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((short description|Canadian-American jazz pianist))
((More citations needed|date=July 2023))
((Use mdy dates|date=August 2012))

((Infobox musical artist
|name            = Gil Evans
|image           = Gil Evans 1978 1.jpg
|landscape       = yes
|caption         = Gil Evans (1978)
|background      = non_vocal_instrumentalist
|birth_name      = Gilmore Ian Ernest Green
|birth_date      = May 13, 1912
|birth_place     = [[Toronto]], [[Ontario]], Canada
|death_date      = ((death date and age|1988|3|20|1912|5|13))
|death_place     = [[Cuernavaca]], Mexico
|instrument      = [[Piano]]
|genre           = ((hlist|[[Jazz]]|[[cool jazz]]|[[modal jazz]]|[[free jazz]]|[[jazz fusion|fusion]]))
|occupation      = ((hlist|Musician|composer|arranger|bandleader))
|years_active    = 1933–1988
|label           = ((hlist|[[Prestige Records|Prestige]]|[[World Pacific Records|World Pacific]]|[[Impulse! Records|Impulse!]]|[[RCA Records|RCA]], [[Verve Records|Verve]]|[[Columbia Records|Columbia]]|[[King Records (Japan)|King]]|[[EmArcy Records|EmArcy]]))
|associated_acts = ((hlist|[[Miles Davis]]|[[Masabumi Kikuchi]]|[[Ryo Kawasaki]]|[[Kenny Burrell]]|[[Steve Lacy (saxophonist)|Steve Lacy]]|[[Lew Soloff]]))
|website         = ((URL|www.gilevans.com))
))

'''Ian Ernest Gilmore Evans''' ([[né]] '''Green'''; May 13, 1912 – March 20, 1988)<ref name="nytobit"/> was a [[Canadian Americans|Canadian–American]] [[jazz]] pianist, [[Music arranger|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]].<ref name=ALLMUSIC>((cite web|url=((AllMusic|class=artist|id=gil-evans-mn0000551815|tab=biography|pure_url=yes))|title=Gil Evans Biography|author=[[Scott Yanow|Yanow, Scott]]|publisher=[[All Media Network]]|work=[[AllMusic]]|access-date=July 31, 2019))</ref>

==Early life==
Gil Evans was born in [[Toronto]], Canada, on May 13, 1912,<ref name="feather">((cite encyclopedia |last1=Feather |first1=Leonard |last2=Gitler |first2=Ira |title=Evans, Gil |encyclopedia=The Biographical Encyclopedia of Jazz |date=1999 |publisher=[[Oxford University Press]] |location=New York |pages=214))</ref> to Margaret Julia McConnachy.<ref name="cool2">((cite book|title=Gil Evans: Out of the Cool: His Life and Music |last=Crease |first=Stephanie Stein | publisher=A Capella Books |pages=2 |year=2002))</ref> Little is known about Evans' biological father, although a family friend said that he was a doctor who died before Evans was born.<ref name="cool2" /> Originally named Gilmore Ian Ernest Green, Evans took the last name of his step-father, John Evans, a miner.<ref name="cool2" /> The family moved frequently, living in [[Saskatchewan]], [[British Columbia]], [[Washington (state)|Washington]], [[Idaho]], [[Montana]], and [[Oregon]], migrating to wherever Evans' father could find work.<ref name="cool2" /> Eventually, the family ended up in California, first in [[Berkeley, California|Berkeley]], where Evans attended the ninth and tenth grades, then in [[Stockton, California|Stockton]],<ref name="cool3">((cite book|title=Gil Evans: Out of the Cool: His Life and Music |last=Crease |first=Stephanie Stein | publisher=A Capella Books |pages=3 |year=2002))</ref> where he attended Stockton High School, graduating in 1930.<ref name="cool8">((cite book|title=Gil Evans: Out of the Cool: His Life and Music |last=Crease |first=Stephanie Stein | publisher=A Capella Books |pages=8 |year=2002))</ref> During this time, Evans' father took a job with the Western Pacific Railroad, and Evans began living with friends, later renting a room in a boarding house.<ref>((cite book|title=Gil Evans: Out of the Cool: His Life and Music |last=Crease |first=Stephanie Stein | publisher=A Capella Books |pages=4 |year=2002))</ref> After graduating, Evans attended the [[College of the Pacific (University of the Pacific)|College of the Pacific]] in Stockton but then transferred to [[Modesto Junior College]].<ref name="cool8" /> After a year in Modesto, Evans left and moved back to Stockton.<ref>((cite book|title=Gil Evans: Out of the Cool: His Life and Music |last=Crease |first=Stephanie Stein | publisher=A Capella Books |pages=9 |year=2002))</ref>

