so, what exactly was Teo Macero doing?

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also bear in mind that he was editing down to two-track tape (on every can record up to landed), as opposed to teo having whatever multitrack board columbia had at the time at his disposal.

reading above interview, it doesn't sound like Teo was using much more than that.

― senseiDancer (sexyDancer), Wednesday, 25 January 2006 03:27 (eighteen years ago) link

"Miles was just playing music, he didn't really think of himself as recording. He left the recording to the producer Teo Macero, who was working for Columbia Records, not for Miles. Miles was hot. It was like 'Let's get another one in the stores,' you know? Teo put it all together quickly. And in fact the records were never finished. My idea was to fill out the big picture — more tracks, a much broader image of sound, more detail. I made it more animated, with more punch."

--Bill Laswell

http://www.iht.com/articles/2000/01/12/laswell.t.php

I remember reading this interview and it kind of bugged the shit out of me. It's like Laswell is saying Macero is a hack, right?

― Earl Nash (earlnash), Wednesday, 25 January 2006 03:28 (eighteen years ago) link

I don't think I could bring myself to read that Laswell interview. He sure sounds condescending.

That was an amazing interview, Dan. Thanks for posting it.

― sleeve (sleeve), Wednesday, 25 January 2006 05:45 (eighteen years ago) link

I like the end of 'future days' when he fades the song back in over itself, with the 2nd tape going at double speed. it's subtle, but it's fucking insane that something like that would sound subtle

i just listened to that. you're right about how subtle it is. it's almost like if they are doing a jungle remix or something and playing the guitar pattern on harmonics.

― jaxon (jaxon), Wednesday, 25 January 2006 19:36 (eighteen years ago) link

I think Kraftwerk do a very similar thing at the start of "Ananas Symphonie" (they were very fond of speeding tracks up and down at the time), but, as both albums were recorded in the same year, it's probably a just a neat coincidence

― Vicious Cop Kills Gentle Fool (Dada), Wednesday, 25 January 2006 19:41 (eighteen years ago) link

teo was definitely involved in cutting up the cellar door material in live-evil

― cancer prone fat guy (dubplatestyle), Wednesday, 25 January 2006 19:42 (eighteen years ago) link

keep in mind live-evil is only one night of the stuff on the cellar door box tho

― cancer prone fat guy (dubplatestyle), Wednesday, 25 January 2006 19:43 (eighteen years ago) link

four weeks pass...

Wow. Fuck Bill Laswell (especially since Panthalasa didn't do much for me).

― js (honestengine), Wednesday, 22 February 2006 15:47 (eighteen years ago) link

I like Bill laswell. I have a lot of Laswell. But Panthalassa didn't make the cut because Laswell made Miles [em]suck[/em]. Punch it up? He punched it out.

I'll have to remember not to [em]read[/em] laswell.

― J Arthur Rank (Quin Tillian), Thursday, 23 February 2006 15:46 (eighteen years ago) link

sixteen years pass...

Some interview clips with Teo Macero came across my Youtube scroll and they are all really entertaining as this guy worked with some serious people. (I knew from liner notes he played with Mingus back in the early days of the 50s.) One story I did not know was that he did some work with the Lounge Lizards. He tells a story about doing some concerts up in Montreal that were really big with them mixing an orchestra and jazz group. The way he described the setup really sounds similar to some of those John Zorn Cobra games as he would have small parts written for the orchestra and bring it in and out of the Lizards improvisations over the piece.

I went looking for that hoping maybe there would be a recording, but did come across this one and I thought it was a really good and interesting listen.

Fusion - Teo Mascero, The Lounge Lizards & London Philharmonic Orchestra.

https://www.youtube.com/watch?v=XVYsq4XzlQU

― earlnash, Tuesday, 22 November 2022 22:40 (one year ago) link

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