Although Gil Evans had gained a lot of acclaim for his three collaborations with Miles Davis in the 1950s and his own albums, this CD contains (with the exception of two tracks purposely left off), Evans's only dates as a leader during 1961-68. The personnel varies on the six sessions that comprise the CD (which adds five numbers including two previously unreleased to the original Lp) with such major soloists featured as tenorman Wayne Shorter, trombonist Jimmy Cleveland, trumpeter Johnny Coles and guitarist Kenny Burrell. ~ AllMusic
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. ~ AllMusic
An epic 100 CD chronological documentation of the history of jazz music from 1898 to 1959, housed in four boxed sets. Each box contains 25 slipcase CDs, a booklet (up to 186 pages) and an index. The booklets contain extensive notes (Eng/Fr) with recording dates and line-ups. 31 hours of music in each box, totalling 1677 tracks Each track has been restored and mastered from original sources.
The second of two album to come out of the Nov 1987 sessions featuring the great Gil Evans with Laurent Cugny's Big Band Lumiere. The first album is RHYTHM-A-NING. Laurent Cugny was born in 1955, he is one of the best French jazz musician and known as a specialist of Gil Evans' music. Laurent wears two hats: he is, on one side, a musician and, on the other, a musicologist and a professor at the Paris-Sorbonne University. Self-taught musician, he started playing the piano when he was ten and played in amateur groups at the age of eighteen. He created several groups while he was studying economics and film studies. In 1979, he created the Big Band Lumiere and won the same year the third prize of piano at the National Jazz Competition in La Defense. In 1980, he also received prizes for its compositions and for the Big Band Lumiere.
This is a very interesting recording. Aging arranger/pianist Gil Evans agreed after much persuasion to come to Paris and play his music at a few concerts with Laurent Cugny's Orchestra. After only one rehearsal, the first event took place, and it gratified Evans to realize that the young French musicians were not only excellent players but big Gil Evans fans. Their interpretations of Thelonious Monk's "Rhythm-A-Ning," "London" and "La Nevada" rank with the best versions of Evans's regular Monday Night Band, and Cugny's "Charlie Mingus' Sound of Love" (an answer to Mingus' "Duke Ellington's Sound of Love") is also excellent. Few of the sidemen, other than tenor-saxophonist Andy Sheppard and percussionist Marilyn Mazur, are known in the U.S., but they did an excellent job of bringing Gil Evans's music to life.
Features 24 bit remastering and comes with a mini-description. This is one of Gil Evans's finest recordings of the 1970s. He expertly blended together acoustic and electronic instruments, particularly on an exciting rendition of "Blues in Orbit" (which includes among its soloists a young altoist named David Sanborn). All six selections have their memorable moments (even a one-and-a-half minute version of "Eleven"); colorful solos are contributed by guitarist Ted Dunbar, Howard Johnson on tuba and flügelhorn, the passionate tenor of Billy Harper, and bassist Herb Bushler, among others; and Evans's arrangements are quite inventive and innovative. Rarely would he be so successful in balancing written and improvised sections in his later years.