Soon to be overwhelmed by Miles

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Originally Posted by noddin0ff

Tnx. I always wonder. I see only 2 DLs per album so far. Not that I wanna promote piracy. I really want to promote discussion and exploration. I only ripped to 192kbps MP3, a resolution that to my ears falls a tad short of the CDs buit not so much you can't get great enjoyment. I know the lovers of music that frequent here will purchase what they like. PMs accepted, but this threads going to go on for some time so I'm not looking to become a bargain outlet, if you get my drift. Happy listening.

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I own every album I would want to listen to by Miles on vinyl. Never bothered to digitize. Nice to have the convenience of mp3. I just wanted you to know that your efforts are appreciated.

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Originally Posted by Swish

Swishdaddy - younger than all three of those guys...by a mile!

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...Couldn't tell by the way you kept *****ing about "Senior Discount" in C-Town...

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Originally Posted by bobsticks

...Pete Cosey, Larry Coryell? Mebbe, mebbe...

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Cosey was African American and played with Miles from '73 to '75. The kid I referred to is white and was on tour with the band in '87. Coryell is a geezer, born in '43.

I was wondering if it might have been Foley, but he was playing bass at the time, as best I can recall, although he did some really will synthesized stuff that created the illusion of lead guitar.

Miles had some many different people playing on his records and on tour that I may never figure this out. Dang.

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Springsville
The Maids Of Cadiz
The Duke
My Ship
Miles Ahead
Blues For Pablo
New Rhumba
The Meaning Of The Blues
Lament
I Don't Wanna Be Kissed (By Anyone But You)
Springsville (Alternate Take)*
Blues For Pablo (Alternate Take)*
The Meaning Of The Blues/Lament (Alternate Take)*
I Don't Wanna Be Kissed (By Anyone But You) (Alternate Take)*


This was a hard one to write up. I’m making myself give each album multiple listenings until it seeps in. Unfortunately, I found Miles Ahead so vanilla that it took me a long time to pay attention to it. It’s a big band sound (20 piece), Miles plays flugelhorn, although he’s so mellow on trumpet anyway I didn’t really notice.

I couldn't help thinking that this album is jazz for people that are afraid of jazz---dress it up in the comfort of well-composed big band. Although, the blossoming Spanish fascination is very apparent on the obviously titled tracks. As an album everything just runs together very smoothly. The notes point out that transitional bits we added in production to blend it all together. Again, they probably didn’t want to scare anybody with a sudden leap to jazz. I find it hard to name to any high points (or low points for that matter). It’s nice and mellow, some nice lyrical bits, vaguely interesting if your mind doesn’t wander off.

A little unfair to listen to this after #03 Circle in the Round. It's a time warp back to a less adventurous sound.

Next up: Milestones

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Originally Posted by Swish

Cosey was African American and played with Miles from '73 to '75. The kid I referred to is white and was on tour with the band in '87. Coryell is a geezer, born in '43.

I was wondering if it might have been Foley, but he was playing bass at the time, as best I can recall, although he did some really will synthesized stuff that created the illusion of lead guitar.

Miles had some many different people playing on his records and on tour that I may never figure this out. Dang.

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Knuckle-head.

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Originally Posted by bobsticks

...Couldn't tell by the way you kept *****ing about "Senior Discount" in C-Town...

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...and they ain't Merry Christmas!

Speaking of Miles, I just picked up the soundtrack of "The Hot Spot". I saw this little known Dennis Hopper film recently on cable and was intrigued with the unusual combination of musicians on this track. It doesn't get much better than Miles, John Lee Hooker and Taj Mahal all playing together.

The CD insert reads as follows: "To Miles Davis, who I have known since I was seventeen, who punched out the heroin dealer and said he would kill me if I ever did it again. I've wanted him to score every movie I've made and we finally got it together man." - Dennis Hopper

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Originally Posted by Poultrygeist

"To Miles Davis, who I have known since I was seventeen, who punched out the heroin dealer and said he would kill me if I ever did it again. I've wanted him to score every movie I've made and we finally got it together man." - Dennis Hopper

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Having Miles Davis keep you off of drugs, wicked. Not taking drugs hasn't been cooler since...

