The Miles Davis album-by-album thread

Discussion in 'Music Corner' started by KevinP, Jan 16, 2008.

  1. Fonz

    Fonz Active Member

    This is great... not the best recording though. The trumpet’s well forward in the mix, but the drums are pushed back and the cymbals are a bit ‘washy’. The bass is very quiet. The music is faultless though.

    I’m surprised Hancock doesn’t get more praise for this. His solo and comping on ‘Milestones’ is simply gorgeous. I’d urge everyone to pull out this record NOW and see what I mean. For a track that is, on the face of it pretty familiar, there is a whole new dimension.
    Coleman is great and inventive on Joshua.
    The soloists are getting a lot more time to explore, and the tempos have gone up.
    I’d have loved to be in that audience.
     
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  2. Purple Jim

    Purple Jim Forum Resident

    Location:
    Little Britain
    I know what you mean but I found Return To Forever far more satisfying. Check out the fabulous "Hymn To The 7th Galaxy", "Where Have I Known You Before" and "No Mystery".
     
  3. Fonz

    Fonz Active Member

    I like Rivers’s contribution. It’s a different approach, and makes the album really interesting from that point of view alone.
    The sound quality is very good. All the instruments can be heard clearly.
    Davis sounds more engaged than the New York recordings.
    Williams is the standout on this album, for me at least. There were times my jaw was on the floor. He was still a teenager! Some things you can lean, some things are innate. That guy was so gifted, straight out of the gate. Even my wife was impressed!

    I saw the recent Coltrane documentary. The Japanese really took to these performers (jazz groups), and vice versa. No wonder they enjoyed visiting.
     
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  4. Yesternow

    Yesternow Well-Known Member

    Location:
    Portugal
    I can feel the dark magus coming just around the corner
     
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  5. DTK

    DTK Forum Resident

    Location:
    Europe
    George Coleman, I love his playing. A real ace; tasteful, soulful, creative.
     
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  6. ohnothimagen

    ohnothimagen PORKCHOPS! Productions

    My four year old liked that one (I think)...watching him running around the rec room trying to do some sort of dance to "Moja" that resembled something like a cross between a seizure and exorcising a demon was one of the funniest g-ddamn things I've ever seen:laugh::laugh::laugh: My wife was at work at the time, so she missed the floor show...too bad:p
     
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  7. ciderglider

    ciderglider Active Member

    Regarding In Concert - Live At The Philharmonic, is there any particular version to look for? There seem to be about half a dozen versions of it on Amazon - figuring out what they all are is a subtle art that I've yet to master.
     
  8. Fonz

    Fonz Active Member

    Miles is more prominent on this one. Seems like he's taking longer solos, maybe keeping some of the pressure off Shorter.
    Shorter seems pretty assured, but just doesn't dazzle, musically-speaking, for me.

    But, it's a taster for what is to come...
     
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  9. Fonz

    Fonz Active Member

    Hi Pat (from the Zappa forum...I'm guessing...).
    I'm working my way through this thread, so this is a reply to a 2 year old post-I will catch up sooner or later!
    I've got to agree with the guy you are quoting-Shorter just isn't hitting it for me on this recording. Rivers was more idiosyncratic-different, if you will. The rest of the band were on fire in Tokyo, though, and coupled with the different sound of Rivers made for a really great record. 'Berlin' in comparison is Miles's show; not bad, but not half as good as what was to come (IMVHO)
     
  10. Gabe Walters

    Gabe Walters Forum Resident

    I may have mentioned on this thread, or elsewhere, that I'm going through the Prestige 10" collections released for Record Store Days 2014 and 2015, which I've recently acquired. I went back to the start of this thread to read along, because until now I was unfamiliar with this 1951-54 material on the Prestige label. I found that crispi (understandably) tracked this stuff according to 12" releases and dealt with them in batches, and that most contributors to this thread either were as unfamiliar with this material as I am or found it slight. I think the Prestige 10" collections offer an incredible opportunity to recontextualize the material as it was originally released, including with replica packaging.

