Канада-Америкалық джаз пианисті және әндер жазушысы Гил Эванс

Canadian American jazz pianist

Ian Ernest Gilmore Evans (né Green; May 13, 1912 – March 20, 1988)

Gil Evans was born in Toronto, Canada, on May 13, 1912, to Margaret Julia McConnachy. Little is known about Evans' biological father, although a family friend said that he was a doctor who died before Evans was born. where he attended Stockton High School, graduating in 1930. During this time, Evans' father took a job with the Western Pacific Railroad, and Evans began living with friends, later renting a room in a boarding house. After graduating, Evans attended the College of the Pacific in Stockton but then transferred to Modesto Junior College. Evans became interested in music at an early age, listening to Duke Ellington, Louis Armstrong, and Fletcher Henderson on the radio and on records. Even then, early in his career, his arrangements were such a challenge to musicians that bassist Bill Crow recalled that bandleader Thornhill would bring out Evans's arrangements "when he wanted to punish the band." Evans' modest basement apartment behind a New York City Chinese laundry soon became a meeting place for musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those present included the leading bebop performer, Charlie Parker, as well as Gerry Mulligan and John Carisi. In 1948, Evans, with Miles Davis, Mulligan, and others, collaborated on a band book for a nonet. The three albums that resulted from the collaboration are Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain (1960). Another collaboration from this period, Quiet Nights (1962) was issued later, against the wishes of Davis, who broke with his then producer Teo Macero for a time as a result. Although these four records were marketed primarily under Davis's name (and credited to Miles Davis with Orchestra Under the Direction of Gil Evans), Evans's contribution was as important as Davis's. Their work coupled Evans's classic big band jazz stylings and arrangements with Davis's solo playing. Evans also contributed behind the scenes to Davis' classic quintet albums of the 1960s. The demands of the score for Porgy and Bess were legendary, from the very first note for the lead trumpet. The limited time allotted for rehearsals revealed that the ability to read such a challenging score was not consistent among jazz musicians, and there are many audible errors. Yet the recording is now regarded by many as one of the greatest reinterpretations of Gershwin's music in any musical style, because Evans and Davis were each devoted to going outside the "mainstream" of commercial expectations for jazz musicians. Evans was a great influence on Davis's interest in "non jazz" music, especially orchestral music. Unfortunately, Evans's orchestral scores from the Porgy and Bess sessions were later found to be incomplete (or simply lost), and Quincy Jones and Gil Goldstein attempted to reconstruct these for Miles Davis's final 1991 concerts at Montreux, recorded as Miles & Quincy Live at Montreux. Davis had relented after years of refusing to revisit this material, but he was clearly ill, recovering from pneumonia, and trumpeter Wallace Roney, who was mentored by Davis, covered many of the challenging passages. Davis died before the release of the album. From 1957 onwards, Evans recorded albums under his own name. Tubist Bill Barber and trumpeter Louis Mucci from Thornhill's band were both stalwarts in Evans's early ensembles, with Mucci finding a spot on nearly every pre 1980s Evans recording. Among the featured soloists on these records were Lee Konitz, Jimmy Cleveland, Steve Lacy, Johnny Coles and Cannonball Adderley. In 1965, he arranged the big band tracks on Kenny Burrell's Guitar Forms album. Evans was influenced by Spanish composers Manuel de Falla and Joaquín Rodrigo, and by other Latin and Brazilian music, as well as by German expatriate Kurt Weill. His arrangements of pieces already well known to some listeners from their original cabaret, concert hall or Broadway stage arrangements, revealed aspects of the music in a wholly original way. Sometimes in an unexpected contrast to the original atmosphere of the piece, and sometimes taking a dark ballad such as Weill's "Barbara Song" into an even darker place. The personnel list for The Individualism of Gil Evans (1964), not only features Bill Barber and hornists James Buffington and Julius Watkins (along with two others), but each section features the cream of the younger (some more classically