GIL EVANS

12 Item(s)

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  • Anthropology

    Anthropology was written by Charlie Parker and Dizzy Gillespie. Evans arranged the line in 1947, and it was recorded for Columbia Records and for radio transcriptions. The instrumentation calls for 5 saxophones doubling clarinet, 3 trumpets, 2 trombones, 2 French horns, tuba, guitar, piano, bass, and drums. For this publication, the French horn and tuba parts alternately may be played by a 4th trumpet and trombones 3 and 4 as follows: Learn More
  • ARAB DANCE

    This has been published directly from the original manuscript, edited by Jeffrey Sultanof. This master edition comes with complete background and performance notes. This concert arrangement is scored for 7 reeds, 3 trumpets, 2 French horns, 2 trombones, guitar, piano, bass, and drums. See below for complete instrumentation including information on reed doubling. The two French horns have been scored into trumpet 4 and trombone 3 parts, so this piece may be played without them. Approximately 4:30 in length. Learn More
  • Blues For Pablo

    Originally written for Hal McKusick for inclusion on his Jazz Workshop LP recorded in 1956 for RCA Victor Records (this album also included Jambangle, which was later re-orchestrated and expanded for Evans' Big Stuff LP for Prestige Records). Evans mixes an idea in minor that has two influences (a theme from de Falla's ballet El Sombrero de Tres Picos and a Mexican folk song) with a blues in major, and the effect is pure Gil Evans. His treatment of this piece for Davis is identical in form to McKusick version, but is in a different key, and of course is set for a larger ensemble. Learn More
  • BUSTER'S LAST STAND

    Buster's Last Stand is one of the few fast swing pieces that the Thornhill band played. They recorded it for Columbia Records in 1942 shortly before a ban on recording was imposed by the music union, and it remained in the book when the Thornhill ensemble was re-formed in 1946. We have included optional 4th trumpet and 3rd trombone parts that are alternates for the two horn in F parts. But, you should only use them if you don"t have the horn players available. Both alto saxophones double clarinet. And, the 6th reed is an optional clarinet part. Learn More
  • Donna Lee

    This bebop classic was arranged by Gil Evans for the Claude Thornhill band in 1947. This forward-thinking arrangement helped establish Gil as one of the most original voices in big band composition and arranging in the 1940s. This arrangement features 5 reeds (3 double clarinet), 3 trumpets, 2 horns in F, 2 trombones, tuba, guitar, piano, bass, and drums. Included are alternate parts for the two horns (trumpet 4 and trombone 3). Learn More
  • Jambangle

    Jambangle was one of the earliest compositions by Evans after several years of arranging the music of others. He originally wrote the piece for the previously mentioned Jazz Workshop, led by Hal McKusick, and this version was recorded on April 6, 1956. Evans new version was recorded by Rudy Van Gelder on October 11, 1957. Jambangle is an excellent example of Evans reworking a piece hed written some time before. This version uses many of the same ideas as the arrangement for McKusick, but is improved in every way here. Learn More
  • LA NEVADA

    One of the few original compositions that Evans wrote during this period, the Jazz Gallery La Nevada as recorded on the Impulse album, Out of the Cool is a different piece from its original recording. While the World Pacific version was fully arranged with improvised solos, the Impulse version is sketchier and looser. The theme itself is arranged, but very little else is. Evans was veering toward a more improvised ensemble music that would evolve over many performances. The backgrounds on the recording during solos or transitions were worked out on the bandstand and not written down. Because Evans did not write them, they do not appear in this publication. Learn More
  • ROYAL GARDEN BLUES

    Here is Gil Evans's arrangement of the Clarence and Spencer Williams classic blues standard Royal Garden Blues. This chart was written as a piano feature for Claude Thornhill. The reeds are arranged as: clarinet; alto saxophone/clarinet; tenor saxophone; tenor saxophone/bass clarinet; and baritone saxophone. The Horn in F part, arranged for two horns, is unison throughout. We have included trumpet 4 and trombone 3 parts that may serve as alternates for the horn part. Learn More
  • SPANISH DANCE (NO. 5)

    There were a number of adaptations of classical pieces in the band's book; Arab Dance from The Nutcracker Suite was written in 1941 but recorded in 1946, and The Old Castle from Pictures at an Exhibition was recorded for radio transcription. Pieces by Schumann, Grieg and Brahms were also arranged for the band. This adaptation of the fifth dance (Andaluza) from Enrique Granados' 12 Dances Espanolas was probably written sometime in 1947 and was recorded for radio transcriptions in 1949. Very often recordings for radio were shorter than commercial recordings, and arrangements were routinely cut. The sole recording of Spanish Dance was not only cut but the score altered as well. This publication presents Evans' original version. Learn More
  • SPRINGSVILLE

    Springsville was composed in 1956 by John Carisi, who'd written Israel for the Miles Davis Nonet in 1949. Carisi recorded Springsville for the RCA Jazz Workshop series, but the album was never released; it was also recorded that same year by Urbie Green for ABC-Paramount. Evans liked the tune well enough to make it the first track on"Miles Ahead," and it turns out to be the perfect opener for the album. Legend has it that Evans called Carisi years later and tell him how much he still loved the tune and the arrangement he'd made for Davis. There is no question that it is a classic. This version utilizes the original manuscript score from that session. Jazz Lines Publicaitons has restored the improvised piano solo that was changed to trumpet for the recording (this was originally to be played by Wynton Kelly). Learn More
  • SUMMERTIME

    The music for Summertime, of course, comes from Porgy and Bess, and that album is a deserved classic. Evans's arrangement centers around a repeated line or riff, which changes color and texture throughout as Davis improvises over the melody. Evans would later adapt this arrangement for an album with Helen Merrill, and that performance included a guest appearance by soprano saxophonist Steve Lacy. The arrangement for Davis has two separate introductions played one after another at the beginning. These were cut for the recording, but are included here for their historical value. Playing or not playing them in performance is of course left to the discretion of the conductor. This is a fairly straightforward setting of the classic Gershwin song. Dynamics in all of Evans's music is of prime importance. Minimal miking of the flutes is recommended so that they can be heard, but they must not be louder than the brass. Learn More
  • YARDBIRD SUITE

    In 1941 Gil Evans went to New York to write for the Claude Thornhill orchestra, which won two successive Billboard polls in the "sweet band" category. Evans, who was a fan of bebop and modern classical music was the first jazz composer/arranger to combine elements of both into his groundbreaking arrangements. This arrangement of Charlie Parker's Yardbird Suite (known at the time as 'What Price Love') is stunning. Evans employs dissonance throughout (often through minor seconds within sections) as well as subtle color and timbre shifts. Arranging for this same Thornhill band was Gerry Mulligan with whom Gil Evans would later break away and form the famous Miles Davis Nonet and record 'The Birth of the Cool.' This arrangement helped establish Gil Evans as a trend-setting, modern jazz composer. This arrangement has been published from the original autograph score and is authorized by the Estate of Gil Evans. This is not a transcription. Learn More

12 Item(s)

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