Download Gil Evans: Out of the Cool: His Life and Music by Stephanie Stein Crease PDF

By Stephanie Stein Crease

Winner of the ASCAP-Deems Taylor Award The existence (1912–1988) and profession of Gil Evans paralleled and sometimes foreshadowed the speedy altering global of jazz throughout the twentieth century. Gil Evans: Out of the Cool is the excellent biography of a self-taught musician whom colleagues frequently considered as a mentor. His leading edge paintings as a composer, arranger, and bandleader—for Miles Davis, with whom he usually collaborated over the process 4 a long time, and for his personal ensembles—places him along Duke Ellington and Aaron Copland as one of many giants of yank song. His unflagging creativity galvanized the main famous jazz musicians on the planet, either black and white. This biography strains Evans's early years: his first dance bands in California in the course of the melancholy; his existence as a studio arranger in Hollywood; and his early paintings with Claude Thornhill, some of the most strange bandleaders of the large Band period. After settling in long island urban in 1946, Evans's basement condo quick grew to become a gathering floor for musicians. The discussions that came about there between Miles Davis, Gerry Mulligan, John Lewis, and others led to the “Birth of the Cool” rankings for the Miles Davis Nonet and, in a while, for Evans’s masterpieces with Davis: “Miles Ahead,” “Porgy and Bess,” and “Sketches of Spain.”

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Most of them chose to memorize solos they’d heard on records or that Gil would copy for them. All in all, the band was starting to have a degree of finesse and to swing. ” Copying arrangements from records, note for note, was the best way he knew to learn the arranger’s art; it was his apprenticeship. It is an exacting skill, especially when applied to determining all the notes a group of instruments are playing. Musical transcription requires a fairly developed ear in the first place, and it is an invaluable aid in further increasing the ear’s discernment.

While they were fiddling with it after it stalled in the middle of the lake, the motor was accidentally overturned, and it sank immediately. Again, Gil burst out laughing despite the fact that six people would have to paddle the boat miles back to shore. “He was delighted,” Jimmy Maxwell said. “Nothing ever seemed to bother him. I guess it didn’t need to. ” Meanwhile, Gil and the band continued to develop musically. Both Abby Mattas and Jimmy Maxwell recalled that, by this time, Gil’s arrangements sounded more and more original.

They moved into the Jaroso Apartments in Balboa, which Anne Grupe described as “a horrible dump,” where three and four of them bunked together. Gil dutifully tried out several piano players, including the young Stan Kenton. Kenton, born in Kansas but raised in Los Angeles, had worked at the Rendezvous on and off since 1933 with a swing-oriented jazz band led by Everett Hoagland. He subbed as a pianist for several other bands as well. Although Kenton filled in for Gil several times that spring and summer, Gil preferred Buddy Cole, then nineteen, whom he hired on the spot after hearing the young pianist in a little club.

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