GIL EVANS — The Complete Pacific Jazz Sessions (2006) Blue Note Connoisseur Series | APE (tracks+.cue), lossless

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 reading of "King Porter Stomp" is the stunner here, with Adderley's solo being a prized moment. There isn't a weak cut in the whole mess, though. Other standouts include Fats Waller's "Willow Tree," "Lester Leaps In," with great solos by Wayne and Adderley, the burning finale of Dizzy Gillespie's "Manteca," and Charlie Parker's "Bird Feathers" closing it out.

The second of these albums, Great Jazz Standards, featured a similar band with some notable differences. For one, the inclusion of soprano saxophonist Steve Lacy as a soloist and rhythm sections that included either Dennis Charles or Elvin Jones on drums, Curtis Fuller on trombone, and Budd Johnson on tenor for about half the set. The finer moments here include "Ballad of the Sad Young Men" (a newish tune at the time with a fine piano solo by Evans) and John Lewis' "Django," with a truly brilliant and understated solo by Lacy, who also does a commendable job on "Straight No Chaser." Johnson wails on Gil Evans' "La Nevada (Theme)." Evans' arrangement of Clifford Brown's "Joy Spring" is also a killer, with his and guitarist Ray Crawford's solos. The Complete Pacific Jazz Sessions is a fine collection issued by Blue Note, which, as part of the Connoisseur Series, is limited and will be out of print again soon. Don't wait.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-    Tracklist & Credits :

GIL EVANS ft. CLAUDE THORNHILL AND HIS ORCHESTRA WITH LEE KONITZ — The Real Birth Of The Cool : Studio Recordings (1999) FLAC (tracks+.cue), lossless

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GIL EVANS — The Complete Instrumental Charts for Claude Thornhill - 1942-1947 (1999) FLAC (tracks+.cue), lossless

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GIL EVANS — Columbia Jazz Profiles (2008) FLAC (tracks+.cue), lossless

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GIL EVANS — Gil Evans & Ten (1957-2003) SACD, Hybrid | MONO | FLAC (tracks+.cue), lossless

Although arranger Gil Evans had been active in the major leagues of jazz ever since the mid-'40s and had participated in Miles Davis' famous Birth of the Cool recordings, Gil Evans & Ten was his first opportunity to record as a leader. The set features a typically unusual 11-piece unit consisting of two trumpets, trombonist Jimmy Cleveland, Bart Varsalona on bass trombone, French horn player Willie Ruff, Steve Lacy on soprano, altoist Lee Konitz, Dave Kurtzer on bassoon, bassist Paul Chambers, and either Nick Stabulas or Jo Jones on drums, plus the leader's sparse piano. As good an introduction to his work as any, this program includes diverse works ranging from Leadbelly to Leonard Bernstein, plus Evans' own "Jambangle." The arranger's inventive use of the voices of his rather unique sidemen make this a memorable set. Scott Yanow   Tracklist & Credits :

GIL EVANS ft. CANNONBALL ADDERLEY — New Bottle, Old Wine (1958-1988) FLAC (tracks+.cue), lossless

Gil Evans' second album as a leader (a World Pacific set that has been reissued by Blue Note) features his reworking of eight jazz classics including "St. Louis Blues," "Lester Leaps In" and "Struttin' with Some Barbecue." Evans' charts utilize three trumpets, three trombones, a french horn, a prominent tuba, one reed player, altoist Cannonball Adderley and a four-piece rhythm section. Most memorable is a classic rendition of "King Porter Stomp" featuring the exuberant altoist Cannonball Adderley, who is the main soloist on most of the selections. Other key voices include Evans' piano, guitarist Chuck Wayne and trumpeter Johnny Coles. This is near-classic music that showed that Gil Evans did not need Miles Davis as a soloist to inspire him to greatness. Scott Yanow    Tracklist & Credits :

