I’ve kind of kept Miles Davis at bay as I dove into jazz the first time when Ken Burns Jazz came out, and again this second wave as I’ve gotten into vinyl and a lot of Blue Note. I prefer Tenor saxes to bright overpowering trumpets. And in the past Kind of Blue and Sketches of Spain didn’t work for me, but the Workin Cookin stuff did. Well by now the Coltrane Quintet stuff has really hooked me, especially Milestones, and I have the RSD KOB and Round Midnight on the way. Plus I’ve gotten stuff like the Milt Jackson albums, Somethin Else on vinyl and love those. So I’m using Apple Music and the Miles album by album thread to keep exploring. I know most in this thread may know his stuff backwards and forwards but it is fun to jump into all the different periods. It’s like discovering Dylan with 100 directions to go. Playing this now
Me too. The sax is to jazz as the violin is to classical (listening to Ben Webster this morning was an excellent example of such). And I really dig Miles' Prestige output, both pre-Coltrane and with him. Enjoy the journey!
I completely understand your passion for the tenor sax. Though I would never think of Miles' horn as bright and overpowering, it's great that you are enjoying the classic quintets. Don't neglect his pre-Coltrane material either. There is some great saxophone there, especially the stuff with Sonny Rollins and Lucky Thompson. Be sure to get "Walkin'"
Walkin is on my list to check out today. I own Bags’ Groove and the Milt Jackson album and like those a lot. After reading the first chunk of the Miles album thread, I’ve also got lined up to stream today Blue Haze, Modern Jazz Giants, Blue Moods, and Miles/New Miles Davis Quintet. If I have time I’ll circle back to Dig which I’ve heard before but don’t recall much other than the really wonky mix as it starts out What hooked me in this go around was that I like when Coltrane or McLean or whoever is going a bit more frenetic, Miles comes in with his tone and cool and makes a great mix. I think it helps his tone isn’t harsh whether muted or not.
Though I am pretty good at identifying jazz musicians after just a few phrases, for me, the saxophone is the most distinctive. When someone claims they can identify a saxophonist after just one note, it is entirely plausible (though few of us have ever really tested that theory, as we rarely hear just one note). I think the sax players have more variables than trumpet players and other wind instruments which allow for unique identifiable tones. The types of reeds, how they may trim the reed, the mouthpieces, the greater variability in how they apply their mouth and tongue to the reed (and in their mouth itself), in addition to their breathing all cause an individual sound on top of their own "mental" musical conception. That range of factors and the tonal characteristics of saxophones all contribute to its special parallels to the human singing voice. It is no coincidence that many saxophonists (Lester Young, Sonny Rollins, and countless others) were inspired by singers. Dexter Gordon used to recite lyrics before he played a song on his tenor. God Bless Adolphe Sax and all of his disciples who showed the world the beauty of his invention. There should have been a world wide celebration of his 200th birthday! Adolphe Sax - Wikipedia
This is actually a six valve/seven bell trombone that Adolphe Sax invented in 1876. But unfortunately, no one with the breath control of Tommy Dorsey had been born yet. (Dorsey was legendary for his breathing, though "hep-cats" ignore him today) More on Sax, from the web He invented dozens of amazing musical instruments. Some were fantastical. Others were hugely successful, and led to modern instruments like the Flugelhorn and Euphonium. He designed significant improvements to virtually every existing wind instrument—improvements that last to today. Sax moved at age 30 from Belgium to Paris, the center of the European musical instrument industry. Despite the superiority of his instruments, he was given no hero’s welcome. Rather, the existing establishment tried every way they could to eliminate him… through constant vandalism, frivolous law suits, and even multiple attempts on his life. First they maligned his designs, then they stole them for their own profit. Sadly, they drove him into bankruptcy.
I played trombone, and I can't imagine putting enough air through that thing. It looks like something out of Dr. Seuss.
Andy Jaffe Nonet + 4 – Arc (Playscape Recordings) — Andy Jaffe: piano, composer/arranger; Wallace Roney: trumpet; John Clark: french horn; Kris Allen: alto sax; Jimmy Greene: tenor & soprano sax; Bruce Williamson: bass clarinet, soprano sax; Tom Olin: tenor, soprano & baritone sax; Marty Jaffe: bass; Jonathan Barber: drums; plus the Interestring Quartet on three tracks: Wei- Jun Huang: 1st violin; Wei-Hsin Liu: 2nd violin; Chiee Yeh: viola; Jiro Yeh: cello.
There is the story that when Dizzy's wife read his autobiography, she divorced him. I'm not sure if it is true or if there was a cause and effect. I have that signed by Dizzy.
Blue Note's Facebook page notified me that Johnny Griffin's "Vol. 2" aka "A Blowing Session" is being issued on a double-45 RPM colored vinyl set by Vinyl Me Please: Johnny Griffin 'A Blowin' Session' (2LP, 45RPM 180g Amber Vinyl, LTD to 1500) | Vinyl Me, Please for $30 + shipping. I asked around about the provenance of the LP mastering and they are saying that this double LP set uses the Music Matters Steve Hoffman/Kevin Gray stampers.
First time hearing this one. I already love Bags Groove and Miles/Milt Quintet albums do this is a slam dunk Why didn’t prestige release Bags Groove with the session intact, instead of one side Bags, one side Sonny Rollins? Or Round Midnight was it kept off the Cookin walkin stuff because they had to contractually (or gentleman’s agreement) due to the Columbia album?
Back to this one. . . just for Cornell Dupree. Charles Williams "Trees and Grass and Things" Mainstream Records/Solid Records Japan
Been way too long! Disc 1 Miles Davis "Agharta" Sony Records This actually has jumping out of the speakers scary moments today. The Japanese engineers and the mixers of this recording really captured the percussion with almost supernatural presence. And Miles really knew what he was doing when he put together the Henderson-Foster rhythm section, and he really knew what to do with them as well.
I've been having an itch to listen to that one too lately, especially since I listened to In Concert last week.
...but instead of Agharta, I have a bigger itch to listen to these Roland Kirk albums from this Mosaic box that just arrived yesterday. NP: Roland Kirk - I Talk with the Spirits WP: Roland Kirk - Slightly Latin from Mosaic's Roland Kirk: The Limelight/Verve Mosaic Albums
