Walk a Mile in My Shoe Orrin Evans

• 1 Dislocation Blues 07:25
• 2 Sunday in New York 04:18
• 3 All That I Am 04:49
• 4 Blues in the Night 05:09
• 5 Hymn 04:35
• 6 Save the Children 04:50
• 7 Overjoyed 06:21
• 8 Smoke Gets in Your Eyes 03:18
• 9 If 05:41
• Total Runtime 46:26

Info for Walk a Mile in My Shoe

Guided by Evans’ embracing, instigative leadership, the Captain Black Big Band boasts a bold, vigorous sound; a raucous, unpredictable vibe; and a communal spirit convening a membership that ranges from revered elders to rising stars. Nowhere is that more evident than in the ensemble’s communal fifth release, Walk a Mile in My Shoe, which features appearances by Nicholas Payton and Jesse Fischer and vocal turns by longtime collaborators Bilal, Joanna Pascale and Paul Jost, along with special guest Lisa Fischer.

The album title itself is a reference to Evans' left foot disability. “I walk with a cane because I was born with neurofibromatosis,” he has commented. Highlights - there are lots - include a romping Lisa Fischer take on 'Blues in the Night' built up from a quiet storm into something of a burning cauldron. You don't often hear a cover of Bread's 'If'. Last time we came across the song in a jazz version was by English vocalist Jo Harrop in a guitar setting. A strong Mark Murphy-esque vocal by Jost is part of the spell by contrast.

Captain Black’s origins can be traced back to 2007, when Evans was invited to lead a big band at Portugal’s Guimaraes Jazz Festival. As a longtime member of the Mingus Big Band, he had years of experience performing with a large ensemble, but the success of that concert convinced him to try to lead his own big band, despite the obvious financial and logistical obstacles. It was christened for Evans’ father’s preferred brand of tobacco, which had previously lent its name to Evans’ 1998 Criss Cross release Captain Black.

Over time the Captain Black line-up has included such notable names as saxophonists Tia Fuller, Wayne Escoffery, Stacy Dillard, Tim Warfield, Marcus Strickland, and Jaleel Shaw; trumpeters Sean Jones, Duane Eubanks and Jack Walrath; trombonists Frank Lacy and Conrad Herwig; bassists Eric Revis, Mike Boone and Luques Curtis; and drummers Ralph Peterson, Donald Edwards and Gene Jackson.

The core band has become more compact and streamlined over time, reduced from 17 to 11 pieces, without losing its forceful identity. It features a rotating cast of brilliantly skilled talent, most of them leaders in their own right – including drummers Anwar Marshall and Mark Whitfield Jr., saxophonists Immanuel Wilkins, Troy Roberts and Caleb Wheeler Curtis, and bassist Luques Curtis, among others. David Gibson, Josh Lawrence, Todd Bashore and Stafford Hunter have all been key lieutenants in the band from its early days, supplying arrangements or stepping up to fill leadership roles as they arise.

“It really matters when you know you have a tight-knit circle, and that you can rely on your circle for whatever you need,” Evans says. “The Village is a unit of people that you can trust and that love you. It’s an open door to the possibilities of knowing that you’re part of something for the greater good.”

Sean Jones, trumpet
Josh Lawrence, trumpet
Todd Bashore, alto saxophone, flute
Caleb Wheeler Curtis, tenor- and soprano saxophones
David Gibson, trombone
Reggie Watkins, trombone
Vicente Archer, double bass
Madison Rast, double bass
Anthony Tidd, electric bass (“Dislocation Blues”)
Anwar Marshall, drums
Mark Whitfield II, drums
Orrin Evans, piano
Guest soloists:
Nicholas Payton, trumpet
Jesse Fischer, organ

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.