Gil Evans: Struttin' With Some Barbecue


Struttin' with Some Barbecue


Gil Evans Orchestra


The Complete Pacific Jazz Sessions (Blue Note)

Buy Track


Gil Evans (piano, arranger), Cannonball Adderley (alto sax), Johnny Coles (trumpet), Frank Rehak (trombone), Chuck Wayne (), Paul Chambers (bass), Art Blakey (drums),

Louis Mucci, Ernie Royal (trumpets); Joe Bennett, Tom Mitchell (trombones); Frank Rehak (trombone solo); Julius Watkins (French horn); Harvey Phillips (tuba); Jerry Sanfino (reeds);


Composed by Lillian Hardin Armstrong


Recorded: New York, May 21, 1958


Rating: 100/100 (learn more)

This arrangement is a wonderful lesson in the art of building excitement. Gil opens simply and in the low register, with Bill Barber playing the melody on tuba. The accompaniment is warmly voiced and also in a low range. I'm guessing that the trombones are in hat mutes, playing along with the French horn. They play lovely little comping hits as if they're a piano, but with the warm glow that comes from the sound of combined French horn and hat-muted trombones. It's perfectly understated behind the tuba, and Philly Joe Jones plays super light and swingin' on the snare with brushes. Philly starts to open up the volume and adds a little more intensity after the solo trombone break by Frank Rehak. After Frank's first chorus, there's more comping behind him in the lower horns that gets increasingly rhythmically creative. There's also a great little sustained unison cup mute tone that begins at about 1:31. It holds for a good eight seconds.

Now we reach a harmonization of the melody that moves the tune to a higher octave and is harmonized for the first time. This ensemble section flies along with ease, and has a lovely counterline by tuba, trombone and bass clarinet that helps the ensemble feel like it's gliding. When this counterline hits 2:07, it starts making a stepwise ascent. From it, we get a feeling of yet more building, opening up, anticipation and general excitement. The range is now getting really high. It's great, because it heralds even more excitement that's soon to come in the form of Cannonball's entrance. Gil even keeps his creative hand in this solo break, as Cannonball, right at the end of the break, has to modulate and launch us into a new key, which serves to lift us to yet another level of excitement. The rhythms and lead lines of the ensemble comping just keep developing—no shortcuts taken here. The details are simply mind-blowing. At 2:45, Harmon mutes in the trumpets add another fresh new color. This whole piece is essentially passing from dark orchestrational color to bright.

Gil's spectacular sense of rhythm, fabulous feel for bebop, and refreshing sense of harmony is clearly evident at his ensemble passage that goes from 3:01–3:10. I love how he wanders to a rather unexpected corner harmonically and just sits us uncomfortably there for a hair longer than we'd expect, before he gently glides us out. Marvelous! His next two short ensemble passages also have wonderful little lilting cross-rhythmic figures. His rhythms are full of surprises but at the same time are very catchy. On the next figure the ensemble soars to its top and dramatically holds it for a moment before we suddenly drop all the way down to a low pedal tone that lasts to the end of the piece. Over that pedal, Philly Joe and Cannonball continue playing to the finish.

All parts collectively decrescendo in what feels like a big exhale after all the excitement. Gil's written a thousand tiny details into this piece, but each of them contribute to a common goal, and, for that reason, add up to a total experience, an emotional ride. In the hands of someone without such a sense of purpose, so much detail could easily add up to a whole lot of clutter. It never happens with Gil. That's one of the many marvels of this man's writing.

Reviewer: Maria Schneider

Tags: · ·

Comments are closed.