Recorded after Gil Evans provided the orchestral clouds through which Miles Davis blew on such classics as Sketches of Spain, Porgy and Bess, and Miles Ahead, Out of the Cool is a starburst. Evans's title makes clear that ... more »this is a path away from the legendary 1949 Birth of the Cool, opening as it does with an obsessive (if calmly so) vamp that pulses for two minutes with maracas rattling before all the orchestra's instruments enter. Built on a repeating four-bar figure, "La Nevada" goes on to peg Evans as a fully realized orchestra player, one who uses the color palette of over a dozen distinct voices as his instrument. As a pianist Evans manages startling spareness, making dramatic miniature figures and then comping through the orchestra's skein with ritual regularity. Looking at the provenance of these tunes, one realizes Evans's true scope of knowledge: he moves from Kurt Weill's "Bilbao Song" to the Lydian (as in George Russell) modal structure of "Stratusphunk" to close the session with a regally charted take on Horace Silver's "Sister Sadie." Note how trumpeter Johnny Coles steps up as a main soloist, and follow the harmonic topography. It's a rare treat. --Andrew Bartlett« less
Recorded after Gil Evans provided the orchestral clouds through which Miles Davis blew on such classics as Sketches of Spain, Porgy and Bess, and Miles Ahead, Out of the Cool is a starburst. Evans's title makes clear that this is a path away from the legendary 1949 Birth of the Cool, opening as it does with an obsessive (if calmly so) vamp that pulses for two minutes with maracas rattling before all the orchestra's instruments enter. Built on a repeating four-bar figure, "La Nevada" goes on to peg Evans as a fully realized orchestra player, one who uses the color palette of over a dozen distinct voices as his instrument. As a pianist Evans manages startling spareness, making dramatic miniature figures and then comping through the orchestra's skein with ritual regularity. Looking at the provenance of these tunes, one realizes Evans's true scope of knowledge: he moves from Kurt Weill's "Bilbao Song" to the Lydian (as in George Russell) modal structure of "Stratusphunk" to close the session with a regally charted take on Horace Silver's "Sister Sadie." Note how trumpeter Johnny Coles steps up as a main soloist, and follow the harmonic topography. It's a rare treat. --Andrew Bartlett
CD Reviews
A Masterpiece
Robert Middleton | Boulder Creek, CA United States | 01/21/2000
(5 out of 5 stars)
"The first and centerpiece song of this album, La Nevada (snowfall in Spanish) is one of the most beautiful and original jazz pieces ever written. Every time I hear it, it makes me stop and listen closely. The music is VISUAL, that is it conjures up images of nature dancing with joy. The solos, (of which I have memorized every note) are virtuoso improvisations. The rest of the album is great too. But La Nevada stands alone."
A rare gem
Ramon Melendez | Anaheim, CA USA | 03/03/2005
(5 out of 5 stars)
"Sometimes you listen to a piece of music for the first time and it strikes you that it sounds so original yet so logical, so beautiful and natural yet so rare. This is how this music struck me when I first heard it in LP 20+ years ago. Is a recording for the ages. When the trombones come in out of nowhere in "La nevada" you feel taken by them, yet you feel like there is nothing else that could have come in but these bones. "Where Flamingos Fly" is a masterpiece of arranging and shows the artistry of Jimmy Knepper. The session continues with one beautiful surprise after another. Do yourself a favor and get this recording if is the only one you can get."
Gil's Greatest
Paul of London | London, UK | 03/21/2003
(5 out of 5 stars)
"Following on from his three classic albums with Miles Davis, this is Evans' best ever album. Stand-out tracks are the long, swinging 'La Nevada', and the dark, moody 'Where Flamingos Fly' and 'Hidden Treasure'. The CD also has a bonus track, the jolly 'Sister Sadie'. Great arrangements, great musicianship, particularly Ron Carter on bass and Elvin Jones on drums. A real gem of an album."
Why not give it SIX stars?
Sensitive Guy | Foster City, CA | 06/06/2006
(5 out of 5 stars)
"Like other fellow "reviewers", this disk came to me in the '60s, when I was (ahem) younger. It was my first real, full-on jazz disk, and was foisted on me (a rank musical slob at that point) by a friend who loved jazz and felt very sorry for my plebian tastes (or lack thereof.) Well, long story shortened, he never got his disk back, and I have memorized it entirely, note by note. And O golly, it's always fresh, alluring, surprising.
This too, it's a wonderful argument for the value of CDs. This one, and "Individualism" were my first purchases... and Oh glory, there's even more subtlety to audit on the CDs!
All I want to add is this: Gil Evans is the ultimate crossover artist. From Jimi Hendrix to the blues, to the sonorities and moods of Maurice Ravel's music, he loved tunes and harmony and he LOVED each instrument in the orchestra. No one like him, not at all. Well, maybe Maria Schneider, who was (I'm told) his assistant at the end... She's got a good ear, but Gil was still the most amazing arranger. And, as others have noted, he sure had the players to do his imagination full justice.
I'll shut up now, and you go buy a copy, OK?"
Simply astounding
Colston R. Thompson | the magic city | 03/21/2003
(5 out of 5 stars)
"i am late to come to this amazing recording, however, with that said, it is never too late to appreciate this timeless recording. it is breathtaking. the reason for my passing on this title was the fact that i was affraid it would be big band bland. that is the biggest mistake i have ever made in presuming a jazz title. i was struck immediately and forever a fan of this and the into the hot LP. this particular title is my favorite of the 2. the into the hot is no lees of an achievement and should never be dismissed. get them both. you will thank yourself. thanks gil."
Track Listings (6) - Disc #1