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Post by Admin on Nov 10, 2013 17:46:52 GMT -5
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Post by Admin on Nov 14, 2013 8:40:06 GMT -5
Don Cheadle tuning up Miles Davis biopic Kill The Trumpet Player Actor's directing debut will focus on the period immediately following Davis's self-imposed exile from music and will co-star Ewan McGregor and Zoe Saldana Full Story from the Guardian |
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Post by Admin on Nov 14, 2013 8:46:58 GMT -5
Flamenco Sketches from "Kind of Blue"
The piece has no written melody, but is rather defined by a set of chord changes that are improvised over using various modes of the major scale of each tonality. Each musician separately chose the number of bars for each of the modal passages in his solo.
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Post by Admin on Nov 20, 2013 21:02:23 GMT -5
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Post by Admin on Dec 7, 2013 11:25:43 GMT -5
The angry side of Miles Davis
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Post by Admin on Dec 9, 2013 11:45:18 GMT -5
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Post by Admin on Aug 12, 2014 16:20:12 GMT -5
My favorite Miles Davis Album:   and my favorite track: Moon Dreams Now that's Cool ![[coolsign]](http://www.sherv.net/cm/emo/word/cool-sign-smiley-emoticon.png) |
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Post by JamesP on Aug 14, 2014 15:01:08 GMT -5
My second favorite Mile album - Kind of Blue  For the jazz guitarists here, they will appreciate the "revolution" this album started, with the use of modal scales. |
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Post by minorkey on Aug 17, 2014 12:49:12 GMT -5
Don Cheadle tuning up Miles Davis biopic Kill The Trumpet Player Actor's directing debut will focus on the period immediately following Davis's self-imposed exile from music and will co-star Ewan McGregor and Zoe Saldana Full Story from the GuardianI wabt to see that film Miles Ahead when it comes out! |
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Post by JamesP on Aug 18, 2014 13:10:34 GMT -5
Miles Davis All Stars at newport jazz festival 1955
Miles Davis - trumpet
Zoot Sims - tenor sax
Gerry Mulligan - baritone sax
Thelonious Monk - piano
Percy Heath - bass
Connie Kay - drums
Miles Davis' appearance at the 1955 Newport Jazz Festival is generally regarded as something of a comeback for the trumpet star. Plagued by a heroin addiction in the early 1950s, Davis dropped off the scene entirely for a couple of years. And while he had gone into the studio in 1954 to record an all-star session for Prestige, resulting in the classic Walkin', his Newport set on Sunday, July 17, marked his return to the public arena in a very real sense. And a triumphant return it was.
As George Wein noted in his autobiography, Myself Among Others: A Life in Music: "Miles was in better physical shape in 1955 than he had been in recent years. But he didn't have a working group. So I added Miles onto a jam session that already featured Zoot Sims, Gerry Mulligan, and Thelonious Monk. Because of his late addition to the festival, Davis' name wasn't even printed in our program book. But his presence was felt that night. The clarity of his sound pierced the air over Newport's Freebody Park like nothing else we heard onstage that year. It was electrifying for the audience out on the grass, the musicians backstage, and the critics - some of whom had opined that Miles' career was already over."
Miles recalls this triumphant set at Newport in his own autobiography: "When I got off the bandstand, everybody was looking at me like I was a king or something - people were running up to me offering me record deals. All the musicians there were treating me like I was a god… It was something else, man, looking out at all those people and then seeing them suddenly standing up and applauding what I had done." Indeed, this single performance at Newport had energized Davis' career and led to a lucrative recording contract with Columbia Records - the beginning of a longstanding relationship that lasted from 1955 to 1985.
On the Sunday evening, Miles Davis and the All-Stars were sandwiched between sets by the Count Basie Reunion Band (featuring Lester Young, Jo Jones, and Jimmy Rushing) and the Dave Brubeck Quartet. Following an introduction by master of ceremonies Duke Ellington, who playfully refers to them as "the jazz futurists," Davis and the All-Stars launch into a spirited, swinging take on Monk's "Hackensack." Miles, Zoot, and Mulligan all contribute energized solos here, with Monk offering his inimitable off-kilter piano comping while Heath and Kay swing the proceedings. Next up comes the real galvanizing moment of the set, their stirring performance of Monk's most famous piece, "'Round Midnight." Davis kicks it off with a dramatic trumpet intro before the ensemble settles into the darkly alluring ballad. Sims and Mulligan also contribute potent solos here, but it is Davis who steals the show with his compelling performance, electrifying the audience and all backstage onlookers in the process. Shifting moods, they next jump into a joyful jam on Charlie Parker's "Now's The Time" with Kay's Papa Jo Jones-ish hi-hat rifff setting the proper tone for this bop staple. And Miles tackles the familiar theme with gusto, his golden tones sounding a clarion call for his comeback in no uncertain terms.
This was the first of many Newport Jazz Festival appearances to come for Miles Davis, whose relationship with Wein went back to George's pre-Newport days at his Storyville Club in Boston. And, in retrospect, it was Miles' most important appearance at George's annual clambake. (Milkowski)
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Post by rooster on Aug 23, 2014 14:36:51 GMT -5
Actually, I believe there was an earlier recording session with miles, also in 1945, but dating from April of that year (the Charlie Parker session was from November).   |
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Post by JamesP on Mar 30, 2015 6:58:46 GMT -5
For a relatively novice in the Jazz genre, this is among my favorite. Saw Miles perform this at Newport.
Bitches Brew, Recorded in 1969, was released on this date - March 30, 1970.
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Post by minorkey on May 31, 2015 14:07:24 GMT -5
He was definitely a charismatic character, and a defining figure in the world of jazz. But I just don't 'get' much of his stuff!
This tho is epic!
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