The Individualism of Gil Evans

Occupation

The Individualism of Gil Evans, is a jazz album by Gil Evans, added to six recording sessions from September 1963 to October 1964, published by Verve Records in 1964.

Background to the album

Although the band leader and arranger Gil Evans in the late 1950s with his productions with Miles Davis ( as Miles Ahead or Sketches of Spain ) and also own albums had excited as Out of the Cool attention, very few recordings were made in the period 1961-1968. For a project with Miles Davis is also the title of "The Time of the Barracudas " was recorded, but then not be published. The few shots of Evans as a leader in this period can be found on the album "The Individualism of Gil Evans ." The occupations of the six sessions are overlapping; alongside musicians who contributed already in the previous albums " Gil Evans and Ten " and " Out of the Cool " as Jimmy Cleveland, Johnny Coles, Steve Lacy, Elvin Jones and Jimmy Knepper joined by other jazz greats such as Wayne Shorter, Eric Dolphy, Phil Woods and Kenny Burrell added.

The album

With the now broader space for improvisations Evans took part, the music of his later " Monday Night Orchestra " anticipate. Protrudes especially the title " Hotel Me ": The composition, developed in cooperation with Miles Davis, is simply laid out, with the " throaty screams " of the brass section stand out. Ultimately, the most impressive thing on the whole album are the sound patterns that Evans has created. Harry Lachner wrote in his appreciation as one of the 50 " century recordings of jazz " that the album

" Like no other of his records uses the divergent language of sound, the richness of instrumentation that is far away from jazz, harp, oboe, flute and french horns. Totally unconventional was also Evans ' art to involve the soloists in the ensemble sound. But this sound he also scored when he wrote entirely surprising side lines for the first main lines. (...) In " El Toredor " (arranged for the trumpeter Johnny Coles) acts the orchestra not only as a primer for the trumpet solo, it appears alternately as a pre-echo or post- Hall. "

Roger Willemsen wrote in his review, it is

" An extravagantly rich album, a musical mine, in which the melodic ballad and also find how the brittle rhythms of bebop, the travesty of the blues or the reverberation of the swing. Since sound itself so great soloists such as Wayne Shorter, Thad Jones and Kenny Burrell, as you never heard, for they interpret their role primarily as an ensemble player "

Reception

The music magazine Jazzwise recorded the album in the list The 100 Jazz Albums That Shook the World; Keith Shadwick wrote:

The title

  • CD version 1993:
  • LP Version 1964: Track 2, 3 and 4A & 4B, 5
  • The session sequence:

Literature / Sources

  • Richard Cook & Brian Morton The Penguin Guide to Jazz on CD 6th edition. ISBN 0-14-051521-6
  • Roger Willemsen: Roger Willemsen Sets on ( column in the Bookmarks folder, Zweitausendeins Verlag, Frankfurt)
Record label Genre James Buffington Bill Barber (musician) Richard Davis (bassist) Creed Taylor Bob Dorough John Lewis (Pianist) Spoonful Willie Dixon Richard Cook (journalist)
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