    First up is Modern Jazz Trumpets, PRLP 113, which features several cuts of Fats Navarro, Dizzy Gillespie, one of Kenny Dorham, and three of Miles Davis. One could conclude this isn't a proper Miles Davis record, although there's his picture on the cover and he contributes some originals, from his first leader date, not counting the Birth of the Cool sides. Still, this 1951 date with Sonny Rollins is worth hearing more out of a sense of curiosity or historical import than one of musical enjoyment, at least for my tastes.

    Next up is The New Sounds, the first LP billed under Miles' name. I think it's worth reproducing the liner notes to give a sense of how author Ira Gitler, and the general public, was receiving Miles in 1951:

    When an artist is simultaneously recognized, by critics, fellow artists, and the public analogous to his art, as the foremost in his particular field, the work of the artist invariably substantiates the status given him by this audience. Such is the position of Miles Davis as the most important creative trumpeter today. Acknowledged first by musicians, Miles soon drew the ears of discerning critics into appreciative attentiveness and finally the jazz public accorded him their approbation in the Metronome and Downbeat polls.
    Of course, Miles is to be appreciated for bringing a new sound and conception to the trumpet but what really gives him his greatness are the intangibles he possesses, which enable him to transmit sweeping joy with his "wailing" solos and reflective beauty in the delicacy of his ballads.
    This album gives Miles more freedom than he has ever had on record for time limits were not strictly enforced. There is opportunity to build ideas into a definite cumulative effect. These sides sound much more like air-shots than studio recordings.
    Upon the wonderful rhythmic foundation of Art Blakey's drums, Tommy Potter's bass, and Walter Bishop's piano, tenor man Sonny Rollins and alto man Jackie McLean are able to enjoy some of the unlimited time for their solo efforts. Rollins demonstrates the impact of the intangibles, again, with his solo on "Paper Moon". The way in which the solo is constructed and the feeling and time with which it is played, overshadow the marring reed trouble. McLean, still in his teens, is heard only on "Dig". He need not apologize for his youth after his work here. Walter Bishop appears in solo for a brief moment on "Conception" which gives only an inkling of his marvelous playing.
    Here are New Sounds at greater length. Listen to them at great length.
    In my view, The New Sounds is well worth hearing as en enjoyable representation of modern jazz at the time. One can hear where Miles is heading in the near future, and the musicians backing him up are impeccable.

    Forgive this detour, and bring on Dark Magus! Which is about as far from 1951 Miles as the man could probably get.
     
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  11. ohnothimagen

    ohnothimagen PORKCHOPS! Productions

    I was watching some old clips of Miles and his band in Paris in 1973 on You Tube last week. They were playing for what seems to be a 'typical' jazz audience: suits, dresses, politely sitting in their seats, and probably thinking the performance was all a bad dream and the band was going to break out into "So What" or Sketches Of Spain any minute now...:laugh::laugh::laugh:
     
  12. Yesternow

    Yesternow Well-Known Member

    Location:
    Portugal
    Why don't we hear BASS solos on Miles albums ? Have your haver read the reason for it ?
    It's obvious that the bass player and playing was very important to him. But why didn't he let those guys show off a bit ?!

    Don't get me wrong, for me it's perfect. Not a fan of that metal sound when the strings touch the instrument.

    So you don't answer with a clip from "so what" :) let me say that I'm referring to the second quintet onwards.
     
  13. ohnothimagen

    ohnothimagen PORKCHOPS! Productions

    I'm only guessing here, but I think, at least as far as the 70's band goes the idea was that the bass and drums were supposed to hold down the groove with the soloing going on around them. Like I said earlier, I love how Michael Henderson can hold the groove down playing a repetitive riff for a long time and yet it still sounds interesting; every now and then he'll toss in a fill or a little variation but other than that it's all about the groove, baby! I notice Al Foster's drumming is the same way. Those guys were the perfect rhythm section for what Miles was doing in that period IMO. Besides, who needs bass solos when you've got Pete Cosey, a guy who could make his guitar sound like anything...
     