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Dr. Jackle
Sid's Ahead
Two Bass Hit
Milestones
Billy Boy
Straight, No Chaser
Two Bass Hit [Alternate Take]*
Milestones [Alternate Take]*
Straight, No Chaser [Alternate Take]*


1958

Interesting title. Mile's Tones? It is a jazz milestone. I hadn’t heard this album before; right away this sounded like a classic. It’s clearly a lineup that I very much enjoy. We have Cannonball Adderley on alto, Coltrane on tenor. Red Garland on piano, Paul Chambers, bass, and Philly Joe Jones on drums. Specifically, I like the Adderley/Coltrane pairing.

Looking at the notes from the box set…Coltrane just came out from detox and had spent some time with Thelonious Monk (it was hearing Monk’s stuff that really got me hungry to listen to more jazz, btw). I’ll quote a few sentences that have some bearing on the significance

“Red Garland, however, was tiring of Mile’s demands to increase the piano’s entrances and exits. One day he got up in the middle of a session on “Sid’s Ahead” and left the piano to the trumpeter. At the height of his instrumental art, Miles was searching for a way to free himself from the harmonic constrains imposed by the piano. This is the significance of the composition “Milestones” in which a single alternation of two harmonic colors replaced the tortuous progression of bop. Miles had entered the world of modal jazz.”

I’ve tried a few times to understand what modal is. I can read about it, sure. But I can’t translate it into sounds, or the reverse. Yes, Kind of Blue is modal…

Anyway, this is clearly a great album. One I would’ve liked to have heard long ago when I was more into Miles. Not much piano on this one, seems more relegated to the rhythm section rather than a melodic instrument. I noted the void in my listening experience.

Song by song, my thoughts.

Dr, Jackle: Spirited. Starts of with Miles laying/leading out a complex phrase that the rest of the composition orbits around. Fast and bouncy. Certainly shows of Mile’s skill. But what I like most is the sax interplay. Adderley comes in fast, smooth and confident, bluesy and lyrical. But before he finishes his riff, Coltrane muscles in. At one point I had the [rather corny] image of a lion chasing a gazelle through the brush. You have this finesse and grace and speed of the alto dodging left and right, followed forcefully by the hard charging, totally in control, master of the jungle, tenor, eyes locked on the prey and not missing a beat. Winner? It’s a draw. Miles comes in and resets the chase. Enjoyed the drum and bass, missed the piano.

Sid’s Ahead: Toning it down with cool and sultry. Long solos. I though Miles really shined here. The solos are so long that if you’re not up to the game you sound like you’re running out of ideas. Miles filled his time as did Coltrane nicely. Adderley, seemed to resort to more standard phrases, which on the one hand wake you up with their familiarity and provide memorable landmarks in the middle of the piece. But, on the other hand...it just seemed like he doesn’t think that far out. Something like that, anyway.

Two Bass Hit: Starting to get tired of this song. Hard bop, I presume. It’s nice an fire-y. Some nice drums.

Milestones: This track is touted as being the first foray into Modal Jazz. I find the opening staccato phrases a bit sterile feeling but you can hear how this would lead up to Kind of Blue. Again nice singing solos from Miles, Coltrane, and Adderley.

Billy BoyWe have some piano now, a welcome change that keeps the album going, and more prominent bass solos. The track is more standard. Good for toe tapping.

Straight, No ChaserNice swinging version of this classic. Go Coltrane! His time with Monk was well spent. And, finally, Red Garland demonstrates some good stuff soloing.

Bonus tracks: Not bad. Straight, No Chaser is pretty good, but album release is better.

Any thoughts from the AR folk?

Next up: 1958 Miles Davis

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On Green Dolphin Street
Fran-Dance
Stella By Starlight
Love For Sale
Fran-Dance (Alternate take)

1958
Line up
Miles (trumpet), Cannonball Adderley (alto), John Coltrane (tenor), Bill Evans (piano), Paul Chambers (bass), Jimmy Cobb (drums)

This is a wonderfully pleasant and sweet album. The kind you want to play on a gentle, sleepy Sunday morning or a romantic dinner. I particularly liked Fran-Dance. Mile’s plays muted. Coltrane romances. Adderley charms. Drums are often brushed (Jimmy Cobb). Delicate colors from piano (Bill Evans) and warm and patient bass (Paul Chambes.

