VOTE FOR MILES - ILM artist poll #32, Miles Davis - Results Thread

you have to let it run for a while, it's a builder

1. Flamenco Sketches
2. Milestones
3. It Never Entered My Mind
4. Blue in Green
5. I Want to Stay Here
6. So What
7. Miles Runs the Voodoo Down
8. In a Silent Way
9. Right Off
10. Shhh/Peaceful

Followed this to learn, and I got some direction on what to look for, so thanks.

I need to shout out what is probably my favorite track that has not even been mentioned in this thread so far:

It was actually a toss-up for me between this and "Mademoiselle Mabry" on my ballot. Definitely an underrated track.

TRACKS
1. Shhh/Peaceful - In a Silent Way
2. Bitches Brew - Bitches Brew
3. Pharaoh’s Dance - Bitches Brew
4. Spanish Key - Bitches Brew
5. Miles Runs the Voodoo Down - Bitches Brew
6. Sanctuary - Bitches Brew
7. So What - Kind of Blue
8. All Blues - Kind of Blue
9. He Loved Him Madly - Get Up With It
10. Footprints - Miles Smiles
11. Rated X - Get Up With It
12. Blue in Green - Kind of Blue
13. Boplicity - Birth of the Cool
14. Orbits - Miles Smiles
15. Circle - Miles Smiles
16. Freedom Jazz Dance - Miles Smiles
17. Dolores - Miles Smiles
18. E.S.P. - E.S.P.
19. Agitation - E.S.P.
20. Iris - E.S.P.
21. Black Satin - On the Corner
22. Stuff - Miles in the Sky
23. Black Comedy - Miles in the Sky
24. Tout de Suite - Filles de Kilimanjaro
25. Petits Machins - Filles de Kilimanjaro
26. Filles de Kilimanjaro - Filles de Kilimanjaro
27. Solea - Sketches of Spain
28. Calypso Frelimo - Get Up With It
29. Maiysha - Get Up With It
30. The Sorcerer - Sorcerer

William will agree you need to watch this
https://www.youtube.com/watch?v=bxSFSdcGPLM

1. Go Ahead John
2. Shhhpeaceful
3. Great Expectations
4. Freddy Freeloader
5. Lonely Fire
6. It's About That Time
7. All Blues
8. Tout De Suite
9. Solea
10. Will O' The Wisp
11. The Little Blue Frog
12. The Pan Piper
13. Petits Machins
14. Black Satin
15. One And One
16. Miles Runs The Voodoo Down
17. Blue In Green
18. All Blues
19. Filles De Kilimanjaro
20. Spanish Key
21. Pinocchio
22. Country Son
23. Paraphernalia
24. Honky Tonk
25. Frelon Brun
26. Eighty-One
27. Footprints
28. Mood
29. Dual Mr. Anthony Tillmon Williams Process
30. Splash

Really enjoyed this poll, thanks for the effort William. Only just getting acquainted with Porgy and Bess and Ascenseur pour l'échafaud. It is such a huge, multifaceted beast is the Miles oeuvre. I don't know how he fitted it into one lifetime.

My ballot --

TRACKS

#1
Flamenco Sketches
He Loved Him Madly
In A Silent Way/It's About That Time
Black Satin
Footprints
On the Corner/New York Girl/Thinkin' of One Thing and Doin' Another/Vote for Miles
Shhh/Peaceful
Nuit Sur les Champs-Élysées (take 4)
Circle in the Round
Generique
Sanctuary
Fall
Blue in Green
Pharoah's Dance
Seven Steps to Heaven
So What
Gone
Saeta
Rated X
Concierto de Aranjuez
Prayer (Oh Doctor Jesus)
Bitches Brew
Spanish Key
Go Ahead John
Masqualero
Eighty-One
All Blues
Summertime
Blues for Pablo
Round Midnight - #30

ALBUMS

1. In A Silent Way
2. On the Corner
3. Kind of Blue
4. Ascenseur Pour l'Echafaud
5. Miles Smiles
6. Sketches of Spain
7. Dark Magus
8. Bitches Brew
9. Get Up With It
10. Seven Steps to Heaven
11. Porgy and Bess
12. Birth of the Cool
13. Filles de Kilimanjaro
14. Miles in the Sky
15. Nefertiti
16. The Complete Concert 1964
17. Miles in Tokyo
18. E.S.P.
19. Milestones
20. Miles Ahead

SIDEMEN

Tony Williams
Bill Evans
John McLaughlin
Dave Holland
John Coltrane

William will agree you need to watch this


These videos make me realize that as intense as the music from those live records is during the 70s, in some ways you still don't quite understand how radical they were until you see the performances -- the living room-like setup, guys in their 20s w the enormous Afros and silk shirts, Mtume playing thumb pianos and the like. For a Miles Davis band, who was playing to stuffed shirt white audiences only a few years earlier, it's pretty incredible.