  14. eeglug

    eeglug Forum Resident

    Location:
    Chicago, IL, USA
    I'll have to double check which track it is but there is a Dave Holland upright bass solo somewhere on the Bitches Brew album. It's not very 'front and center' as everybody else is playing while he solos...I actually listened to the album for years before I even noticed his solo.
     
  15. Yesternow

    Yesternow Well-Known Member

    Location:
    Portugal
    I was thinking about the second quintet albums. Probably only 1 small solo by Carter?!
     
  16. pbuzby

    pbuzby Forum Resident

    Location:
    Chicago, IL, US
    Yes, in the second quintet there were very few bass solos and drum solos were not all that common either. I don't think Miles explained it but there is a lot of great ensemble playing from them to enjoy.
     
  17. Gabe Walters

    Gabe Walters Forum Resident

    Check out the live stuff.
     
  18. pbuzby

    pbuzby Forum Resident

    Location:
    Chicago, IL, US
    Meanwhile, most Ron Carter solo albums are loaded with bass solos.
     
  19. Jim Walker

    Jim Walker Well-Known Member

    Location:
    southeast porttown
    I've been perusing this cool thread and wondered if there was a
    2cd digipack of Bitches Brew that came out. I was trying to find
    several of my BB cd's and did finally find a jewel box '99 remaster,
    but I swear I thought there was the other one. Sorry for the off-topic
    on topic interruption. Thanks for the help. I can't find anything online.
     
  20. Fonz

    Fonz Active Member

    There’s a 2 cd/1 dvd ‘Legacy Edition’
     
  21. ohnothimagen

    ohnothimagen PORKCHOPS! Productions

    Still awaiting Dark Magus...I've been playing the soundboards of the 1973 and 1975 Tokyo shows all weekend! I've had bits of "Turnaroundphrase" (aka "Moja, part 1") in my head for the last two days:laugh:
     
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  22. crispi

    crispi Forum Resident

    Location:
    Berlin
    Will switch soon. Stay tuned.
     
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  23. crispi

    crispi Forum Resident

    Location:
    Berlin
    What better way to start 2018 than with?...

    Dark Magus
    CBS/Sony Japan 28AP-2165/66, released 1977

    [​IMG]

    Recorded live at Carnegie Hall, NYC, March 30, 1974. Features Dave Liebman (soprano, tenor sax, flute), Azar Lawrence (tenor sax), Pete Cosey, Dominique Gaumont, Reggie Lucas (electric guitars), Michael Henderson (electric bass), Al Foster (drums), Mtume (percussion).

    Penguin Guide to Jazz:

    Recorded in Carnegie Hall – but, oh, how very different from 13 years earlier. This was a further variation. Out the electric sitar, in a third guitarist, out every last vestige of the cool poet who had recorded In a Silent Way, and in the dark abstractionist who was to turn in Agharta and Pangæa, both recorded and released in Japan a year later. Dark Magus is divided into four parts, thematically non-identical but so closely related that they sound, and should sound, like aspects of some great granitic slab. Nothing to separate “Moja”, “Wili”, “Tatu” and “Nne” but shadings and striations of sound and, as one gets to know these recordings better, one becomes almost fixated on the tiniest inflexions. Which is where Miles enthusiasts will find meat and drink in this.​
     
  24. Muggles

    Muggles Forum Resident

    Location:
    Brooklyn
    Single word description of Dark Magus: THICK
     
  25. jwoverho

    jwoverho Forum Resident

    Location:
    Mobile, AL USA
    DARK MAGUS is definitely thick and dark and angular and seething. I don’t know of many others groups doing much similar work except for maybe some krautrock bands and King Crimson in their heavier improvs.

    Doesn’t Miles play almost as much organ during this period as trumpet?
     
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