For the album, Gil rewrote and extended Miles Davis Arranged And Condusted By Gil Evans Sketches Of Spain middle section of the Concierto. Excerpts from the article are reprinted below through the permission of the Ziff- Davis Publishing Company:.
A lean, graying 47, Gil looks like a gently aging diplomat who collects rare species of ferns on weekends. Though always polite, he is in firm control of his record dates and insists on hearing exactly what he has written. Miles went back in the control booth. DJ Pogo Block Party Breaks Classic Original Breaks Rare Funk 45s conducts with an almost ballet-like flow of motion.
He uses both arms, and keeps the beat going like a firm Poseidon calming troublesome waves. Evans is extremely careful that all the dense textural details and markings for dynamics are performed precisely and are recorded so that all the interweaving parts emerge clearly.
I only hear one flute out here. Gil went into the booth, heard for himself, and was satisfied. That's what's wrong with me. The characteristic, fiercely mournful Spanish melody was a strong one.
Evans' sketch for Miles looked complex, but Miles seemed to have no difficulty improvising around it. The orchestra's function, as in other Evans' scores, was to provide partly a support Miles Davis Arranged And Condusted By Gil Evans Sketches Of Spain and partly a commentary on Davis' solo statements. The range of colors was extensive, and they changed often, sometimes subtly dissolving into slightly different shades and at other times breaking sharply from ominous cool to brighter blends.
By means of more complete instrumentation and varied voicings, Evans gets an unusually full-bodied orchestral sound for jazz from the deep bottoms of the tuba and French horns to high register woodwinds and brass. Gil stopped one take as the rhythms became tangled. Just keep your own time and let the rhythm go. He played as if all by himself, his tone becoming burningly dark in the somber passages and then cutting through with sharper loneliness as the music grew more animated.
The demands of the score for Porgy and Bess were legendary, from the very first note for the lead trumpet. The limited time allotted for rehearsals revealed that the ability to read such a challenging score was not consistent among jazz musicians, and there are many audible errors. Yet the recording is now regarded by many as one of the greatest reinterpretations Conjunto El Opio Kashanga Gershwin 's music in any musical style, because Evans and Davis were each devoted to going outside the "mainstream" of Miles Davis Arranged And Condusted By Gil Evans Sketches Of Spain expectations for jazz musicians.
Evans was a great influence on Davis's interest in "non-jazz" music, especially orchestral music. Davis had relented after years of refusing to revisit this material, but he was clearly ill, recovering from pneumoniaand trumpeter Wallace Roneywho was mentored by Davis, covered many of the challenging passages.
Davis died before the release of the album. From onwards, Evans recorded albums under his own name. Tubist Bill Barber and trumpeter Louis Mucci from Thornhill's band were both stalwarts in Evans's early ensembles, with Mucci finding a spot on nearly every pres Evans recording. In he arranged the big band tracks on Kenny Burrell 's Guitar Forms album.
His arrangements of pieces already well known to some listeners from their original cabaret, concert hall or Broadway stage arrangements, revealed aspects of the music in a wholly original way. Sometimes in an unexpected contrast to the original atmosphere of the piece, and sometimes taking a dark ballad such as Weill's "Barbara Song" into an even darker place.
The personnel list for The Individualism of Gil Evansnot only features Bill Barber and hornists James Miles Davis Arranged And Condusted By Gil Evans Sketches Of Spain and Julius Watkins along with two othersbut each Linval Thompson Negrea Love Dub features the cream of the younger some more classically trained musicians who were making their names in jazz.
The presence of four of the most acclaimed young bassists Richard DavisPaul ChambersRon Carterand Ben Tucker along with veteran Milt Hinton would ordinarily indicate that each is used individually for separate tracks, but Evans's scores usually required at least two bassists on any given track, some playing arco with the bow and some pizzicato plucking with fingers, the standard jazz method.
These arrangements frequently featured greatly slowed-down tempos with polyrhythmic percussion and no prevailing "beat". To his by-now standard French horns and tuba, Evans's scores added Ed Rush Bludclot Artattack and bass flutesdouble reedsand harp ; orchestral instruments not associated with "swing" bands, providing a larger pallette of orchestral colors, and allowing him to attain the ethereal quality heard in his arrangements during his Thornhill days.
Yet, this album featured an orchestral arrangement of " Spoonful " by bluesman Willie Dixonan early indication of Evans's breadth and a hint of things to come.
Gil Evans continued his relationships with rock musicians, notably David Bowie for the movie Absolute BeginnersRobbie Robertson for the Martin Scorsese movie The Color of Moneyand Sting in live and studio performances in Gil Evans. Info Print Cite. Tutu Amandla Doo-Bop Rubberband. Miles Dewey Davis Jr. Book Category. Hidden categories: CS1 maint: untitled periodical Articles with short description Articles with hAudio microformats. Namespaces Article Talk. Views Read Edit View history.
Encyclopedia of Popular Music. MusicHound Jazz.
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