One of the most significant arrangers in jazz history,
Gil Evans' three album-length collaborations with
Miles Davis (
Miles Ahead,
Porgy and Bess and Sketches of Spain) are all considered classics.
Evans had a lengthy and wide-ranging career that sometimes ran parallel to the trumpeter. Like
Davis,
Gil became involved in utilizing electronics in the 1970s and preferred not to look back and recreate the past.
He led his own band in California (1933-38) which eventually became the backup group for
Skinnay Ennis;
Evans stayed on for a time as arranger. He gained recognition for his somewhat futuristic charts for
Claude Thornhill's Orchestra (1941-42 and 1946-48) which took advantage of the ensemble's cool tones, utilized French horns and a tuba as frontline instruments and by 1946 incorporated the influence of bop. He met
Miles Davis (who admired his work with
Thornhill) during this time and contributed arrangements of "Moon Dreams" and "Boplicity" to
Davis' "Birth of the Cool" nonet.
After a period in obscurity,
Evans wrote for a
Helen Merrill session and then collaborated with
Davis on
Miles Ahead. In addition to his work with
Miles (which also included a 1961 recorded Carnegie Hall concert and the half-album
Quiet Nights),
Evans recorded several superb and highly original sets as a leader (including
Gil Evans and Ten, New Bottle Old Wine and Great Jazz Standards) during the era. In the 1960s among the albums he worked on for other artists were notable efforts with
Kenny Burrell and
Astrud Gilberto. After his own sessions for Verve during 1963-64,
Evans waited until 1969 until recording again as a leader. That year's Blues in Orbit was his first successful effort at combining acoustic and electric instruments; it would be followed by dates for Artists House, Atlantic (
Svengali) and a notable tribute to
Jimi Hendrix in 1974. After 1975's There Comes a Time (which features among its sidemen
David Sanborn), most of
Evans' recordings were taken from live performances. Starting in 1970 he began playing with his large ensemble on a weekly basis in New York clubs. Filled with such all-star players as
George Adams, Lew Soloff, Marvin "Hannibal" Peterson, Chris Hunter, Howard Johnson, Pete Levin, Hiram Bullock,
Hamiet Bluiett and
Arthur Blythe among others,
Evans' later bands were top-heavy in talent but tended to ramble on too long.
Gil Evans, other than sketching out a framework and contributing his keyboard, seemed to let the orchestra largely run itself, inspiring rather than closely directing the music. There were some worthwhile recordings from the 1980s (when the band had a long string of Monday night gigs at Sweet Basil in New York) but in general they do not often live up to their potential. Prior to his death,
Gil Evans recorded with his "arranger's piano" on duets with
Lee Konitz and
Steve Lacy and his body of work on a whole ranks with the top jazz arrangers. ~ Scott Yanow, All Music Guide
