Miles Davis at 80
Posted by: Tam on 21 May 2006
Had he lived, Davis would have been 80 this Friday and BBC Radio 3 is doing a
week or so of programming around this.
Annoyingly, they actually kicked it off yesterday with the first of six programmes from Ian Carr as part of Jazz File (if you stick the following like into realplayer you can listen again - I haven't got round to it yet, but Carr wrote an absolutely wonderful biography of Davis -
http://www.bbc.co.uk/radio/aod/shows/rpms/radio3/jazzfile.rpm).
Those of you who read my library in Fredrik's thread will know I have one or two (okay hundred) discs from this remarkable artist yet they still seem to have managed to dredge up a few things I don't have.
Sadly, given some of the tendencies of R3's Jazz schedule (and the fact that so much of the programme appears to be folded into Late Junction) I fear that there is going to be an overfocus on Miles' electric period. That's not to say there aren't some fine records here (In a Silent Way, to be featured in Monday's programme is sublime and Jack Johnson is one of the finest albums ever made), however, I'm not sure it's the easiest starting point for anyone new to his music. Where is the focus on Birth of the Cool or his magical partnerships with Coltrane, Bill or Gil Evans?
Anyone, perish the thought, who might not have a single disc in their collection, could do worse than pick up the following (perhaps others can suggest better lists, this is somewhat off the top of my head, and biased by my own personal favourites):
Kind of Blue
Miles Ahead
Porgy and Bess
In a Silent Way
Jack Johnson
It was once said, I forget by whom, that you could write the history of Jazz in the 20th century (from 1950-90) with reference only to Miles Davis and it would be reasonably comprehensive. Of course, this is nonsense, but if one stops to think about it, not by that much, and less so that it would be for just about any other name you could mention. One of the reasons I love Davis so much as an artist is he was constantly innovating and out looking for new things. There are so many points in his career when he might have stopped and churned out more of the same and been set for life, but that wasn't him.
Of course, he died reasonably you (at just 65) and it's something of a sad story. In hospital for (I think - but I might be wrong) pneumonia, the doctors insisted on putting a tube down his throat to feed him. Miles didn't want this, lost his temper severely, resulting in a massive stroke. He went into a coma and died a few days later. When I think of this story two things normally occur to me. First, I think what a tragedy it is and had he only kept his temper what wonderful music might we be getting today, where might he be taking jazz in the 21st century? But, secondly, I remember that without that temper, without the fire that drove him, Miles probably would not have been the peerless musician that he was. His temper had caused him problems his entire life - years earlier, following a delicate operation on his vocal cords and under strict instructions from his doctor not to raise his voice, he lost his temper haggling over the price of a new Ferrari. The result was the thin raspy voice that is instantly recognisable.
And then, he had many reasons to be angry. On one occasion, force to go outside to smoke, because the place he was performing wouldn't allow him, as a black man, to do so inside, he was beaten up by police and jailed. On another occasion, in 1964, he insisted his band members play without charge so their fees could go towards the civil rights movement. Of course, Miles was extremely rich and this was much less hard on him than on them. There was a blazing row but in the end the band went out and played one of the finest concerts I have on disc (available titled 'The Complete Concert').
Miles Davis was an incredible musician and his untimely death left the musical world poorer. Radio 3's tribute (imperfect though it may be) should still provide some wonderful listening and I recommend it and his albums to everyone as well as Ian Carr's stunning biography.
regards, Tam
Posted on: 22 May 2006 by jcs_smith
Sorry but Doo Bop passed me by. I really don't think it was the album to sign off with. I think Miles felt that he had to prove that he could be current so he had to make a hip hop influenced album. The problem was the collaborator he chose - Easy mo Bee. I know he's worked with Tupac, LL Cool J and Busta Rhymes but I still don't think he was either the right person or someone with sufficient vision or imagination to work with Miles. I think that Miles only really thought he was dipping his toe in the wate with Doo Bop and he woulkd have produced something much more substantial given time. To me Doo Bop is like the man with the horn - a mediocre album that signalled the start of something much better. If Miles had worked with Kool Keith, Prince Paul, Chuck D or Eric Vietnam Sadler and the Bomb Squad he would have made a much better record
Posted on: 22 May 2006 by nicnaim
quote:
Originally posted by Tam:
I don't have On the Corner (though bits of it may be on my various box sets) and it's been a while since I last listened to Miles in the Sky. However, I will sign the praises of the much maligned Doo-bop which I very much enjoy.
