Gil Evans & Ten

Editorial Reviews
Amazon.com
Gil Evans was already a major force in jazz arranging through his work with Claude Thornhill and Miles Davis, but this 1957 date was his first opportunity to record as a leader. The midsize group will recall his influence on the Birth of the Cool sessions. Rather than the uniform instruments of the conventional big band, Evans picked his instruments individually for what they could contribute to distinctive tone colors. Thus the band includes a French horn in the brass and a reed section of soprano and alto saxophones and bassoon. The result is a series of highly distinct textures and a clarity that illuminates each piece. Evans's inventiveness extended to applying his gift for complex harmonies to Leadbelly's "Ella Speed," a sign of the openness that would later lead him to the music of Jimi Hendrix. The excellent soloists here include Evans's longtime associate John Carisi on trumpet, Lee Konitz on alto, and a young Steve Lacy on soprano. --Stuart Broomer --This text refers to the Audio CD edition.

Gil Evans & Ten, Music, Gil Evans, Canada, Cool, Jazz, Modern Big Band, Pop, Post-Bop, Progressive Big Band, Standards

Sketches of Spain
Average customer rating:

Classijazz? Jazzical?

Spanish love song...

From Madrid w/ Love

Music to listen to at day's end

Gil Evans provides another dimension for the legendary horn player

Sketches of Spain
Miles Davis , and Gil Evans
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002AH7
Release Date: 1997-09-23

Tracks:

Concierto De Aranjuez (Adagio)
Will O' The Wisp
The Pan Piper
Saeta
Solea
Song Of Our Country
Concierto De Aranjuez (Part One)
Concierto De Aranjuez (Part Two Ending)

Amazon.com essential recording

Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, and Quiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. --Fred Goodman

Customer Reviews:

Classijazz? Jazzical? .......2007-07-02

Hey! This ain't jazz! This is Spanish-tinged classical! With a fanfare that seems fitting to introduce matadors (not a criticism, not a compliment) on "Saeta"! Yeah, that's right. Miles' eclecticism kicks in again, I suppose. It's a bit overrated, and it's controversial even by Miles' standards. I like it though. Other than "Concerto de Aranjeuz". That song, or work, or whatever fails to move me. Now, "Will o' the Wisp", aye, that be a different cup of tea. It really is moving, emotional, haunting, and so forth; so is "The Pan Piper", with an eerie flute melody. "Saeta" starts off like those two, but ends up doing the pompous fanfare thingy, but hey, at least it does it well. And the closing "Solea" is pretty good too! It sounds almost like the Hollywood version of traditional Spanish music, the kind you'd expect to hear when the charming Spanish swordfighter is having a duel in a ballroom, but again, it gets quite intense during its climax around nine minutes in. I like intense. This is easily the best Miles/Evans album. Just to warn you, though, it's quite rigid; as usual, Miles is put on a pedestal above the other guys. I mostly prefer him in a small-group setting. I do, however, recommend Sketches of Spain in spite of that.

Spanish love song..........2007-06-20

Miles Davis working with arranger and composer Gil Evans put together an album that ranked 356 on Rolling Stones Top 500 albums of all time. It is probaly one of his most accessible albums and the tight compositions take you to the Spanish bullfight and quiet burning passion of a long, hot Spanish summer day. Not the the hardblowing, improvisational jazz that everyone associates with Miles but the arrangements and tight composition makes for a very relaxing, enjoyable listen.

From Madrid w/ Love.......2007-05-13

I'm listening to Miles here in Madrid. We've just done the tapas crawl after seeing a bullfight. No kidding. Now, the ipod is playing Sketces....and I've got to tell you that Miles and Gil Evans got it right. In fact, everything they collaborated on was so fantastic. And Miles is Miles. Here, a little more sophisticated than in his "Kind of Blue" phase but, still Miles. The one and only.

Music to listen to at day's end.......2007-02-01

This is a nice disc to listen to after a long day doing just about anything. It is just that soul-reaching and calming. I feel like this CD is a slice of jazz wrapped in a blanket of Mediterranean sunshine. No vocals are needed thanks to the melodic tunes of Miles' horn.

Gil Evans provides another dimension for the legendary horn player.......2006-12-23

While it doesn't have much to do with the music in this review, in 1995 I obtained Tears For Fears' "Raoul and the Kings of Spain" . This was one of the best albums of the 1990s, namely because of the Spanish musical influence that was infused into a mainstream music sound. One of the songs on "Raoul and the Kings of Spain" was an album called "Sketches of Pain". "Sketches of Pain" was an outstanding song because of the use of classical Spanish guitar and percussion. Part of the reason for the title of that Tears For Fears song was a play on the famous Miles Davis album, "Sketches of Spain", which was Davis' album that had music with a Spanish influence. While Miles Davis is basically a household name, I cannot say that I was familiar with a lot of his music. When I realized there was a connection in how Tears For Fears' "Sketches of Pain" related to Davis' Spanish Themed album, I became more curious about checking out this recording. Without doing much research, I assumed this album would be a jazz album with a classical Spanish influence. Instead, I was pleasantly surprised to discover a more classical music sound that would have the Spanish theme infused.

"Sketches of Spain" is a collaboration between Miles Davis and Gil Evans. Davis and Evans had begun a partnership in 1957 that saw Davis contribute his trademark horns (Trumpet and Flugelhorn) while Evans focused on the arrangements and conducting of the music. Prior to "Sketches of Spain" there were two efforts. The first was 1957's "Miles Ahead" that saw Davis and Evans engage in a big band/jazz feel. The second was 1958's "Porgy and Bess" which was an arrangement of songs from George Gershwin's opera, "Porgy and Bess". "Porgy and Bess" also saw the combination of Davis ane Evans move toward something that had more of a classical feel to it. I'm sure this provided a lot of the impetus for the duo to do something more in the classical space.

"Sketches of Pain" has its roots around Spanish Classical music. The original 1960 release consisted of five tracks - two are covers of existing Spanish Classical works and the other three were original compositions by Evans. The Spanish works that are covered are Joaquin Rodrigo's 16+ minute masterpiece "Concierto de Aranjuez" and Manuel de Falla's "Will o' the Wisp". Those familiar with Spanish classical music will know the names of Rodrigo and de Falla. This collection was re-released in 2000 and consists of three additional tracks including another original composition by Evans as well as a full alternative take and alternative ending of "Concierto de Aranjuez".

