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Miles Davis

Originally posted by gruffpuppy
Ditto, not a big fan of anything after Bitches Brew.

Gruffs-
Give the "Cosey band" a chance...
I'm talking Panagea & Agharta...both LIVE albums, both recorded on the same day while Miles was touring Japan(one was a matinee show, the other was the evening show). Both are extended 'jams'.

Other post-Brew recordings worth checking out:
Jack Johnson...some have called this "The best damn Rock album ever made".
On The Corner...took me awhile to warm up to this one.
It's About That Time...another LIVE one with the "forgotten Quintet"(Shorter, Corea, DeJohnette, Holland, & Miles...Don Alias may be on percussion). The recording is a little raw; Shorter is blowing his ass off!

We Want Miles
Star People
...Marcus Miller AND Tom Barney are present. ;)Mike Stern, too.
More "chromatic Funk", Miles' style, in a jam environment.
 
Great thread - but doesn't this just show up all the richness and history that people are missing out on by downloading stuff, rather than buying the music!!! :rolleyes:

In the thread on how you got into Jazz, a lot of people have mentioned this.

So I can remember being into Mahavishnu and Weather Report and then thinking - hey the people that played on this must have done some other great stuff and working my way back - so from liner notes, track listings etc you can find your way through the music you like and take up references.

So - like I heard McLaughlin and Santana doing a Love Supreme and thought I ought to have the original - and I followed Wayne Shorter's career back from WR, plus Zawinul back to Adderley quintets - of course they all point to Miles and then you end up with 50 Miles albums and think what else did these guys do......and so on!
 
Originally posted by Bruce Lindfield
...and I followed Wayne Shorter's career back from WR

Bruce-
...have you heard/checked out Shorter's newest, Footprints LIVE!?
The band is Wayne, Patitucci, Danilo Perez, & Brian Blade. They sound pretty darn good together...Shorter is playing a lot of the 'big horn' on this one.

On a tangent(still)-
I just got hipped to this sax player named Eric Kloss.
By age 20, he had already recorded EIGHT albums for Prestige...somehow, I missed out on this guy!
Anyway, the album recommended to me is called Eric Kloss & The Rhythm Section.
Who is "the rhythm section"?
How 'bout Miles' rhythm section of the day-
Corea, Holland, & DeJohnette?!
Pat Martino also plays on the this disc(it's actually a 2-album on 1 cd set).
Kloss is a little 'out there'...he'll do a Pop tune like Donovan's "Sunshine Superman" & play it in 7.

Somehow, he's fallin' off the planet or sumthin'...
 
Originally posted by JimK


Bruce-
...have you heard/checked out Shorter's newest, Footprints LIVE!?
The band is Wayne, Patitucci, Danilo Perez, & Brian Blade. They sound pretty darn good together...Shorter is playing a lot of the 'big horn' on this one.

Yes - I bought it on Tuesday - only listened to it once so far though; but the BBC had recorded one of the concerts he did in London with this group and I recorded the programme.

I think I mentioned that Patitucci was looking very cool with everything - he just heard the head and seemed to know them as "classics", but that Perez was scrabbling through the piano top, looking for scraps of very faded yellow A4 sheet music - presumably he had Wayne's original charts!! ;)
 
As Bruce mentioned, the BBC broadcast Wayne Shorter's show at the London Jazz Festival. I thought it was great, and did video it, but have somehow gone and lost the tape! :(

The album seems to have got slightly mixed reviews (from what I've found on the net) - the rhythm section are oustanding, but there have been some doubts over Shorter's playing(!)

And Gruffpuppy, I agree with JimK re. post-BB Miles. You must check out 'Agharta' (Miles' best electric album, IMO), 'It's About That Time', and 'On The Corner'. I can't recommend 'Jack Johnson' yet, because I haven't heard it (I'm waiting for the 'Complete 'Jack Johnson' Sessions', due out later this year).
 
Originally posted by David Benyahia

The album seems to have got slightly mixed reviews (from what I've found on the net) - the rhythm section are oustanding, but there have been some doubts over Shorter's playing(!)

Not in UK "JazzWide" magazine - they give it maximum stars plus a "RECOMMENDED" label - their highest accolade!!

Some quotes : "Shorter's tender and turbulent playing holds it all together." "It is a bold impassioned on-the-edge work..."

The Guardian also gave it a good review I seem to remember and all the "quality" press reviewed the actual London concerts at the time and were very fulsome in their praise!!

I reckon the best Jazz critics are still working for "real" media.....;)
 
Miles was playing with Bird's band...I'm thinking it was the time frame when they 'toured' the West Coast & California.
I thought Mingus was working with them.
You got me thinking...now I'll have to go check. ;)


About Shorter's playing on his new LIVE album...over at Jazz Corner, Robin Eubanks is raving about this record, sayin' it's the best Shorter since The Plugged Nickel concerts.
 
