DIGITAL TO ANALOG CONVERSION, getting the bits to my speakers
Banner

Posts Tagged ‘Miles Davis’

We’ll just say Day 154… Miles Davis, Grateful Dead… lots more…

Sunday, October 17th, 2010

Well… it’s been a couple of weeks. The first week I was in Italy for concerts and workshops and just didn’t have discs with me. It was a fair trade off, to say the least. Then last week was dealing with jet-lag as well as just adjusting to teaching again… but in the past couple of nights I have gotten back into the swing of things. Last night was some Radiohead, The Spinanes and Oasis, tonight features a two-disc opportunistic greatest hits Grateful Dead set (‘The Arista Years’) as well as the first Dick’s Picks, the complete Miles Davis ‘In A Silent Way’ sessions and an Arvo Pärt disc.

I say ‘opportunistic’ about the ‘Arista Years’ discs because they came out within about a year of Jerry Garcia dying. For the label to just throw together the collection was surely a way to try and milk the Arista catalog for what it could. And while there are some good songs on ‘Terrapin Station’ and ‘In The Dark’, for the most part all these albums sounded weak compared to live concerts (which is amazing… 1977 is a time of generally high quality Dead shows, and the studio albums from around that time some lifeless). What is even more amazing to me is that this collection represents 18 years of the band’s 30 year existence, yet a small portion of their recordings. So while in some ways it seems like the release of the disc may have been a little ‘too soon’, at the same time I can understand why it was put together. With the exception of ‘In The Dark’, I imagine none of these albums really paid for themselves. And for the most part, the collection puts together just about the songs I would want off these albums. I certainly wasn’t ever going to put down cash to buy any of these records, not when I could probably get just about all of them in great live performances. But in a two disc set, well, not bad. I bought it. And so it seems a little cold to me on the one hand that just after this band has officially called it quits after Jerry died that their label would carve the work up for such commercial purposes. At the same time… sure am glad they did! I certainly wouldn’t have paid for the ‘Complete Arista Years With Outakes’ discs.

Which is basically what Columbia did for Miles Davis. The box sets they released over the past decade or so that capture his output during his time at Columbia are nothing short of amazing, and I think the ‘In A Silent Way’ sessions is the last of the Miles box sets I have to rip. While only three discs, the liner notes comment that this set covers about six months worth of sessions that have Miles leaving the Quintet behind while looking ahead to what will become ‘Bitches Brew’. While I would never question the genius that is ‘Bitches Brew’ I like ‘In A Silent Way’ better. The music is haunting at times, at other times it is stretching out and searching. And some of the tracks almost feel like younger Miles Davis. It is experimentation building on foundation, and it is amazing to hear the progression while listening to the discs from beginning to end. The rehearsals that were recorded also show how this music was shaped in the studio, and while they are rehearsals they are just as exciting as the material that made its way onto the final discs. Also of note is the presence more and more of the electric piano and organ (sometimes there are three keyboards playing on a single track!) as well as more electric guitar (welcome John McLaughlin). The tunes get a funkier, sometimes denser, feeling as a result.

Day 69. Miles Davis and John Coltrane.

Tuesday, April 6th, 2010

‘Kind of Blue’ was the second jazz album I bought, and it is still one of my favorites. And both of the stints that John Coltrane had with Miles Davis produced some stunning work. The two contrasted each other in some very nice ways – the lyricism of Miles’ trumpet against the much more rapid and harmonic playing of Coltrane. The ‘Complete Columbia Recordings from 1955 to 1961’ captures this second time the two men played together (and also sees Cannonball Adderley, Red Garland, Bill Evans, Wynton Kelley and others during this time span). It leaves the cool jazz of the Prestige years behind and forges ahead with hard-bop, then into the modal experiments of ‘Kind of Blue’, wrapping up with a beautiful recording of ‘Someday My Prince WIll Come’. There are also a few live recordings on the box set, and the energy of Coltrane live (and his endurance) certainly drove Miles Davis creatively, though it also drove him mad. In a book of jazz anecdotes that I have, someone asked Coltrane (with Miles sitting next to him) how his solos get to be so long, and Coltrane stets to the point of saying that he just doesn’t know how to stop them. Miles leans forewarned and sees ‘you take the fucking horn out of your mouth!’. Strangely enough, after hearing this quote I began to hear that this is exactly what Miles Davis would do at times.

I can’t possibly write about how brilliant these recordings are. And there is something very special about the relationship you hear between Davis and Coltrane, undeniably two of the greatest jazz artists of the 20th century. The partnership basically ends with Miles Davis kicking Coltrane out of the band a second time, reportedly for drug use. Some stories I’ve heard had Miles doing this in hopes of getting Coltrane to kick his habits. And others talk about the deep regret Miles Davis had after Coltrane’s departure. While I can’t find the actual quote, one that was told to me by a friend sticks in my mind. While hearing Roland Kirk play 4 horns at the same time and make beautiful contrapuntal melodies, someone supposedly leans over to Miles and says ‘man – could you imagine having someone that can play like that?’ and Miles replies ‘I did once… I did’.

