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High Times
Joined: 25 Oct 2004
Posts: 744
Location: music written by JK/Toby Smith
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 Posted: Sat Jan 06, 2007 18:46 |
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very interesting, thanks.
here's a great article about KIND OF BLUE album
http://en.wikipedia.org/wiki/Kind_of_blue
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Influence
Kind of Blue is not only regarded as one of Davis's masterworks, but one of the most influential albums in the history of jazz. One reviewer has called it "a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence." [1] Several of the songs from the album have become jazz standards and are very often covered by others.
In 1958, however, the arrival of Ornette Coleman on the jazz scene via his fall residency at the Five Spot club, consolidated by the release of his The Shape of Jazz to Come LP the same year, muted the impact of Kind of Blue, a happenstance that irritated Davis to no end. Davis would never reconcile himself to Coleman's free jazz innovations, although he would incorporate musicians amenable to Coleman's ideas with his great quintet of the mid-1960s, and offer his own version of "free" playing with his jazz fusion outfits in the 1970s.
The influence of the album did build, and all of the sidemen from the album would achieve success on their own. Evans formed his influential jazz trio with bassist Scott LaFaro and drummer Paul Motian; "Cannonball" Adderley would front his popular bands with his brother Nat; Kelly, Chambers, and Cobb would continue as a touring unit, recording under Kelly's name as well as in support of Coltrane and Wes Montgomery, among others; Coltrane would go on to become one of the most revered and innovative jazz musicians in history. Even more than Davis, Coltrane took the modal approach and ran with it during his brief career as a leader in the 1960s, leavening his music with Coleman's ideas as the decade progressed.
In his book, Kind of Blue: The Making of a Miles Davis Masterpiece, author Ashley Kahn wrote that "still acknowledged as the height of hip four decades after it was recorded, Kind of Blue is the premier album of its era, jazz or otherwise. Its vapory piano introduction is universally recognized" (Kahn 16). Quincy Jones, one of Davis' longtime friends, wrote: "That [Kind of Blue] 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" (Kahn 19). Chick Corea, one of Miles' acolytes, was also struck by its majesty. He said: "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" (Kahn 19).
One significant aspect of Kind of Blue is that the entire record, not just one song, was revolutionary. Gary Burton noted this occurrence. "It wasn’t just one tune that was a breakthrough, it was the whole record. When new jazz styles come along, the first few attempts to do it are usually kind of shaky. Early Charlie Parker records were like this. But with Kind of Blue [the sextet] all sound like they’re fully into it" (Kahn 179).
Along with Dave Brubeck's Time Out, Kind of Blue is often recommended as an introductory jazz album, for similar reasons as the Brubeck record: the music is very melodic, and the relaxed "open" quality of the songs makes the improvisation easy for listeners to follow, without sacrificing one iota of brilliance or creativity.
In 1997 Kind of Blue was named the thirteenth greatest album of all time in a Music of the Millennium poll conducted by HMV, Channel 4, The Guardian, and Classic FM. In 2003 the TV network VH1 placed it at number sixty-six, and Rolling Stone magazine placed it twelfth on their list of the 500 greatest albums of all time. VH1's Ashley Kahn has devoted an entire book to the record: Kind of Blue: The Making of the Miles Davis Masterpiece. In 2002, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry.
The album's influence reaches beyond jazz. Many improvisatory rock musicians of the 1960s name-checked this album, along with other Davis albums, or Coltrane's modal records like My Favorite Things or A Love Supreme. Pink Floyd keyboardist Richard Wright has said that the chord progressions on this album influenced the structure of the introductory chords of their song "Breathe" on the landmark 1973 album Dark Side of the Moon. |
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High Times
Joined: 25 Oct 2004
Posts: 744
Location: music written by JK/Toby Smith
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| Posted: Thu Feb 01, 2007 12:14 |
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i dont have album called in a silent way
anybody heard it?
Miles Davis
In a Silent Way
Columbia
1969
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Recording in February 1969, Miles Davis seemed to pick up the vibe of what was going to go down that crazy summer. It was a tumultuous time as the sixties came to a close. First came the Manson Family, then the murder during the Stones' Altamont show overshadowing the na�ve utopia of Woodstock. With In a Silent Way Davis seemed to sum up the dying of the light as the war and violence took over from love and peace. Certainly his most somber record since Kind of Blue , it was a reflective record that would bridge the gap from one of the greatest quintets in jazz history to the most controversial era of Miles Davis' work.
In a Silent Way is a foreboding and deeply meditative record that has an almost spiritual quality. Following on his first real plunge into jazz-rock fusion on Filles de Kilimanjaro , the quintet's last record, In a Silent Way was a real head twister. Following Filles' blues- rock-jazz ideology, Davis really pulled together the methods that he began with on the previous release. But the change was the low-lying, almost silent feel. Gone were the funky up-tempo tracks, replaced with two long tracks with sparse arrangements that relied more on atmosphere than any of Miles' earlier records.
