de calidad, como The Gil Evans Orchestra Plays the Music of Jimi Hendrix, de 1974, y Priestess, de 1983.
Siguió escribiendo, arreglando y grabando en los años 80, y durante un largo periodo su banda fue la atracción principal en Sweet Basil's en Nueva York los lunes por la noche. Evans grabó para Enja, Mole y otros sellos en los años 80. En 1987 se celebró en Londres el concierto de su 75º aniversario; murió al año siguiente.
1. Theme
2. Chant Of The Weed
3. Django
4. Straight No Chaser
5. Joy Spring
6. Ballad Of The Sad Young Men
7. Davenport Blues
Credits: Arranged By – Gil Evans
Bass – Dick Carter (2) (tracks: A3, B1, B4), Tommy Potter (tracks: A1, A2, B2, B3)
Cover [Cover Design] – Woody Woodward
Drums – Dennis Charles* (tracks: A3, B1, B4), Elvin Jones (tracks: A1, A2, B2, B3)
French Horn – Earl Chapin (tracks: A1, A2, B2, B3), Bob Northern* (tracks: A3, B1, B4)
Guitar – Chuck Wayne (tracks: A3, B1, B4), Ray Crawford (tracks: A1, A2, B2, B3)
Photography By [Back Photo] – Richard Bock
Photography By [Cover Photo] – Al Avakian
Piano – Gil Evans
Producer – Richard Bock
Sleeve Notes – Ed Michel
Soprano Saxophone – Steve Lacy
Tenor Saxophone, Clarinet – Budd Johnson (tracks: A1, A2, B2, B3)
Trombone – Bill Elton (tracks: A3, B1, B4), Curtis Fuller, Dick Lieb (tracks: A3, B1, B4), Jimmy Cleveland (tracks: A1, A2, B2, B3), Rod Levitt (tracks: A1, A2, B2, B3)
Trumpet – Allen Smith (tracks: A3, B1, B4), Danny Stiles (tracks: A1, A2, B2, B3), Johnny Coles, Louis Mucci
Tuba – Bill Barber
Woodwind – Al Block (tracks: A3, B1, B4), Ed Caine (tracks: A1, A2, B2, B3)
Notes
Recorded in New York City on February 5, 1959 (#3,4,6,7) and early 1959 (#1,2,5)
Label: Pacific Jazz – PJ-28
Format:
Vinyl, LP, Album, Mono
Country: US
Released: 1961
Genre: Jazz
Style: Big Band, Cool Jazz
https://www.discogs.com/release/5929340-Gil-Evans-And-His-Orchestra-Featuring-Budd-Johnson-John-Cole-Americas-1-Arranger
This file is intended only for preview!
I ask you to delete the file from your hard drive or device after reading it.
thank for the original uploader
No comments:
Post a Comment