The whole album romances. I think a lot of the gentleness of the album comes from Bill Evans joining the lineup.

The most uptempo track is [i]Love for Sale[i]. I’m a bit tired of that song now. Fortunately the Alt. take of Fran-Dance follows and closes this album nicely for me.

I don’t really have much to say on this album. I liked it. Because it’s so pretty it will likely get more causal and background play. I have a small set that I pull out for pleasant/romantic occasions and this will be added to that group.

Next Up: At Newport 1958

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Introduction By Willis Connover
Ah-Leu-Cha
Straight, No Chaser
Fran-Dance
Two Bass Hit
Bye Bye Blackbird
The Theme

July 3,1958
Line up
Miles (trumpet), Cannonball Adderley (alto), John Coltrane (tenor), Bill Evans (piano), Paul Chambers (bass), Jimmy Cobb (drums)

A live one this time. I’ll quote from the CCAC booklet:
“Miles Davis’ 1958 concert in Newport was part of one of the finest programs of the legendary festival. Notably, the night of July 3rd was organized around Duke Ellington, whose big band-with special guests Gerry Mulligan and Mahalia Jackson-shared the stage with Rex Stewart, the Dave Brubeck Quartet, and Miles’ sextet. Caught in traffic jams on his way from the ferry to Newport, he arrived just in time to play, and John Coltrane had to be asked to reduce the length of his solos. During “ah-Leu-Cha,” the first piece, Coltrane jumped into the two choruses attributed to him and blew the harmonics to pieces. In the course of the concert, he asserted himself as the true start of the quintet. In contrast, Cannonball Adderley-at first welcomed with prolonged applause-seemed to fade into the background. A few months later, fascinated by his tenor’s development, Miles nailed down the alto’s more traditional style: “Why play all those notes that don’t mean anything?”

Yeah. It’s pretty clear that Coltrane was in the house. It’s almost comical (in hindsight) how little ‘recognition’ applause he received at the introductions. Same with Bill Evans. Coltrane solos with authority. Bye Bye Blackbird especially. Miles leads of the first track really nicely. I note that I don’t tend to notice Miles all that much when I listen. Maybe because he so seldom blows wrong. but possibly also because he always seems so in control that it’s hard to get excited. That said, I liked Miles on Straight, No Chaser. Although not flashy or technical (not like I would know, btw) , he seemed to show some soul there.

The introduction is interesting. Bold statements about Miles and people in the background yelling at the band to not touch stuff.

Would’ve been great to be there.

Next Up: Porgy & Bess

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Buzzard Song
Bess, You Is My Woman Now
Gone
Gone, Gone, Gone
Summertime
Oh Bess, Oh Where's My Bess
Prayer
Fishermen, Strawberry And Devil Corb
My Man's Gone Now
It Ain't Necessarily So
Here Come De Honey Man
Gershwin: I Loves You, Porgy
There's A Boat That's Leaving Soon For New York
I Loves You, Porgy [Take 1, Second Version]*
Gone [Take 4]*

1959
Line up
Miles (trumpet) and a bunch of other people

Right after I go and say, “I don’t tend to notice Miles all that much…” Porgy & Bess is next up. This is another of the oft cited albums that I had never heard. I can now see why it is oft cited—Miles is good, really good. And he's front and center through the whole show.

This is another Gil Evans arranged/directed album. I didn’t care for #04: Miles Ahead (above) and there are still elements of this that I don’t care for, e.g. the screechy first 15 seconds of the first track. But this is an adaptation of a Gershwin opera, and opera being what it is, I can forgive most of the things I didn’t like. I’ve never seen or heard the opera, maybe I should.

But Miles, throughout, is really good. The voices he gives the trumpet are great. He’s musical and engaging throughout. The large ensemble backing him is also good. It was the tuba and drums that stood out most for me. Really, really good tuba (Bill Barber, btw).

I don’t have anything faux insightful to me. Miles’ playing would certainly make this a landmark album. And, it’s a good listen.

