Gil Evans Out Of The Cool CD

Digitally remastered using 20-bit technology by Erick Labson (MCA Music Media Studios).

A much admired and loved man, of all the many brilliant orchestration projects this was his finest in his own right. He teases us with the opening of 'La Nevada' until the gorgeous repeated four-bar riff finally bursts on our ears with orgasmic delight. There are wonderful brass solos from John Coles, Tony Studd and Budd Johnson and a bass showcase for Ron Carter. As the opening track peters out after 15 minutes the listener enjoys the smug realization that there are a further four outstanding pieces to come.

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. The maestro in the piano chair also assembled a crack horn section for this date, with Ray Beckinstein, Budd Johnson, and Eddie Caine on saxophones, trombonists Jimmy Knepper, Keg Johnson, and bass trombonist Tony Studd, with Johnny Coles and Phil Sunkel on trumpet, Bill Barber on tuba, and Bob Tricarico on flute, bassoon, and piccolo. The music here is of a wondrous variety, bookended by two stellar Evans compositions in "La Nevada," and "Sunken Treasure." The middle of the record is filled out by the lovely standard "Where Flamingos Fly," Kurt Weill-Bertolt Brecht's "Bilbao Song," and George Russell's classic "Stratusphunk." The sonics are alternately warm, breezy, and nocturnal, especially on the 15-plus-minute opener which captures the laid-back West Coast cool jazz feel juxtaposed by the percolating, even bubbling hot rhythmic pulse of the tough streets of Las Vegas. The horns are held back for long periods in the mix and the drums pop right up front, Crawford's solo -- drenched in funky blues -- is smoking. When the trombones re-enter, they are slow and moaning, and the piccolo digs in for an in the pocket, pulsing break. Whoa.

Things are brought back to the lyrical impressionism Evans is most well known for at the beginning of "Where Flamingos Fly." Following a four-note theme on guitar, flute, tuba, and trombone, it comes out dramatic and blue, but utterly spacious and warm. The melancholy feels like the tune "Summertime" in the trombone melody, but shifts toward something less impressionistic and more expressionist entirely by the use of gentle dissonance by the second verse as the horns begin to ratchet t

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on November 18 & 30 and December 10 & 15, 1960. Includes liner notes by Tom Stewart and Michael Cuscuna.

Gil Evans Orchestra: Gil Evans (arranger, conductor, piano); Budd Johnson (soprano & tenor saxophones); Eddie Caine, Ray Beckenstein (alto saxophone, flute, piccolo); Johnny Coles, Phil Sunkel (trumpet); Keg Johnson, Jimmy Knepper (trombone); Tony Studd (bass trombone); Bill Barber (tuba); Bob Tricarico (flute, piccolo, bassoon); Ray Crawford (guitar); Ron Carter (bass); Charlie Persip, Elvin Jones (drums, percussion).

Producer: Creed Taylor.

Reissue producer: Michael Cuscuna.

Personnel: Gil Evans (piano); Ray Crawford (guitar); Bob Tricarico (flute, piccolo, bassoon); Eddie Caine, Raymond Beckenstein (flute, piccolo, alto saxophone); Budd Johnson (soprano saxophone, tenor saxophone); Phil Sunkel, Johnny Coles (trumpet); Jimmy Knepper, Keg Johnson, Ron Carter (trombone); Tony Studd (bass trombone); Billy Barber (tuba); Elvin Jones, Charlie Persip (drums, percussion).

Liner Note Authors: Michael Cuscuna; Tom Stewart.

Recording information: Van Gelder Studios, Englewood Cliffs, NJ (11/18/1960-12/15/1960).

Photographer: Chuck Stewart.

Arranger: Gil Evans.Q (7/96, p.137) - 4 Stars - Excellent - "...the arranger at the peak of his powers....Never is a surplus riff utilised in the name of authority. Everywhere there's room for soloists to move..."