js When The “Gil Evans Orchestra Plays the Music of Jimi Hendrix” came out in the early 70s, it was a big deal, and for good reason too. Attempts to merge heavy rock and orchestral music were still a new thing then and many attempts at such a merger were often a clumsy mess. Gil was given much well deserved praise in that he quite successfully took the music of Jimi Hendrix and gave it a big band treatment that somehow managed to capture the best of both the rock and big band jazz worlds. Flash forward several decades to today and this album still holds up, but since it became a blueprint for others to follow, its rockin big band sounds are hardly unusual anymore. Late night entertainment shows such as Saturday Night Live and David Letterman have been featuring big bands playing classic rock and RnB tunes for some time now and several tracks on the ‘Evans Plays Hendrix’ album sound like they would fit in well during a commercial break while Paul Shaffer or G.E. Smith is trying to keep the audience hyped.

Opening track, “Angel”, is probably the one closest to a late night break rave up, especially since it features the sax melody and solo of David Sanborn, the owner of one of the most imitated horn sounds on late night TV. “Cross Town Traffic” and “Foxey Lady” are the other two that also fall more in this direction. “Castles Made of Sand” is the first track to really head in an interesting and alternative direction as Evans introduces counter melodies that hang like dissonant clouds and totally transform the song. “Up from the Skies” is essentially a jazz song to begin with, which might explain why it works so well as Evans once again produces an appealing murkiness that takes the track towards exotic Sun Ra territory. “1983 - A Merman I Should Turn to Be” is also given an interesting facelift as it becomes a spaghetti western movie theme. The least successful track is “Voodoo Chile”, whose melody is played by Howard Johnson who sounds like he is humming through his horn producing a non-appealing kazoo type sound.

This is a Gil Evans album, so the performances and orchestrations are outstanding, its just that this album probably would have aged better if he had gone more in the experimental direction, and less in the rockin direction.

Sean Trane A daring attempt to legitimize Jimi Hendrix’s music, this is a big band arrangement of some of Hendrix’s lesser-known works, but also some higher profile works. Armed with a very different big band than during his prime, Gil Evans’ big band features the usual wide array of brass instruments (including future star saxman Sanborn), but also two lead guitarists (including the future star John Abercrombie), some synthesizers and a bunch drums and percussion players.

Among some of the tracks Gil chose to interpret and rearrange there are some that come from the Cry Of Love posthumous release, including the opening Angel and Up From the Skies, which are not the most enthralling, IMHO. Some of the arrangements made on some of the better-known Crosstown Traffic, Foxy Lady, Little Wing, Voodoo Chile can actually surprise or disappoint, because they either render the songs less accessible or less recognizable. Some very pleasant surprises come with the generally overlooked 1983 and Gypsy Eyes (actually a Noel Redding track). Indeed both of these come from the depth of the excellent Electric Ladyland album’s second disc. As for the closing “reprise” of the Up From the Skies, I find it rather ill-advised closer, because it’s less interesting than the first version on the opening side.

Generally seen as a major Gil Evans oeuvre, the present album is relatively disappointing for me, but then again, this is always a risky bet for rockheads like me, but if you’re into Evans and Hendrix, this is definitely worthy of investigation, if you don’t already have it.