Gil Evans

Ian Ernest Gilmore Evans (born Green; May 13, 1912 –

Gil Evans
March 20, 1988)[1] was a Canadian-American jazz pianist,
arranger, composer and bandleader. He is widely
recognized as one of the greatest orchestrators in jazz,
playing an important role in the development of cool jazz,
modal jazz, free jazz, and jazz fusion. He is best known
for his acclaimed collaborations with Miles Davis.[2]

Contents
Early life
Evans (left) with guitarist Ryo Kawasaki at
Career
Ryan Truesdell presents the Gil Evans Project Sweet Basil, New York City, 1982
Background information
Film music
Birth name Ian Ernest Gilmore Green
Personal life
Born May 13, 1912
Awards and honors
Toronto, Ontario, Canada
Grammy Awards
Grammy Award nominations Died March 20, 1988 (aged 75)
Cuernavaca, Mexico
Discography
Studio albums Genres Jazz, third stream, cool
Live albums jazz, modal jazz, jazz
Arranged albums fusion, free jazz

Compilation/Box set Occupation(s) Musician, composer,

Soundtrack album arranger, bandleader
Tribute albums Instruments Piano
Filmography Years active 1933–88
See also Labels Prestige, World Pacific,
References Impulse!, RCA, Verve,
Columbia, King, EmArcy
External links
Associated acts Miles Davis, Masabumi
Kikuchi, Ryo Kawasaki,
Early life Kenny Burrell, Steve Lacy,
Lew Soloff
Gil Evans was born to Ian Ernest Green and Margaret Website www.gilevans.com (http://w
Julia McConnachy on May 13, 1912. Originally named ww.gilevans.com)
Ian Ernest Gilmore Green, he would eventually change his
name from Green to Evans, taking the name of his step-father, John Evans. His father was a doctor and his
mother was a homemaker and he had two siblings, Jean and Montgomery.
From a young age, Evans moved many times; from his birthplace in Toronto to western Canada, then to
Washington State before finally settling in Stockton, California. He graduated from Stockton High School
and Modesto Junior College. Evans remained a Canadian citizen until he entered the US Army during the
second World War. After 1946, he lived and worked primarily in New York City, living for many years at
Westbeth Artists Community.[2]

Career
Between 1941 and 1948, Evans worked as an arranger for the Claude Thornhill Orchestra.[3] Even then,
early in his career, his arrangements were such a challenge to musicians that bassist Bill Crow recalled that
bandleader Thornhill would bring out Evans’s arrangements "when he wanted to punish the band."[4] Evans'
modest basement apartment behind a New York City Chinese laundry soon became a meeting place for
musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those
present included the leading bebop performer, Charlie Parker, as well as Gerry Mulligan and John Carisi. In
1948, Evans, with Miles Davis, Mulligan, and others, collaborated on a band book for a nonet.[3] These
ensembles, larger than the trio-to-quintet "combos", but smaller than the "big bands" which were on the
brink of economic unviability, allowed arrangers to have a larger palette of colors by using French horns and
tuba. Claude Thornhill had employed hornist John Graas in 1942, and composer-arranger Bob Graettinger
had scored for horns and tubas with the Stan Kenton orchestra, but the "Kenton sound" was in the context of
a dense orchestral wall of sound that Evans avoided.

The Miles Davis-led group was booked for a week at the "Royal Roost" as an intermission group on the bill
with the Count Basie Orchestra. Capitol Records recorded 12 numbers by the nonet at three sessions in 1949
and 1950. These recordings were reissued on a 1957 Miles Davis LP titled Birth of the Cool.[3]

Later, while Davis was under contract with Columbia Records, producer George Avakian suggested that
Davis could work with any of several arrangers. Davis immediately chose Evans.[5] The three albums that
resulted from the collaboration are Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain
(1960).[3][6] Another collaboration from this period, Quiet Nights (1962) was issued later, against the wishes
of Davis, who broke with his then-producer Teo Macero for a time as a result. Although these four records
were marketed primarily under Davis's name (and credited to Miles Davis with Orchestra Under the
Direction of Gil Evans), Evans's contribution was as important as Davis's. Their work coupled Evans's
classic big band jazz stylings and arrangements with Davis's solo playing. Evans also contributed behind the
scenes to Davis' classic quintet albums of the 1960s.

