alocispepraluger102 Posted November 13, 2012 Report Share Posted November 13, 2012 http://jazztimes.com/articles/58945-dave-liebman-when-miles-came-calling "So, my take on Miles—the bottom line is that he was obviously a complex personality. I really think that in his heart of hearts, he was a shy, Midwestern, small-built, good-looking cat, serious as could be about everything, let alone music. A lot that happened to him was to me the result of outside forces: the conditions of being a black man in that milieu of the ’40s and on; the colossal effect of Charlie Parker’s overwhelming personality; and even more into the ’50s, Miles’ status as the symbol of everything hip in the black world, which appealed to a certain breed of white people looking to break out of the middle-class coma they were in during that time period. Music doesn’t exist in a vacuum—the times dictate a lot. I’m not a psychologist, but that’s what I think. He was really a simple cat who just wanted to play the music—very much like Coltrane. I think that’s where they met, in a psychological sense. In that way, I think Trane and Miles were kindred spirits, even though they had completely different lifestyles." Quote Link to comment Share on other sites More sharing options...
robertoart Posted November 14, 2012 Report Share Posted November 14, 2012 (edited) This appeared on Liebman's facebook page last year. I think there is a thread on the board somewhere. Interesting reading that's for sure. Funny that Liebman felt all at sea in those bands, and tends to play that up in these reminiscences. He was there towards the end of the first Electric period. The music was/had reached its crescendo in terms of where it had evolved from In A Silent Way. I remember reading Miles say that he stopped playing at the end of this era because - 'he was so bored'. Perhaps he was bored because he had realised or found the natural conclusion to his exploration of Black rhythm modalities. Perhaps he'd achieved his aims and had nothing to strive for anymore. In the other archive interview from the The Guardian, from the the time of the Under Arrest album, he seems to be pushing the idea that the second Electric Period had another kind of project in mind - with regard to the elevation of Pop melodies - into an extended improv setting that was still 'creative' and relevant to a contemporary experience. Perhaps it failed (surely it did), because Miles wasn't able to surround himself with the sideman to realise this vision - the way he did all along the way during the first Electric period. "Cedric Lawson on electric organ, Khalil Balakrishna on electric sitar, Al and Badal as I mentioned, Mtume on congas, Reggie Lucas on guitar, with Michael Henderson on bass"... plus Bartz, Cosey et al. these were the kinds of players that realised Miles vision in the end. By the time of the second period, maybe he was too out of touch to find the right kinds of players organically, by being connected to a vibrant 'scene'. When he started the second period he surrounded himself with Music college graduates who had spent their lives trying to unravel Coltrane, (Scofield,Stern,Evans,Miller,Berg etc.) - hardly the kinds of minds and social history that was going to realise a great Black Music Pop Improv project. Scofield, often, (petulantly?), disses Miles as being obsessed with getting a 'hit' record. Maybe he started to find those sideman later on, but possibly the rot had set in by the choices he made early on in the comeback period. Edited November 14, 2012 by freelancer Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 14, 2012 Report Share Posted November 14, 2012 I was around to hear the same criticisms levelled at the first electric period that are now being levelled at the second. I lived long enough to see them fade as the inevitabilty - and logic - of that music revelaed itself, and I expect to live long enough to see the same thing happen again with the second period. Social music gonna do what social music gonna do, and Miles' was nothing if not a social music, probably always. As for Liebman, seems like he's always explaining something. Fine player, absolutely, very dedicated & principled, but I have interviews of him in the 70s where he's explaining what's happening in Miles' music, how it works, and why jazz ears were having a hard time with it. Now he's explaining why he didn't really understand it and why he had a hard time with it. It's always something! Quote Link to comment Share on other sites More sharing options...
robertoart Posted November 14, 2012 Report Share Posted November 14, 2012 (edited) I was around to hear the same criticisms levelled at the first electric period that are now being levelled at the second. I lived long enough to see them fade as the inevitabilty - and logic - of that music revelaed itself, and I expect to live long enough to see the same thing happen again with the second period. Social music gonna do what social music gonna do, and Miles' was nothing if not a social music, probably always. As for Liebman, seems like he's always explaining something. Fine player, absolutely, very dedicated & principled, but I have interviews of him in the 70s where he's explaining what's happening in Miles' music, how it works, and why jazz ears were having a hard time with it. Now he's explaining why he didn't really understand it and why he had a hard time with it. It's always something! They've been levelled at the second for a long time now. i don't think that music is going to be re-appraised in the same way that the reputations of the post Bitches Brew albums have been rehabilitated. Unless the Robert Glasper/Bad Plus/ generation are claiming them as antecedents (maybe they are?). I heard Liebman with McCoy Tyner fairly recently in a...um....err....recital/concert hall setting. When he played Blues On The Corner - he lifted it to another level. I definitely felt what I was hearing from his horn was great. Really great. Edited November 14, 2012 by freelancer Quote Link to comment Share on other sites More sharing options...
