Presence Orrin Evans

• 1 The Scythe 09:29
• 2 Question 08:27
• 3 Onward 10:37
• 4 When It Comes 03:15
• 5 Flip the Script 10:03
• 6 Trams 11:53
• 7 Answer 13:07
• 8 Presence 08:58
• 9 When It Comes (alternate take) 01:19
• Total Runtime 01:17:08

Info for Presence

Orrin Evans and the Captain Black Big Band Returns with Raucous Live Recording, Presence: The influence of the late playwright and educator Donald Evans has always loomed large over the Captain Black Big Band. Pianist and bandleader Orrin Evans named the band for his father’s brand of pipe tobacco, the aroma of which always announced his father’s presence in the house. The big band’s third album, Presence, is a celebration of the warmth and spirit of the elder Evans, but more importantly it’s quite simply a celebration – an approach to not only music but life that Evans inherited directly from his parents.

Presence, due out September 21 via Smoke Sessions Records, features a scaled-down 11-piece version of Evans’ long-running big band, recorded live at a pair of venues in his hometown of Philadelphia: Chris’ Jazz Café (where the band made its debut in late 2008) and South Jazz Parlor. The line-up features a core group of collaborators that the pianist tends to refer to as “a family” or “a village” more than a band. Most of the musicians on this recording have played with Captain Black for years, while many of them have contributed compositions and arrangements to the ensemble’s ever-growing book.

The album’s cover art, drawn by a close friend, depicts the face of Donald Evans gazing upon the band, his enlivening spirit embodied by the diversity and raucous sense of joy that Captain Black always brings to the stage. “There was always a party in my household,” Evans says. “I always looked forward to events at the house, where guests would gather around the piano in our living room. That leads into how I approach the Captain Black Big Band. I try to create that party and to have people in the band that are fun seekers.”

That pervasive sense of familial camaraderie shines through the music on Presence, especially in the band’s smaller, tighter incarnation. The band’s downsizing can be explained in part by practical considerations: it makes an easier fit for their long-running stint on the intimate stage of Smoke Jazz & Supper Club, for one. It’s also been easier to manage as Evans’ schedule has become more crowded since joining The Bad Plus in January.

But the 11-piece band also represents a distillation of the larger ensemble, pared down to a close-knit core of players that know each other very well, can navigate the music with the spontaneity of a small band, and simply enjoy the experience of sharing the stage together.

“I look for something different in the Captain Black Big Band,” Evans says. “I look for the ability and desire to be part of a family. I actually get disappointed sometimes when other people don’t see the appeal of that. You have to be ready and down to be a part of this. That all stems from what I saw growing up in my household.”

“In all the bands I lead, my concept is allowing for the unknown to happen,” Evans concludes. “This is a real, raw and honest representation of what happened on stage on those nights.”

Caleb Curtis, alto saxophone
Todd Bashore, alto saxophone
John Raymond, trumpet
Bryan Davis, trumpet
Josh Lawrence, trumpets
David Gibson, trombone
Brent White, trombone
Stafford Hunter, trombones
Troy Roberts, tenor saxophone
Orrin Evans, piano
Madison Rast, bass
Anwar Marshall, drums
Jason Brown, drums

Orrin Evans
During his kaleidoscopic quarter-century as a professional jazz musician, pianist Orrin Evans has become the model of a fiercely independent artist who pushes the envelope in all directions.

Evans has ascended to top-of-the-pyramid stature on his instrument, ranked the #1 “Rising Star Pianist” in the 2018 DownBeat Critics Poll. GRAMMY nominations for the albums The Intangible Between and Presence (Smoke Sessions), by Evans’ raucous, risk-friendly Captain Black Big Band, cement his bona fides as a bandleader and composer.

A deft tune deconstructor, Evans commands vocabulary across a broad timeline of swinging, blues-infused hardcore jazz and spiritual/avant garde jazz dialects, as well as the Euro-canon, and conveys his stories with the intuitive spontaneity of an ear player. He projects an instantly recognizable sound, sometimes creating flowing rubato tone poems, sometimes embodying the notion that the piano comprises 88 tuned drums.

Evans’ stylistically polyglot compositions – influenced by the expansive, individuality-first Black Music culture of his native Philadelphia and a decade playing Charles Mingus’ music in the Mingus Big Band – create an environment of “structured freedom” that instigates personnel to push the envelope in all his multifarious leader and collaborative projects. These include the Eubanks Evans Experience (with guitarist Kevin Eubanks); the Brazilian unit Terreno Comum; Evans’ working trio with bassist Luques Curtis and drummer Mark Whitfield; Jr.; and Tar Baby, a 20-year collective trio with bassist Eric Revis and drummer Nasheet Waits.