The demands of the score for Porgy and Bess were legendary, from the very first note for the lead trumpet.
The limited time allotted for rehearsals revealed that the ability to read such a challenging score was not
consistent among jazz musicians, and there are many audible errors. Yet the recording is now regarded by
many as one of the greatest reinterpretations of Gershwin's music in any musical style, because Evans and
Davis were each devoted to going outside the "mainstream" of commercial expectations for jazz musicians.
Evans was a great influence on Davis's interest in "non-jazz" music, especially orchestral music.
Unfortunately, Evans's orchestral scores from the Porgy and Bess sessions were later found to be incomplete
(or simply lost), and Quincy Jones and Gil Goldstein attempted to reconstruct these for Miles Davis's final
1991 concerts at Montreux, recorded as Miles & Quincy Live at Montreux. Davis had relented after years of
refusing to revisit this material, but he was clearly ill, recovering from pneumonia, and trumpeter Wallace
Roney, who was mentored by Davis, covered many of the challenging passages. Davis died before the
release of the album.

From 1957 onwards, Evans recorded albums under his own name. Tubist Bill Barber and trumpeter Louis
Mucci from Thornhill's band were both stalwarts in Evans's early ensembles, with Mucci finding a spot on
nearly every pre1980s Evans recording. Among the featured soloists on these records were Lee Konitz,
Jimmy Cleveland, Steve Lacy, Johnny Coles and Cannonball Adderley. In 1965 he arranged the big band
tracks on Kenny Burrell's Guitar Forms album.

Evans was influenced by Spanish composers Manuel de Falla and Joaquín Rodrigo, and by other Latin and
Brazilian music, as well as by German expatriate Kurt Weill. His arrangements of pieces already well
known to some listeners from their original cabaret, concert hall or Broadway stage arrangements, revealed
aspects of the music in a wholly original way. Sometimes in an unexpected contrast to the original
atmosphere of the piece, and sometimes taking a dark ballad such as Weill's "Barbara Song" into an even
darker place. The personnel list for The Individualism of Gil Evans (1964), not only features Bill Barber and
hornists James Buffington and Julius Watkins (along with two others), but each section features the cream of
the younger (some more classically trained) musicians who were making their names in jazz. The presence
of four of the most acclaimed young bassists (Richard Davis, Paul Chambers, Ron Carter, and Ben Tucker)
along with veteran Milt Hinton would ordinarily indicate that each is used individually for separate tracks,
but Evans's scores usually required at least two bassists on any given track, some playing arco (with the
bow) and some pizzicato (plucking with fingers, the standard jazz method). These arrangements frequently
featured greatly slowed-down tempos with polyrhythmic percussion and no prevailing "beat". To his by-now
standard French horns and tuba, Evans's scores added alto and bass flutes, double reeds, and harp; orchestral
instruments not associated with "swing" bands, providing a larger pallette of orchestral colors, and allowing
him to attain the ethereal quality heard in his arrangements during his Thornhill days.[3] He frequently wrote
a part for the tenor violin of Harry Lookofsky. Yet, this album featured an orchestral arrangement of
"Spoonful" by bluesman Willie Dixon, an early indication of Evans's breadth and a hint of things to come.

In 1966, he recorded an album with Brazilian singer Astrud Gilberto, Look to the Rainbow.[7] He was
discouraged by the commercial direction Verve Records was taking with the Gilberto sessions, and he went
into a period of hiatus.

During this period while he was somewhat depressed about the commercial and logistical difficulties of his
previous scoring requirements, his wife suggested that he listen to the guitarist Jimi Hendrix. Evans
developed a particular interest in the work of the rock guitarist. Evans gradually built another orchestra in
the 1970s, with none of the coloration instruments from his past arrangements. Working in the free jazz and
jazz-rock idioms, he gained a new generation of admirers. These ensembles, rarely more than fifteen and
frequently smaller, allowed him to make more contributions on keyboards, and with the development of
truly portable synthesizers, he began using these to provide additional color.[3] Hendrix's 1970 death
precluded a scheduled meeting with Evans to discuss having Hendrix collaborate with a big band led by
Evans.[8]

In 1974, he released an album of his, and other band member's, arrangements of music by Hendrix with
guitarists John Abercrombie and Ryo Kawasaki.[7] From then on Evans's ensembles featured electric
instruments, i.e. guitars, basses, and synthesizers including a collaboration with bassist Jaco Pastorius. In
contrast to his intricate scores for large ensembles, which required precision orchestral playing
accompanying a single soloist, his later arrangements would feature more unison playing by the entire
ensemble, such as on Hendrix's "Little Wing", with improvisational touches added throughout by the
musicians.[3] Live recordings demonstrate that some entire pieces were collaborative efforts, and Evans can
be heard giving cues from the keyboard (behind the band) to guide the band. Before the 1970s, his keyboard
playing was generally sparse on recordings but after the 1970s he took a more active role in the rhythm
section of the band.