GIL EVANS ORCHESTRA — Great Jazz Standards (1959-1988) Pacific Jazz Series | FLAC (tracks+.cue), lossless

A follow-up to New Bottle, Old Wine, this Gil Evans set has colorful arrangements of five jazz standards plus "Ballad of the Sad Young Men" and Evans' "Theme." Using a band consisting of three trumpets, three trombones, a French horn, Bill Barber's tuba, soprano-saxophonist Steve Lacy (the first important post-swing player on his instrument), tenor saxophonist Budd Johnson (on half of the program), and a four-piece rhythm section (including the leader's piano), Evans contributes some very memorable written ensemble passages, most notably on "Straight No Chaser." In addition to Lacy and Johnson, the main soloists are trumpeter Johnny Coles, trombonists Curtis Fuller and Jimmy Cleveland, and guitarist Ray Crawford. Highly recommended. Scott Yanow    Tracklist & Credits :

THE GIL EVANS ORCHESTRA — Out of the Cool (1961-1996) RM | FLAC (tracks+.cue), lossless

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 things up just a bit, allowing Persip and Jones to play in the middle on a variety of percussion instruments before the tune takes on a New Orleans feel, and indeed traces much of orchestral jazz history over the course of its five minutes without breaking a sweat. "Stratusphunk" is the most angular tune here, but Evans and company lend such an element of swing to the tune that its edges are barely experienced by the listener. For all his seriousness, there was a great deal of warmth and humor in Evans' approach to arranging. His use of the bassoon as a sound effects instrument at the beginning is one such moment emerging right out of the bass trombone. At first, the walking bassline played by Carter feels at odds with the lithe and limber horn lines which begin to assert themselves in full finger popping swing etiquette, but Carter seamlessly blends in. Again, Crawford's guitar solo in the midst of all that brass is the voice of song itself, but it's funky before Johnny Coles' fine trumpet solo ushers in an entirely new chart for the brass. The final cut, "Sunken Treasure," is a moody piece of noir that keeps its pulse inside the role of bass trombone and tuba. Percussion here, with maracas, is more of a coloration device, and the blues emerge from the trumpets and from Carter. It's an odd way to close a record, but its deep-night feel is something that may echo the "cool" yet looks toward something deeper and hotter -- which is exactly what followed later with Into the Hot. This set is not only brilliant, it's fun.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
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THE GIL EVANS ORCHESTRA — Into the Hot (1962-1988) FLAC (image+.cue), lossless

Although this album (reissued on CD) proudly states that it is by the Gil Evans Orchestra and has Evans' picture on the cover, the arranger actually had nothing to do with the music. Three songs have the nucleus of his big band performing numbers composed, arranged, and conducted by John Carisi (who also plays one of the trumpets). Those selections by the composer of "Israel" are disappointingly forgettable. The other three performances are even further away from Evans for they are actually selections by avant-garde pianist Cecil Taylor's septet! Taylor's music features trumpeter Ted Curson, trombonist Roswell Rudd, altoist Jimmy Lyons, tenor saxophonist Archie Shepp, bassist Henry Grimes, and drummer Sunny Murray and is quite adventurous and exciting, the main reason to acquire this somewhat misleading set. Scott Yanow    Tracklist & Credits :

GIL EVANS — The Individualism of Gil Evans (1964-2003) RM | Serie Jazz The Best | FLAC (tracks+.cue), lossless