regards, Tam
Tam,
Agreed. Doo-Bop is a good album, and probably my most recent Miles purchase. Not sure who you refer to when you say it is "much maligned", my only criticism is that sounds a little dated. This is strange because I had not realised until I read the sleve notes today, that it was his last studio album.
Regards
Nic
Posted on: 22 May 2006 by blackforest
i think the biggest problem of doo bop is that it was put together rather hastily after his death so i wouldn't really call it an album my miles davis. some things on the album work pretty good nevertheless. it lacks a bit of homogenity and IS outdated from a hip hop production point of view.
jcs - agreed on the influence/importance of "kind of blue" - i just prefer other recordings for musical/abstract reasons....
tam - siesta sounds a bit "digital" to my ears (talking about the vinyl) but i think is really really good. it has a magical sound...
(also it feels connected to "sketches" in a way...).
"basic miles" is sort of an "early" compilation of b-sides and rarer tracks and it's so good. you can play the whole album trough - it's never fatigueing/too much.
miles' recordings are so versatile - that's one definition of genius imo.
regards,
+bf
ps> his autobiography is really really good if someone hasn't read it yet!
Posted on: 22 May 2006 by Geoff P
We should'nt forget some albums that Miles did not "headline" but which are really jointly if not dominantly "his" in the end.
One in particular I think is great is "Somethin Else" which has Cannonball (one of the supporters on Kinda Blue) as the official lead player, along with Hank Jones et al.
Miles's work on "one for daddy-o" in particular is gorgeous stuff.
regards
Geoff
Posted on: 22 May 2006 by hungryhalibut
One record I would heartily recommend is Panthalassa - Miles's electric period pieces remixed and generally played about with, by Bill Laswell. This sounds like sacrilege, but is absolutely brilliant. The way Miles's horn soars out from the dubby arrangements is really something.
Nigel
Posted on: 22 May 2006 by Tam
Dear Nic,
When I say 'much maligned' I'm driving at comments along the lines of those of jcs_smith. I'm not so much talking critically (since I read precious little jazz criticism anyway - though I think I'm right in saying it gets a qualified write up in the penguin guide), but more comments I've read elsewhere on the web which seem to slate it.
I take what you mean about it sounding dated. For me though, what makes it special is something in the liner notes about Miles sitting in his NY apartment in the summer, the window open, listening to the sounds of the city and saying 'I want to record that'. And to me, in a odd way, it really seems to capture that sort of hot, lazy August feel.
Dear Nigel,
Panthalassa in indeed fine, but those who don't have it should be careful. There are two albums with that title, the first, mixed by Laswell is great, the second, dubbed 'remixes' is (which the exception of the Laswell track) is pretty appalling and has really very little to do with Miles.
regards, Tam
Posted on: 23 May 2006 by hungryhalibut
quote:
the second, dubbed 'remixes' is (which the exception of the Laswell track) is pretty appalling and has really very little to do with Miles
Tam
I had not heard of that one, but I won't bother to look it out now. Another Miles LP I really like is Aura, which doesn't seem to have been mentioned above.
Nigel
Posted on: 23 May 2006 by Tam
Dear Nigel,
Aura is special. Interestingly, it was what caused Miles to fall out Columbia after 40 years or so. It was composed by Palle Mikkelborg as a tribute to Miles when he received the Sonning Music Prize. However, Columbia didn't care for it and were reluctant to release the disc and so Miles stormed off to Warner. One wonders quite what they were thinking.
regards, Tam
(currently listening to Sketches of Spain)
Posted on: 23 May 2006 by hungryhalibut
quote:
(currently listening to Sketches of Spain)
That's a super record. I think I'll go and play it too.