Holding onto Tony Williams, Herbie Hancock and Wayne Shorter from the quintet, Miles added future fusion gods Chick Corea and John McLaughlin, as well as Dave Holland (filling Ron Carter's shoes on bass) and organist/pianist/composer Joe Zawinul. In a Silent Way tackles the tone palette of Kind of Blue , setting into an electric fusion. Opening with the subtle and quiet “Shhh/Peaceful,” the record begins a soothing adventure, led by Zawinul's trippy drops of organ. Slowly the track picks up with Williams doing double time on the hi-hat throughout. But McLaughlin is the major soloist, and what would become his signature guitar chops softly intertwine throughout. Finally Miles and Wayne take the stage and fill the holes in with killer solos that rival some their best work from Miles Smiles and Nefertiti. But the B-side with “In a Silent Way/It's About that Time” opens with silence and Williams continuing where he left off - a continuing groove would be played to dreadful bore on On the Corner three years later. The track really shifts as the jam of “It's About that Time” takes off and builds into some classic Davis/Shorter playing that really lays out what is about to come on Bitches Brew. The tracks eases off again and goes back into “In a Silent Way.”
Without hearing this overlooked gem, many fans of jazz have missed out on one of the genre's most original and all-encompassing works. The record has recently gotten the full treatment with Columbia/ Legacy's Complete Sessions box set and it continues to prove how vital it is to the Davis catalogue. The record is an essential piece to understanding Miles and where jazz was heading. Its mix of rock and fusion point to Remembering Jack Johnson (rock) and Bitches Brew (fusion). Two important notes are the emergence of Joe Zawinul and the editing and production of Teo Macero who would both be focal points in the movement of Miles' music. Zawinul's presence on organ gives the record its otherworldly feel, but the groove and layout of the record are credited much to Macero's time at the knobs. His splicing and rearranging would become instrumental in the emergence of Miles' sound especially on Bitches Brew and On the Corner. Building and peaking the long tracks so that their flow was consistent and maintained the ideology of the piece.
In a Silent Way is a one of kind record that mixed the late-'60s pop and underground movement into the jazz realm. On this record Miles began to hook into the late '60s sounds that flowed from the jam bands in San Francisco. No more is that more evident that in the otherworld-like organ of Zawinul. Starting with Filles the groove of Jimi Hendrix really started to take shape in the work that Miles began 1968. This is best shown on disc one of the Complete Sessions. The opener ”Mademoiselle Mabry (Miss Mabry)” has its foundation based on Hendrix's “The Wind Cries Mary.” Through Macero's production and Miles utilizing the same musicians would bare similar but ever- evolving grooves with each release. They would never make a record like it again, an absolutely timeless work that proves that Miles Davis and crew were some of the most innovative thinkers in modern music. |
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High Times
Joined: 25 Oct 2004
Posts: 744
Location: music written by JK/Toby Smith
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| Posted: Thu Feb 08, 2007 21:03 |
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i have bought "in a silent way".
cool album with Joe Zawinul
today i am listening to album E.S.P. - 1965
track Eighty-One |
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mr.az
Joined: 01 Sep 2005
Posts: 2421
Location: rallying
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| Posted: Thu Feb 08, 2007 21:57 |
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i listen part of a miles davis albums, i dont remember the name now
yeah, the history of the jazz cant be the same without miles
dont surprise me that is one of the jay influences 
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deesh
Joined: 23 Feb 2002
Posts: 2717
Location: +001
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| Posted: Tue Aug 07, 2007 15:04 |
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Check back to listen to tracks...
http://www.giantstep.net/releases/1542/
In honor of Miles Davis' 81st birthday on Saturday, May 26, the long-awaited release of Evolution Of The Groove Miles Davis Remix EP premieres tracks with Nas, Carlos Santana, Olu Dara and an A-list contemporary music ensemble featuring Miles' nephew Vince Wilburn, Jr., on drums and programming, guitarist Pat Thrall (Pat Travers Band, Meat Loaf) and bassist Charley Drayton (Rolling Stones, Iggy Pop, Divinyls).
Executive produced by Steve Berkowitz and Vince Wilburn, Jr., and co-produced by Wilburn, Jr., Thrall, and Drayton, Evolution Of The Groove was recorded mainly at the Hit Factory in New York City. Nas' vocals on the track "Freedom Jazz Dance," co-produced by jazz funk legend Lenny White (Return To Forever), were recorded at DARP Studios in Atlanta, Georgia. Tracks on Evolution Of The Groove remix EP include "Freddie Freeloader," "Freedom Jazz Dance" featuring Nas, "It's About That Time" featuring Carlos Santana (this is a longer version that the one originally included on 2006's "Cool & Collected"), "Honky Tonk" and "Black Satin." Both an homage to Miles and a continuation of the spirit and intention of his music, Evolution Of The Groove imagines Miles Davis in the 21st century, the lyricism of his horn and the power of his musical vision blending with contemporary hip-hop, jazz and rock in provocative new ways and seductive new grooves.
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Knjaz
Joined: 01 Feb 2006
Posts: 803
Location: Stuck in your computer
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| Posted: Tue Aug 07, 2007 21:28 |
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Miles = great. Really, really great. Kind of Blue is probably my favorite album. Bitches Brew ain't bad, too. I especially like the eerie 27-minute title track of that album.
If anyone wants me to, I'll upload a gig of his from 1969. It's got some material that appeared a year later on BB ("Miles Runs the Voodoo Down"). |
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