trained) musicians who were making their names in jazz. The presence of four of the most acclaimed young bassists (Richard Davis, Paul Chambers, Ron Carter, and Ben Tucker) along with veteran Milt Hinton would ordinarily indicate that each is used individually for separate tracks, but Evans's scores usually required at least two bassists on any given track, some playing arco (with the bow) and some pizzicato (plucking with fingers, the standard jazz method). These arrangements frequently featured greatly slowed down tempos with polyrhythmic percussion and no prevailing "beat". To his by now standard French horns and tuba, Evans's scores added alto and bass flutes, double reeds, and harp; orchestral instruments not associated with "swing" bands, providing a larger palette of orchestral colors, and allowing him to attain the ethereal quality heard in his arrangements during his Thornhill days. He was discouraged by the commercial direction Verve Records was taking with the Gilberto sessions, and he went into a period of hiatus. During this period while he was somewhat depressed about the commercial and logistical difficulties of his previous scoring requirements, his wife suggested that he listen to the guitarist Jimi Hendrix. Evans developed a particular interest in the work of the rock guitarist. Evans gradually built another orchestra in the 1970s, with none of the coloration instruments from his past arrangements. Working in the free jazz and jazz rock idioms, he gained a new generation of admirers. These ensembles, rarely more than fifteen and frequently smaller, allowed him to make more contributions on keyboards, and with the development of truly portable synthesizers, he began using these to provide additional color. In 1974, he released an album of his, and other band members', arrangements of music by Hendrix with guitarists John Abercrombie and Ryo Kawasaki. Evans's ensemble featured many of the top call musicians in New York, many of whom were also in the NBC Saturday Night Live Band and there were many conflicts, so their "deputies" for the night might be other world class musicians. Yet Evans was also known to let newcomers "sit in" occasionally. The band also performed arrangements by band members, current and past. Stalwarts in this ensemble were Lew Soloff, Alan Rubin, Marvin Peterson, Tom "Bones" Malone, George Adams, David Sanborn, Pete Levin, Hiram Bullock, Mark Egan, drummer Kenwood Dennard, saxophonist Bill Evans (no relation), and Gil Goldstein. In 1987, Evans recorded a live album with Sting: Last Session Live At Perugia Jazz Festival July 11, 1987, featuring the Monday Night Orchestra musicians, guest star Branford Marsalis and big band arrangements of songs by and with The Police and Jimi Hendrix. In the same spirit of introducing new talent in his bands, he collaborated with Maria Schneider with her as an apprentice arranger on this and other final projects. His final project was Nov. 3 & 26, 1987, his arrangements for the Laurent Cugny Big Band in Paris, on the recording "Golden Hair" on Emarcy/Polygram. In 1996, Columbia Studio Recordings released a box set which besides the masterpieces, featured outtakes and rarities of Miles Davis and Gil Evans.

Ryan Truesdell (de) began the Gil Evans Project, which resulted in a 2012 CD entitled Centennial, featuring previously unrecorded compositions and arrangements. These were produced with the permission of the Gil Evans estate, who gave Truesdell access to these scores and materials. Miles Evans, Gil's son, also led the Gil Evans Orchestra for a centennial concert at New York's Highline Ballroom, featuring many of the musicians heard in the orchestra during Evans's lifetime.

In 1986, Evans produced and arranged the soundtrack to the film of the Colin MacInnes book Absolute Beginners, thereby working with such contemporary artists as Sade Adu, Patsy Kensit's Eighth Wonder, the Style Council, Jerry Dammers, Smiley Culture, Edward Tudor Pole, and David Bowie. He also arranged the music for the 1986 Martin Scorsese film The Color of Money.

Evans first married Lillian Grace following the 1949 Birth of the Cool recording sessions. Very little is known about this marriage. In 1963, he would marry again. Evans was survived by his second wife, Anita (Cooper), and two children, Noah and Miles. His son Miles played trumpet in his Monday Night Orchestra.

In 1986, Evans was inducted into the DownBeat Jazz Hall of Fame. He was also inducted into the Canadian Music Hall of Fame in 1997.