The cover songs, "Concierto de Aranjuez" and "Will o' the Wisp" are going to have less of a reliance on Davis' horns. While Davis' horns can be clearly held throughout the near 20 minutes of music that make up these songs, there is going to be a heavy reliance by the other musicians that contribute to these tracks. When you get into the four original tracks that were composed by Gil Evans, you will hear a big difference. The music is going to focus heavier on the trumpet and flugelhorn of Miles Davis. As you listen to the original tracks, it is amazing how Evans was able to integrate the sound to give the entire "Sketches of Spain" album a very homogenous feel - i.e. the sound of Spanish classical music. In particular the track, "Solea" proves to be as strong as the work by the legendary Rodrigo and de Falla. Listen for the Spanish military-flair in the song that is the result of some terrific percussion work.

Another thing that really stood out was that even though this collection has very much as Spanish Classical music feel. However there are many segments that could have easily been used as soundtrack info for a feel such as a James Bond movie. While it wouldn't be the hard-rocking sound of Paul McCartney's "Live and Let Die", I could see parts of these tracks in James Bond films. A prime example of this comes from the classical "Concierto de Aranjuez" piece itself. You can also hear the "soundtrack" sound from some of Evans' original work such as "Song of Our Country".

One thing that's worth noting is that while this is a Miles Davis album, much of the credit does need to go to Gil Evans. Davis does a superb job at playing the horns, but as mentioned above, it is Evans who finds a way to give this album the homogenous sound. It is also Evans that finds another avenue for Davis to deliver his sound. "Porgy and Bess" opened the doors for something besides his trademark jazz sound. "Sketches of Spain" helped take Davis to another dimension. The music shows outstanding musicianship. My only minor beef with this collection is that it really isn't going to make you "get up and dance". It almost has a calm and somewhat somber quality to it.

This collection includes an outstanding collection of liner notes that will provide additional insight into the band. This includes the original liner notes that appeared on the back of the album cover that were written by Nat Hernoff who was a co-editor of "The Jazz Review". Phil Schaap provides an additional write-up (on the re-release) that discusses "The Making of Sketches of Spain". The liner notes also include production and musician credits. Overall, this is not going to be the place to hear classic Miles Davis jazz, however it is going to be a place to hear some outstanding Spanish-infused classical music. This is going to provide some high quality music and if you have an appreciation for music, this is going to be something worth investing in.

Average customer rating:

pure composition magic...
One of the most startling beautiful and quintessential version of Porgy and Bess
Porgy and Bess and Miles/Gil Evans
Pull a chair between the speakers and let this one wash over you
Edit your own CD

Porgy and Bess
Miles Davis , and Gil Evans
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002AH6
Release Date: 1997-03-25

Tracks:

Buzzard Song
Bess, You Is My Woman Now
Gone
Gone, Gone, Gone
Summertime
Oh Bess, Oh Where's My Bess
Prayer (Oh Doctor Jesus)
Fishermen, Strawberry And Devil Crab
My Man's Gone Now
It Ain't Necessarily So
Here Come De Honey Man
I Loves You, Porgy
There's A Boat That's Leaving Soon For New York
I Loves You, Porgy (Take 1, Second Version)
Gone (Take 4)

Amazon.com

Take George Gershwin's Porgy & Bess, add Miles Davis and arranger Gil Evans, and what do you get? A classic jazz album that--despite the fact that the material has been rendered almost overly familiar due to countless interpretations--still sounds remarkably fresh four decades after its initial release. Miles' soft yet piercing trumpet style is perfectly suited to Gershwin's melancholy melodies, Evans' musical direction of his 18-piece orchestra is impeccable, and their version of "Summertime" may well be the finest ever waxed. Davis and Evans teamed up for several recordings after this one (including the landmark Sketches of Spain), but Porgy & Bess still stands as one of their most successful collaborations. --Dan Epstein

Customer Reviews:

pure composition magic..........2007-06-20

The pinnacle of Gil Evans and Miles Davis working together. This is by far the definitive recording of Porgy and Bess as far as I'm concerned. I've listened to it a thousand times and it still blows me away. I wish I had the words to do this recording justice. Just listen to GONE and how it segues into GONE, GONE, GONE and how that in turn segues into SUMMERTIME. My goodness, the trumpet practically speaks to you, you can feel the pathos, the rage and the desire of the story. SUMMERTIME is the quintessential Miles. moody, full of passion, magical. Enough said. Get it. Listen to it. Enjoy it. over and over and over again.

One of the most startling beautiful and quintessential version of Porgy and Bess.......2007-04-30

While "Porgy and Bess" nas been attempted by many an artist from popular standard artists to jazz giants, for me, this IS the quintessential version. For me, better than Ella and Louis or Ray Charles and Cleo Laine's versions.

It is emotionally direct and startling in it's beauty. Miles was at the height of his powers and he conveys the sentiment of the pieces so directly that I was moved and transfixed.

This, of all the Gil Evans/Miles Davis collaborations is the best. Some might argue in favor of others but this one features arrangement that are essential and never, not once, do they encumber, obscure or step all over the soloist. Gil provides a perfect setting for Miles and Miles makes the most of it, with that unique vibratto-less tone.

Never sappy, nor even conventional. I can only imagine what the reactions were when this recording was released. Mind you, Gil never arranged in the traditional voicings or instrumentations of the traditional big band. No four or five sax/five brass, four trombone, piano, bass and drums for this man. The instrumentation and voicings are unique. Often the horns covney the soft lushness of strings on ballads but without any syrup at all.

This simply one of the best Miles Davis recordings in his career, bar none! He effectively conveys the longing, romance, sadness and joy I presume Gershwin intended.

Upon acquiring a CD player back in the eighties, this was one of the very first recordings I purchased. Never old or dated. It's timeless, it transcends eras.

A must have for me.

Porgy and Bess and Miles/Gil Evans.......2007-01-03

Phenomenal material to begin with. The treatment was exceptional due to an amazing collaboration. I am very pleased to have it in my collection.

Pull a chair between the speakers and let this one wash over you.......2006-10-31

Let me start by saying that I'm a long-time analog music lover. I still spin a lot of vinyl, and have found digital music to be, at times, disappointing.

That being said, this remastering of "Porgy and Bess" is one of the most gorgeous things I've ever heard. The placement of the instruments across the spectrum is almost holographic, and out of this space the subtlety of Gil Evans' work can truly be appreciated. There are long, languid sections of Miles' horn noir, punctuated by bursts from Evans' "brass orchestra." The layers, the barely heard accents, it's just brilliant work, and this amazing remaster truly does it justice.

As to the music, I'll simply paraphrase another reviewer here who said that he knew of no music more beautiful than this. Amen, brother.