Next Up: Jazz at the Plaza

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If I Were A Bell
Oleo
My Funny Valentine
Straight, No Chaser/The Theme


Recorded Sept. 9, 1958. Plaza Hotel, NYC. Released 1973
Line up:
Miles (trumpet), Cannonball Adderley (alto), John Coltrane (tenor), Bill Evans (piano), Paul Chambers (bass), Jimmy Cobb (drums)

I’m finding it hard to get very excited about this one. I make myself listen to each album (in order) 5-10 times before I go to the next. So, I’ve listened to this easily 8 or 9 times, often fragmented listenings. Good cans at work, iPod, home system, but seldom the whole thing end to end.

My basic impression is that it’s a band looking for something fresh and not quite finding it. Some of the things that struck me: 1) You get to hear Miles’ penchant for walking away from the mike. 2) There’s some lively, uptempo playing with some staccato rhythms. (the booklet refers to rhythmic feints, that’s a better way to put it) 3) Everyone plays well, it just sounds like they could have used some more time to gel. 4) Tracks are all long enough that you can seep into them; they all seemed to start off rough to me, but got better as they found the groove. e.g. I liked Bil Evans on My Funny Valentine, he seemed to set the direction.

After writing this, I decided to look up and see if wiki had an entry for this album. It does; it’s short but says “The musicians did not know they were being recorded at the time. The event was a party thrown by Columbia to celebrate the healthy state of their jazz division”. There you go. They weren’t particularly rehearsed. In that case, you might look to this as an example of what jazz greats can do fairly spontaneously.

Next Up: Kind of Blue

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So What
Freddie Freeloader
Blue In Green
All Blues
Flamenco Sketches
Flamenco Sketches [Alternate]*

1959
Line up
Miles (trumpet), Cannonball Adderley (alto), John Coltrane (tenor), Bill Evans (piano), Wynton Kelly (piano, track 2 only), Paul Chambers (bass), Jimmy Cobb (drums)

Listening to these albums chronologically, one can’t help but notice the huge departure Kind of Blue represents from Mile’s earlier albums, aside from being nearly perfect. No wonder it’s a landmark. I certainly began much of my jazz exploration with this album as a starting point. I wish that I’d known when I first heard Kind of Blue the stamp that Bil Evans put on this. I chased down Miles and Coltrane for years and failed to chase Bil Evan’s. Many albums later, I list Bil Evans' Live at the Village Vanguard, which came out two years after Kind of Blue, at the top of my desert island must haves. [get The Complete Village Vanguard Recordings if you go a purchasing, it's well worth it over the original release].

I can’t imagine anything I could say about this album that could add to the volume of text you can google for. If you’ve never heard it, you must, even if its not your thing. If you don’t have the remastered CD, you should upgrade, the sound improvement is dramatic and the alt take of Flamenco Sketches is worth listening and comparing.

Two quotes from the booklet that I thought were worth repeating:

“What is this strange blue glow-as mysterious as Mona Lisa’s smile? Miles said that he had wanted to draw closer to African and Gospel music as well as the blues, but admitted that he had failed his intentions.”

“Wynton Kelly, the groups new pianist, only appeared once, on Freddie Freeloader, and was stung sharply by the affront: the ultimate touch of bright red to heighten the depth of blue.”

The Wiki entry on Kind of Blue is really very good and worth reading.

Next Up: Sketches of Spain

Oddly enough, I am listening to Kind of Blue right now. It really never seems to get old for me. Then again, I don't over play it either, so that helps.

Did not really own any MD until recently but my son checked out "Kind of Blue" ad not we are trying to find any MD when we go hunting. On vinyl I only have a "Greatest Hits" LP. I recently picked up "Aura" on CD for a $1.50.

Hey, Nod....Truly, Kind of Blue is one of those albums that any self respecting jazz collection has just gotta have. With on the spot, superb musicianship and that irresistible sound, KoB is just a wonderful album that captures each musician in their element.

Interestingly, you bring up another fave of mine: Mr. Bill Evans. I call him The Master of the Diminished Chord....If there was anybody at the keys who brought the bop movement down, it was Mr. Evans, for sure. In my book, he was a master of understatement and finesse. In his inimical, quiet, contemplative way, Mr. E just knew how to dim the lights with a note; how to hush the crowd with a pause....In KoB, Evans added a layer to the recording that has rarely--if ever--been matched. Alongside J. Cobb's brush strokes, I find listening to Evans' performance on KoB truly mesmerizing and enchanting.