Day 29. Miles Davis, John Coltrane (alone and together).

Tuesday, February 16th, 2010

I spent a good part of last night and some time this morning listening to the earlier (Prestige) Miles Davis and John Coltrane set that I ripped last night and today. There were three boxes in all: The Miles Davis Quintet recordings (the first quintet with John Coltrane), ‘Fearless Leader’, the Coltrane Prestige recordings that featured Coltrane as the head of the group (also featuring Red Garland on piano) and ‘Interplay’ which is a Prestige set of recordings with John Coltrane in a supporting role. I am pretty sure I got all of these sets throughout a couple years for Christmas from Tamiko, and they mostly filled in holes from the music from these periods. The Miles Davis boxes (which encompass ‘Workin’ ‘, ‘Smokin’ ‘ and a few other Prestige discs) really are Miles Davis albums. Some of the quintessential cool Miles Davis before he starting doing more recordings for Columbia records. How cool? He does ‘Surrey With A Fringe On Top’ and it’s brilliant. There are other standards mixed in, and the music fuses into what may be Miles’ first REALLY solid group.

The two Coltrane boxes are quite interesting. Nothing on ‘Fearless Leader’ caught me by surprise… I owned a good number of the discs already covered in this set (‘Soultrane’ for instance) and they show Coltrane coming into his own both as a band leader and as THE saxophonist of his generation. There are moments of the brilliance that will come, but for the most part you can see him polishing his early talent. Again, some very cool recordings. But ‘Interplay’ introduced me to some music I hadn’t heard before. The stand out for me were the recordings with Mal Waldron who, for some reason, I hadn’t heard of until I head John Coltrane playing with him. And wow! What a great pianist. I can kind of understand why he was overshadowed at the time… not as idiosyncratic as Monk, and not as polished as Red Garland, but like the other two he has a genuinely unique voice that is recognizable.

The other interesting thing about ‘Interplay’ is there is a certain amount of performance tension that I head among groups that are more or less just getting together for some sessions. The players are figuring out what they are going to do while at the same time learning from other players that they have little experience with. There are a few times were someone tramples over someone else’s solo for instance, but I like the feeling of spontaneity that also comes out of these recordings. You still get lots of Coltrane, but you also get LOTS of others that you may not have heard of before. Fun box to say the least.

In fact, it was while listening to these boxes this morning and last night that the goal of this project – revisiting and rediscovering music that I have – really brought a smile to my face.

Day 21. Miles Davis.

Monday, February 8th, 2010

‘Miles Davis Complete Live At The Plugged Nickel’ is about eight hours of live music recorded in Dec. 1965, capturing the 7 sets played at the ‘Plugged Nickel’ over two nights (an eighth set was performed without Miles Davis if I remember correctly). It gives a very candid snapshot of Miles Davis and the quintet he is pulling together (with Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams). While the group had already started to put out new studio originals, this set is mostly made up of tunes from the previous ten years of Miles’ career, reaching back to the ‘Kind of Blue’ days while at the same time the solos and performances are definitely looking ahead to the harmonic and melodic freedom that is right around the corner.

Even more then the snapshot that these discs capture of Miles’ band, you also get a sense of what life must have been like for a jazz musician playing set after set night after night at this time. There are a number of tunes that are repeated (sometimes in the same night) since it was normal for the audience to change between sets. What I hope would catch just about anyone’s attention is the fact that even though ‘Stella By Starlight’ is played twice in one night, solos can be quite different, and even the basic approach to the tune can change. What I get out of this is just how important it was to the musicians to constantly, within hours even, find a fresh approach to a song, and the name of the game when it came to solos was improvisation in its truest sense. These are workouts for the musicians, building strength for the next big thing.

One of my favorite things about these recordings though is the ambience. You hear glasses clinking, murmurs of speech, and something that occasionally gets picked up by the microphone. During one of Wayne Shorter’s solos, someone near the stage can be heard saying ‘Ah Miles… you are so lucky Miles, you are so lucky’.

Day 9. Miles Davis.

Thursday, January 28th, 2010

I finished up the Bach box late last night and picked up with Mira’s next box set choice, the complete Miles Davis Bitchess Brew sessions. ‘Miles Runs The Voodoo Down”… what an amazing track (and title)! ‘John McLaughlin’… really, some amazing music on this album. Miles described ‘Bitches Brew’ as rock music for black people. And ‘Bitches Brew’ does rock. As Miles’ career takes his music through rock, funk and towards the covering of Cyndi Lauper songs, he was a major innovator and risk taker. His genius let him jump into these areas, and he did it while finding the best young musicians around him.

