He's been playing that guitar for quite a few years now along with his ibanez. Still sounds like Sco.
What a loss in Hollywood in the 1930's to the 1960's. They shot literally hundreds of thousands of hours of high quality film footage. Yet, aside from some brief clips, mostly mocking comical settings, they shot hardly a minute of the jazz legends. They could have done so much. And it wasn't about "money".
That's a real good one indeed; Alfred 23 Harth rarely disappoints. One of the finer entries in the Clean Feed catalogue. My fascination with "nu-jazz" hasn't stood the test of time, but this one remained on my shelf. Most acts I got rid of were principally about new cool/surprising sounds, effects and beats, the wow effect, and these would wear thin after a few years making their music sound hollow to me. However, the Cinematic Orchestra had also great compositions and those I have never grown tired of. Very good set.
You need at least three albums by my estimation (Work Out, Another Work Out and Roll Call). So yeah, cheaper to buy individual albums than the box.
I believe I have all three of those too. So no extra unreleased tracks I take it. Seems like it is not needed.
I actually don’t think we’re far apart in what we hear. I think Miles couldn’t play like those other beboppers and therefore didn’t want to. As he writes, he heard music in the middle register and he wanted to play the blues. I’m not saying he wouldn’t grow in style and technical ability. Just that I do think he had a vision that, yes, was informed in part by his technical limitations. But not entirely. He describes his playing in this band much as you do. The cool to Bird’s hot; the femme foil.
I do disagree with this. I think his playing with Bird is much better than this credits. Though he absolutely did change stylistically in ‘54 with Horace Silver and the advent of hard bop, we can also say that tunes like Walkin’ came from his deep interest in blues and gospel music from his midwestern roots, which is still very much in evidence in his playing with Bird.
I Love "cry me a river" from this one. I think it's one of the slowest tempi I've ever heard in a ballad. Takes a lot of guts!
Its sad, but at least we have those 9 mins and 50 odd seconds of Jammin the Blues which treats Jazz legends like Prez with a wonderful visual artistic sensibility to match the music. Love that film.
The Norman Granz "Improvisation" DVD set is well worth the price, if you dig this kind of thing..."Jammin' The Blues" is included in the set https://www.amazon.com/Norman-Granz...provisation&qid=1550781834&s=movies-tv&sr=1-7
Charlie Parker was already recognized as the most innovative jazz musician on the scene when he recorded with Miles Davis, and he has been recognized as a genius for most of the nearly 75 years since that time. Such a genius would not, and did not, select an untalented musician to be in both his performing and recording band. Miles Davis had great talent from the start.
Hard to know what Bird was thinking (probably should ask Phil Schapp) but my guess is he saw Miles as a young, talented, hungry horn player who'd show up for the gig. That goes a long way for a fellow known for pawning his horn on occasion. As a convenient aside, I recently found 'Sarah Vaughan in Hi-Fi" (Columbia 6 eye mono) with Miles on horn, Freddie Green on rhythm, among others. Its cued up for listening this evening.
Yes, I've been a fan since the release of Every Day in 2002. They have a new album out soon and I've a ticket for them at the Roundhouse next month.
About Time catalogue is finally in stock at Jazz Messengers, so I am going to pick Threadgill CD titles (and maybe something more) very soon! About Time - Jazz Messengers
All right. I'll see if I can spot his interest in blues and gospel the next time I put on his recordings with Bird. But it seems to me that he had a much more confident and uniquely individual voice on Bags' Groove and the albums that immediately followed. If he had died at the end of 1953, I think he'd be remembered as the guy who followed Dizzy in Bird's band, but wasn't as good; who played on those "cool" sides in '48-49, which would be largely credited to Mulligan and Evans; who made some tentative cool jazz in the next few years that wasn't up to the level of Mulligan and Baker. If he had just lived long enough to record the Walkin' sides, it might seem that he was onto something more interesting, but still, he's no Clifford Brown. After Christmas Eve '54, though... now we're talking!
Interesting. Mulligan and Evans credit Davis as the spark and organizer of that band, and Davis writes that he replaced Dizzy specifically because Bird preferred his sound as a contrasting style within the band. So I disagree with this, too. Let’s not forget that before he reconnected with Bird in New York, Miles earned admission to Julliard as a black man in the ‘40s, which must have been no small feat. I do agree that Miles in ‘54 is a different ball of wax.