Edit your own CD.......2006-03-19

I think I understand why some listeners take exception to the Miles-Evans version of Porgy and Bess and wonder what all the fuss is about and why it's a "classic" if they've never heard the original vinyl release on Columbia. In the digital era, in the attempt to give listeners more content and fill up cd space, record companies sometimes include extra tracks that were never on the original and should have been left off later. For me that track is "I Loves You, Porgy," which comes near the end of the entire album and has a way of spoiling the sonic magic that came before. It's not that it's a terrible track; it's just not that good or necessary when compared to the others, and, again, was never on the original in the first place. Furthermore, the last track was never on the original either, and can be done without as well, imo. Sometimes less is better. After all, a classic album is one where the listener finds it unnecessary to skip tracks, and the later cd release inadvertently violates this principle because of the two reasons I've mentioned. For my own use, I've burned an edited version off my own commercial copy without the last two tracks, and I recommend others do the same if they wish to recapture the spirit of the original and the marvelous effects this music can create, as Miles' tone was never more luscious, dark and brooding...just gorgeous. And I think Gil Evans was right when he said that Miles Davis reinvented the sound of the trumpet and flugelhorn, especially on Sketches of Spain and Porgy and Bess.

Average customer rating:

Jazz de fino, ecléctico, potente
Why not give it SIX stars?
A rare gem
Gil's Greatest
simply astounding

Out of the Cool
Gil Evans Orchestra
Manufacturer: Grp Records
ProductGroup: Music
Binding: Audio CD

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The Complete Pacific Jazz Recordings
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ASIN: B000003N8E
Release Date: 1996-03-26

Tracks:

La Nevada
Where Flamingos Fly
Bilbao Song
Stratusphunk
Sunken Treasure
Sister Sadie

Amazon.com

Recorded after Gil Evans provided the orchestral clouds through which Miles Davis blew on such classics as Sketches of Spain, Porgy and Bess, and Miles Ahead, Out of the Cool is a starburst. Evans's title makes clear that this is a path away from the legendary 1949 Birth of the Cool, opening as it does with an obsessive (if calmly so) vamp that pulses for two minutes with maracas rattling before all the orchestra's instruments enter. Built on a repeating four-bar figure, "La Nevada" goes on to peg Evans as a fully realized orchestra player, one who uses the color palette of over a dozen distinct voices as his instrument. As a pianist Evans manages startling spareness, making dramatic miniature figures and then comping through the orchestra's skein with ritual regularity. Looking at the provenance of these tunes, one realizes Evans's true scope of knowledge: he moves from Kurt Weill's "Bilbao Song" to the Lydian (as in George Russell) modal structure of "Stratusphunk" to close the session with a regally charted take on Horace Silver's "Sister Sadie." Note how trumpeter Johnny Coles steps up as a main soloist, and follow the harmonic topography. It's a rare treat. --Andrew Bartlett

Customer Reviews:

Jazz de fino, ecléctico, potente.......2007-01-05

Se trata quizás del mejor disco del gran arreglador Gil Evans. En esta grabación plasma una sonoridad más compacta y menos grandilocuente que por ejemplo en sus colaboraciones con Miles Davis. Un disco de lujo, fino, diverso y potente.

Why not give it SIX stars?.......2006-06-06

Like other fellow "reviewers", this disk came to me in the '60s, when I was (ahem) younger. It was my first real, full-on jazz disk, and was foisted on me (a rank musical slob at that point) by a friend who loved jazz and felt very sorry for my plebian tastes (or lack thereof.) Well, long story shortened, he never got his disk back, and I have memorized it entirely, note by note. And O golly, it's always fresh, alluring, surprising.

This too, it's a wonderful argument for the value of CDs. This one, and "Individualism" were my first purchases... and Oh glory, there's even more subtlety to audit on the CDs!

All I want to add is this: Gil Evans is the ultimate crossover artist. From Jimi Hendrix to the blues, to the sonorities and moods of Maurice Ravel's music, he loved tunes and harmony and he LOVED each instrument in the orchestra. No one like him, not at all. Well, maybe Maria Schneider, who was (I'm told) his assistant at the end... She's got a good ear, but Gil was still the most amazing arranger. And, as others have noted, he sure had the players to do his imagination full justice.

I'll shut up now, and you go buy a copy, OK?

A rare gem.......2005-03-04

Sometimes you listen to a piece of music for the first time and it strikes you that it sounds so original yet so logical, so beautiful and natural yet so rare. This is how this music struck me when I first heard it in LP 20+ years ago. Is a recording for the ages. When the trombones come in out of nowhere in "La nevada" you feel taken by them, yet you feel like there is nothing else that could have come in but these bones. "Where Flamingos Fly" is a masterpiece of arranging and shows the artistry of Jimmy Knepper. The session continues with one beautiful surprise after another. Do yourself a favor and get this recording if is the only one you can get.

Gil's Greatest.......2003-03-22

Following on from his three classic albums with Miles Davis, this is Evans' best ever album. Stand-out tracks are the long, swinging 'La Nevada', and the dark, moody 'Where Flamingos Fly' and 'Hidden Treasure'. The CD also has a bonus track, the jolly 'Sister Sadie'. Great arrangements, great musicianship, particularly Ron Carter on bass and Elvin Jones on drums. A real gem of an album.

simply astounding.......2003-03-21

i am late to come to this amazing recording, however, with that said, it is never too late to appreciate this timeless recording. it is breathtaking. the reason for my passing on this title was the fact that i was affraid it would be big band bland. that is the biggest mistake i have ever made in presuming a jazz title. i was struck immediately and forever a fan of this and the into the hot LP. this particular title is my favorite of the 2. the into the hot is no lees of an achievement and should never be dismissed. get them both. you will thank yourself. thanks gil.

Average customer rating:

The Complete Paciffic Jazz Sessions.
Gil Evans
A Stone cold classic. Thanks Blue Note!
Perfect
An absolute jazz classic

The Complete Pacific Jazz Recordings
Gil Evans
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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Gil Evans & Ten

ASIN: B000FILWDG
Release Date: 2006-06-06

Tracks:

St. Louis Blues
King Porter Stomp
Willow Tree
Struttin' With Some Barbecue
Lester Leaps In
'Round Midnight
Manteca
Bird Feathers
Davenport Blues
Straight No Chaser
Ballad Of The Sad Young Men
Joy Spring
Django
Chant Of The Weed
La Nevada (Theme)

Customer Reviews:

The Complete Paciffic Jazz Sessions........2007-03-09

Gil Evans clever arrangements and Cannonball Adderly's brillant solos on the first 8 tracks is Jazz at its' best.
All in All an outstanding CD.
Peter Christensen.

