Gil Evans

...

Gil Evans, it's really Gil Evans' old studio that he gave-

Mm

... to, uh, Nasheet, uh, to, uh, Freddy Waits.

I have been honored again at Chamber Music America support grant for a new trio with Chano Domingos, which is a very recognized or one of the renowned flamenco jazz pianists who brought jazz to the flamenco.

and uh he used to live in in the states but moved back to barcelona so and um he was highly recommended for many people and i'm i it's it's he's he's the father of flamenco piano jazz kind of and and uh it's a huge honor to to record with him and i also invited mina sinelu a percussionist who It's originally from Paris but played with Miles Davis and Sting and Lou Reed and I don't know, Stevie Wonder, like Gil Evans' big band, you know, and he's coming along and it's a really pleasure because Chano is now a very experienced seniority artist, and he recently told me that he's really looking forward to this project, and for a long time he hasn't been excited about any project, so it really touches my heart that he's excited about this, and for me it's a huge honor, especially having started flamenco and trying to apply it on trumpet as much as I can, understanding that I will never become a true flamenco musician, but I can learn and grow as an improviser and trying to fit in And I'm curious to see what will happen, because we will have, you know, Mino, who's also played in Weather Report, like Fusion Jazz, with maybe some flamenco influences, maybe Martinique, because he's originally from Martinique, Paris, but he lives in New York.

And then, you know, my little compositions, maybe write songs together.

So it's really exciting and an honor to work with such prestigious and highly recognized jazz artists as Sano Dominguez and Maínez.

1948 to 1950 was the Miles Davis's Nonet era, as he experimented with using typical non-jazz instruments like the French horn and tuba.

At this point, Miles worked with greats like Gil Evans and Jerry Mulligan.

He got himself off of the Demons for a little while.

He decided to go with a vegetarian diet.

Miles returned to Paris in 1957 to record and play, and then he came back to New York City, got the quintet back together, but also added Coltrane, who had dealt with his demons by then.

Miles decided that he was sick of touring, wanted to settle down for a while as he had met another woman named Frances Taylor, who he married in 1959 and then divorced in 1968.

Columbia Records recommended that he collaborate with Gil Evans and from 1957 to 1962, Miles and Gills made five albums together which showcased different styles like pieces with orchestral units and Miles playing different instruments such as the flugelhorn.

This period also contained his 1959 classic Kind of Blue which is still considered to be one of the greatest albums ever recorded.

What Miles Davis did in the second half of 1957 was also pretty cool and pretty influential.

He did the first of his, what turned out to be several associations with Gil Evans, the great arranger doing orchestral recordings for Columbia Records.

He got involved in various other projects.

He then took a trip and stayed a couple months in France where he savored the music.

And, uh, it's been done many times by many jazz players and, and groups of jazz musicians and in suites and so forth, but no one really captured, uh, the spirit of, of the performance and of the opera the way Louis and Ella did.

Uh, Miles Davis did a totally different version, of course, uh, for Columbia with Gil Evans' arrangements.

But Louis really, especially in these cases, brings out, uh, the joy, but also the pain that was, uh, in this opera.

So that's what we're gonna finish up the program with, There's a Boat That's Leavin', from 1957.