Where Flamingos Fly (recorded 1971, released 1981) demonstrated his ability to contract the most
accomplished musicians, with veterans Coles, Harry Lookofsky, Richard Davis and Jimmy Knepper (who
played the solo on the "Where Flamingos Fly" track on 1961's Out of the Cool) alongside young multi-
instrumentalist Howard Johnson, synthesizer player Don Preston (at that time still a member of The Mothers
of Invention), and Billy Harper.
In April 1983, the Gil Evans Orchestra was booked into the Sweet Basil Jazz Club (Greenwich Village, New
York) by jazz producer and Sweet Basil owner Horst Liepolt. This turned out to be a regular Monday night
engagement for Evans for nearly five years and also resulted in the release of a number of successful albums
by Gil Evans and the Monday Night Orchestra.[9][10] Evans's ensemble featured many of the top-call
musicians in New York, many of whom were also in the NBC Saturday Night Live Band and there were
many conflicts, so their "deputies" for the night might be other world-class musicians. Yet Evans was also
known to let newcomers "sit in" occasionally. The band also performed arrangements by band members,
current and past. Stalwarts in this ensemble were Lew Soloff, Alan Rubin, Marvin Peterson, Tom "Bones"
Malone, George Adams (musician), David Sanborn, Hiram Bullock, Mark Eagan, drummer Kenwood
Dennard, saxophonist Bill Evans (no relation) and Gil Goldstein. In 1987, Evans recorded a live album with
Sting, featuring big band arrangements of songs by and with The Police. In the same spirit of introducing
new talent in his bands, he collaborated with Maria Schneider with her as an apprentice arranger on this and
other final projects. His final project was Nov. 3 & 26, 1987, his arrangements for the Laurent Cugny Big
Band in Paris, on the recording “Golden Hair” on Emarcy/Polygram.

Ryan Truesdell presents the Gil Evans Project

Ryan Truesdell (de) began the Gil Evans Project, which resulted in a 2012 CD entitled Centennial, featuring
previously unrecorded compositions and arrangements. These were produced with the permission of the Gil
Evans estate, who gave Truesdell access to these scores and materials. Miles Evans, Gil's son, also led the
Gil Evans Orchestra for a centennial concert at New York's Highline Ballroom, featuring many of the
musicians heard in the orchestra during Evans's lifetime.[11]

Film music
In 1986, Evans produced and arranged the soundtrack to the film of the Colin MacInnes book Absolute
Beginners, thereby working with such contemporary artists as Sade Adu, Patsy Kensit's Eighth Wonder, the
Style Council, Jerry Dammers, Smiley Culture, Edward Tudor-Pole, and David Bowie.

He also arranged the music for the 1986 Martin Scorsese film The Color of Money.

Personal life
Evans first married following the 1949 Birth of the Cool recording sessions to Lillian Grace. Very little is
known about this marriage. In 1963, he would marry again. Evans was survived by his second wife Anita
(Cooper) and two children, Noah and Miles. His son Miles played trumpet in his Monday Night
Orchestra.[9]

Evans died of peritonitis in Cuernavaca, Mexico, contracting it shortly after a surgery for his prostate and
subsequent travel to Mexico to recover. Evans died at the age of 75.[1]

In 1996, Columbia Studio Recordings had released a box set which besides the masterpieces, featured
outtakes and rarities of Miles Davis and Gil Evans.[12]

On June 25, 2019, The New York Times Magazine listed Gil Evans among hundreds of artists whose material
was reportedly destroyed in the 2008 Universal fire.[13]

Awards and honors

 In 1986, Evans was inducted into the Down Beat Jazz Hall of Fame.[14] He was also inducted
into the Canadian Music Hall of Fame in 1997.[15]

Grammy Awards

Awarded as followings:[16]

1960: Sketches of Spain (with Miles Davis, Best Jazz Composition of More Than Five Minutes
Duration)
1988: Bud and Bird (posthumously with the Monday Night Orchestra, Best Jazz Instrumental
Performance, Big Band)
1997: (Miles Davis & Gil Evans: The Complete Columbia Studio Recordings (Best Historical
Album for the Compilation Producers and/or Mastering Engineers))
2012: "How About You" in Centennial - Newly Discovered Works of Gil Evans (posthumously
with Gil Evans Project, Best Instrumental Arrangement)