Gil Evans.......2007-01-04

This CD is a fine selection by Blue Note which is supposed to be limited. It is the combination of 2 LPs "New Bottle Old Wine" & "Great Jazz Standards" with different musicians on the albums, but all great artists conducted by the master. But you must love classical jazz even with Evans stunning arrangements ... Don't expect the wildness of "Svengali"!
Another interesting CD is the Gil Evans Orchestra "Tribute To Gil" recorded in 1988 in Perugia Umbria Jazz Festival following 2 CDs recorded live by Gil in 1987 as well as "Last Session" Sting & Gil Evans Live at Perugia Jazz Festival - July 11,1987 but if they are still available ...

A Stone cold classic. Thanks Blue Note!.......2006-11-11

Great release by Blue Note, putting together these two albums on one. The first album "New Bottle, Old Wine", might be one of the greatest jazz albums of the 1950's, period. Plus this is of interest to all Cannonball Adderley fans. His playing on that album is just insane, on the same league as the great Charlie Parker, but of course, Cannonball sound is unique. You cant go wrong with Gil Evans, but this is top of the line.

Perfect.......2006-06-22

Frazier has it exactly right (except for misspelling Art Blakey's name). Just to add a few things: this set marks the beginning of the Steve Lacy - Gil Evans musical kinship (there's a remarkable dialogue between soprano sax and piano on "Django"; it has the first recording of Gil's incredible arrangement of "King Porter Stomp" that got electrified on later recordings; it showcases Elvin Jones with Gil for the first time (but certainly not the last); it has some of the most inpsired Cannonball on record; and it shows that Johnny Coles was no mere imitator of Miles. Also, for the purists: it corrects the deficiency of an earlier release of only half of the Pacific Jazz material and remedies the out-of-round pressings that marred the LP twofer release of this stuff. One tiny quibble: these studio recordings are unusually dry in ambience, but on the other hand, you'll hear the music exactly as it sounded when it was played. Finally, the CDs allow us to hear the whole huge dynamic range of Gil's orchestral thinking, from whispers to shouts. Thanks, Blue Note and Michael Cuscuna, for finally getting this one right.

An absolute jazz classic.......2006-06-20

What an amazing record -- I first discovered this music on vinyl years ago after hearing the several classic collaborations between the arranger Gil Evans and trumper Miles Davis. If you have admired the Gil Evans arrangements on the Miles recordings, you owe it to yourself to check this out. These recordings help make the case that Gil Evans was one of great jazz arrangers of all time. Big band arrangements can sometimes degenerate into all-out blastfests; Gil Evans always manages to communicate with a lot more sophistication and nuance, but on these sessions he manages to have fun as well.

Originally issued as two albums -- "New Bottle, Old Wine" and "Great Jazz Standards" -- this is a CD of Gil Evans re-arranging classic jazz standards like St. Louis Blues, King Porter Stomp, Lester Leaps In with some post-bop standards like 'Round Midnight, Joy Spring and Straight No Chaser.

The album was recorded in 1958 and 1959 with Julian "Cannonball" Adderley doing much of the alto saxophone work. The big band included classic NY session pros like Johnny Coles and Ernie Royal on trumpet, and Curtis Fuller, Jimmy Cleveland and Curtis Fuller on trombone. Paul Chambers, Philly Joe Jones, Art Blakely and Elvin Jones make appearances in the rhythm section, and Steve Lacy plays soprano sax on 4 tracks.

It's so interesting to be listening to these records nearly 50 years after they were made -- this was a "modern" take on jazz tunes that even then were considered classics. Hearing them now, it's like listening to one set of Old Masters interpreting an even more distant set of Old Old Masters. It's a CD that you can enjoy as a peek into modern jazz of the late 50's, or as a set of very interesting big band orchestrations.

High recommended if you want to learn more about this extremely talented jazz orchestrator.

The Miles Davis and Gil Evans: Complete Columbia Studio Recordings

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The Miles Davis and Gil Evans: Complete Columbia Studio Recordings
Miles Davis , and Gil Evans
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002199H2
Release Date: 2004-05-11

Tracks:

Springville
The Maids Of Cadiz
The Duke
My Ship
Miles Ahead
Blues For Pablo
New Rhumba
The Meaning Of The Blues
Lament
I Don't Wanna Be Kissed (By Anyone But You)
Springsville (Remake Take 7)
The Maids Of Cadiz (Take 1)
The Duke (Take 11)
My Ship (Take 1)
Miles Ahead (Take 4)
Blues For Pablo (Take 1)
New Rhumba (Take 5)
The Meaning Of The Blues (Rehearsal Take)
Lament (Rehearsal Take)
I Don't Wanna Be Kissed (By Anyone But You) (Take 8)
Pause Track

Tracks:

Buzzard Song
Bess, You Is My Woman Now
Gone
Gone, Gone, Gone
Summertime
Oh Bess, Oh Where's My Bess
Prayer (Oh Doctor Jesus)
Fishermen, Strawberry And Devil Crab
My Man's Gone Now
It Ain't Necessarily So
Here Come De Honey Man
I Loves You, Porgy
There's A Boat That's Leaving Soon For New York
Gone (Take 3)
Summertime (Take 2)
Prayer (Oh Doctor Jesus) (Take 2)
I Loves You, Porgy (Take 1, Second Version)
There's A Boat That's Leaving Soon For New York (Take 2)
Oh Bess, Oh Where's My Bess (Take 5)
Gone (Take 4)
Pause Track

Tracks:

Concierto De Aranjuez (Adagio)
Will O' The Wisp
The Pan Piper
Saeta
Solea
Song Of Our Country (Issued Take)
Saeta (Full Version Of Master)
The Pan Piper (Take 1)
Concierto De Aranjuez (Adagio) (Part One, Alternate Take)
Concierto De Aranjuez (Adagio) (Part Two, Alternate Take)
Song Of Our Country (Take 14)
Pause Track

Tracks:

Song No. 2
Once Upon A Summertime
Ads Pes Da Cruz
Song No. 1
Wait Till You See Her
Corcovado (Quiet Nights Of Quiet Stars)
Blue Xmas
Nothing Like You
Devil May Care
The Time Of The Barracudas
Falling Water (Take 4)
Falling Water (Take 6)
Falling Water (Take 8)
Falling Water (Take 9)
Springsville (Take 5)
The Maids Of Cadiz (Take 11)
The Maids Of Cadiz (Take 11, Insert 1)
Lament (Medley: Take 2)
The Duke (Take 1)
I Don't Wanna Be Kissed (By Anyone But You) (53225 Issued Version)

Tracks:

Springsville (Rehearsal Sequence)
Springsville (Rehearsal With Piano)
The Maids Of Cadiz (Take 9)
The Maids Of Cadiz (Take 10)
The Maids Of Cadiz (Rehearsal Sequence)
Count Off For The Duke (Take 3)
The Duke (Take 8)
The Duke (Piano Take 3)
My Ship (Take 6)
Miles Ahead (Rehearsal Sequence)
Miles Ahead (Take 12)
Miles Ahead (Take 15)
Studio Discussion
My Ship (Take 7)
Miles Ahead (Piano Insert-Mono)
Blues For Pablo (Rehearsal Sequence)
New Rhumba (Take 2)
Lament (Take 1)
I Don't Wanna Be Kissed (By Anyone But You)
I Don't Wanna Be Kissed (By Anyone But You) (Take 5)
Studio Discussion
I Don't Wanna Be Kissed (By Anyone But You)
Pause Track

Tracks:

Studio Discussion
Springsville (Take 8 Without Overdubs)
Studio Discussion
Miles Ahead (Take 11 Without Overdubs)
I Don't Wanna Be Kissed (By Anyone But You) (Take 3 Without Overdubs)
Springsville (Overdubs Take 1)
Springsville (Overdubbed Solos 4-5)
Springsville (Overdubbed Solos 6-9)
Springsville (Issued Overdubbed Solo)
Miles Ahead (Issued Overdubbed Solo)
Miles Ahead (Overdubbed Solo)
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1)
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 2)
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo)
I Don't Wanna Be Kissed (By Anyone But You (Overdubbed Solo 9)
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 19 & 19c)
Miles Ahead (Mono Master)
Gone (Rehearsal Sequence)
Gone, Gone, Gone (Rehearsal Sequence)
Studio Discussion
Bess, You Is My Woman Now
It Ain't Necessarily So
Oh Bess, Oh Where's My Bess
I Loves You, Porgy (Rehearsal Sequence)
There's A Boat That's Leaving Soon For New York (Remake)
My Man's Gone Now (Remake Take)
Song Of Our Country (Take 9)
Concierto De Aranjuez (Adagio) (Rehearsal)
Concierto De Aranjuez (Adagio) (Alternate Ending)
Pause Track

Amazon.com

From their first work together on the Birth of the Cool sessions in 1949, Miles Davis and Gil Evans forged a unique relationship as great soloist and brilliant arranger. The real opportunity to explore their shared vision didn't come until 1957, however, when Davis had forged a relationship with a major record label able to support it. Though a product of the big-band tradition, Evans was never limited by sectional voicings and riffs. He had an interest in unusual instrumentation and a talent for creating subtle mixes of distinct voices, adding French horns, oboe, bassoon, and harp to the conventional big band and thinning its saxophone, trumpet, and trombone sections. His arrangements for Davis are like settings for the finest jewels, whether he's creating rich, brass chords or adding only light percussion to the trumpeter's solitary lament. Together Davis and Evans produced three orchestral masterpieces: Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain (1960). They're all here, along with less-inspired, later projects like the Quiet Nights bossa nova album. What most distinguishes the box set is the archival work of Phil Schaap, who has compiled a wealth of alternate takes. They reveal much about the processes that went into these works, including extensive editing and even some overdubbing. As early as 1957, Evans and Davis were already beginning to use the studio itself as an integral part of their music. --Stuart Broomer

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In Perugia
Sting , and Gil Evans
Manufacturer: Jazzdoor
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

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Strange Fruit

ASIN: B000I5YUX0
Release Date: 2006-09-18

Tracks:

Up From The Skies
Strange Fruit
Shadows In The Rain
Little Wing
There Comes A Time
Band Intro By Miles Evans
Consider Me Gone
Synchronicity
Roxanne
Tea In The Sahara / Walkin On The Moon
Instrumental
Message In The Bottle

Album Description

The Gil Evans Orchestra featuring Police-man/solo artist Sting, together live at the Umbria Jazz Festival, Perugia, Italy, 11th July 1987. 12 tracks including versions of Police classics like 'Message In A Bottle' and 'Roxanne'. JazzD.

Album Details

The Famed Singer/Songwriting Ex-police Man Meets the Jazz Master!

Average customer rating:

Miles and Sinatra: The Tragically Beautiful Legacy of Happy Days
A nice intro to new MILES fans
If you were to exclude Kind of Blue......
Simply Sublime...!
What A Combination

The Best of Miles Davis & Gil Evans
Miles Davis & Gil Evans
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Live at the Five Spot
Blowin' the Blues Away
Out to Lunch
Sun Ship
Out of the Cool

ASIN: B000002BE1
Release Date: 1997-03-25

Tracks:

My Ship
Miles Ahead
Blues For Pablo
Gone
My Man's Gone Now
It Ain't Necessarily So
Summertime
I Loves You, Porgy
Concierto De Aranjuez (Adagio)
Wait Till You See Her
Corcovado
The Time Of The Barracudas (Excerpt)

Customer Reviews:

Miles and Sinatra: The Tragically Beautiful Legacy of Happy Days.......2006-06-12

Of course there are some disappointments--e.g. the exclusion of "New Rhumba" from "Milestones," of "Bess, You Is My Woman Now" from "Porgy and Bess" and of the penetrating "Saeta" from "Sketches"--but this is a downright satisfying collection, one that I go to far more frequently than to the complete LP's, all three of which I own. The inclusion of the lengthy but poignant Adagio from "Concierto de Aranjuez," perhaps the singlemost moving performance on all three albums, is more than I could have hoped for.

The audio has been freshened up a bit, most notably the added brilliance in the upper brass, so if you're a regular frequenter of this collection, without which any assessment of Miles Davis would be glaringly incomplete, go for all 3 CD's.

Miles and Evans' accomplishment here rivals that of Sinatra and Nelson Riddle. These are not simply solo stars being backed by an orchestra. Both performers are featured as solo artists in complete programs that are of such a whole as to constitute an orchestral tone poem, or unified and continuous piece. Moreover, if we look more carefully at both the Miles/Evans programs and those of Sinatra/Riddle ("In the Wee Small Hours," "Close to You," "Only the Lonely"), we sense a degree of elegiac sadness, of profound loss, of tragic perspective that runs completely counter to widely held views of the 1950's as the so-called "happy days." This was a post-War period of acutely felt changes, leading to the projects of artists to recover and renew what had been most vital about the American experience and resulting in meditative, searching, profound works of popular art such as have not since been seen or heard.

Whether Miles and Gil (or Sinatra and Riddle, for that matter) hold up today and are still capable of capturing new generations remains to be seen. Perhaps the question becomes: would a listener who was totally unfamiliar with the "persona" of Miles Davis or Frank Sinatra respond simply to the incredible beauty of performances such as these? I would like to think so, though I suspect it will be a limited response--and even then only by individuals who listen patiently and actively and who, above all, see music as a revelation of what is most personal, vital and enduring in the human heart.