Evans became interested in music at an early age, listening to [[Duke Ellington]], [[Louis Armstrong]], and [[Fletcher Henderson]] on the radio and on records.<ref name="cool3" /> He studied the piano and began learning how to arrange music, and started picking up jobs with local musicians. While in college, he founded his first band, which performed his arrangements, and which became the house band at the [[Rendezvous Ballroom]] in [[Balboa Beach, California]], in 1935.<ref name="feather" /> The band toured the Pacific Northwest in 1937 and eventually settled in [[Hollywood, Los Angeles|Hollywood]], where they regularly performed on [[Bob Hope]]'s radio show.<ref name="feather" /> Evans' arrangements from this time showed the influence of classical music, and included instruments such as French horns, flutes, and tubas.<ref name="feather" /> In 1939, [[Claude Thornhill]] was hired for Hope's show, and he became a major influence on Evans.<ref name="feather" />

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]].<ref name="ALLMUSIC"/>

==Career==
Between 1941 and 1948, Evans worked as an arranger for the Claude Thornhill Orchestra.<ref name="Larkin">((cite book|title=[[Encyclopedia of Popular Music|The Virgin Encyclopedia of Popular Music]]|editor-first=Colin|editor-last=Larkin|editor-link=Colin Larkin (writer)|publisher=[[Virgin Books]]|date=1997|edition=Concise|isbn=1-85227-745-9|pages=441/2))</ref> 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."<ref>((cite encyclopedia|url=https://www.britannica.com/biography/Gil-Evans|title=Gil Evans Canadian composer|encyclopedia=[[Encyclopædia Britannica]]|access-date=July 31, 2019))</ref> 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_(music)|nonet]].<ref name="Larkin" /> These ensembles, larger than the trio-to-quintet [[Jazz combo|combos]], but smaller than [[Big band|big bands]] which were on the brink of economic unviability, allowed arrangers to have a larger palette of colors by using [[French horn in Jazz|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]]''.<ref name="Larkin"/>

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.<ref>((cite news|url=https://www.theguardian.com/music/2017/nov/23/george-avakian-jazz-scholar-miles-davis-dies|title=George Avakian, jazz producer of Miles Davis and more, dies at 98|work=[[The Guardian]]|agency=[[Associated Press]]|date=November 23, 2007|access-date=July 31, 2019))</ref> The three albums that resulted from the collaboration are ''[[Miles Ahead (album)|Miles Ahead]]'' (1957), ''[[Porgy and Bess (Miles Davis album)|Porgy and Bess]]'' (1958), and ''[[Sketches of Spain]]'' (1960).<ref name="Larkin"/><ref>((cite magazine|url=https://www.jazziz.com/miles-davis-gil-evans-miles-ahead/|first=Brian|last=Zimmerman|title=Miles Davis & Gil Evans – 'Miles Ahead'|magazine=Jazziz|date=May 6, 2019))</ref> Another collaboration from this period, ''[[Quiet Nights (Miles Davis and Gil Evans album)|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 [[George Gershwin|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 (musician)|Bill Barber]] and trumpeter [[Lou Mucci|Louis Mucci]] from Thornhill's band were both stalwarts in Evans's early ensembles, with Mucci finding a spot on nearly every pre-1980s Evans recording. Among the featured soloists on these records were [[Lee Konitz]], [[Jimmy Cleveland]], [[Steve Lacy (saxophonist)|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 (bassist)|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 flute|alto]] and [[bass flute]]s, [[double reed]]s, and [[harp]]; orchestral instruments not associated with "swing" bands, providing a larger palette of orchestral colors, and allowing him to attain the ethereal quality heard in his arrangements during his Thornhill days.<ref name="Larkin" /> 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 (Astrud Gilberto album)|Look to the Rainbow]]''.<ref name=book>((cite book|title=Gil Evans: Out of the Cool: His Life and Music|url=https://archive.org/details/gilevansoutofco00stei|url-access=registration|author=Crease, Stephanie Stein|publisher=A Capella Books|pages=[https://archive.org/details/gilevansoutofco00stei/page/362 362-366]|year=2002|isbn=1556529864))</ref> 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.<ref name="Larkin"/> Hendrix's 1970 death precluded a scheduled meeting with Evans to discuss having Hendrix collaborate with a big band led by Evans.<ref>((cite book |url=http://www.jerryjazzmusician.com/2001/12/stephanie-stein-crease-author-of-gil-evans-out-of-the-cool/|title=Gil Evans: Out of the Cool: His Life and Music|author=Crease, Stephanie Stein|publisher=[[Chicago Review Press]]|year=2003|isbn=978-1556524936))</ref>