Herbie on 'Nefertiti', confirming the 'lost first take' story (although there still weren't solos on that version):

http://www.scribd.com/doc/122187618/Herbie-Hancock-The-Nefertiti-Interview

HH: By the way, that was me, who said to Miles “let’s play the melody only.” That was my suggestion. I thought that the rhythm sections could give colors from underneath. Miles said “Wayne, let’s do the melody,” and they did. We succeeded. You can hear how the rhythm section develops. By the way, you know that the first take of “Nefertiti,” wasn’t actually recorded on the original album? We were all really trying to find the real meaning of the song, and no one pressed the “record button”. In take 2 we tried to reproduce the sound of take 1. The first take was the real original, but we didn’t record it. So you’re actually listening to take2 on the album.
--Oh, really?
HH: Yes. That’s right. When we finished the original “Nefertiti” album, Miles said to Teo Macero, “Teo, from now on, press the “record button,” whenever we grab our instruments; whenever you hear anything!!! Never mind about take 2,3,or 4, CBS record L35 or any of that kind of shit man!!! Get the music on the tape!!!” So after that, the music was always recorded. He never forgot to push the “record button”again, (laughs). Anyway, the first version was a masterpiece. Who listened to it? Only people inthe studio at that time. They never forgot that. Ask Ron Carter. He can tell you about the“Nefertiti,” which was not recorded. That was more than 20 years ago.

Ohhhh, man.

http://en.wikipedia.org/wiki/File:Teo_Macero.jpg

=

http://0.tqn.com/d/animatedtv/1/0/Y/K/familyGuy_Meg_single1_72.jpg

Rather,
http://upload.wikimedia.org/wikipedia/commons/6/66/Teo_Macero.jpg

=

http://0.tqn.com/d/animatedtv/1/0/Y/K/familyGuy_Meg_single1_72.jpg

No way!

Way.

Miles Davis Way.

Volume 3 of the Bootleg Series coming out in March.

Looks to be the complete/unedited At Fillmore shows.

Sweet, I was just jamming Vol 2 the other day, there will never be enough live Miles boots!

yeesh i still need to get vol 2. this should be good, though "a substantial contribution from Carlos Santana" in the liners ehhh.

"a substantial contribution from Carlos Santana" = a picture of Santana wearing a tie-dyed Miles t-shirt

honestly i'd rather they throw it over to keith jarrett so he can explain why all of this music is terrible. at least that would be kind of entertaining.

I wonder if Jarrett winces and writhes around when he's typing.

lol probably

but seriously, whatever jarrett thinks, him and corea dueling during this period is some seriously killer stuff.

Totally. I love how Miles got such amazing performances out of musicians by forcing them to do what they didn't want to do. I don't think Jarrett touched an electric instrument (or Corea an Echoplex) after his stint with Miles.

Paul Tingen chimes in on the upcoming release: http://miles-beyond.com/news.htm

Also, huh:

There's a nice, impressionistic essay by Michael Cuscuna, who was at one of the concerts, and the pre-release version also contains an interview with Santana. Reportedly Santana was unhappy with the album's cover, which he said had nothing to do with Miles, and he withdrew his cooperation and his section of the liner notes will be omitted from the release when it sees the light of day on March 25th. These are the rumours I've heard, let's see what the reality is.

Weird song ID request, but just wondering if anyone knows what Miles song was used in the clip from his entry in Microsoft Encarta circa-1994.

can't help you, but i am smiling b/c i spend shit loads of time as a 10-14 year-old exploring music clips and articles via this mid-1900s CD-ROM from Billboard/All Music Guide. got into tons of jazz as a kid b/c of this

"b/c i SPENT spend shit loads of time as a 10-14 year-old"

to clarify i am no longer a pre-adolescent

Was reading PDF's ranking of Miles' studio albums this morning and had a desire to listen to You're Under Arrest -- and WTF?? -- it seems to be the sole album of his not on Spotify.

Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4

looks good... though i'm not actually that crazy about the newport 58 set.
is that 75 set the last time he played in the 70s?

It's his last live recording of the 70s, but supposedly the last performance was a few months later.

And yeah, there's a bit too much already-released stuff here. I would've rather they didn't include the 1969 set and instead included the full 1975 set.