A nice intro to new MILES fans.......2002-06-04

As I say above, this collection is a nice intro for newer fans to Miles's work - specifically with the beautifully mild arrangements of Gil Evans.
Miles is a chameleon with regard to styles and this collection focuses on ensamble (spelling?) playing with choice cuts from POGRY & BESS, MILES AHEAD and SKETCHES OF SPAIN (my least fav out of Miles's incredible cannon of music - but then again, even a subpar Miles puts many others to shame).The one thing that is nice about this collection is it includes an excerpt from the longer "Time of the Barracudas" suite.
If you're new to Miles it's a wonderful intro focusing on his "cooler" side.
Enjoy cats!

If you were to exclude Kind of Blue.............2002-04-07

This would be my favorite CD of Miles' work if Kind of Blue did not exist. The funky rich brasses behind Miles that Gil Evans puts down are impeccable. What a rich background for My Ship and Summertime. Could not get these out of my head after hearing them. Miles is a complex character and who would put Evans and Miles together, but it is magic.

Simply Sublime...!.......2000-12-04

I'll start by saying that I have given this disc as a gift to a number of friends. It is just some of the most beautiful music ever. Miles' horn over Evans' orchestra and arrangements produces something difficult to describe in words. It can be appreciated on so many levels--by the most knowledgable jazz fan as well as folks who don't know anything about the music. It is both accessible and complex. It can be carefully listened to in order to plumb the depths of the arrangements and mastery of mood and structure. Or it can be used as background music to a romantic dinner or friendly conversation. Once you listen to this music, you will be thankful for your ears....

What A Combination.......2000-03-22

Miles sounds Incredible here.Gil Evans Orchestra is right on time thru this must have.The Music Between these two is timeless.Miles Davis Never had Limits with his Music.that's What Made Him Original&A Genius.

Average customer rating:

Elvin Jones Kicks Ass
I could have lived without the "filler"...
The Individualism of Gil Evans - Very Listenable
Gil the Genius
Quintessential Gil Evans

The Individualism of Gil Evans
Gil Evans
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Out of the Cool
Gil Evans & Ten
The Complete Pacific Jazz Recordings
Svengali
Look to the Rainbow

ASIN: B00000476F
Release Date: 1989-07-03

Tracks:

Time Of The Barracudas
The Barbara Song
Las Vegas Tango
Flute Song/Hotel Me
El Toreador
Proclamation
Nothing Like You
Concorde
Spoonful

Customer Reviews:

Elvin Jones Kicks Ass.......2007-01-06

O.K. folks here we go, from an ex- Santa Barbara disc jockey to you. The best song on this excellent CD is Las Vegas Tango. What should blow your mind about this song is the multirhythmic backing of Elvin Jones on drum. The band itself is tight and strong. The song is kinda haunting. I've hummed it to myself for the past forty years, and after losing the album a while back, I bought a new CD of it through Amazon.com from England, and I am very happy I own it. I think everyone should own at least one of this, one for themselves and one to give to a friend. This album, and particularly Las Vegas Tango, is one of the best outputs of any band during the 20th century. Buy it.

I could have lived without the "filler"..........2006-06-06

Well, sometimes, the old ways are best. Some times, picking what fits on an LP forces choices that really prove to be wise. The extra, "lost" songs that were rescued from the tape vaults or from other oddball LPs don't, in my opinion, add much to a pure, utter classic LP, per its initial incarnation. I would love a disc with the original cuts in the correct order, because such a disk (like "Out of the cool") is an integrated whole -- more than the sum of its astonishing parts. I do like hearing the previously lost bits, but instead of forcing this overstuffed, clunky playlist on us, how about a two-disk set, with the original LP playlist on one, and the lost stuff on the second.

But I complain too long. The original "Individualism" is a colossal phenomenon. Gil Evans IS individual, and what a loss that he's gone.

The Individualism of Gil Evans - Very Listenable.......2005-12-22

I don't think I've found a piece of music by Gil Evans that I don't like. He is perhaps most famous for his work with Miles Davis ( Sketches of Spain is a classic). But he's also done a lot of other work - good work. While listening to WXPN sometime a couple of weeks ago I came across this recording: The Individualism of Gil Evans, here released on Verve. This is also important as it is Evan's only date as a leader in the mid 60's. The session features such standouts as Kenny Burrell on guitar, Wayne Shorter on tenor, Phil Woods on alto, Thad and Elvin Jones on trumpet and drums respectively and Jimmy Cleveland on trombone. The CD offers nine tracks including two previously unreleased to the original Lp. My two favorites on this are Time Of The Barracudas and Las Vegas Tango. I would highly recommend this to fans of Evans as well as any one looking for a very listenable jazz album but don't know a lot about the genre.

Music Blog

Gil the Genius.......2003-03-22

If you like Gil Evans' work with Miles Davis, you'll like this. Some startling compositions -- 'Hotel Me' with its romping rhythm, the stunning 'Las Vegas Tango' -- and some splendid covers, Willie Dixon's 'Spoonful' (with the LP's edit cuts reinstated) and a beautifully funereal go at Kurt Weil's 'Barbara Song'. Listen especially to Elvin Jones' excellent drumming. A classic.

Quintessential Gil Evans.......2002-12-26

This album represents Gil Evans at the height of his creative expression. Gil Evans is an uncategorizable artist, perhaps because his style is neither exactly bop or cool jazz, but uniquely his own. This album while not a starter (that would be Out of the Cool)is still a serious contender. Lush and expressionistic, it has extra tracks culled from out of print albums or unreleased matter. From the collaborator of Sketches of Spain, this is as the title says, very uniquely one of his solo masterpieces.