[[File:Gil Evans 1978 2.jpg|thumb|Gil Evans (1978)]]
In 1974, he released an album of his, and other band members', arrangements of music by Hendrix with guitarists [[John Abercrombie (guitarist)|John Abercrombie]] and [[Ryo Kawasaki]].<ref name=book/> From then on Evans's ensembles featured electric instruments, i.e. guitars, basses, and synthesizers including a collaboration with bassist [[Jaco Pastorius]] ''Gil Evans & Jaco Pastorius – Live Under The Sky Tokyo '84''. 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.<ref name="Larkin"/> 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 (double bassist)|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 (jazz musician)|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 (state)|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''.<ref name=aaj>((cite web|url=https://www.allaboutjazz.com/hidden-treasures-vol-1-monday-nights-the-gil-evans-orchestra-bopper-spock-suns-music-review-by-jerome-wilson.php|first=Jerome|last=Wilson|title=The Gil Evans Orchestra: Hidden Treasures Vol. 1, Monday Nights|website=All About Jazz|date=December 31, 2018|access-date=July 31, 2019))</ref><ref>((cite book |last=Nakayama |first=Yasuki |date=2018 |title=スイングジャーナル時代の中山康樹 |trans-title=Yasuki Nakayama in "Swing Journal" era |language=ja |location=Tokyo, Japan |publisher=Shinko Music Entertainment |chapter=ギル・エヴァンスのマンディ・ナイト・セッション |trans-chapter=Gil Evans' Monday night sessions |pages=68–78 ))</ref> 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 Malone (musician)|Tom "Bones" Malone]], [[George Adams (musician)|George Adams]], [[David Sanborn]], [[Hiram Bullock]], [[Mark Egan]], drummer [[Kenwood Dennard]], saxophonist [[Bill Evans (saxophonist)|Bill Evans]] (no relation), and [[Gil Goldstein]]. 

In 1987, Evans recorded a live album with [[Sting (musician)|Sting]]: ''Last Session - Live At Perugia Jazz Festival July 11, 1987'', featuring the Monday Night Orchestra musicians, guest star [[Branford Marsalis]] and big band arrangements of songs by and with [[The Police]] and Jimi Hendrix. In the same spirit of introducing new talent in his bands, he collaborated with [[Maria Schneider (musician)|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.

