I’ve had a very busy penultimate week of term and am out of energy so instead of attempting a new post I thought I’d repost this “festive” classic. I posted this one during the “festive” season” in 2013 and haven’t posted it since. Until now. The band is led by none other than Miles Davis; the other members are Frank Rehak (trombone), Wayne Shorter (tenor sax), Paul Chambers (bass), Jimmy Cobb (drums), and Willie Bobo (bongos); the arrangement is unmistakably by Gil Evans. The vocalist is the legendary Bob Dorough who also wrote the lyrics.
“Bah Humbug” never sounded so cool!
P.S. I’m not particularly blue myself, just tired…
It’s the fifth Christmas season for this blog but I’ve not yet posted this festive (?) classic by Miles Davis. The rest of the band consists of Frank Rehak (trombone), Wayne Shorter (tenor sax), Paul Chambers (bass), Jimmy Cobb (drums), and Willie Bobo (bongos); the arrangement is unmistakeably Gil Evans. The vocalist is the legendary Bob Dorough who also wrote the lyrics. “Bah Humbug” never sounded so cool!
I’ve been taking it easy today, attempting to recover from a bout of sickness by loafing about and listening to old records. I don’t know why I haven’t listened to Out of the Cool by the Gil Evans Orchestra for a while, but at least that meant I came back to it relatively fresh.
Gil Evans was one of the few composer/arrangers in Jazz to have successfully blended his own orchestral textures with solo improvisations in such a way that both complement each other; the scored passages he devised are complex and beautiful, but never so rigid that they inhibit the soloist’s imagination. He directed a number of albums that incorporated Jazz solos in classically-inspired orchestral settings, including Sketches of Spain and Porgy and Bess (with Miles Davis). This one is less famous than those, but in my opinion at least as good.
Trumpeter Johnny Coles (no relation) is particularly inspired by the imaginative surroundings constructed by Gil Evans on this album, and he responds by inventing beautiful solo lines on several tracks on this album. But the tonal spectrum he encompasses, his use of dynamics, and his distinctive play with inflection are best illustrated by his feature piece, Sunken Treasure, a mysterious, almost evanescent creation which he fashions out of Evans’ floating harmonies. I think this is the best track off a great album.
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In the Dark 