Evan’s discography includes over 20 albums, the most recent being Magic of Now (Smoke Sessions). One of Tar Baby’s two 2022 releases will be released on his imprint, Imani Records, which he founded in 2001 and relaunched in 2018. An influential educator, Evans is devoted to passing the torch to new generations. His students include alto saxophonist and Blue Note artist Immanuel Wilkins and GRAMMY-nominated pianist Brandon Goldberg.

In the booklet notes for Orrin Evans’ second album, Captain Black, recorded in 1998, the pianist, then 23, made a remark that encapsulates the aesthetic he’s followed ever since on his kaleidoscopic artistic journey. “I go head-first for a lot of things,” Evans said. “I like to stretch out. Wherever the music takes me, I’m going there.”

That attitude backdrops the title of Evans’ 20th album, Magic of Now (Smoke Sessions), which documents a livestream engagement at Smoke Jazz Club during the second weekend of December 2020. Evans and a multi-generational cohort of A-list partners – first-call New York bassist Vicente Archer; iconic drummer Bill Stewart; and dynamic rising star alto saxophonist Immanuel Wilkins, now 23 himself – generate an eight-piece program that exemplifies state-of-the-art modern jazz. From the first note to the last, the quartet, convening as a unit for the first time, displays the cohesion and creative confidence of old friends, mirroring the leader’s predisposition for finding beauty in the heat of the moment.

As he does on five prior albums for Smoke Sessions, eight self-issued albums on Imani Records (his imprint), and earlier recordings for Criss Cross, Palmetto and Posi-Tone, Evans guides the creative flow from the piano, showcasing his authoritative mastery of his instrument and deep assimilation of the fundamentals. A deft tune deconstructor, he traverses a broad timeline of the vocabularies of swinging, blues-infused hardcore jazz and spiritual jazz/avant garde jazz traditions, as well as the Euro-canon, with the intuitive spontaneity of an ear player. He projects an instantly recognizable sound, sometimes eliciting flowing rubato poetry, sometimes evoking the notion that the piano comprises 88 tuned drums. It’s taken a while, but the jazz gatekeepers have noticed – in 2018, Evans topped the “Rising Star Pianist” category in DownBeat Critics Poll, and a feature article about him appears in DownBeat’s September 2021 edition.

Evans’ stylistically polyglot compositions – influenced by the expansive, individuality-first Black Music culture of his native Philadelphia and by a decade playing Charles Mingus’ beyond-category music in the Mingus Big Band – similarly postulate an environment of “structured freedom” that instigates the personnel to push the envelope in all his multifarious leader and collaborative projects.

In none of Evans’ units of recent years is that no-holds-barred attitude more prevalent than the Captain Black Big Band, a communitarian-oriented ensemble whose fourth and latest album is The Intangible Between (Smoke Sessions), preceded by Presence (Smoke Sessions). Both earned Grammy nominations.

Evans and his wife, Dawn, founded Imani in 2001 as a vehicle for Evans to release leader projects that couldn’t otherwise find a home. The label relaunched in 2018, with the release of albums by saxophonist Caleb Wheeler Curtis and bassist Jonathan Michel.

In creating and operating Imani Records, in organizing bands that navigate streams of expression outside his wheelhouse, in booking venues from the Philadelphia room Blue Moon (where he ran a Monday jam session from his late teens until early twenties) to the D.C. Jazz Festival (which recently appointed him Artist in Residence), Evans drew inspiration from his parents. His father, Donald Evans, was a playwright and educator who self-produced his plays; his mother, Frances, an opera singer who put on concerts in various alternative venues.

In addition to teaching on the bandstand, Evans has conveyed knowledge in more formal contexts. For a full year, he curated weekly jazz curriculum in Philadelphia public schools, sponsored by the Kimmel Center for the Performing Arts’ Jazz Standards programming division. For three years he instructed high school students at Germantown Friends School. He’s served on the faculty of Connecticut’s Litchfield Jazz Camp since 2013 (one student was the phenomenal 15-year-old pianist Brandon Goldberg) and the Kimmel Center Jazz Camp, headed by bassist/producer Anthony Tidd (where Evans taught Immanuel Wilkins).

“I’m learning every day,” Evans says. “If someone calls to ask if I have a Brazilian project, I won’t say no. I’ll dive into it, call some great Brazilian musicians and put together a Brazilian project. If someone asks if I have a big band, I’ll educate myself and try to put a big band together. I don’t know how to sit and wait.”

This album contains no booklet.