The Magic of Now Orrin Evans

• 1 Mynah / The Eleventh Hour 13:48
• 2 Libra 05:54
• 3 The Poor Fisherman 08:21
• 4 MAT-Matt 08:04
• 5 Levels 09:05
• 6 Momma Loves 08:42
• 7 Dave 03:43
• Total Runtime 57:37

Info for The Magic of Now

Orrin Evan’s astonishing new album The Magic of Now finds the celebrated pianist and bandleader at a personal and career crossroads. Leading a rhythm section that he intended to record over 10 years ago--bassist Vicente Archer and drummer Bill Stewart--and one of the most decorated artists of 2020 (and a fellow Philadelphian)—alto saxophonist Immanuel Archer—Evans finds perfect timing within uncertain times. The Magic of Now was recorded at a livestream engagement at Smoke Jazz Club during the second weekend of December 2020. Evans and the band didn’t know they were making an album until listening to playbacks. The music was too good not to release. For Evans, it was his first performance playing indoors again, clad with masks to a room sans an audience since March 2020. Despite a change in almost every external dynamic, Evans says it was being “like a kid in a candy store,” which is a sentiment that fully captures what is arguably one of Evans’s most masterful projects to date.

Orrin Evans, piano
Immanuel Wilkins, alto saxophone
Vicente Archer, bass
Bill Stewart, drums
Guest:
Jazzzmeia Horn, vocals

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.