Congratulations on your gift, and keep up the good notes. Your flair for words is quite a treat!

Funny, I enjoy Evans also, but Mr. Davis was to eventually find his style restrictive. I don't think Miles was sparked by another pianist until Corea.

Good point, Poppa...! I like Corea. Has a nice touch and a wonderful extemporal sensibility that is definitely appropriate to the medium. Can't understand Miles' antipathy. Even his playing was rather taciturn (especially compared to some of his later works (anybody recall You're Under Arrest?). Sadly, I don't know that much about (Corea's) contributions with Miles; but now that you mention it, I will certainly check it out and post accordingly.

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Originally Posted by Auricauricle

Good point, Poppa...! I like Corea. Has a nice touch and a wonderful extemporal sensibility that is definitely appropriate to the medium. Can't understand Miles' antipathy. Even his playing was rather taciturn (especially compared to some of his later works (anybody recall You're Under Arrest?). Sadly, I don't know that much about (Corea's) contributions with Miles; but now that you mention it, I will certainly check it out and post accordingly.

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*****es Brew is the most notable. On a solo note, I have "My Spanish Heart" and "Crystal Silence" which has Gary Burton on vibes. Both are exceptional but MSH stands out as possibly one of his best.

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Originally Posted by poppachubby

Funny, I enjoy Evans also, but Mr. Davis was to eventually find his style restrictive. I don't think Miles was sparked by another pianist until Corea.

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Only 10 albums through the chronology and I'm beginning to sense that Miles felt anything that forced him to do the same thing twice was restrictive. :-) With the exception, apparently of Gil Evans arrangements (Sketches being next).

Obviously, there'll be a lot of Mr. Corea later, but I'm going to stick to the order and resist my own urge to name drop future albums. But, for those keeping score at home, Chick has already made an appearance on #03 Circle in the Round. (post number 18). He played piano on the last track Guinnevere.

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Originally Posted by thekid

Did not really own any MD until recently but my son checked out "Kind of Blue" ad not we are trying to find any MD when we go hunting. On vinyl I only have a "Greatest Hits" LP. I recently picked up "Aura" on CD for a $1.50.

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I've always been partial to the random purchase mode of exploration, although AR has changed that over the years with good leads and suggestions. It's nice to see a Jazz sub-community slowly emerging here. There's so much out there and its really hard to find what you like with out guidance. I've been salivating over all the recent activity in the What's Spinning thread.

With good suggestions and Amazon you can fill out, or for that matter start, a good collection really easily. I don't have ready access to good music shops anymore and I find it sad that where I can buy CDs, the stock is very very thin in the Jazz section. On the plus side, what is there is dirt cheap and... I've always been partial to the random purchase mode of exploration. If my ears had more time I'd be adding everything to the shopping basket. For the Miles thread, I keep the links up for the sampling for a bit over a week. If there's a must have that you can't locate, PM me.

A few years ago there was a jazz essentials thread. I'll see if I can dig that up.

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Originally Posted by noddin0ff

A few years ago there was a jazz essentials thread. I'll see if I can dig that up.

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Well I did find a list of my recommendations from a while ago. CLICK THIS.

It's probably worth a separate thread if a favorite best album discussion is going to ensue. The William Parker Quartet album I mentioned somewhere above would be the most notable addition I would make to the list. I'll stop digressing and get back to listening to Sketches of Spain...

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Originally Posted by noddin0ff

Only 10 albums through the chronology and I'm beginning to sense that Miles felt anything that forced him to do the same thing twice was restrictive. :-) With the exception, apparently of Gil Evans arrangements (Sketches being next).

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Indeed, Gil Evans was an avante garde jazz nut who collaborated with Davis. But BILL EVANS was a more tradtional jazz pianist, who prefered the more structured approach to jazz piano. Bill Evans left the group around this time due to artistic differrences with Davis. Davis began to view the piano's melodic ways restrictive to the free flow of music.

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Originally Posted by noddinOff

I've always been partial to the random purchase mode of exploration, although AR has changed that over the years with good leads and suggestions. It's nice to see a Jazz sub-community slowly emerging here. There's so much out there and its really hard to find what you like with out guidance. I've been salivating over all the recent activity in the What's Spinning thread.

