Features 24 bit remastering and comes with a mini-description. 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.
Sting - After disbanding the Police at the peak of their popularity in 1984, Sting quickly established himself as a viable solo artist, one obsessed with expanding the boundaries of pop music. Sting incorporated heavy elements of jazz, classical, and worldbeat into his music, writing lyrics that were literate and self-consciously meaningful, and he was never afraid to emphasize this fact in the press.
Miles Davis and storied producer/arranger Quincy Jones shared a long friendship and working history, despite the jazz trumpeter's legendary reputation as an intimidating and difficult collaborator. Their last partnership comes to light Tuesday in Miles Davis With Quincy Jones and the Gil Evans Orchestra Live at Montreux 1991, a concert from the Montreux Jazz Festival captured shortly before Davis died. Evans died in 1988.
La musique de Gil Evans traverse le temps avec une grande fluidité, restant un solide fil d’Ariane pour de nombreux jazzmen, jeunes ou moins. Son principal disciple européen, Laurent Cugny, n’a jamais cessé de transmettre l’héritage du maitre disparu en 1988 mais surtout de faire vivre sa musique. Cet album, le premier du Gil Evans Paris Workshop (GEPW), orchestre en forme de all-stars du jeune jazz français, est la nouvelle preuve de sa mission à laquelle il ne faillit jamais. Reprenant une instrumentation proche de celles qu'affectionnait Gil Evans, avec cor, tuba, guitare et flûte, le GEPW redonne vie aux classiques de l'arrangeur tout en permettant aux musiciens de la nouvelle génération du jazz français qui le constituent de s'approprier et d'interpréter ce répertoire historique sans le figer.
Gil Evans released two records on World Pacific in 1958 and 1959. They were among his earliest dates as a leader. Gil Evans & Ten was issued by Prestige in 1957, but these dates stand out more. New Bottle, Old Wine was the first of the pair and the band included four trumpets, a trio of trombones, French horn (played by Julius Watkins), a pair of tubas, Cannonball Adderley as the lone saxophonist, and a rhythm section that included either Philly Joe Jones or Art Blakey on drums, Paul Chambers on bass, and Chuck Wayne on guitar.
The second of two album to come out of the Nov 1987 sessions featuring the great Gil Evans with Laurent Cugny's Big Band Lumiere. The first album is RHYTHM-A-NING. Laurent Cugny was born in 1955, he is one of the best French jazz musician and known as a specialist of Gil Evans' music. Laurent wears two hats: he is, on one side, a musician and, on the other, a musicologist and a professor at the Paris-Sorbonne University. Self-taught musician, he started playing the piano when he was ten and played in amateur groups at the age of eighteen. He created several groups while he was studying economics and film studies. In 1979, he created the Big Band Lumiere and won the same year the third prize of piano at the National Jazz Competition in La Defense. In 1980, he also received prizes for its compositions and for the Big Band Lumiere.