In 1996, [[Columbia Studio Recordings]] released a box set which besides the masterpieces, featured outtakes and rarities of Miles Davis and Gil Evans.<ref>((cite magazine|title=Picks and Pans Review: Miles Davis & Gil Evans: the Complete Columbia Studio Recordings|magazine=[[People (magazine)|People]]|date=October 14, 1996|volume=46|number=16))</ref>

===Ryan Truesdell presents the Gil Evans Project===
[[Ryan Truesdell]] [[:de: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.<ref>((cite web|url=https://www.allaboutjazz.com/ryan-truesdell-the-gil-evans-project-ryan-truesdell-by-victor-l-schermer.php|title=Ryan Truesdell: The Gil Evans Project|first=Victor L.|last=Schermer|website=[[All About Jazz]]|date=July 25, 2011|access-date=July 31, 2019))</ref>

==Film music==
In 1986, Evans produced and arranged the soundtrack to the film of the [[Colin MacInnes]] book ''[[Absolute Beginners (film)|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 Lillian Grace following the 1949 ''[[Birth of the Cool]]'' recording sessions. 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''.<ref name=aaj/>

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.<ref name=nytobit>((cite news|url=https://www.nytimes.com/1988/03/22/obituaries/gil-evans-a-key-jazz-composer-and-orchestrator-is-dead-at-75.html|title=Gil Evans, a Key Jazz Composer And Orchestrator, Is Dead at 75|author=Watrous, Peter|newspaper=[[The New York Times]]|date=March 22, 1988))</ref>

==Awards and honors==
*In 1986, Evans was inducted into the ''[[DownBeat]]'' Jazz Hall of Fame.<ref>((cite web|url=http://downbeat.com/archives/detail/downbeat-hall-of-fame|title=DownBeat Hall of Fame|magazine=[[DownBeat]]))</ref> 
*He was also inducted into the Canadian Music Hall of Fame in 1997.<ref>((cite web|url=http://canadianmusichalloffame.ca/inductee/gil-evans/|title=Gil Evans|publisher=Canadian Music Hall Of Fame|access-date=July 31, 2019))</ref>

===Grammy Awards===
Awarded as followings:<ref>((cite web |url=https://www.grammy.com/grammys/artists/gil-evans |title=Artist: Gil Evans |author=<!--Not stated--> |website=The GRAMMYs|publisher=Recording Academy |access-date=March 23, 2020 ))</ref>
*[[3rd Annual Grammy Awards|1960]]: ''[[Sketches of Spain]]'' (with [[Miles Davis]], [[Grammy Award for Best Original Jazz Composition|Best Jazz Composition of More Than Five Minutes Duration]])
*[[31st Annual Grammy Awards|1988]]: ''[[Bud and Bird]]'' (posthumously with the Monday Night Orchestra, [[Grammy Award for Best Large Jazz Ensemble Album|Best Jazz Instrumental Performance, Big Band]])
*[[39th Annual Grammy Awards|1997]]: (''[[Miles Davis & Gil Evans: The Complete Columbia Studio Recordings]]'' ([[Grammy Award for Best Historical Album|Best Historical Album]] for the Compilation Producers and/or Mastering Engineers))
*[[55th Annual Grammy Awards|2012]]: "How About You" in ''Centennial - Newly Discovered Works of Gil Evans'' (posthumously with Gil Evans Project, [[Grammy Award for Best Instrumental Arrangement|Best Instrumental Arrangement]])

====Grammy Award nominations====
*[[4th Annual Grammy Awards|1961]]: ''[[Out of the Cool]]'' ([[Grammy Award for Best Jazz Instrumental Album|Best Jazz Performance Solo or Small Group]])
*[[5th Annual Grammy Awards|1962]]: ''[[Miles Davis at Carnegie Hall]]'' (with [[Miles Davis]], [[Grammy Award for Best Jazz Instrumental Album|Best Jazz Performance Solo or Small Group (Instrumental)]])
*[[7th Annual Grammy Awards|1964]]: ''[[The Individualism of Gil Evans]]'' ([[Grammy Award for Best Jazz Instrumental Album|Best Instrumental Jazz Performance – Small Group or Soloist]])
*1964: ''[[Quiet Nights (Miles Davis and Gil Evans album)|Quiet Nights]]'' (with Miles Davis, Best Instrumental Jazz Performance – Small Group or Soloist)
*[[8th Annual Grammy Awards|1965]]: [[Kenny Burrell]]'s ''[[Guitar Forms]]'' (with Kenny Burrell, [[Grammy Award for Best Jazz Instrumental Album|Best Instrumental Jazz Performance – Soloist or Small Group]])
*1965: "Greensleeves" in Kenny Burrell's ''Guitar Forms'' ([[Grammy Award for Best Arrangement, Instrumental or A Cappella|Best Instrumental Arrangement]])
*[[16th Annual Grammy Awards|1973]]: ''[[Svengali (Gil Evans album)|Svengali]]'' ([[Grammy Award for Best Jazz Instrumental Album|Best Jazz Performance by a Group]])
*[[26th Annual Grammy Awards|1983]]: ''[[Priestess (album)|Priestess]]'' ([[Grammy Award for Best Jazz Instrumental Album|Best Jazz Instrumental Performance, Group]])
*[[55th Annual Grammy Awards|2012]]: "Look to the Rainbow" in ''Centennial - Newly Discovered Works of Gil Evans'' (posthumously with Gil Evans Project & [[Luciana Souza]], [[Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s)|Best Instrumental Arrangement Accompanying Vocalist(s)]])

