Tuesday, April 21, 2015
Kurt Weill and Gil Evans
I wrote extensively about both Weill and Evans and their remarkable, long and
Part One is a disguised Introduction to the European years, but including 40 or so photos of Weill LPs. Parts Two and Three take up Weill's career in America (on Broadway and off) together with his burgeoning impact on Jazz. Then Evans assumes the lead in the Fourth and Fifth sections. Finally, as a bonus and sort-of Sixth Part, comes a follow-up essay/review of 2012's "new" (but also old) Evans album, which of course also featured Weill--and which later won the Big Band Grammy award.
Centennial was a suitable conceptual name for that release, but for some unexplained reason this new one is called Lines of Color, its exterior offering an abstract pretty picture on the front cover, tiny print obscuring Evans' name, and no identifying photo of the man. Commercial this packaging isn't--Blue Note was just asleep at the switch--which is really too bad because the music is terrific, another excellent selection of previously unrecorded charts dating from the Thornhill Orchestra days up to Gil's more experimental bands of the 1960s. Centennial had
Some long numbers revive and/or revise previous Evans tracks; "Time of the Barracudas" and "Davenport Blues" crackle authoritatively with dramatic solo work from trombonist Marshall Gilkes, tenor saxman Donny McCaslin, and trumpeter Mat Jodrell, while "Concorde" and the medley ("Easy Living/Everything Happens to Me/Moon Dreams") play the master's measures either more lightly, or layered more intricately. That last is certainly one of the album's highlights, with pianist Frank Kimbrough and tenorist Scott Robinson quietly leading the charts.
Other tracks sound like what they are, Claude Thornhill specialties from the early Forties ("Gypsy Jump") to the post-Bop Fifties ten years later ("How High the Moon"), two of them yet meriting special mention--"Greensleeves" for its one-take trombone solo by Gilkes, eradicating memories of Kenny Burrell's feature (on his 1965 album with Evans, Guitar Forms), and a chipper little ditty called "Sunday
One last note: conductor-visionary Ryan Truesdell once again provides exceptional annotation, and on "Moon Dreams" he writes convincingly about the Impressionist classical influences on Evans (Ravel, Prokofiev, et al), some of whom found a spot in Weill's wheelhouse as well... or at least that's still my Impression.