Gheorghe Posted November 14, 2012 Report Share Posted November 14, 2012 In my opinion, Dave Liebman was the best reed player that Miles had during his electric period from 1970-1975. I love what he did during those 1973/74 dates. And dig his flute on "Ife", which Miles played almost at every concert. Later I heard him in mainstream setting in the late seventies in my hometown Vienna at Jazzland. One of the greatest club experiences of my life. And I must say, his "Drum Ode" and "Lookout Farm" are the only ECM recordings that I like. I bought "Drum Ode" the next day after I saw Dave life. He signed it for me. Quote Link to comment Share on other sites More sharing options...
CraigP Posted November 14, 2012 Report Share Posted November 14, 2012 I'm with JSngry, Liebman has come across as ambivalent about the music he was involved with. In some interviews he seems to think it wasn't that great, but he didn't help a lot, IMO. Sonny Fortune I think was the best during the Agartha period. Quote Link to comment Share on other sites More sharing options...
Steve Reynolds Posted November 14, 2012 Report Share Posted November 14, 2012 interesting but it sure is incredible that as great as Miles is/was...how little traction what happens today gets on any of the jazz discussion boards compared to what is happening today or more recently...I love Miles, Monk, Mingus, et al but I think what is more interesting, for example, in this case is that Dave Liebman is playing in NYC @ Cornelia Street Cafe on November 24th listed as on soprano only with Same Newsome (soprano), Ellery Eskelin (tenor), Chris Tordini (bass) with the *great* Jim Black on drums...and due to holiday and family, I may miss it, but in any case, probably seats to be had within 10 feet for a band like that just by calling in the day before and showing up an hour early.... yet on any jazz board or discussion forum, shows like this that happen often in places like NYC, Baltimore, Chicago and elsewhere attract little enthusiam despite how great some of these bands are. As some here know, over the past 3 or 4 years, I have seen musical performances by diverse musicians that compare live or on record with any music of the past 50 years but the ongoing nostalgia and remembrances thinking about how Miles second electric "comeback" period (which to my ears is a total bore) will be thought of 10 or 20 years down the line.. and Tony Malaby or Darius Jones or Cooper-Moore or Paul Dunmall or Gerry Hemingway or Mat Maneri or Kris Davis play on sometimes in front of a couple of dozens of people. but we need to get fired up for the 8th re-issue of some great record of 30 or 40 years ago or another huge box set from the 1969 band - but god fucking forbid we even ask why the hemingway hatART CD's from the 90's are all outr of print despite the fact they are the equal of even that 1969 band - and yes I said it..... fact is 2 separate shows with Mat Maneri's Quintet over the past year were as good as anything I have seen in 20 years including things like the great Dave Holland Quintet back in the late 90's or Andrew Hill's sextet from the same time period with Marty Ehrlich, Scott Colley and Bill drummond - and those bands live were as good as well, you know...all or any tthat ever played this music. or as good as Cecil with Tony Oxley from 8 feet away... well not as great as the Broztmann Tentet +2 in 2002 @ Tonic with Hamid.... but then again, those two 45 minute sets remain the unheard or unseen except for those who were screaming that night witnessing the sort of power and the glory that normally only exists in pure fantasy....... standing on a whale fishng for minnows Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 14, 2012 Report Share Posted November 14, 2012 Is the question why there is more ongoing talk about music that has been heard repeatedly by millions of people over the span of 20-30 years than there is about music that was only heard once by 25-100 people? new york is full of lonely people Quote Link to comment Share on other sites More sharing options...