==Discography==
=== As leader ===
* 1957 ''[[Gil Evans & Ten]]'' (Prestige, 1958)
* 1958 ''[[New Bottle Old Wine]]'' (World Pacific, 1958)
* 1958 ''[[Great Jazz Standards]]'' (World Pacific, 1959)
* 1960 ''[[Out of the Cool]]'' (Impulse!, 1961)
* ''[[Into the Hot (Gil Evans album)|Into the Hot]]'' (Impulse!, 1962)
* ''[[The Individualism of Gil Evans]]'' (Verve, 1964) - Reissued in 1988 on extended CD 
* ''Gil Evans'' (Ampex, 1970) – also released as ''[[Blues in Orbit (Gil Evans album)|Blues in Orbit]]'' (Enja, 1980)
* ''[[Svengali (Gil Evans album)|Svengali]]'' (Atlantic, 1973) 
* ''[[The Gil Evans Orchestra Plays the Music of Jimi Hendrix]]'' (RCA Victor, 1974)
* ''Previously Unreleased Recordings''  (Verve, 1974) - recorded in 1964
* ''Montreux Jazz Festival '74'' (Philips, 1975) 
* ''[[There_Comes_a_Time_(album)|There Comes a Time]]'' (RCA, 1976) – recorded in 1975
* ''Little Wing Live in Germany'' (Circle, 1978) 
* ''Parabola'' (Horo, 1979) – recorded in 1978
* ''[[Gil Evans Live at the Royal Festival Hall London 1978]]'' (RCA Victor, 1979) 
* ''[[Live at the Public Theater (New York 1980)]]'' Vol.1 (Trio, 1980), Vol.2 (Trio, 1981)
* ''The Rest of Gil Evans Live at The Royal Festival Hall London 1978'' (Mole Jazz, 1981)
* ''[[Where Flamingos Fly]]'' (Artists House, 1981) – recorded in 1971
* ''[[Priestess (album)|Priestess]]''  (Antilles, 1983) – recorded in 1977
* ''The British Orchestra''  (Mole Jazz, 1983) 
* ''[[Live at Sweet Basil (Gil Evans album)|Live at Sweet Basil]]'' (Electric Bird, 1985) 
* ''[[Live at Sweet Basil Vol. 2]]'' (Electric Bird, 1986) 
* ''[[Absolute Beginners (film)#Soundtrack|Absolute Beginners: The Original Motion Picture Soundtrack]]'' (EMI, 1986) 
* ''[[Bud and Bird]]'' (Electric Bird, 1987) 

'''Posthumous releases'''
* ''[[Farewell (Gil Evans album)|Farewell]]'' (Electric Bird, 1988) – recorded in 1986
* ''[[Paris Blues (album)|Paris Blues]]'' with [[Steve Lacy (saxophonist)|Steve Lacy]] (Owl, 1988)  – recorded in 1987
* ''[[Rhythm A Ning (album)|Rhythm A Ning]]'' with [[Laurent Cugny]] (EmArcy, 1988) – recorded in 1987
* ''[[Golden Hair (album)|Golden Hair]]'' with [[Laurent Cugny]] (EmArcy, 1989) – recorded in 1987
* ''Lunar Eclypse'' (New Tone Records, 1992) – recorded in 1981
* ''The Honey Man''  (New Tone Records, 1995) – recorded in 1986
* ''75th Birthday Concert'' ([[BBC Music|BBC Legends]], 2001) – recorded in 1987
* ''Tokyo Concert 1976'' (Studio Songs, 2010) – recorded in 1976

