I bought Aura when it was new. It was nice to hear Miles playing more experimental music but it didn't seem like he was playing his best, and I didn't care for the general cold 80's sound (synths, shrieking metal guitar, Simmons drums), so I sold it a few years later. Maybe sometime I will revisit it.
OK, some more nice atmospherics on "White," with Miles' muted trumpet floating on top. The more it continues on like this, the more I think I'll like it.
Hearing Aura, my new dream is for Miles to play on a latter-day Talk Talk album. I think that's Mark Hollis's dream, too.
For me I think it's an incredibly beautiful album, completely out of step with everything else he was doing at the time (in that way it's kind of similar to his Gill Evans departures in the 50s and 60s). I'm not a fan of the production (in the same way that I'm not a fan of the production of a lot of Miles' 80s work - it clings to all of the most outdated elements of that decade), but once you get passed that the orchestrations are wonderful. It's the perfect album to put on late at night when you're somewhere between asleep and awake and just let it take you.
Not a fan of the Simmons electronic drums by Vince Wilburn and it took me years to warm to, but it's a great composition (by Palle Mikkelborg) and I can understand Miles' dismay when Warner didn't want to release it. The most advanced work of his late period and the most impressive trumpet playing of that period in a studio context.
It's a total disgrace that Palle's name wasn't on the cover. He wrote and conducted the thing, exactly like the Gil collaborations.
It was Columbia who didn't want to release it. I remember when I first saw it I thought it might be another one of those Circle in the Round type outtake collections, but Miles's autobiography hit the stores around the same time so I got more background about it.
I need to revisit this soon. The electronic drums won't bother me much. . . I was using a Simmons kit myself when this was released, beginning the shortly after it was recorded. It's been over five years since I've played this. . . . It stands on its own in his oeuvre in many ways. . . .
Thanks for mentioning these items. I have to kind of pick and choose the excerpts I use from Miles' autobiography and Cole's The Last Miles to keep the length somewhat brief. Miles also explains that he felt snubbed by Columbia for their championing (perfect word choice, DTK) of Wynton Marsalis while cutting off funding for and effectively burying Aura. And George Cole correctly points out that Mikkelborg barely gets a mention on Aura (and when he does it's in small print deep in the credits), which he certainly deserved as much if not more so than Gil Evans (Porgy and Bess, Sketches of Spain) or Marcus Miller (Siesta). Taken together it's pretty damning evidence of corporate ambivalence.
I prefer the Prestige Quintet run of C , S, W & R & early Columbia yrs through Sketches Of Spain... Then in order Bitches Brew Tribute To Jack Johnson In A Silent Way After these...meh IMO after enjoying Dom Perignon how could enjoy anything less
Thanks for joining us SamTheSham. One of the main reasons for following any artist's album-by-album thread is to explore albums that you may have missed and to revisit and reevaluate those that you haven't played for a while. Enjoying the libation of choice while doing so is A-OK. All the albums you mentioned are excellent. Miles had a prolific career and released a lot of solid albums before, between, and after those you listed. I hope you'll be able to find some gems that you may have previously overlooked.
Possibly , but after 5+ decades of trying on different Miles coats , I seriously doubt it , but I am open to discuss the ones I prefer... Also it brings me joy reading what others listen to... Mind you , not trying to be rude or snippy in any way , just old and set in my listening preferences... Personally I am only a completist on such artists as Buddy Johnson Orchestra , The 5 Royales ,Wynonie Harris , Hot Lips Page & Little Junior Parker , all others are just hit & miss for me... Thank you for the input just the same
It suggests an alternate universe where Miles returned from his hiatus with an album on ECM. I'm a little mad that this didn't happen, now.
Danish Radio did broadcast the event where Miles picked up the award - . Great to hear the original composition before it was recorded in the studio with Miles. 2 performances of Violet where Miles and his band joined - lovely blues...
Btw, I wonder if the art department deliberately made up the Aura cover to look like a title card from Saturday Night Live.
Started listening to Aura yesterday for the first time in ages. I am still not convinced by it, but will concede that Miles' trumpet playing is strong. The album does sound more similar to Decoy than I had remembered - maybe if Palle had stuck his regular ECM vibe it would have been better. But somehow Aura leaves me cold. I think my main problem with the album is that it is billed as a Miles Davis album, but in reality it is a Palle Mikkelborg album with a guest appearance from Miles.
Ah yes, I think you may have the measure of me! It's not easy to argue that those albums are more authentically Miles than is Aura, certainly if you look at the credits. But somehow they feel that wat to me.
Listening to Aura again I can see what you mean about it having similarities to Decoy, something I'd not noticed before. Sad to say neither album does much for me. I think I'd have found Aura more enjoyable if there hadn't been so much use, or a different use, of synths, as I find most of it to be a sterile listen.
The attempts at funk do seem kind of stiff, sterile. And that fanfare with the bells or chimes that recurs through "Orange" reminds me of a John Klein Christmas album. Still, it's nice to hear Miles stretching himself at this late date, and I really do like the more atmospheric sections of the album.
There was a gap in my collection...now filled with Black Beauty, and IATT is on its way! So now I can get back on track with following this thread. Apologies if this is appearing at a random position years further along from where the thread currently lies... I’m really enjoying the Fillmore West stuff. It’s less chaotic then the stuff that’s coming later, and Miles seems more focussed, and participates more. The drumming is outstanding , and the way the band is playing together seems remarkable to my ears, considering it was all a new direction ( no pun...) Grossman plays great, and seems like a good fit. The bass is very busy-I’m not used to hearing that with Miles’s music up to this point (bearing in mind I haven’t listened to any post-1970 Miles for a couple of years now. Above all, the music is exciting, and dramatic. Just waiting for IATT.
I like both albums. Angular, modern funk which is what Miles played live during the years prior to Tutu.
I have IATT and I love it. Here's a question -- opinions please! I have the Bootleg Series from this series, but I do not have the "Miles Davis at Fillmore" because it seemed redundant. I'm assuming it is? (other than the edits of course)... Is it a chaotic listen to hear the "sides" (Wednesday Miles, Thursday Miles, etc)?