I like piano trios as well. I love some of the Bill Evans/Scott LaFaro/Motian stuff. But I can't help but keep buying Miles Davis CD's. The guy has done so many styles and started so many trends, you have to respect him. Anyway, so this Mingus+Miles thing is probably around the Birth Of The Cool timeframe, or maybe even before that??
 
After Birth of Cool, that is 1949, Blue Moods is 1955.

I still like horns but I just find a lot of the modern guys to be to much. I.e. you get two on stage, the piano is playing the melody, horn one plays a 24 bar phrase, horn 2 tries to top it, horn one reaches for the moon, horn 2 reaches for mars.
This concept repeats until the dueling banjo concept gets to the point were both are playing at the same time. Are they playing notes? I don't know I will have to ask my dog once he is able to speak.
:D
 
I know I'm a little late on this one....but I love Pete Cosey's playing! One of the '70's overlooked players! I like Wayne Shorter's Footprints C.D. alot.......Brian Blade is one of my favorite drummers these days....very musical in his playing!
 
About Cosey-
In Paul Tingen's book, Miles Beyond, Cosey talks about re-stringing his guitar other than the 'normal' EADGBE. Sez he got a lotta crazy looks from the guitarists in the audience watching his hands & hearing "something else".
How 'out' is that?! ;)
 
Originally posted by gruffpuppy
I still like horns but I just find a lot of the modern guys to be too much. I.e. you get two on stage, the piano is playing the melody, horn one plays a 24 bar phrase, horn 2 tries to top it, horn one reaches for the moon, horn 2 reaches for mars.
This concept repeats until the dueling banjo concept gets to the point were both are playing at the same time. Are they playing notes? I don't know I will have to ask my dog once he is able to speak.
:D

...man, I treated myself to a listening of Ascension today while sunning in the backyard(I do this about every year or so). That's "too much" in the best way(IMO)...the album was recorded in '65 & STILL...the emotions of each player pours out of the speakers.

Hey Gruffs-
...who are some of these Modern players that are "too much"? I like "too much". ;)
BTW, how 'bout the DKV Trio? Drake(cans), Kessler(bass), & Vandermark(sax)...only ONE horn shooting for Mars.



...and NO piano/chords to get in the way.



:D
 
Originally posted by JimK

...who are some of these Modern players that are "too much"? I like "too much". ;)
BTW, how 'bout the DKV Trio? Drake(cans), Kessler(bass), & Vandermark(sax)...only ONE horn shooting for Mars.
:D
I have not heard these guys yet, don't get me wrong there are some great newer players out there but I swear when ever I see a "new" sax player on the tube he is more concerned with the high notes.

Some not to new examples would be.
Off the top of my head:
Wallace Roney - Trumpet
Joshua Redman - Sax (Tenor)
On Chick Corea's Tribute to Bud Powell. Bud Powell the piano player.:D Hence why do these to trade chops for 7/8ths of the songs.

Tribute to John Coltrane.
Wayne Shorter Soprano Sax & Dave Liebman Soprano Sax. Disk starts with Mr. P.C. the melody is there for about 45 seconds. The next 15 minutes are Liebman sounding more like Kenny G than Coltrane. Later Shorter joins in the fun also playing a soprano sax, maybe I would enjoy it more if there were two diferent types of saxes. My original comment about the moon and mars came from listening to these two. Disk is about 60 minutes, it contains three songs. Shorter is a nice addition but it gets old as he and Dave Liebman trade back and forth.

I prefer the sounds of the slower whole note players. It is all in the tone for me. Hawkins and Young have the tone I like, even Coltrane and Dolphy. The low to mid notes build before the players go for the stars. Even Dolphy who will rip your head off with the first 3 notes will kick back and let you know every thing is going to be OK.
 
Ascension, thats a different story. There are certain horn players that are the founding fathers.
The word "new" in my posts is probally the wrong word.
New: i.e. Pink Floyds's The Wall probally has the newest date on my disks, Nantucket Sleighride is probally the smoothest rock song I have ever heard, and I am still wondering why Mary Hartman Mary Hartman got cancelled. Living in a void.

I guess my views are tainted. I also think Sun Ship and Love Supreme are great disks. Maybe what I don't enjoy is fusion horn players trying to get back to the roots. Just like the bass player that can't play groove. I saw a gospel band last night, they were pretty good but would have been better if the bass player wasn't still going through the "look at me phase."
 
Gruffs-
Thanks for that head's-up on the Miles/Mingus disc.
That's one I don't have & actually was unaware of...
That said, I did look it up at www.allmusic.com.
On paper, it looks happenin'-
Miles-Mingus-ELVIN JONES!
What I sampled, though, sounded pretty 'tame'(& the disc is only 26 minutes long?).

Anyhoo-
...are you familiar with Joe Farrell's Moon Germs? It's from the '70s & is on CTI Records.
Farrell, Hancock, DeJohnette, & Stanley Clarke.
Pretty happenin', IMO. Nice version of Clarke's "Bass Folk Song" closes out the proceedings.
 