'''With others'''
* Glen Hall & Gil Evans, ''The Mother of the Book'' (InRespect, 1994<!--; [[Entertainment One Music|Koch Jazz]], 1996-->) - recorded in <!--February 23-24, -->1985
* [[Kimiko Kasai]] & Gil Evans, ''Satin Doll'' (CBS/Sony, 1972)
* [[Masabumi Kikuchi]], ''[[Masabumi Kikuchi with Gil Evans]]'' ([[Philips Records|Philips]], 1972)
* [[Lee Konitz]] & Gil Evans, ''[[Heroes (Gil Evans and Lee Konitz album)|Heroes]]'' (Verve, 1991)
* Lee Konitz & Gil Evans, ''[[Anti-Heroes (Lee Konitz and Gil Evans album)|Anti-Heroes]]'' (Verve, 1991)
* [[Orchestre National de Jazz]] & [[Antoine Herve]], ''O.N.J. 87'' (Label Bleu, 1988)
* [[Jaco Pastorius]], ''Gil Evans & Jaco Pastorius – Live Under The Sky Tokyo '84'' (Hi Hat, 2016)
* [[Lucy Reed]], ''This Is Lucy Reed'' (Fantasy, 1957)
* [[Ray Russell (musician)|Ray Russell]], ''Why Not Now'' (Theta, 1988)
* Ray Russell, ''A Table Near the Band'' (Last Chance Music, 1990)
* [[Helen Merrill]] & Gil Evans, ''[[Collaboration (Helen Merrill and Gil Evans album)|Collaboration]]'' (EmArcy, 1988) – recorded in 1987
* [[James Senese]], ''Alhambra'' (EMI, 1988)
* [[Lew Soloff]], ''Hanalei Bay'' (Bellaphon, 1985)
* [[Sting (musician)|Sting]], ''[[...Nothing Like the Sun]]'' (A&M, 1987)
* [[Sting (musician)|Sting]], ''Last Session - Live At Perugia Jazz Festival 11 July 1987'' (Jazz Door, 1992)
* [[Ornella Vanoni]], ''Ornella &... Duetti, Trii, Quartetti'' (CGD, 1986)