Although Gil Evans had gained a lot of acclaim for his three collaborations with Miles Davis in the 1950s and his own albums, this CD contains (with the exception of two tracks purposely left off), Evans's only dates as a leader during 1961-68. The personnel varies on the six sessions that comprise the CD (which adds five numbers including two previously unreleased to the original Lp) with such major soloists featured as tenorman Wayne Shorter, trombonist Jimmy Cleveland, trumpeter Johnny Coles and guitarist Kenny Burrell. Highlights include "Time of the Barracudas," "The Barbara Song," "Las Vegas Tango" and "Spoonful." Highly recommended to Gil Evans fans; it is a pity he did not record more during this era. Scott Yanow
Tracklist :
1 Time Of The Barracudas 7:26
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
2 The Barbara Song 9:59
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Bertolt Brecht, Kurt Weill
3 Las Vegas Tango 6:35
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
Flute Song / Hotel Me (12:29)
4a Flute Song
Bass – Ben Tucker, Paul Chambers, Richard Davis 
Drums – Elvin Jones
Engineer – Phil Ramone
French Horn – Don Corado, Gil Cohen, Julius Watkins
Guitar – Barry Galbraith
Harp – Margret Ross
Reeds, Woodwind – Al Block, Bob Tricarico, Eric Dolphy, Steve Lacy
Trombone – Jimmy Cleveland
Written-By – Gil Evans
4b Hotel Me
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson, Phil Ramone
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
5 El Toreador 3:26
Bass – Milt Hinton, Paul Chambers, Richard Davis 
Drums – Osie Johnson
Engineer – Phil Ramone
French Horn – Jim Buffington, Bob Northern
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Jerome Richardson, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Ernie Royal, Johnny Coles, Louis Mucci
Written-By – Gil Evans
– BONUS TRACKS –
6 Proclamation 3:55
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
7 Nothing Like You 2:36
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Bob Dorough
8 Concorde 7:39
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – John Lewis 
9 Spoonful 13:46
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – Willie Dixon
Credits : Arranged By, Conductor, Piano – Gil Evans

THE GIL EVANS ORCHESTRA — Plays the Music of Jimi Hendrix (1974-2002) RM | Serie Bluebird First Editions | FLAC (tracks+.cue), lossless

This CD reissue (which adds additional material to the original LP program) is much more successful than one might have expected. Jimi Hendrix was scheduled to record with Gil Evans' Orchestra but died before the session could take place. A few years later, Evans explored ten of Hendrix's compositions with his unique 19-piece unit, an orchestra that included two French horns, the tuba of Howard Johnson, three guitars, two basses, two percussionists and such soloists as altoist David Sanborn, trumpeter Marvin "Hannibal" Peterson, Billy Harper on tenor, and guitarists Ryo Kawasaki and John Abercrombie. Evans' arrangements uplift many of Hendrix's more blues-oriented compositions and create a memorable set that is rock-oriented but retains the improvisation and personality of jazz. [This album was re-released in 2002 on the Bluebird label with four bonus tracks from the same sessions] Scott Yanow
Tracklist :
1. ANGEL 4:09
Arranged By – Tom Malone
Soloist, Alto Saxophone – David Sanborn
2. CROSSTOWN TRAFFIC / LITTLE MISS LOVER 6:34
Arranged By – Tom Malone
Vocals – "Hannibal" Marvin Peterson
3. MEDLEY: CASTLES MADE OF SAND / FOXY LADY 11:30
Arranged By – Gil Evans, Warren Smith
Tenor Saxophone – Billy Harper
Tuba – Howard Johnson
4. UP FROM THE SKIES 10:39
Arranged By – Gil Evans
Electric Guitar – Ryo Kawasaki
5. 1983 – A MERMAN I SHOULD TURN TO BE 7:29
Arranged By – David Horowitz
Electric Guitar – Keith Loving
Flugelhorn – Lew Soloff
6. VOODOO CHILE 5:03
Arranged By, Tuba – Howard Johnson
7. GYPSY EYES 3:44
Arranged By, Soprano Saxophone – Trevor Koehler
8. LITTLE WING 6:34
Alto Saxophone – David Sanborn
Arranged By – Gil Evans
Electric Bass – Herb Bushler
Vocals – "Hannibal" Marvin Peterson
– Alternate And Unused Takes –
9. ANGEL (ALTERNATE TAKE) 4:07
Alto Saxophone – David Sanborn
Arranged By – Tom Malone
10. CASTLES MADE OF SAND (ALTERNATE TAKE) 5:04
Arranged By – Gil Evans
Tenor Saxophone – Billy Harper
Tuba – Howard Johnson
11. UP FROM THE SKIES (ALTERNATE TAKE) 10:02
Arranged By – Gil Evans
Electric Guitar – Ryo Kawasaki
Trumpet – "Hannibal" Marvin Peterson
12. GYPSY EYES (ALTERNATE TAKE) 3:23
Arranged By, Soprano Saxophone – Trevor Koehler
Personnel :
Gil Evans - Piano, Electric Piano, Arranger, Conductor
Hannibal Marvin Peterson - Trumpet, Vocals
Lew Soloff - Trumpet, Flugelhorn, Piccolo Trumpet
Peter Gordon - French Horn
Pete Levin - French Horn, Synthesizer
Tom Malone - Trombone, Bass Trombone, Flute, Synthesizer, Arranger
Howard Johnson - Tuba, Bass Clarinet, Electric Bass, Arranger
David Sanborn - Alto Saxophone, Soprano Saxophone, Flute
Billy Harper - Tenor Saxophone, Flute
Trevor Koehler - Tenor Saxophone, Alto Saxophone, Flute, Baritone Saxophone, Soprano Saxophone, Arranger
John Abercrombie, Ryo Kawasaki - Electric Guitar
Keith Loving - Guitar
Don Pate - Bass
Michael Moore - Electric Bass, Acoustic Bass
Bruce Ditmas - Drums
Warren Smith - Vibraphone, Marimba, Chimes, Latin Percussion
Sue Evans - Drums, Congas, Percussion

