Great jazz, even if the critics weren't sure what to call it.
By 1984, Gil Evans had spent three decades as one of jazz's supreme orchestrators, and this live set from Sweet Basil captures him in his seventies still commanding a room with absolute authority. The Monday Night Orchestra was his vehicle for constant experimentation—a standing ensemble that rehearsed and performed weekly, letting him try arrangements that might never make it to a studio. This particular night finds Evans at the piano leading a substantial band: George Adams on tenor, Howard Johnson covering multiple reed instruments, Lew Soloff and Hannibal Marvin Peterson among the trumpets, Tom "Bones" Malone on trombone, Mark Egan on bass, Adam Nussbaum on drums, and Hiram Bullock on guitar alongside Pete Levin's synthesizer and Mino Cinelu's percussion colors.
What you hear is Evans doing exactly what he'd always done—building dense, carefully voiced textures that somehow never feel cluttered, letting individual voices breathe inside the arrangement rather than drowning them. The band swings with the kind of relaxed authority that only comes from players who know each other cold, who trust the conductor completely. This is not a greatest-hits run; these are fresh charts working out ideas Evans was still pursuing.
AllMusic's assessment stings a little: two stars with the qualifier "It may not have been 'cool,' but it was most assuredly great jazz." That's closer to honest than it sounds. Evans wasn't chasing fashion. He was doing his job, which was making orchestral jazz that sounded like nobody else's orchestral jazz, and by this point in his life, that job needed no apology.