===As arranger===
'''By recording date'''
*1947-49: [[Claude Thornhill]] Orchestra, ''The Real Birth of the Cool: Studio Recordings'' ([[Sony Music Entertainment Japan|CBS/Sony]], 1971)
*1949-50: [[Miles Davis]], ''[[Birth of the Cool]]'' ([[Capitol Records|Capitol]], 1957)
*1950-52: [[Charlie Parker]], ''[[Big Band (Charlie Parker album)|Big Band]]'' ([[Clef Records|Clef]], 1954)
*<!--December -->1955: [[Hal McKusick]], ''The Jazz Workshop'' ([[RCA Victor Records|RCA Victor]], 1956)
*1956: [[Johnny Mathis]], ''[[Johnny Mathis (album)|Johnny Mathis]]'' ([[Columbia Records|Columbia]], 1956)
*1956: Marcy Lutes, ''Debut'' ([[Decca Records|Decca]], 1956)
*<!--January -->1957: [[Lucy Reed]], ''This Is Lucy Reed'' ([[Fantasy Records|Fantasy]], 1957)
*1956-<!--February -->57: [[Helen Merrill]], ''[[Dream of You (Helen Merrill album)|Dream of You]]'' ([[EmArcy Records|EmArcy]], 1957)
*<!--May & August -->1957: Miles Davis, ''[[Miles Ahead (album)|Miles Ahead]]'' (Columbia, 1957)
*1958?: [[Don Elliott]] Octet, ''Jamaica Jazz'' (ABC-Paramount, 1958)
*1958: Miles Davis, ''[[Porgy and Bess (Miles Davis album)|Porgy and Bess]]'' (Columbia, 1959)
*1959-60: Miles Davis, ''[[Sketches of Spain]]'' (Columbia, 1960) – [[3rd Annual Grammy Awards]]: [[Grammy Award for Best Original Jazz Composition|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 (Miles Davis and Gil Evans album)|Quiet Nights]]'' (Columbia, 1963)
*1964-65: [[Kenny Burrell]], ''[[Guitar Forms]]'' ([[Verve Records|Verve]], 1965)
*1965-66: [[Astrud Gilberto]], ''[[Look to the Rainbow (Astrud Gilberto album)|Look to the Rainbow]]'' (Verve, 1966)
*1968: Miles Davis, ''[[Filles de Kilimanjaro]]'' (Columbia, 1968) – without credits<ref name="szwed">((cite book|last=Szwed|first=John|title=So What: The Life of Miles Davis|url=https://archive.org/details/sowhatlifeofmile00szwe|url-access=registration|edition=first|year=2002|publisher=[[Simon & Schuster]]|location=New York|isbn=0-684-85982-3))</ref>((Rp|273))
*1982-83: Miles Davis, ''[[Star People]]'' (Columbia, 1983)
*1983: Miles Davis, ''[[Decoy (album)|Decoy]]'' (Columbia, 1984) – only "That's Right"
*1985: Glen Hall, ''The Mother Of The Book'' (inRespect, 1994)

==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)<ref>((cite web|author=Evans, Gil|work=View Video|url=http://www.view.com/gil_evans_and_his_orchestra_dvd.aspx|title=Gil Evans and his Orchestra|access-date=July 31, 2019))</ref>
*2007: ''Strange Fruit with Sting''
*2009: ''Miles Davis – The Cool Jazz Sound''

==See also==
*[[List of jazz arrangers]]

==References==
((Reflist))

((commons category|Gil Evans))

==External links==
*((Official website|www.gilevans.com))
*((Discogs artist|255137-Gil-Evans))
*((IMDb name|0262789))
*((cite encyclopedia|url=https://go.galegroup.com/ps/anonymous?id=GALE%7CCX2874500158|title=Evans, Gil|encyclopedia= The Scribner Encyclopedia of American Lives|volume=2: 1986-1990|publisher=Charles Scribner's Sons|editor1-first=Kenneth T. |editor1-last=Jackson |editor2-first= Karen|editor2-last=Markoe |editor3-first=Arnold|editor3-last=Markoe|date=1999|via=[[Gale Academic Onefile]]))
*((Cite web|url=https://www.grammy.com/grammys/artists/gil-evans|title=Gil Evans|date=2019-02-15|website=GRAMMY.com|language=en|access-date=2019-04-15))

((Gil Evans))
((Canadian Music Hall of Fame))
((Authority control))

((DEFAULTSORT:Evans, Gil))
[[Category:1912 births]]
[[Category:1988 deaths]]
[[Category:Jazz arrangers]]
[[Category:Cool jazz arrangers]]
[[Category:Jazz fusion arrangers]]
[[Category:Post-bop arrangers]]
[[Category:Experimental big band arrangers]]
[[Category:Canadian jazz bandleaders]]
[[Category:Big band bandleaders]]
[[Category:Canadian Music Hall of Fame inductees]]
[[Category:Grammy Award winners]]
[[Category:Musicians from Toronto]]
[[Category:Antilles Records artists]]
[[Category:Verve Records artists]]
[[Category:Enja Records artists]]
[[Category:EmArcy Records artists]]
[[Category:Impulse! Records artists]]
[[Category:ACT Music artists]]
[[Category:Miles Davis]]
[[Category:20th-century Canadian male musicians]]
[[Category:Progressive big band musicians]]
[[Category:New York Jazz Repertory Company members]]
[[Category:King Records (Japan) artists]]
[[Category:Canadian expatriates in the United States]]
[[Category:Stockton High School (California) alumni]]

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