Grammy Award nominations

1961: Out of the Cool (Best Jazz Performance Solo or Small Group)
1962: Miles Davis at Carnegie Hall (with Miles Davis, Best Jazz Performance Solo or Small
Group (Instrumental))
1964: The Individualism of Gil Evans (Best Instrumental Jazz Performance – Small Group or
Soloist)
1964: Quiet Nights (with Miles Davis, Best Instrumental Jazz Performance – Small Group or
Soloist)
1965: Kenny Burrell's Guitar Forms (with Kenny Burrell, Best Instrumental Jazz Performance –
Soloist or Small Group)
1965: "Greensleeves" in Kenny Burrell's Guitar Forms (Best Instrumental Arrangement)
1973: Svengali (Best Jazz Performance by a Group)
1983: Priestess (Best Jazz Instrumental Performance, Group)
2012: "Look to the Rainbow" in Centennial - Newly Discovered Works of Gil Evans
(posthumously with Gil Evans Project & Luciana Souza, Best Instrumental Arrangement
Accompanying Vocalist(s))

Discography

Studio albums
Gil Evans & Ten (Prestige, 1958) – recorded in 1957
New Bottle Old Wine (World Pacific, 1958)
Great Jazz Standards (World Pacific, 1959)
Out of the Cool (Impulse!, 1961) – recorded in 1960
Into the Hot (Impulse!, 1962) – recorded in 1961
The Individualism of Gil Evans (Verve, 1964) – recorded in 1963 and 1964
Gil Evans (Ampex, 1969) - rereleased as Blues in Orbit (Enja, 1971) – rerecorded two tracks
Satin Doll (CBS/Sony, 1972) – with Kimiko Kasai
Masabumi Kikuchi with Gil Evans (Philips [Japan], 1972) – CD version (EmArcy, 1989)
 The Gil Evans Orchestra Plays the Music of Jimi Hendrix (RCA, 1974)
There Comes a Time (RCA, 1976) – recorded in 1975
Parabola (Horo, 1979) – recorded in 1978
Where Flamingos Fly (Artists House, 1981) – recorded in 1971
Collaboration (EmArcy, 1987) - with Helen Merrill

Posthumous releases

Paris Blues (Owl, 1988) - recorded in 1987 with Steve Lacy

Rhythm A Ning (EmArcy, 1988) – recorded in 1987 with Laurent Cugny Big Band Lumiere
Golden Hair (EmArcy, 1989) - recorded in 1987 with Laurent Cugny Big Band Lumiere
The Mother of the Book (InRespect, 1994) - recorded in 1985 with Glen Hall (musician)

Live albums

In recorded date order

1973: Svengali (Atlantic, 1973)

1974: Montreux Jazz Festival '74 (Philips [Japan], 1975)
1976: Tokyo Concert (Studio Songs, 2010) – remastering by Ryo Kawasaki
1976: Synthetic Evans (PolJazz, unknown) also released as Live 76 (EPM Zeta, 1988) –
unofficial release
1976: Live in Dortmund 1976 (Jazz Trafffic, 2012) – with guest Roland Kirk
1977: Priestess (Antilles, 1983)
1978: Gil Evans Live at the Royal Festival Hall London 1978 (RCA, 1979)
1978: The Rest of Gil Evans at the Royal Festival Hall 1978 (Mole Jazz, 1981)
1978: Little Wing: Live in Germany (Circle, 1978)
1980: Heroes (Verve/Remark, 1991) – with Lee Konitz
1980: Anti-Heroes (Verve/Remark, 1991) - with Lee Konitz
1980: Live at the Public Theater (New York 1980) Vol.1 (Trio, 1980)
1980: Live at the Public Theater (New York 1980) Vol.2 (Trio, 1981)
1981: Lunar Eclypse (Newtone, 2000)
1983: British Orchestra: the Complete Concert (Mole Jazz, 1983)
1984: Live at Sweet Basil (King/Electric Bird, 1985)
1984: Live at Sweet Basil Vol. 2 (King/Electric Bird, 1987)
1986: Live 1986 - Unissued (Musica Jazz, 1994) – also released as The Honey Man (New
Tone, 1995)
1986: Bud and Bird (King, 1987) – 31st Annual Grammy Awards: Best Jazz Instrumental
Performance, Big Band
1986: Farewell (King, 1992)
1987: 75th Birthday Concert (BBC Legends, 2001)
1987: Last Session - Live at "Perugia Jazz Festival" July 11, 1987 (Jazz Door, 1992) – with
Sting, unofficial release.
1987: Live at Umbria Jazz Volume 1 (Egea, 2000)
1987: Live at Umbria Jazz Volume 2 (Egea, 2001)
Arranged albums

