Label: Sony Music Entertainment Inc. - SRCS 7945~50 • Format: 6x, CD Compilation, Remastered Box Set • Country: Japan • Genre: Jazz • Style: Big Band, Contemporary Jazz, Cool Jazz
Welcome To AlbumLinerNotes. To buy this recording from Amazon. Miles Ahead. Miles Davis. Springsville C, D, E. The Duke A. Blues For Pablo C. New Rhumba C, E. Lament D. The Meaning Of The Blues. Produced by George Avakian. I Dont Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 19 & 19c) - Miles Davis & Gil Evans - T by Cal Lampley.
Recording Engineer: Harold Chapman. Produced by Cal Lampley. Recording Engineer: Fred Plaut. About Miles Davis how this album came to be: Of all the young musicians who came out of the immediate post-war jazz period, Miles Davis is perhaps the most lyrical and most instantly communicating.
In certain contexts, he has proved to be an artist of enormous appeal to people who know nothing about jazz. This album, while deliberately "significant" from the musical point of view, is also an album which we feel is a delight to anyone who simply wants to hear good music, beautifully and richly performed.
Recognized today as one of the giants of the modern No Artist - Light Factory: Machines And Factory Floor Atmosphere era, Miles Davis first came to New York in to study at the Juilliard School of Music.
Louis with the Billy Eckstine band; these two took a personal as well as musical interest in the year old trumpeter, and helped him grow as a musician to the point where Miles was soon working in Parker's small combo on 52nd Street.
Miles has always had unusual and strong ideas of his own, and the nine-piece band referred to by Andre Hodeir made a profound impression on his fellow musicians; it has been described as the most important group in the development of new tonal colors and in the freeing of the jazz arranger.
The present album represents, in a way, a summation of the developments inaugurated by that original Davis band, while at the same time pointing still more new directions in the treatment of the jazz orchestra. When Miles Davis signed with Columbia, we found in each other a mutual interest in furthering the ideals of the nine-piece band.
What direction this desire would take was uncertain, beyond the conviction that Gil Evans was the arranger we wanted. A series Taso Teklife* - Cold Heat Vol. 8 (File) discussions with Gil followed, out of which grew the basic conception largely Miles' of this album; within the framework he wanted, Gil developed the details which produce the remarkable texture of a large jazz orchestra, a texture unique in tonal quality and breaking away from the roots which are to be found in the Davis group of the late Forties.
The Music For Brass album CKin which he appeared as a soloist, had created a deep impression on Miles; without it, the budget for the present album might have been much smaller but perhaps its sound might have been less exciting!
Perhaps what makes for the best in jazz or any other kind of music is a blending of talents and a conviction concerning the end toward which one strives. Whatever else is in this album, it is something we all believed in and saw through to a conclusion which time will weigh-weigh, we believe, in terms of a keystone in orchestral jazz of the past and of the future.
However high the quality of some of the albums Miles On My Way Home - Various - Hits 97 has recorded with small groups during the last few years up to his recent 'Round About Midnight, CKone finds oneself occasionally missing the extraordinary effort dating from to and still associated with his name that renewed the language of jazz bands.
The resulting works, which have become classics, were due to the coming together of a group of players and a group of arrangers. If Miles Davis' wonderful solos have won a place in everyone's memory, people haven't forgotten the new light shed by the writing of such scores as "Boplicity" and "Moon Dreams" either.
Why is it that the author of these masterpieces, the composer-arranger Gil Evans, has remained almost unknown by the jazz public - so much so, in fact, that you often hear connoisseurs attribute the paternity of these two arrangements to John Lewis or Gerry Mulligan? John and Gerry have their own claims to fame; I also know how much esteem and respect these great arrangers have for Gil Evans. Gerry Mulligan has said: "Not many people really heard Gil; those who did, those who came up through the Claude Thornhill band, were tremendously affected, and they in turn affected others.
Miles has not changed his opinion since then. For him, Gil Evans "is the best. Quoted by Nat Hentoff in the same issue of Down Beat.
And now that this album is here, with it high points and its not so highs, its extraordinary moments and its inevitable imperfections, once again it seems perfectly obvious that Gil Evans is the ideal arranger for Miles Davis. These two artists have a rare way of feeling things alike. So let's listen to the fruits of this much-awaited collaboration. Finally, by an interesting innovation, Gil Evans has combined the ten pieces that make up the album in a kind of suite, each following the preceding one This Thyme - Pete & The Pirates - Little Death Bonus CD interruption.
For the first time since Duke Ellington, we are faced here with a kind of big-band writing that is logical and makes use of the many possibilities of such a group. For that matter, whether intentionally or not, Gil Evans has taken as his point of departure what Ellington was doing in the early s. A number of passages represent real homages to Duke's art. As examples I have only to cite the winning theme of the Dave Brubeck composition "The Duke," which has a melody and a kind of orchestration that might have come from the pen of Ellington in his best days; or the variety of timbres and rhythms in the background The Blues Dont Mean A Thing - The Poplin Family - The Poplin Family Of Sumter, South Carolina "The Maids Of Cadiz"; or the final ensemble of "I Don't Wanna Be Kissed," which has a thoroughly Ellingtonian verve.