Originally posted by gruffpuppy
I have not heard these guys yet, don't get me wrong there are some great newer players out there but I swear when ever I see a "new" sax player on the tube he is more concerned with the high notes.


Ken Vandermark(the sax guy in the DKV Trio) keeps busy in a few groups/projects.
In addition to The DKV Trio, he's in Spaceways, Incorporated...their first album dealt with James Brown & Sun Ra tunes done in a Funk-Jazz-"Out" setting.
...he's also in The Vandermark 5(an electric/acoustic Jazz band).
Vandermark's sound/style is such that you'll either like it or hate it...

And I don't know if these guys are even concerned with 'notes' anymore. ;)
 
The Cliff notes to my above ramble: All players should leave some space and return to the melody before "I" loose interest.


Jim, I hope I have cost you at least 1/3 of what you have cost me.

In the wallet that is, hearing new music always brings joy but you seem to nail players that I haven't explored 2/3rds of the time.

Deep Purple, Edgar Winter, Cecil Taylor, Dolphy. They cost me nothing, but you still seem to dig up some that are not on my disk rack. Now that this has turned into an open PM I have 2 questions for you.

1. Do you own a DVD player?
2. Who is Miles Davis?
 
Here's that review from 'The Guardian' of the Wayne Shorter Quartet's concert at last November's London jazz Festival.

Wayne Shorter
4 stars
Royal Festival Hall, London
John Fordham
Guardian
Monday November 12, 2001


Between now and next weekend, you may hear a lot of sax-players at the London Jazz festival hosing down audiences with notes as if their instruments were water-cannon, but not Wayne Shorter. The enigmatic 68-year-old New Jersey saxophonist, co-star of one of the greatest Miles Davis bands and co-founder of Weather Report, was one of the most eagerly awaited festival guests. His hauntingly personal and unfashionably reserved independence as a writer and player make him a school of contemporary music on his own. Shorter was also bringing a formidable younger band in pianist Danilo Perez, bassist John Pattitucci and the flamboyant drummer Brian Blade.

After a huge cheer of greeting died down, the American began with soft tenor-sax rushes ending in half-suppressed yelps, the agile Pattitucci shadowing him in the high register. A staccato pulse pitched and tossed by Blade's impulsive patterns was subtly coloured by Shorter's mournful tenor sound, the saxophone far behind the theme's dominant pulse.

Pianist Perez was at his most eloquent, more Herbie Hancockish than usual (but constantly refreshing the older material with a Latin-jazz vivacity, and sustaining a strong group feel). The band was thus ideal for Shorter, as an improviser who selflessly plays off his surroundings rather than bull-charging through them. He is dependent on ensemble sensitivity. The leader devoted the second half to soprano saxophone, on which instrument he has been one of the most affecting of all jazz improvisors. He was spare, fragile and sometimes forlornly hooting against Pattitucci's mellifluous bowed playing, twisting and weaving melodic ideas (the Rollins influence shows in Shorter's fondness for toying with phrase-fragments) over Blade's racing percussion. A master jazz virtuoso and, as importantly, a master participator.


I finally found the video of that concert this morning and watched it immediately. Fantastic stuff!

Anyway, here's a rather different review from Invalid Link Removed Regardless, I'll be buying the album ASAP.

Taped at various venues in 2001, Footprints Live! is momentous (regardless of the music it contains), simply because it stands as Shorter's only "live" recording as a leader, and it marks the first time since 1967 that the saxophonist-composer has made an album under his own name using only acoustic instruments. Here, he's joined by pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade for a grouping of older tunes that are consequently already familiar to the audience. The results are spirited. It's as if one can feel the heat that was generated on the bandstand, throughout the album's eight separate tracks, perhaps nowhere more pointedly than on an extended "Ju Ju," with a particularly urgent Shorter working the upper reaches of his soprano range.

All that (and more) excitement notwithstanding, one comes away from repeated listenings with a sense that something isn't quite right. Unfortunately, what that turns out to be is the cumulative inspiration (or, lack thereof) of the leader's playing. One has only to contrast Shorter's passages in opening pieces "Sanctuary," "Masquelero," and "Valse Triste," -- as unfair as this might conceivably be -- with his mid-'60s output. The "young" Wayne Shorter -- on such albums as Ju Ju or Speak No Evil -- was one of music's most stunning melodicists around with an in-the-moment conception and harmonic/rhythmic vitality that were all but unmatched. More recently, though, his playing has seemingly become less assured, his focus not as sharp, and this cannot be explained away by the cliché that as a player matures, he or she realizes how to cut to the heart of the matter, and that ultimately less is more.

Yet still, while there is admittedly lots of admirable musicmaking here, the bulk of it seems to be generated by the backup trio. All we can do is hope that next time around, Shorter himself rises as fully to the occasion as do his worthy constituents on Footprints Live!