GIL EVANS AND HIS ORCHESTRA – There Comes a Time (1976-2014) Serie Jazz Collection 1000 | FLAC (tracks+.cue), lossless

 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    Tracklist & Credits :

GIL EVANS – Tokyo Concert (1976-1990) FLAC (tracks+.cue), lossless

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GIL EVANS – Priestess (1977-1983) FLAC (tracks+.cue), lossless

After the success of his studio sessions of the early to mid-'70s, Gil Evans primarily recorded live in concert during the remainder of his career. This is one of the better sets, for although two of the four selections are over 12 minutes long ("Priestess" exceeds 19 1/2 minutes), the music is generally under control. Evans's eccentric 16-piece group consists of three trumpets, trombone, French horn, two tubas, three saxes and a five-piece rhythm section including Pete Levin on synthesizer. With such soloists as altoists David Sanborn and Arthur Blyte, trumpeter Lew Soloff and George Adams on tenor, the music is quite stimulating and exciting. Scott Yanow
Tracklist & Credits :

GIL EVANS – Live at the Public Theater New York 1980 Vol. I (1980-1994) FLAC (tracks+.cue), lossless

One of arranger Gil Evans's main talents was his ability to fuse diverse, unique performers into a unified ensemble. He accomplishes that on the first of two LPs taken from a pair of 1980 concerts, even if his presence is felt more than heard. Although Evans is on electric piano, he also employed two other synthesizer players (Masabumi Kikuchi and Pete Levin) in his eclectic band, which at the time included such notables as Lew Soloff, Jon Faddis and Hannibal Marvin Peterson on trumpets, altoist Arthur Blythe, trombonist George Lewis, baritone saxophonist Hamiet Bluiett and drummer Billy Cobham, among others. A lengthy "Anita's Dance" and a remake of "Gone, Gone, Gone" are the more memorable selections. Scott Yanow    Tracklist + Credits :

GIL EVANS – Live at the Public Theater New York 1980 Vol. II (1980-1994) FLAC (tracks+.cue), lossless