OK, I could give a shit about Disc 1, but Discs 2 and 4 look fantastic, and Disc 3 should be pretty awesome, too (I already have Bitches Brew Live, so I already have the 1969 material, but the '73 and '75 stuff will be cool).

I was hoping Vol. 4 would be four discs from the 1971 band heard on Disc 4. Oh, well...

Ha, I was just listening to Vol.3 the other and thinking we were about due for Vol.4, yeah I feel sort of mixed about the selection (was also really hoping for like 4 discs of unreleased 70s stuff) but I'll definitely get it...yeah disc 2 and 4 look like they could be awesome.

Does it still sometimes feel like Sony/Columbia doesn't know what to do with the 71-75 recordings? Like even here it's almost like they are luring people in with mostly released stuff from 55.

yeah just seems like an all 75 box is important... maybe other than agharta/pangaea and this july recording, columbia doesn't actually have that much in the vaults?

just discovered this by the way
https://www.youtube.com/watch?v=MrH8Fremjjo

Does it still sometimes feel like Sony/Columbia doesn't know what to do with the 71-75 recordings?

It really does. I mean, even when they remastered and reissued a bunch of the 70s albums in double-digipaks in the early '90s (At Fillmore, Black Beauty, In Concert: Live at Philharmonic Hall and Dark Magus), they left the crappy versions of Agharta and Pangaea on the market.

there's a tape of miles in 75 at the bottom line (which I think i learned about from yr book?) that smokes. audience recording though...

I was always a little lukewarm on Agharta and Pangaea until I hunted down vinyl copies and was blown away, the fact that Sony/Columbia hasn't remastered/reissued those is baffling.

This Newport box feels like a way of getting certain shows out of the way that wouldn't have fit on their respective/presumptive boxes.

In other words, the 1967 Newport set wouldn't have fit/made sense for the 1967 Bootleg Series, but there likely aren't enough unreleased 1967 shows to put it on another box with.

I know there's a slew of 1973 European shows (audio & video), and I remember there being talk of a big 1975 box some years ago.

Even the cover of this new box, which is a cool picture, but it's really burying the lede so to speak with regards to what's actually on the dicss

yeah i dunno - may just be that even though electric miles has become more accepted in recent years, kind of blue miles is still the most likely to sell?

I keep coming back to "Go Ahead John."

My uncle, a jazz pianist, posted this little rant on Facebook today. I understand just enough of it to find it fascinating. Was not at all aware of people playing the melody line on "All Blues" the way he's complaining about, but it makes sense. As does his argument about why it's so wrong...

Ok. Virtually every jazz musician knows tunes from Kind of Blue. Miles wrote those tunes and recorded them at a time of experimentation into modes and that was part of the reason he used Bill Evans, because Evans had some of the same interests as Miles in modes and modal harmony. So, Kind of Blue is legendary for a lot of reasons, but "All Blues," in particular, is one of those reasons. And of all of Miles' tunes from that album, probably even more than So What, All Blues is played the most performed by jazz musicians. And Miles' melody is a perfect example of what he was trying to do at that time. Now, I don't want to sound picky, but why is it that so many horn players, or for that matter anyone given the responsibility of playing the melody that Miles wrote and played, do not play it right. True, there are parts of the head that Miles phrases differently, but there is one place that he specifically always plays the same...the tenth bar (or, since you might call the tune in 3/4, instead of 6/4, the 20th bar) is the heart of that tune.

It is amazing to me how many do not play that simple part of that beautiful lead trumpet melody correctly. It could be in part because the various fake books that are out there have the melody written wrong, but that's not an excuse. Just listen to the damn song. It is that bar that is the heart of the song and his minimalist concept. As is true in many blues, the melody over the V chord is where the tension builds in order to resolve back to the I and then turn around. But almost every player I play with, if he or she is given the lead melody to play, plays an A over the V chord (D aug. 9), a Bb, as does Miles, at the Eb aug. 9, but then descends back to an A when the chord returns to D aug. 9. Miles doesn't do that. He doesn't do that the first time through the melody; he doesn't do that the second time; and he doesn't do that on the out chorus. The two saxes playing backgrounds do mirror the two chords, but not Miles. He hits the Bb and holds it out over the changes as they return to Daug. 9.

Ok. I know. This all seems so anal on my part. But I don't think it is. In fact, that held out Bb is the essence of what Miles was trying to do. A simple note takes on a completely different meaning held over changes moving underneath and that too is the essence of his modal approach. To him, one note could be a whole story in itself. And there is no doubt that is the way he wanted the melody stated. He never plays the head without that held out Bb, even if he uses other phrasing on other parts of the melody. Ok. Enough. I'm one to talk about playing someone's melody correctly...I know. But damn, this is possibly the most famous tune in modern jazz.