Nigel
Posted on: 24 May 2006 by cider glider
Good to see some nominations for On The Corner, which really shocked me when I first heard it in the 1980s. Will this get the boxed set treatment in due course? I can sometimes get into Get Up With It and Agharta, but they do go on a bit.
No mention so far of Live Evil, and rightly so, it's shouty and dull
Sad to see some DooBop apologists here...
No-one has mentioned Tutu, IMHO Miles' best "post comeback" album, even if it's mostly electronic.
I'll also second the Panthalassa recommendation. It seems like sacrilege at first, but when you think about how much editing Teo Macero did, there's no reason Bill Laswell shouldn't give us his interpretation of the original sessions.
Mark S
Posted on: 24 May 2006 by Tam
quote:
Originally posted by cider glider:
Sad to see some DooBop apologists here...
Dear Mark,
With great respect - I'm not an apologist - I love what is a great album. Simply because you do not, does not mean that everyone who doesn't share your view is an apologist.
As regards boxing On the Corner, I thought we'd had the last of the boxes with Jack Johnson (certainly that was according to columbia's original plan). However, given the Cellar Door sessions, I suppose anything is possible.
regards, Tam
Posted on: 24 May 2006 by jcs_smith
quote:
Originally posted by cider glider:
I can sometimes get into Get Up With It and Agharta, but they do go on a bit.
No-one has mentioned Tutu, IMHO Miles' best "post comeback" album, even if it's mostly electronic.
Mark S
I forgot to mention Agharta - I love that record. By far the best of the live doubles that came out around that time. Live Evile, Live at the Fillmore,Pangea, all dispensible. I take your point though - some of it does go on a bit.
Re. Tutu, another one I can see your point, but I'm not keen. I like We Want Miles, Decoy, Star people and You're under Arrest. They show a clear progression. In the earlier ones he seems a bit at the mercy of the band, well Mike Stern mainly, but by the end he was poroducing something wonderful and very Miles
Posted on: 24 May 2006 by cider glider
quote:
Originally posted by Tam:
quote:
Originally posted by cider glider:
Sad to see some DooBop apologists here...
With great respect - I'm not an apologist - I love what is a great album. Simply because you do not, does not mean that everyone who doesn't share your view is an apologist.
My problem with DooBop is that compared to other excusions in hip hop at the same time, it was unremarkable, and an unworthy end to Miles' career.
Mark S
Posted on: 24 May 2006 by Tam
Can you recommend some superior efforts to check out?
regards, Tam
Posted on: 24 May 2006 by jcs_smith
Not really jazzy but Fear of a black planet and Apocalypse 1991 the Empire strikes Black by Public Enemy are pretty awesome.
Terminator X in the valley of the jeep beats is very good. Prose Combat by MC Solaar is very good and most of the stuff by US3 on Blue Note is worth checking out
Posted on: 24 May 2006 by blackforest
quote:
US3 on Blue Note is worth checking out
uaaargh.

tam, jcs et al.
i will compile a list of important hip hop albums for you guys over the next days...
a tribe called quest e.g. is essential stuff if you're really interested in the jazz into hip hop integration thing as the whole "mid" area of hip hop was heavily heavily inspired by jazz.
"down here on the ground" by grant green (used by a tribe) or - to come back to the topic of the thread – "will o' the wisp" from sketches of spain by miles davis (used by jeru damaja) come to mind...
jazz was really essential for a certain era of hip hop; as funk & disco was for the beginning.
there is a fantastic new compilation from soul jazz records called "big apple rappin" the early days of hip hop culture from '79 - '82 (2CD set) - heavily recommended.
i will compile some albums and tracks for you.
regards,
+blackforest
Posted on: 24 May 2006 by Malky
How's about those Guru's Jazzmatazz records from the nineties?