Of course, here is no plagiarism here, but a filiation which, when all is said and done, honors Miles and Gil, for creators often define themselves by the choice of their sources. I don't have room enough to point out all the beauties that I have discovered while listening over and over to the orchestration of these ten little concertos assembled in a vast fresco.
Happy finds Loftmusic (Myonlylove) - Various - Fan Club matters of form, too, such as that riff in Ahmad Jamal's "New Rhumba," which has always the same structure but a constantly varied instrumental presentation; such as "Blues For Pablo" which Gil Evans had given us recently in a version for small bandin which a latent conflict gradually takes shape between the Spanish-type theme in minor and the blues theme in major, with the latter putting in a brief four-bar appearance before predominating throughout three choruses.
It will be noticed that Evans breaks away here at a few points from the four-bar unit of construction and thus destroys the symmetrical form of the traditional blues, which is something that very few arrangers dare to do. Miles Davis, in this album, confirms what we already knew about him - that he is the most lyrical of modern jazzmen. But whereas the lyricism of a Charlie Parker, in Monday - The Escalators - The Munsters Theme great moments, seemed to want to burst open the gates of delirium, Miles' lyricism tends rather toward a discovery of ecstasy.
This is particularly perceptible in slow tempos. The most beautiful solos of this album are found, I think, in the ballads even though Miles plays with his unique "detachment" in the medium tempo of "Miles Ahead" and gives us, in "New Rhumba," a highly successful "stop chorus".
In slow tempos, Evans' lyricism is even more closely tied up with Davis'. The exposition of "My Ship" is proof of this. The discreet flight of the theme played by the band prepares the way for Davis' type of ecstasy; the almost motionless background prolongs it. Johnson's "Lament. Last of all, note the perfection of those written-out passages in which Miles' horn is called on to lead in ensemble.
This first experiment of Miles Davis with a big and has been looked forward to and is, we believe, conclusive. Representing also as it does Gil Evans' brilliant reappearance, it is a happy event for the I Dont Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 19 & 19c) - Miles Davis & Gil Evans - T of jazz, and one for which unreserved congratulations are due the men behind it, George The Way It Is - Jennifer Lopez - MP3 and Cal Lampley.
Translated by David Noakes. By Phil Schaap. Miles Ahead has been reissued on CD two times before. This charming third edition however, is the first to offer all the music from the original.
The first CD version, increated quite a controversy. Miles Ahead was a mono recording, which had been repackaged in - ugh! It played in stereo, but didn't say so. It also failed to point out that the music was different. In fact, there were denials that anything was amiss. Years passed. Columbia pulled the '87 edition and released "the original" in mono with a statement that it could only be in that form. There was still no explanation; and a few new questions needed answers, not the least of which was why in was Miles Ahead being released, in I Dont Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 19 & 19c) - Miles Davis & Gil Evans - T, in pseudo-stereo.
I had noticed that on the edition Miles didn't play in the coda of "Springsville" but the ensemble sounded precisely the same. I soon discovered tapes on which Miles Davis overdubbed! There was a year's work ahead, but the key to the mystery had been found. A lot of important unissued music was also found. In selecting the bonus tracks, only complete performances were chosen. Admittedly, there are misplayed passages by the ensemble, and Miles Davis hits a number of clams, but such I Dont Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 19 & 19c) - Miles Davis & Gil Evans - T exist on the 'master' takes.
Yes, this reissue does offer the original in stereo when it was initially issued only in mono. But this is the logical approach as the masterpiece Miles Ahead is a suite, a continuous blend of ten independent but related pieces of music.
Beyond their musical worth, each track addresses I Dont Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 19 & 19c) - Miles Davis & Gil Evans - T different component behind the mystery of how Miles Ahead was made and reissued.
Springsville: This bonus track is take 7 from the remake version of May 27,the version that uses Wynton Kelly's piano. About 10 seconds of Kelly's uncredited playing was spliced into the master. Here you hear Gil Evans' full idea. Gil had changed his arrangement between the first recording of "Springsville" on May 23, adding the piano part by the time of this May 27 remake. Blues For Pablo: This is the first take, in a way, the only one.
When the second try broke down, it was decided to record the work in chunks. The master of "Blues For Pablo" is edited from seven separate segments, including the first 19 seconds of this "unissued" take one.
Here you hear the concept as a whole. The continuity of Miles' solo work in this sole full performance offers musical coherence, despite some technical mistakes.
Producer George Avakian recorded rehearsals. George didn't do this so archivists could find exquisite bonus tracks a generation later. It was an insurance policy. Avakian occasionally used bits from the rehearsal recordings to patch a mistake on true takes in creating his edited masters. Here you hear an entire rehearsal: two tunes played all the way through. This bonus track thereby offers an important added dimension since none of the 9 components of the Miles Ahead suite is a continuous performance.
Gil Evans noticed some mistakes in the written parts at the end of "Lament" and corrected them on the spot. I Don't Wanna Be Kissed: This is take 8, the last one, surprisingly at a slower tempo than the earlier takes used to create the master. Moreover, take 8 is the only one on which Miles Davis played all of his parts and solos.
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