In recorded date order

1947-49: Claude Thornhill Orchestra, The Real Birth of the Cool: Studio Recordings
(CBS/Sony, 1971)
1949-50: Miles Davis, Birth of the Cool (Capitol, 1957)
1950-52: Charlie Parker, Big Band (Clef, 1954)
1955: Hal McKusick, The Jazz Workshop (RCA Victor, 1956)
1956: Johnny Mathis, Johnny Mathis (Columbia, 1956)
1956: Marcy Lutes, Debut (Decca, 1956)
1957: Lucy Reed, This Is Lucy Reed (Fantasy, 1957)
1956-57: Helen Merrill, Dream of You (EmArcy, 1957)
1957: Miles Davis, Miles Ahead (Columbia, 1957)
1958?: Don Elliott Octet, Jamaica Jazz (ABC-Paramount, 1958)
1958: Miles Davis, Porgy and Bess (Columbia, 1959)
1959-60: Miles Davis, Sketches of Spain (Columbia, 1960) – 3rd Annual Grammy Awards:
Best Jazz Composition of More Than Five Minutes Duration
1961: Miles Davis, Miles Davis at Carnegie Hall (Columbia, 1962)
1962-63: Miles Davis, Quiet Nights (Columbia, 1963)
1964-65: Kenny Burrell, Guitar Forms (Verve, 1965)
1965-66: Astrud Gilberto, Look to the Rainbow (Verve, 1966)
1968: Miles Davis, Filles de Kilimanjaro (Columbia, 1968) – without credits[17]:273
1982-83: Miles Davis, Star People (Columbia, 1983)
1983: Miles Davis, Decoy (Columbia, 1984) – only "That's Right"

Compilation/Box set
With Kenny Burrell and Phil Woods, Gil Evans Orch., Kenny Burrell and Phil Woods –
Previously Unreleased Recordings (Verve, 1973) – recorded in 1963 and 1964
Take Me To The Sun (Last Chance Music, 1990) – tracks #1–#3 are live recording at
"Montreux Jazz Festival 1983" with RMS. track #4 is the last studio recording in 1988.
Verve Jazz Masters 23: Gil Evans (Verve, 1994)
With Miles Davis, Miles Davis & Gil Evans: The Complete Columbia Studio Recordings
(Columbia, 1996) – recorded from 1957 to 1968. 39th Annual Grammy Best Historical Album.
With Miles Davis, The Historic Collaboration In Words & Music (Columbia, 1996)
Voodoo Chile（Jazz Door, 2005) – Live recording of 1974 in Sweden and 1978 in Germany.

Soundtrack album
Absolute Beginners: The Original Motion Picture Soundtrack (EMI, 1986)

Tribute albums
The Gil Evans Orchestra, Tribute to Gil (Soul Note, 1988) – at Umbria and Sicilia Jazz Festival
Ryan Truesdell's Gil Evans Project, Centennial - Newly Discovered Works of Gil Evans
(ArtistShare, 2013) – recorded in 2012. 55th Annual Grammy Best Instrumental Arrangement:
 "How About You".
Ryan Truesdell's Gil Evans Project, Lines of Color (Blue Note, 2015) – recorded in 2014

Filmography
2004: RMS Live with Gil Evans at the Montreux Jazz Festival 1983 (Angel Air)
2007: Gil Evans and His Orchestra (V.I.E.W. Video)[18]
2007: Strange Fruit with Sting
2009: Miles Davis – The Cool Jazz Sound