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I am watching your thread closely. I am only partially knowledgable about Miles Davis career, and can only comment accordingly. Indeed, I feel he same way as you about his early orchestra and big band work. Keep in mind that it took a while for jazz to fully develop into bop. Also, alot of the young guys wanted to cut their teeth in big band.

I like Miles Davis fine, but I much prefer the work Freddie Hubbard did. Every bit as genius...

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Concierto de Aranjuez (Adagio)
Will O’ The Wisp
The Pan Piper
Saeta
Solea
Song of Our Contry*
Concierto de Aranjuez (alt take 1)*
Concierto de Aranjuez (alt take 2)*

1960
Line up
Miles (trumpet) and a host of others

Someday, I’m going to watch the Wizard of Oz while listening to the Dark Side of the Moon. Might not be earth-shattering, but it could be cool. Along those lines, I think that Sketches of Spain could be listened to while watching The Good, The Bad and the Ugly. It would be a perfect fit-- barren landscapes, gritty and empty melodrama, and a overwhelming lack of soul. I really don’t see why people like this album. It’s technically good, sure, but I see comments that this is a very accessible album or easy to like and I just don’t get it. I find it vaguely irritating, not that interesting, and accessible in the way the infomercials are accessible. I wouldn’t want infomercials playing in the background either. If you like this album, you might want to stop reading here.

I’ve had a copy for easily 20 years and I basically never want to listen to it. I think it’s a shame it gets so much attention as a classic entry point into Miles and or Jazz. Downbeat (5 stars), Penguin Guide to Jazz (5 stars) Allmusic (5 stars), Pitchfork (10 of 10) [data from Wiki, btw]. I’m sorry, this is a case of the Emperor not having any clothes. It’s marginally jazz. I can’t imagine any Jazz artist citing this as an influence. Shoulda subtitled the album ‘Death of the Cool’.

Yes, it’s based on Spanish folk themes and, from what I read, good Spanish compositions, but frankly I’d rather hear the folk music instead of hyper-arranged faux folk. Although, I know lots of composers and musicians do mine ethnic folk themes to good effect. [to go on a tangent, I like Shostakovich for that reason]. Maybe I just don’t have an appreciation for Spanish folk.

Song by song…

1) Concierto De Aranjuez (Adagio): This one irritates me right away. I don’t find the clicky percussive start all that engaging or authentic sounding, then the gushy Gil Evans shifty chords. Bleh.

2) Will O’ The Wisp: At times I almost think I’m about to like this track. It’s got a bid of a pendantic march style to it that nearly appeals. Maybe it’s because that’s as close as we get to swing here.

3) The Pan Piper: Nothing to see here. On the plus side, it’s short.

4) Saeta: Corny. We’ve transitioned from the pendantic march of #2 to a full blown dress parade introduction followed by a wavering Miles solo that makes me think of a Spanish tinged Taps mixed with Revelry. Bugle call on siesta.

5) Solea: About this time on my 4th pass through today [I have it playing on repeat, god help me], I think I realized that Miles’ wavering off note trumpet phrases in Saeta #4 are really an attempt to mimic the squeak of fingers across the strings of a guitar. If true, that’s kind of impressively, technically cool. Too little to late with that brainshot, I suppose. At 2 minutes into this track, we finally get some rhythms that move. By contrast with the rest of the album this is damn near a joyous moment. Something finally gelled and perhaps the band is going to have some fun. Miles is playing expressively. Nearing 4 minutes, hints of over arrangement threaten to steal the joy, then 20 seconds later return to the back seat and get out of the way while Miles nearly improvises. You can tell the arrangement still wants to back seat drive though. 7 minutes in still good, and it continues to the 12 minute finish! So, cut the first 2 minutes off and we’ve found one track I enjoyed. I turned to the web for clues as to why-- "Solea," which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession -- or parade -- with full brass accompaniment moving along.. Hmm, maybe this makes sense in the Mardi gras type of procession? That’s Christ themed too, right?

6) Song of our Country: Sigh…there’s bonus tracks.

7&8) More takes of the annoying first track.

So there. Take a stand for or against, and tell me why.

Next up: Directions

What! No one out there bold enough to say they like Sketches of Spain? You shouldn't take my word for it.