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that you don't like the music dude, but don't call it a travesty. to the right ears, this music is incredible. i wouldn't say that this is the best example of this period of miles, but i still find it a fantastically enjoyable listen.
I chance...
"Just a Travesty" What?! I find it funny that there seems to be so many pro-bebop cats who would have called the dixieland set "moldy figs" because of their reluctance to open their ears and their minds to a new music, and who (then and) now whine about things being a "travesty" when they are of a more free nature. It really is too bad that some people can't just feel good music instead of complaining that it isn't what they expect. It's all music, man. Chill out, open your mind, and give it a listen.
I read the reviews...I downloaded a couple of tracks...just to make sure my initial reaction to the 30 second previews were not wrong...listened to the downloads over a few days to give them a chance...then deleted the downloads...why would anyone want to have their ears assaulted by this noise? '40s Miles - Yes! '50s Miles - Yes! This recording is just a travesty! Sorry guys! Their maybe an interpretation of quantum mechanics that explains your views on this recording. Who knows?
...Winter in Europe 1967? It's an amazing companion piece to this. Listening to them both you hear the development of the music and what the new lineup brought in. Where did it go?
This album is a classic. Great live stuff from a wonderful line-up.
Maybe after a few more listens my exuberance will wear down, but this is now my favorite Miles Davis album. You can envision Miles strolling onto the stage, thin, dapper and not cool but ice cold. As if to warm up a bit he tootles some notes into his horn and instantaneously the band is magically ablaze. Nobody calls the tune, nobody counts it off. It is as if a shaman has cast a spell before your very ears. Knowing Miles' legendary disdain for rehearsals (Wayne Shorter talks about a phone call from Miles exhorting him to "bring your music" essentially constituting rehearsal for his first gig with the band) I imagine these tootled notes being the band's first inkling of what they were going to play. But as if by osmosis, everybody knows exactly where its at! All of this could be the product of post production editing, but I've always been the type to never let reality get in the way of a good tale.
I didn't think that the recording would be this good and the playing is fantastic. I never thought someone would do justice to Chambers playing on "So What" but Carter certainly does - just wished I hadn't waited a couple months before downloading
This is a band caught at the brink of change-just before Wayne Shorter took over from George Coleman to bring the group into the mid to late 60s and from there to the final fusion bands of the 70s and beyond.Magnificent piano playing by Hancock and of course Tony Williams kept the pot boiling throughout. Great sound quality and worth downloading in full.
The band is on top of their game, on fire and swinging mightily. Nice sound quality, you can hear Ron Carter's bass, the gorgeous ride cymbal of Tony Williams, Herbie,Miles, George Coleman on tenor sax. A great transitional unit just before Wayne Shorter joined the band. A great and heretofore unavailable performance. Dig it.
Some good music never goes out of style: Jazz fans everywhere revere the cooking hard bop of the 1950s. So why is the other big '50s trend, cool jazz, barely on modern radar? If you want to know how fresh and airy it still sounds, hear trumpeter/composer/arranger/cool exemplar Shorty Rogers on "Popo," "Didi," "Four Mothers" and "Sam and the Lady" from his first 1951 octet session: tightly arranged, swinging jazz with breezy orchestral colors,… more »
Before Bob Dylan or David Bowie or whoever else became famous for periodically reinventing themselves, Miles Davis was already at it. He first gained attention playing fast bebop trumpet with Charlie Parker, then fronted the nine-piece band that established softer cool jazz. (One of his collaborators was arranger Gil Evans, who'd go on to direct a series of orchestral LPs for Miles.) In the '50s Davis founded his first great quintet, a highly… more »