Posted on: 24 May 2006 by nicnaim
quote:
Originally posted by cider glider:
No-one has mentioned Tutu, IMHO Miles' best "post comeback" album, even if it's mostly electronic.
Mark S
Mark,
If you look further up this thread, you will find I've got a bit of a sofy spot for this album as well. Great minds... and fools etc.
Regards
Nic
Posted on: 25 May 2006 by fred simon
quote:
Originally posted by nicnaim:
quote:
Originally posted by cider glider:
No-one has mentioned Tutu, IMHO Miles' best "post comeback" album, even if it's mostly electronic.
Mark S
Mark,
If you look further up this thread, you will find I've got a bit of a sofy spot for this album as well. Great minds... and fools etc.
Regards
Nic
Mark and Nic, I'm definitely down with
Tutu. And dig Marcus Miller on bass clarinet! Sounds like Bennie Maupin.
Actually,
Tutu isn't as electronic as one might think ... as with Miller's production on Wayne Shorter's wonderful, and greatly under appreciated,
High Life, the careful balance between electronic and acoustic/acousto-electric instrumentation is a major factor in its artistic success.
Anyway, if you haven't already, I urge you to delve (or re-delve) into its follow up,
Amandla, which I think is even better, while essentially furthering the same story line.
Fred
Posted on: 26 May 2006 by Malky
R3, Jazz Legends 16:00, Mixing It 22:15 and Jazz File 22:30.
Posted on: 26 May 2006 by Tam
By which I think you mean:
R3, Jazz Legends 16:00, Mixing It 22:15 and Jazz on 3 23:30
Posted on: 26 May 2006 by John G.
quote:
Originally posted by fred simon:
quote:
Originally posted by nicnaim:
quote:
Originally posted by cider glider:
No-one has mentioned Tutu, IMHO Miles' best "post comeback" album, even if it's mostly electronic.
Mark S
Mark,
If you look further up this thread, you will find I've got a bit of a sofy spot for this album as well. Great minds... and fools etc.
Regards
Nic
Mark and Nic, I'm definitely down with
Tutu. And dig Marcus Miller on bass clarinet! Sounds like Bennie Maupin.
Actually,
Tutu isn't as electronic as one might think ... as with Miller's production on Wayne Shorter's wonderful, and greatly under appreciated,
High Life, the careful balance between electronic and acoustic/acousto-electric instrumentation is a major factor in its artistic success.
Anyway, if you haven't already, I urge you to delve (or re-delve) into its follow up,
Amandla, which I think is even better, while essentially furthering the same story line.
Fred
If you like the above albums you would probably like "We Want Miles"(1981) and "Live Around The World"(1988), both live recordings.
Posted on: 26 May 2006 by jcs_smith
quote:
Originally posted by John Gilleran:
If you like the above albums you would probably like "We Want Miles"(1981) and "Live Around The World"(1988), both live recordings.
I haven't heard Live around the wqorld but I love We Want Miles. Feels a bit of a transition record. It has Mike Stern doing some really long, heavy duty guitar solos
Posted on: 26 May 2006 by DeltaSigma
quote:
Originally posted by graham55:
Tam
Good choice, but I'm just a bit surprised that you didn't include 'Sketches Of Spain'.
The one disc that I love more each time I hear it is 'In A Silent Way'. Totally unlike anything else from anyone else, but where the hell did it come from?
And I do think that 'The Birth Of The Cool' deserves a place in your list too.
What a shame that Jimi Hendrix died before he could pursue an intended collaboration with Miles. Not that John McLaughlin was too shabby, but I think that Miles and Jimi together would have been fireworks.
Graham
I would also include ESP, Miles Smiles and Sorcerer among his greatest albums (especially ESP).
Michael
Posted on: 27 May 2006 by graham55
Does anyone know why there's so much tape hiss on my Sony 2002 Masterworks CD of "In A Silent Way"? I know that much of the album is quiet, but the ambient hiss is ridiculous. Were there problems at the CBS sessions?
Graham