When we last saw Miles, playing in Germany in 1967, he was wearing a suit and tie. Here, two years later, his wardrobe is headed in a new direction. So is his music.
Miles Davis Quintet,* live, France (Antibes), 1969
“Milestones,” “Footprints,” “’Round Midnight”
*MD, trumpet; Wayne Shorter, tenor and soprano saxophones; Chick Corea, electric piano; Dave Holland, bass; Jack DeJohnette, drums.
protean, adj. 1. Of or resembling Proteus in having a varied nature or ability to assume different forms. 2. Displaying great diversity or variety. E.g., Miles Davis.
Miles Davis Quintet (MD, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; Tony Williams, drums), “I Fall In Love Too Easily,” live, Germany (Karlsruhe), 1967
More? Here. And here. And here.
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lagniappe
last night
There’s something in nothing, and we’ll never know what it is.
—Susan Howe, poet, after a performance of Frolic Architecture with composer and musician David Grubbs at the University of Chicago’s Bond Chapel
Miles Davis Quintet (MD, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; Tony Williams, drums), “Footprints” (W. Shorter), live, Sweden, 1967
Vodpod videos no longer available.Time for just one note? 3:34. (Shorter’s entire solo is a marvel [1:54-3:54]: it’s as intimate and delicate as a dream.)
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lagniappe
reading table
just the other day
we said goodbye . . .
dewy grave—Kobayashi Issa, 1790s (trans. David G. Lanoue)
Two takes, two tempos, two bands—one Miles.
Miles Davis, “So What”
Take 1
With John Coltrane (saxophone), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums), Gil Evans Orchestra; live (TV Broadcast), 1959
*****
Take 2
With Wayne Shorter (saxophone), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums); live (TV broadcast), 1964
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lagniappe
[Many admirers of Kind of Blue] are forced to reach back before the modern era to find its measure. Drummer Elvin Jones hears the same timeless sublimity and depth of feeling ‘in some of the movements of Beethoven’s Ninth Symphony, or when I hear Pablo Casals play unaccompanied cello.’ ‘It’s like listening to Tosca, says pianist/singer Shirley Horn. ‘ You know, you always cry, or at least I do.’
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Quincy Jones: ‘That will always be my music, man. I play Kind of Blue every day—it’s my orange juice. It still sounds like it was made yesterday.’
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Chick Corea: ‘It’s one thing to just play a tune, or play a program of music, but it’s another thing to practically create a new language of music, which is what Kind of Blue did.’
—Ashley Kahn, Kind of Blue: The Making of the Miles Davis Masterpiece (2000)
Great drummers are like great basketball players—they lift everybody’s game.
Trixie Whitley with Brian Blade (drums) and Daniel Lanois, “I’d Rather Go Blind,” recording session, 2008
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Herbie Hancock (piano), Wayne Shorter (saxophone), Dave Holland (bass), Brian Blade (drums); live, Germany (Salzau), 2004
Part 1
(It may simply be a coincidence [or my imagination], but a four-note pattern that Herbie keeps repeating, with variations, reminds me, particularly at around 2:27 and following, of the beginning of Alfred Schnittke’s Piano Concerto [featured on 1/14/10].)
Part 2
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lagniappe
Johnny [Vidacovich, featured on 9/30/09], man . . . what an inspiration. His playing is so liquid but at the same time just the street of it is so intoxicating. Studying with him, the drumming aspect was never about fundamental things. It was never about the drums as much as it was about the music and playing with this melodic sensibility. That sticks with me even more than the thickness or the groove, which he never spoke about, really. That was like a given. If you have it inside of you, that groove, you need to lay it down. But also need to be able to sing through the drums.—Brian Blade
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