Gil Evans Albums (36)
What The Critics Say
This CD reissue of Gil Evans' There Comes a Time differs greatly from the original LP of the same name. Not only are there three previously unreleased performances ("Joy Spring," "So Long," and "Buzzard Variation"), but "The Meaning of the Blues" has been expanded from six minutes to 20, and two numbers, "Little Wing" and "Aftermath the Fourth Movement/Children of the Fire," have been dropped (the former was reissued on Evans' Jimi Hendrix tribute album) and the remaining four tracks were re-edited and remixed under Evans' direction. So in reality, this 1987 CD was really a "new" record when it came out. The remake of "King Porter Stomp," with altoist David Sanborn in Cannonball Adderley's spot, is a classic. The "new" version of "The Meaning of the Blues" is memorable, and overall the music (which also has solos by Billy Harper and George Adams on tenors, along with trumpeter Lew Soloff) is quite rewarding, it's a creative big band fusion that expertly mixes together acoustic and electric instruments. This was one of Gil Evans' last truly great sets. [This is the original issue without the bonus tracks.] ~ Scott Yanow, All Music Guide
'75th Birthday Concert'
Release Date 5/22/2001
Tracks 15
Label BBC Legends
See Album Tracklist and Review
'Live at Umbria Jazz, Vol. 1'
Release Date 1/2/2001
Tracks 6
Label EGEA
See Album Tracklist and Review
'Live at Umbria Jazz, Vol. 2'
Release Date 1/2/2001
Tracks 5
Label EGEA
See Album Tracklist and Review
What The Critics Say
For a 1978 European tour, Gil Evans used a nonet, a much smaller-than-usual band. However, all of the ingredients (good and bad) from his later groups are very much present on the German concert preserved on this LP (which was originally put out by Circle). The three performances ("Dr. Jekyll," "The Meaning of the Blues" and Jimi Hendrix's "Little Wing") are generally much too long, with "Little Wing" only two seconds short of 26 1/2 minutes. While Evans is on electric piano, his contributions are rather minor, as his sidemen take overly long solos which alternate exciting and somewhat aimless sections. Heard from in prominent roles are altoist Gerry Niewood, trumpeter Terumasa Hino, George Adams on tenor, trumpeter Lew Soloff and the synthesizer of Peter Levin. ~ Scott Yanow, All Music Guide
What The Critics Say
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. ~ Scott Yanow, All Music Guide
What The Critics Say
Four months after arranger/pianist Gil Evans's death, his Monday Night Band fulfilled their engagements playing at Italian jazz festivals. With several alumni and guests added on, the 16-piece ensemble stretches out on two marathon performances ("Orgone" and "London"), makes very concise (under two-minute) statements on "Moonstruck One" and "Eleven," and features the eccentric singer Urszula Dudziak on "Duet." The results are colorful if not all that memorable; among the soloists are trumpeters Lew Soloff and Miles Evans, altoist Chris Hunter, Alex Foster on tenor, guitarist Bireli Legrene (who is quite rockish on "Prelude to Orgone"), violinist Michal Urbaniak and Pete Levin on synthesizer. Gil Evans would have enjoyed this set. ~ Scott Yanow, All Music Guide
What The Critics Say
The Gil Evans Monday Night orchestra ripped through the four cuts on this '86 session, often at a torrid pace. Even when they slowed things down, the solos were often done at fever-pitch levels, especially those from alto saxophonist Chris Hunter. Hamiett Bluiett's low-down baritone helped compensate for the absence of Howard Johnson, while John Clark provided an alternative voice on French horn. The songs were all lengthy selections with none less than 12 minutes. Only one song was written by Evans, the exhaustive opus "Waltz." Otherwise, he is conducting, pacing, and steering the orchestra through the winding movement of Hendrix's "Little Wing" or John Clark's "Your Number." ~ Ron Wynn, All Music Guide