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Hearing Masterpieces In Progress
Why Boxed Sets Aren't For Everyone
The music -- perfection! This package -- a rip-off!
THANKS!........
Miles can do no wrong

The Complete Columbia Studio Recordings
Miles Davis , and Gil Evans
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Complete Columbia Studio Sessions, 1965-68
Blowin' the Blues Away
Out to Lunch
Live at the Five Spot

ASIN: B000002BDB
Release Date: 1996-09-03

Tracks:

Springsville
The Maids Of Cadiz
The Duke
My Ship
Miles Ahead
Blues For Pablo
New Rhumba
The Meaning Of The Blues
Lament
I Don't Wanna Be Kissed(By Anyone But You)
Springsville (Remake Take 7)
The Maids Of Cadiz (Take1)
The Duke (Take 11)
My Ship (Take 1)
Miles Ahead (Take 4)
Blues For Pablo (Take 1)
New Rhumba (Take 5)
The Meaning Of The Blues (Rehearsal Take)
Lament (Rehearsal Take)
I Don't Wanna Be Kissed (By Anyone But You)(Take8)
Pause Track

Tracks:

Buzzard Song
Bess, You Is My Woman Now
Gone
Gone, Gone, Gone
Summertime
Oh Bess, Oh Where's My Bess
Prayer (Oh Doctor Jesus)
Fishermen, Strawberry And Devil Crab
My Man's Gone Now
It Ain't Necessarily So
Here Comes De Honey Man
I Loves You, Porgy
There's A Boat That's Leaving Soon For New York
Gone (Take3)
Summertime (Take 2)
Prayer (Oh Doctor Jesus) (Take 2)
I Loves You, Porgy (Take 1, Second Version)
There's A Boat That's Leaving Soon For New York (Take 2)
Oh Bess, Oh Where's My Bess (Take 5)
Gone (Take 4)
Pause Track

Tracks:

Concierto De Aranjuez (Adagio)
Will O' The Wisp
The Pan Piper
Saeta
Solea
Song Of Our Country (Issued take)
Saeta (Full Version Of Master)
The Pan Piper (Take 1)
Concierto De Aranjuez (Adagio) (Part One, Alternate take)
Concierto De Aranjuez (Adagio) (Part Two, Alternate take)
Song Of Our Country (Take 14)
Pause Track

Tracks:

Song No. 2
Once Upon A Summertime
Aos Pes Da Cruz
Song No. 1
Wait Till You See Her
Corcovado
Blue Xmas
Nothing Like You
Devil May Care
The Time Of The Barracudas
Falling Water (Take 4)
Falling Water (Take 6)
Falling Water (Take 8)
Falling Water (Take 9)
Springsville (Take 5)
The Maids Of Cadiz (Take11)
The Maids Of Cadiz (Take11, Insert 1)
Lament (Medley: Take 2)
The Duke (Take 1)
I Don't Wanna Be Kissed (By Any One But You)(53225 Issued Version)

Tracks:

Springsville (Rehearsal Sequence)
Springsville (Rehearsal With Piano)
The Maids Of Cadiz (Take 9)
The Maids Of Cadiz (Take 10)
The Maids Of Cadiz (Rehearsal Sequence)
Count Off For The Duke (Take 3)
The Duke (Take8)
The Duke (Piano Take 3)
My Ship (Take 6)
Miles Ahead (Rehearsal Sequence)
Miles Ahead (Take 12)
Miles Ahead (Take 15)
Studio Discussion
My Ship (Take 7)
Miles Ahead (Piano Insert-Mono)
Blues For Pablo (Rehearsal Sequence)
New Rhumba (Take 2)
Lament (Take 1)
I Don't Wanna Be Kissed (By Anyone But You) (Rehearsal)
I Don't Wanna Be Kissed (By Anyone But You) (Take 5)
Studio Discussion
I Don't Wanna Be Kissed (By Anyone But You)(Piano Take 4)
Pause Track

Tracks:

Studio Discussion
Springsville (Take 8 Without Overdubs)
Studio Discussion
Miles Ahead (Take 11 Without Overdubs)
I Don't Wanna Be Kissed (By Anyone But Yoy)(Take 3 Without Overdubs)
Springville (Overdub Take 1)
Springville (Overdubbed Solos 4-5)
Springville (Overdubbed Solos 6-9)
Springville (Issued Overdubbed Solo)
Miles Ahead (Issued Overdubbed Solo)
Miles Ahead (Overdubbed Solo)
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1)
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 2)
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 4)
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 8)
I Don't Wanna Be Kissed (By Anyone But You)(Overdubbed Solo 19 & 19C
Miles Ahead (Mono Master)
Gone (Rehearsal Sequence)
Gone, Gone, Gone (Rehearsal Sequence)
Studio Discussion
Bess, You Is My Woman Now (Rehearsal Take)
It Ain't Necessarily So (Take 1)
Oh Bess, Oh Where's My Bess (Take 3)
I Loves You, Porgy (Rehearsal Sequence)
There's A Boat That's Leaving Soon For NewYork (Remake)
My Man's Gone Now (Remake Take)
Song Of Our Country (Take 9)
Concierto De Aranjuez (Adagio) (Rehearsal)
Concierto De Aranjuez (Adagio) (Alternate Ending)
Pause Track

Amazon.com

Customer Reviews:

Hearing Masterpieces In Progress.......2007-01-16

Amen to a lot of what other reviewers have said here. Here's my two cents: I enjoy listening to these albums very much (Sketches of Spain is my favorite in this collection because it's so damn beautiful and creative). But I also enjoy listening to the outtakes.

Yes, most of these outtakes deserve to be on the cutting room floor. But it is neat to listen to Miles and Gil work out those phrases that we all know and love so very much. It's sort of like looking over Picasso's shoulder as he paints or Hemingway's as he writes. The outtakes let you hear a little bit on how these masterpieces were put together.

Why Boxed Sets Aren't For Everyone.......2006-05-08

The four albums (well, three and a half) that trumpeter Miles Davis and arranger Gil Evans recorded together between 1957 and 1964 rank among the most celebrated works in either man's discography, and indeed they contain a wealth of fine music. They were and remain, however, carefully rendered studio sculptures, pared down from many hours' worth of recordings deemed unworthy of release at the time by the principals, whose judgment we should certainly note even if we choose to ignore it, as Columbia Records has repeatedly done (for better and worse) in assembling and releasing its ongoing series of "complete" Miles Davis boxed sets.
Miles' and Gil's COMPLETE COLUMBIA STUDIO RECORDINGS was, of course, the very first of these packages, and as such it has served as the mould for all of the expertly remastered, tastefully packaged and extensively annotated boxes which have followed over the past decade. No doubt about it: it's a first-class piece of work. The trouble, alas, is the music itself, which in this case really does disprove the old adage about too much never being enough. Stunning as they frequently are in their own right, these precisely orchestrated, heavily arranged pieces don't lend themselves particularly well to alternate versions and outtakes; and with nearly three whole CDs (each the length of two full albums) devoted to material from the single LP MILES AHEAD, monotony is a powerful presence in this box.
Fortunately, MILES AHEAD - as well as PORGY & BESS, SKETCHES OF SPAIN and QUIET NIGHTS - can be easily obtained by itself with the same wonderful sound and even a few of the bonus tracks included herein; and unless you're utterly fascinated by the long, slow process through which albums are - or at least were - assembled, that would probably be the better way to go. Kudos to Columbia for its fine Miles boxes (all of which started here) nevertheless!