Thought Miles Davis: Birth of the Cool was excellent. I saw it at Hot Docs today; it's an American Masters production, so it might have played PBS already. It's a very conventional photos/footage + talking heads affair, and I don't think I'd want it to be anything else. (The Coltrane documentary from a couple of years ago was offbeat and intermittently annoying.) I liked every one of the interviewees, especially describing Davis's music--they really tried to find the right words to convey what effect it had on them (with lots of excerpts to help them along). Frances Taylor's self-regard is charmingly hilarious the first few times she's in the film--you enjoy it--then her story turns very sad, and you understand why she needs that. "Flamenco Sketches" at the end is an especially moving rebuke to anyone who decides they're not going to listen to someone's music anymore because they've done horrible things. (I'm differentiating between a sincere reflexive revulsion from such music--I don't have a problem with that--and, something else I've encountered here and there, a more self-conscious "I refuse to listen to such-and-such" because you think you're making the world a better place by not doing so.)

One thing that's crucial, I think, is how good Carl Lumbly's voiceover narration as Miles Davis is. They don't clarify anything at the beginning, so it's almost like they intentionally leave some ambiguity in place--is that actually Miles Davis's voice, something he left behind for future use? I knew that was highly unlikely, but Lumbly's that good. Looking at his filmography, he's been around a long time but I've seen next to nothing he's been in. He was in To Sleep with Anger, which I've never seen; I think I remember his small part in Pacific Heights.

My uncle, a jazz pianist, posted this little rant on Facebook today. I understand just enough of it to find it fascinating. Was not at all aware of people playing the melody line on "All Blues" the way he's complaining about, but it makes sense. As does his argument about why it's so wrong...

/Ok. Virtually every jazz musician knows tunes from Kind of Blue. Miles wrote those tunes and recorded them at a time of experimentation into modes and that was part of the reason he used Bill Evans, because Evans had some of the same interests as Miles in modes and modal harmony. So, Kind of Blue is legendary for a lot of reasons, but "All Blues," in particular, is one of those reasons. And of all of Miles' tunes from that album, probably even more than So What, All Blues is played the most performed by jazz musicians. And Miles' melody is a perfect example of what he was trying to do at that time. Now, I don't want to sound picky, but why is it that so many horn players, or for that matter anyone given the responsibility of playing the melody that Miles wrote and played, do not play it right. True, there are parts of the head that Miles phrases differently, but there is one place that he specifically always plays the same...the tenth bar (or, since you might call the tune in 3/4, instead of 6/4, the 20th bar) is the heart of that tune.

It is amazing to me how many do not play that simple part of that beautiful lead trumpet melody correctly. It could be in part because the various fake books that are out there have the melody written wrong, but that's not an excuse. Just listen to the damn song. It is that bar that is the heart of the song and his minimalist concept. As is true in many blues, the melody over the V chord is where the tension builds in order to resolve back to the I and then turn around. But almost every player I play with, if he or she is given the lead melody to play, plays an A over the V chord (D aug. 9), a Bb, as does Miles, at the Eb aug. 9, but then descends back to an A when the chord returns to D aug. 9. Miles doesn't do that. He doesn't do that the first time through the melody; he doesn't do that the second time; and he doesn't do that on the out chorus. The two saxes playing backgrounds do mirror the two chords, but not Miles. He hits the Bb and holds it out over the changes as they return to Daug. 9.

Ok. I know. This all seems so anal on my part. But I don't think it is. In fact, that held out Bb is the essence of what Miles was trying to do. A simple note takes on a completely different meaning held over changes moving underneath and that too is the essence of his modal approach. To him, one note could be a whole story in itself. And there is no doubt that is the way he wanted the melody stated. He never plays the head without that held out Bb, even if he uses other phrasing on other parts of the melody. Ok. Enough. I'm one to talk about playing someone's melody correctly...I know. But damn, this is possibly the most famous tune in modern jazz./

Watching this, extremely '80s, and what a cruel exercise to make a bunch of high school trumpet players perform in front of Miles Davis on television:
https://www.youtube.com/watch?v=6XnLblYNfIg

But there's a 16 year old Joey DeFrancesco on keys, and Miles ignores questions to ask "what's your organ player's name?"

Why, hello, Miles Davis' Dark Magus It's been a few years. Relax, plug in those wah-wah pedals, have a drink.

What's the best book about Miles' transition from the second quintet to the electric period. Preferably this would go to 71 or 72 at least, if not 74.

I recommend Running the Voodoo Down: The Electric Music of Miles Davis, but of course I would.