See also
List of jazz arrangers

References
1. Watrous, Peter (March 22, 1988). "Gil Evans, a Key Jazz Composer And Orchestrator, Is Dead
at 75" (https://www.nytimes.com/1988/03/22/obituaries/gil-evans-a-key-jazz-composer-and-orc
hestrator-is-dead-at-75.html). The New York Times.
2. Yanow, Scott. "Gil Evans Biography" (https://www.allmusic.com/artist/gil-evans-mn000055181
5/biography). AllMusic. All Media Network. Retrieved July 31, 2019.
3. Colin Larkin, ed. (1997). The Virgin Encyclopedia of Popular Music (Concise ed.). Virgin
Books. pp. 441/2. ISBN 1-85227-745-9.
4. "Gil Evans Canadian composer" (https://www.britannica.com/biography/Gil-Evans).
Encyclopædia Britannica. Retrieved July 31, 2019.
5. "George Avakian, jazz producer of Miles Davis and more, dies at 98" (https://www.theguardian.
com/music/2017/nov/23/george-avakian-jazz-scholar-miles-davis-dies). The Guardian.
Associated Press. November 23, 2007. Retrieved July 31, 2019.
6. Brian Zimmerman (May 6, 2019). "Miles Davis & Gil Evans – "Miles Ahead" " (https://www.jazzi
z.com/miles-davis-gil-evans-miles-ahead/). Jazziz.
7. Crease, Stephanie Stein (2002). Gil Evans: Out of the Cool: His Life and Music (https://archiv
e.org/details/gilevansoutofco00stei). A Capella Books. pp. 362-366 (https://archive.org/details/
gilevansoutofco00stei/page/362). ISBN 1556529864.
8. Crease, Stephanie Stein (2003). Gil Evans: Out of the Cool: His Life and Music (http://www.jerr
yjazzmusician.com/2001/12/stephanie-stein-crease-author-of-gil-evans-out-of-the-cool/).
Chicago Review Press. ISBN 978-1556524936.
9. Jerome Wilson (December 31, 2018). "The Gil Evans Orchestra: Hidden Treasures Vol. 1,
Monday Nights" (https://www.allaboutjazz.com/hidden-treasures-vol-1-monday-nights-the-gil-e
vans-orchestra-bopper-spock-suns-music-review-by-jerome-wilson.php). All About Jazz.
Retrieved July 31, 2019.
10. Nakayama, Yasuki (2018). "ギル・エヴァンスのマンディ・ナイト・セッション" [Gil Evans'
Monday night sessions]. スイングジャーナル時代の中山康樹 [Yasuki Nakayama in "Swing
Journal" era] (in Japanese). Tokyo, Japan: Shinko Music Entertainment. pp. 68–78.
11. Victor L. Schermer (July 25, 2011). "Ryan Truesdell: The Gil Evans Project" (https://www.allab
outjazz.com/ryan-truesdell-the-gil-evans-project-ryan-truesdell-by-victor-l-schermer.php). All
About Jazz. Retrieved July 31, 2019.
12. "Picks and Pans Review: Miles Davis & Gil Evans: the Complete Columbia Studio
Recordings". People. Vol. 46 no. 16. October 14, 1996.
13. Rosen, Jody (June 25, 2019). "Here Are Hundreds More Artists Whose Tapes Were Destroyed
in the UMG Fire" (https://www.nytimes.com/2019/06/25/magazine/universal-music-fire-bands-li
st-umg.html). The New York Times Magazine.
14. "DownBeat Hall of Fame" (http://downbeat.com/archives/detail/downbeat-hall-of-fame).
DownBeat.
15. "Gil Evans – Canadian Music Hall Of Fame" (http://canadianmusichalloffame.ca/inductee/gil-ev
ans/). Retrieved July 31, 2019.
16. "Artist: Gil Evans" (https://www.grammy.com/grammys/artists/gil-evans). The GRAMMYs.
Recording Academy. Retrieved March 23, 2020.
17. Szwed, John (2002). So What: The Life of Miles Davis (https://archive.org/details/sowhatlifeof
mile00szwe) (first ed.). New York: Simon & Schuster. ISBN 0-684-85982-3.
18. Evans, Gil. "Gil Evans and his Orchestra" (http://www.view.com/gil_evans_and_his_orchestra_
dvd.aspx). View Video. Retrieved July 31, 2019.

External links
Official website (http://www.gilevans.com)
Gil Evans (https://www.discogs.com/artist/255137-Gil-Evans) discography at Discogs
Gil Evans (https://www.imdb.com/name/nm0262789/) on IMDb
Gil Evans (https://www.findagrave.com/memorial/19222) at Find a Grave
Jackson, Kenneth T.; Markoe, Karen; Markoe, Arnold, eds. (1999). "Evans, Gil" (https://go.gale
group.com/ps/anonymous?id=GALE%7CCX2874500158). The Scribner Encyclopedia of
American Lives. 2: 1986-1990. Charles Scribner's Sons – via Gale Academic Onefile.
"Gil Evans" (https://www.grammy.com/grammys/artists/gil-evans). GRAMMY.com. February
15, 2019. Retrieved April 15, 2019.

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