And as much as I love this album, there is so much about what follows in jazz history that I negatively link to it. While rock music is brought into jazz, it also opened the floodgates to where way too many others decide they can simply do the same thing and be ‘innovative’. What we are left with now is a large number of ‘jazz’ musicians today that simply play rock (soft rock, pop, elevator music) without vocals and claim that they belong to the lineage that was established  by Louis Armstrong, Charlie Parker, Thelonious Monk and John Coltrane.

I can never express how difficult it was for me to shelve Kenny G next to Red Garland, or the Yellowjackets ANYWHERE near Cannonball Adderley. Now – I don’t blame Miles Davis for the creation of smooth / bad jazz. It would have happened no matter what. But when you talk about the revolution that ‘Bitches Brew’ brought to jazz – how it led to Fusion, etc. – well, that’s a road that I wish Miles wasn’t associated with. ‘Bitches Brew’ may be ‘fusion’ but it certainly isn’t Fusion. It’s rough and edgy and gets a lot of energy from the influences brought in and the performances it creates. But it isn’t simply pop music with an instrumental melody. And this is what I feel most contemporary ‘jazz’ has become. Just adult contemporary bland trash.

I’m not saying that jazz is dead or that there isn’t innovation anymore. There certainly is. You have to look for it (and I don’t necessarily think that is a bad thing). Word of mouth really is how you find the best music out there. For those in the Seattle area, check out Cuong Vu, Evan Flory-Barnes, Sunship and the Tom Baker Quartet. Check out the recordings of  The Splatter Trio and Kip Hanrahan. Check out William Parker. Get to a Cecil Taylor show while you still can. These artists are all finding ways to expand the genre in interesting ways and the are bringing in wide and diverse influences. See how these groups and players connect to ‘Bitches Brew’, and see if that helps you get the 70s turn toward bad jazz taste out of your mouth.

Day 2. The Beatles and Miles Davis.

Thursday, January 21st, 2010

For tonight’s decisions, I decided that I needed to pick Mira up so she could choose something from a higher shelf. At the girl’s current height, the bookshelves would have quickly become top heavy. Celia chose The Beatles, and Mira went for the shiny ‘Seven Steps’ Miles Davis box set (the period on Columbia Records between his group with Coltrane that produced ‘Kind Of Blue’ and the famous Quintet.

I could talk about how great this music is… I could talk about how influential The Beatles’ seven years of recorded output was to the history of pop music. I could talk about how these transitional years of Miles Davis’ career produced some great performances while a new group slowly came together. But I could fill books with that kind of talk, and my guess is that if you are reading this you don’t need to be convinced about The Beatles or Miles Davis. So, I’ll talk about packaging.

I don’t think I have any memories of music in my life pre-Beatles. Ever since I have known music, I have known The Beatles and there are two visuals that come to mind – the cover for Sgt. Pepper and the Apple / half-Apple record labels on the later LPs. I can’t tell you how sad I was to see the CD cover for Sgt. Pepper when it first came out. The original LP that folded out, had lyrics printed on the back (first pop record to do this!!!) and the Sgt. Pepper cutouts were as much a part of the record as the music was. The White Album and its four full color photos that my dad hung in the garage. And the 12 x 12 cover of Abbey Road. The size mattered, and so did the way the album covers wore with time. They were old when I got to know them, taken in and out of shelves over and over again to be played. The jackets aged the more you played the LPs they conyained.

So much was lost with the compact disc. 98% plastic standardized jewel cases. The yellow spine for R.E.M.’s ‘Automatic For The People’ seemed special when it came out, that’s how boring and homogenized the packaging was. Especially after the death of the long box, which was meant to just be thrown away anyways (though I would save them and plaster them to my teenage walls). So when a company DID do something different with packaging, it caught attention. After some time, there were even awards for it. Packaging! Did it matter what was on the discs? Nope – just awards for packaging… and I think that shows just how bad it got.

The packaging for the Miles Davis Columbia Records compilations won several of these awards. ‘Seven Steps’ has a metallic silver spine, surrounded by a grey canvas-like sturdy box. You can’t open the booklet to save your life, and the cardboard sleeves inside certainly can’t be good for the discs. But they look sharp, especially when they are all lined up in a row on a shelf. Well… now there is one less on mine.

Included in ‘Seven Steps’ is ‘Live In Berlin’ (pictured above). I originally bought this one disc for about half the price of this box set as a Japanese import. It is still one of my favorite live discs. The group as it stands on this recording probably existed for 6 months or so, and they are mostly playing music that was written and performed when John Coltrane and Bill Evans was playing with Miles in the late 50s. There is tension there, and often the tempos are faster. They are exciting performances, but you can hear that the players realize there are ghosts on the stage. They were following greatness, and at the time were probably wondering if THEY were the next great group, trying to prove to the audience and Miles that they could make the cut. Well – this isn’t the Quintet to come, but this isn’t to slight them at all. These are some fine performances… and I’m glad I got the import version when I did. The extra cost was well worth the extra time I had with this music.