The music -- perfection! This package -- a rip-off! .......2005-02-06

I bought this awhile back, and I wish I hadn't. The music, of course, cannot be over-praised -- five stars just aren't enough. I am infinitely grateful that this music graces our planet, and my life. Thank you, Miles and Gil and company!

So what's the problem? This package (Columbia 67397, $110 at this writing) is awful. It's at least sixty percent alternate takes, rehearsal fragments, and studio chatter. If that stuff interests you, great -- I just want the core music. The physical package stinks, too. The discs are in cardboard sleeves, difficult to extract, and the book can't be read at all unless it's removed from the binding (and, in my opinion, there's very little of interest in the book).

All four original discs, with the same remastering and all the significant alternate takes, can be purchased right here at Amazon for $45. The only new (previously unreleased) material, "Time of the Barracudas" is included on "Quiet Nights," so you're not missing out on anything. Spend the $65 difference on more music, not pretty packaging and filler.

THANKS!...............2003-09-04

...THESE CATS MILES AND GIL WERE TERRIFIC TOGETHER! I CAN LISTEN TO THIS ALBUM A 1000 TIMES MORE THAN I PLAYED IT! SUMMERTIME IS MY FAVORITE AND LIKE LIFE ITSELF IT IS JUST TOO DAMN SHORT! 3:16 HEY! ISN'T THAT IN THE BIBLE SOME WHERE? ANYWAY, TO MILES AND GIL FOR STOPPING BY ON EARTH HERE..THANKS!

Miles can do no wrong.......2002-08-08

I already own three other Miles Davis Box Sets; the one with John Coltrane, the "In A Silent Way" Box Set and the "Live At The Plugged Nickel 1965" set. Of course, these three box sets are far more exciting than this one. With Coltrane you get "Kind of Blue", the first real 'Modal Jazz' album, the "Plugged Nickel" is really exciting and furiously loose hard bop and "In A Silent Way" is the beginnings of fusion. With all these things stacked up against it, what would a Hard Bop loving cat like myself find appealing in this collection of cool toned orchestrated music?

Well this is really GOOD cool jazz, not the lousy stuff you get on radio. Every album (even the not-so-good Quiet Nights) is really good. My favourite is the material that makes up Sketches of Spain. This album is just amazing. It is not really jazz or classical music, but is really great.

Tracks:

Remember
Ella Speed
Big Stuff
Nobody's Heart
Just One Of Those Things
If You Could See Me Now
Jambangle

Amazon.com

Gil Evans was already a major force in jazz arranging through his work with Claude Thornhill and Miles Davis, but this 1957 date was his first opportunity to record as a leader. The midsize group will recall his influence on the Birth of the Cool sessions. Rather than the uniform instruments of the conventional big band, Evans picked his instruments individually for what they could contribute to distinctive tone colors. Thus the band includes a French horn in the brass and a reed section of soprano and alto saxophones and bassoon. The result is a series of highly distinct textures and a clarity that illuminates each piece. Evans's inventiveness extended to applying his gift for complex harmonies to Leadbelly's "Ella Speed," a sign of the openness that would later lead him to the music of Jimi Hendrix. The excellent soloists here include Evans's longtime associate John Carisi on trumpet, Lee Konitz on alto, and a young Steve Lacy on soprano. --Stuart Broomer

Customer Reviews:

what a pety of sound quality!.......2007-01-12

This is one of the best Evans tittles, of course..., but at least this edition, (the first in cd, 1989), needs a deep mastering.

Recalling Downbeat on Two Essential Gil Evans Discs.......2005-03-31

David Keymer's otherwise excellent review contains a misplaced recollection of the original Downbeat review. Don Gold gave it 4 1/2 stars, calling Evans' work "exhilarating" and "'must' listening for musicians," while hailing the importance of his contribution to the development of jazz. Gold does in fact give 3 1/2 stars to "New Bottle Old Wine" because of Cannonball Adderly's performance, which he feels is not up to the level of Evans' writing. In my opinion both are essential recordings.

Music I Still Can Hear.......2003-04-25

I've been collecting jazz records for fifty-five years now and this is still one of my favorites. When it first appeared at the tail end of the fifties, Downbeat gave it a mixed review (3-1/2 stars, I believe) because it seemed too close to dance music (echoes of Evans's work for the Claude Thornhill band) and because of Evans's "composer" piano. There's no question that "Jambangle" is hokey, both the piano and the composition. But the best of this album is very, very good, and there is a great deal that is best. Take "Ella Speed" for instance, which features a driving solo by Steve Lacy, a premiere soloist even at this early stage of his career, and --for those who know him mostly for his austere peformances of today (which I enjoy, by the way)-- surprisingly melodic. Or "If You Could See Me Now," a lovely Tadd Dameron ballad, featuring underrated trombonist Jimmy Cleveland. The absolute best on the album, though, is "Big Stuff," Evans's transfiguration of a Billie Holiday song, with a floating clouds arrangement, exquisite solos by Cleveland and Evans, and riding out on bass trombone. This album may not be the best Gil Evans album --Miles Ahead or Great Jazz Standards (Johnny Coles! Budd Johnson! Steve Lacy! Jimmy Cleveland!) or Out of the Cool qualify as that. Evans's piano playing is on the verge of saccharine at times moments. But you will be hearing these songs -- the arrangements and soloists from this superior album-- inside your head for years to come. Dave Keymer, Dubai, UAE

Gil Evans' First Is One Of His Best.......2000-09-28

Those coming to Gil Evans' music via his association with Miles Davis, will be both pleased and pleasantly surprised by "Gil Evans And Ten." This is Evans' first session as a leader, recorded for the Prestige label during three dates in the Fall of 1957. It features John Carisi, Jack Loven and Louis Mucci on trumpet, Jimmy Cleveland and Bart Varsalona on trombone, Willie Ruff on french horn, Lee Konitz on alto sax, Steve Lacy on soprano sax, Dave Kurtzer on bassoon, Paul Chambers on bass, Jo Jones and Nick Stabulas alternating on drums, and of course, Gil Evans as pianist, arranger and conductor.

"Gil Evans And Ten" is a fantastic album, but very different from his most famous recordings with Miles Davis. While it does not feature the flamenco meets classical style of "Sketches Of Spain" or the tight, lyrical orchestrations of "Miles Ahead," comparisons can be drawn with the "Birth Of The Cool" sessions. Both recordings feature terrific textured horn arrangements, but "Gil & Ten" most often feels like a quartet session with lots of brass and reeds added. The individual solos with backing rhythm trio are as compelling as the larger arrangements for the whole ensemble. The material is also very mixed, from the traditional jazz of "Remember" to the bluesy "Ella Speed" to the boogie-woogie piano line on "Jambangle." "Gil Evans And Ten" is a great buy for old and new fans alike.

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