The second of two Gil Evans LPs originally recorded for the Japanese Trio label and put out in the United States on the now-defunct Black-Hawk company features the veteran arranger leading a 14-piece group at a pair of 1980 concerts. The five selections (which include Jimi Hendrix's "Stone Free," Charles Mingus' "Orange Was the Color of Her Dress" and Evans's "Zee Zee") are given colorful treatment by the unique band, which consists of three keyboardists, a rhythm section propelled by drummer Billy Cobham, three trumpets (Lew Soloff, Jon Faddis and Hannibal Marvin Peterson), two trombones (including George Lewis), John Clark on French horn, baritone saxophonist Hamiet Bluiett and altoist Arthur Blythe. Although the end results do not quite live up to the potential of this unique ensemble, there are plenty of colorful moments. Scott Yanow
Tracklist + Credits :

GIL EVANS & THE MONDAY NIGHT ORCHESTRA — Live at Sweet Basil (1985-1992) FLAC (tracks+.cue), lossless

Gil Evans ran into his share of would-be defenders of his "tradition" when he began experimenting with rock songs and electronic instruments in the '70s and '80s. One of jazz's greatest arrangers was suddenly viewed as a charlatan in certain circles, and a band loaded with great players was now being dismissed as a crew of frauds. This second volume of songs done live during the band's long run as Sweet Basil's regular Monday night attraction proves decisively that neither Evans nor his band lost anything. The versions of Shorter's "Parabola" and Hancock's "Prince of Darkness" are multi-faceted and compare favorably with almost anything done by any previous Evans aggregation. It may not have been "cool," but it was most assuredly great jazz. Ron Wynn    Tracklist & Credits :

GIL EVANS & THE MONDAY NIGHT ORCHESTRA — Bud And Bird (1987-1992) FLAC (tracks+.cue), lossless

Gil Evans celebrated his 75th birthday shortly before this session was issued in Japan. He was not looking back, judging from the progressive, animated quality of these numbers. They included some extensive, rollicking numbers, songs with multiple movements, and energized solos from John Clark on French horn, trumpeter Lew Soloff, bass trombonist Dave Tucker, and bassist Mark Egan. Special guest Johnny Coles chimed in on "Half Man, Half Cookie." Some critics rapped Evans' '80s orchestras for their almost chaotic sound and loose feel. But Evans wanted a sprawling sensibility, and although his bands often seemed disorganized, they always maintained discipline in the midst of what others thought sounded like musical anarchy. Ron Wynn    Tracklist & Credits :

GIL EVANS | STEVE LACY – Paris Blues (1988-1993) FLAC (image+.cue), lossless

Recorded just three months before arranger/pianist Gil Evans's death, this duet album teams Evans with the great soprano saxophonist Steve Lacy. In truth, Evans's playing here is generally little more than melody statements and comping behind Lacy and, although the soprano is in top form, little of significance occurs. The duo performs lengthy versions of three Charles Mingus tunes, Duke Ellington's "Paris Blues" and Lacy's "Esteem." Evans was never a masterful keyboardist and clearly was not in Lacy's league as a player, so this CD is of greater interest from a historical standpoint than musical. Scott Yanow    Tracklist & Credits :

GIL EVANS | LAURENT CUGNY | BIG BAND LUMIERE – Rhythm-A-Ning (1988-2003) FLAC (tracks+.cue), lossless

This is a very interesting recording. Aging arranger/pianist Gil Evans agreed after much persuasion to come to Paris and play his music at a few concerts with Laurent Cugny's Orchestra. After only one rehearsal, the first event took place, and it gratified Evans to realize that the young French musicians were not only excellent players but big Gil Evans fans. Their interpretations of Thelonious Monk's "Rhythm-A-Ning," "London" and "La Nevada" rank with the best versions of Evans's regular Monday Night Band, and Cugny's "Charlie Mingus' Sound of Love" (an answer to Mingus' "Duke Ellington's Sound of Love") is also excellent. Few of the sidemen, other than tenor-saxophonist Andy Sheppard and percussionist Marilyn Mazur, are known in the U.S., but they did an excellent job of bringing Gil Evans's music to life. Scott Yanow    Tracklist & Credits :