Gil Evans Out Of The Cool Rar

17-09-2021 by

Among jazzmen, particularly player-writers, Gil Evans is uniquely admired.

“For my taste,” Miles Davis says, “he’s the best. I haven’t heard anything that knocks me out as consistently as he does since I first heard Charlie Parker.”

Coincident with Miles’ recent tribute, Capitol released a few weeks ago the first complete collection of those 1949–’50 Davis combo sides which were to influence deeply one important direction of modern chamber jazz—Birth Of The Cool.

Evans was perhaps the primary background factor in making these sessions happen, and he wrote the arrangements for “Moon Dreams” and “Boplicity.”

“Boplicity” is listed as the work of “Cleo Henry,” a nom-de-date for Davis, who wrote the melody after which Evans scored the written ensembles. “‘Boplicity,’” declares André Hodeir in Jazz: Its Evolution and Essence, “is enough to make Gil Evans qualify as one of jazz’s greatest arranger-composers.”

Despite these and other endorsements from impressive jazz figures, Evans is just a name to most jazz listeners. In the past few years, he has written comparatively little in the jazz field; but his influence on modern jazz writing through the effect of his work for the Claude Thornhill band of the forties and the Davis sides has remained persistent.

Gil Evans Out Of The Cool Rar

“Not many people really heard Gil,” Gerry Mulligan explains. “Those who did, those who came up through the Thornhill band, were tremendously affected, and they in turn affected others.”

Gil has now decided to return to more active jazz participation and is writing all arrangements for a Davis big band Columbia LP to be recorded at the end of April. He’s also become more interested in creating original material, an area he’s largely avoided up to now.

Evans once again is at a crossing point of his career.

He was born Ian Gilmore Green in Toronto, Canada, on May 13, 1912, and took his stepfather’s name. Gil is self-taught and says, “I’ve always learned through practical work. I didn’t learn any theory except through the practical use of it; and in fact, I started in music with a little band that could play the music as soon as I’d write it.”

The Gil Evans Orchestra Out Of The Cool (Verve Acoustic Sounds Series) 180g LP The Gil Evans Orchestra. Availability: Preorder In Stock: An In Stock item is available to ship normally within 24 business hours. Preorder: A Preorder is an item that has not yet been released. Out of the Cool is a jazz album by The Gil Evans Orchestra, recorded in 1960 and released on the Impulse! Label the following year. The album was one of Impulse!' S first four albums, released together, and featured a gatefold design and high production values. The Gil Evans Orchestra Out of the Cool: 2021 180g Vinyl LP All-Analog 180g Vinyl LP of The Gil Evans Orchestra's Out of the Cool Remastered from the Original Analog Tapes, Pressed at QRP, and Housed in Stoughton Gatefold Jacket If one album evokes the style, the ethos, and the vibe of Creed Taylor's Impulse! Label it is The Gil Evans Orchestra.

Evans first learned about music through jazz and popular records and radio broadcasts of bands. Since he had no traditional European background either in studying or listening, he built his style entirely on his pragmatic approach to jazz and pop material.

Gil Evans Out Of The Cool Rar Free

Sound itself was his first motivation. “Before I ever attached sound to notes in my mind, sound attracted me,” he says. “When I was a kid, I could tell what kind of car was coming with my back turned.”

Later, “it was the sound of Louis’ horn, the people in Red Nichols’ units, like Jack Teagarden and Benny Goodman, Duke’s band, the McKinney Cotton Pickers, Don Redman. Redman’s Brunswick records ought to be reissued. The band swung, but the voicings also gave the band a compact sound. I also was interested in popular bands. Like the Casa Loma approach to ballads. Gene Gifford broke up the instrumentation more imaginatively than was usual at the time.”

Out Of The Cool, LP, Jazz, 31. The title may be Out of the Cool, but the minimalism and moodiness of cool jazz are still present on this record from Gil Evans and his orchestra of highly regarded jazz musicians. The trumpet players are obviously playing to mimic Evans's frequent collaborator, Miles Davis, and fans of Evans's work with him, for example the Birth of the Cool.

Gil Evans Out Of The Cool Rar Download

Overview

Gil Evans Discography

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.

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