Steve Reynolds Posted November 14, 2012 Report Share Posted November 14, 2012 I had a real good response, but It was seemingly lost it in cyberland.. Let me try again...seems like the halcyon days back at jazz central station from 1997 or 1998 as far as my love of this music coming back from a few years ago when it was almost all gone... one of the *reasons* that there is only 25 to 100 people is that many/most of the listeners of jazz are stuck listening mostly to re-issues, box sets with more of the last drops from great bands of the past, instead of making a real effort to hear what/who is playing/happening now - and that has been the case for YEARS. and there are many who do listen for sure..... But this obsession by so many of the past makes one think that maybe now jazz is a historical genre as many who have moved on to other apsects of music insist that it is... And the ones who really love jazz do it to ourselves rather than show an interest in hearing Gianluigi Trovesi or Pino Minafra or Hamid Drake or even the *great* Misha who still (barely, i think) walks this earth.....but I may have seen his last show in the States last year... To back-track a bit on the 25 to 100 comment, I did see a couple of shows that celebrated the history of this music over the past couple of years and there was a few more than that for whatever that is worth - it was ICP in March of 2011 @ Le Poisson Rouge (the old Village Gate) and Han Bennink's 70th birthday concert earlier this year @ Columbia Univeristy and yet despite a nice write-up in a local NY paper on one or the other, I still don't think that many really recognize what especially the ICP band is and is/was capable of in the context of the history of this music This music *compares* favorably to the best Mingus bands, Duke, Miles, Monk and all the rest - and NO, I havn't seen any of them, but I sure have heard it all...for example, they played a few great Mengelberg originals (at both shows - even the second without Misha in attendence), and they played a few pre-war classics (Baltimore Oriole was played at both shows) and they played as expected, a Monk tune - and as I had hoped it was "Jackie-Ing" Like no other Monk tune performance this boy has ever witnessed - and I seen/heard a few good ones maybe most recnelty when Ellery Eskelin tore into what might have been Bye-A with Nasheet doing his thing... Misha isn't Monk, doesn't play like Monk, but as far as his genius, he is just a different kind of Monk - pure fucking brilliance the whole set despite as per especially lately, he doesn't play so many notes and it was rought watching him struggle to get to the piano bench with a cane... Wolter Wierbos is simply one of the greatest trombonists who ever lived and his playing that night was beyond fucking anything imagined before or after - and then Bennink swinging with Toby Delius on the tenor tearing up that Monk tune beyond. And who is Toby Delius? a great tenor saxophonist who plays in front of 25 to 100 quite a bit I imagine... point being as good a 60 minutes of music as exists - and no reason not to think/feel that as great as the greats were.... like Tony Malaby who is a great a saxophonist as is playing today....we got ears anyone gonna actually listen??? or maybe we could all be like Phil Schaap - let's find another scrap from 1947 and play it 12 times.... maybe this is the reaon we need to reach out, listen, discuss and as the few who actually are interested enough to post on boards like this that are in the decline, maybe some enthusiam for the current greats is a bit more warranted.... As I used to say 10 to 12 or even 15 years ago when the internet was new and fresh, Giants like that walk this earth and most just don't want to listen...it is easier to listen to what we *already* know is great....and the song remains the same, I suppose... Instead we think that music that is heard by more deserves more acclaim when this music called jazz or improvisation or free improvisation or modern avant garde jazz is music whose greatness... still... Coming Down The Mountain Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 14, 2012 Report Share Posted November 14, 2012 Tony Malaby is indeed a great player whose work I find compelling, but his work - and that of others similarly "positioned" - does not interesect with the Collective Perception Of Now the way that the Music Of The Dead Giants did. Ripple Effects, like elections, have consequences. It's got nothing to do with "worth", or "deserving". It's just physics. How do you make another ripple of that size? Throw a big enough rock that hits a big enough body of water just the right way. Physics. In the meantime, a big ripple in a small pond matters, espeically if it's in your pond. I grew up around plenty of ponds that were not as big as some people's houses, ponds that were full of wide and varied delights, dangers, and a lot of things in-between. So I appreciate small ponds at least as much as I do giant oceans. But when people-at-large go to contemplating Great Bodies Of Water, the conversation will inevitable turn to Ocenas, not a pond made from the flooding Sabine River causing Lake Brushy to overflow into the Boles Lease. Even though I myself have caught many more fish in that pond than I have out of any ocean. So I don't begrudge the conversation. But I know where to go catch a bunch of perch for dinner. Or did, anyway. A big bunch of that water has evaporated from the Earth, and will continue to do so until it comes back, and then people will have no choice but to notice. But not until. Not anybody's "fault", really. Just the way shit go. Let's All Go Down To The Footwash Quote Link to comment Share on other sites More sharing options...
danasgoodstuff Posted November 15, 2012 Report Share Posted November 15, 2012 "maybe we could all be like Phil Schaap" - let's not be insulting, eh? Quote Link to comment Share on other sites More sharing options...
Steve Reynolds Posted November 15, 2012 Report Share Posted November 15, 2012 I don't think that is an insult - do we really all want to obsess on the minutia? and in doing so, miss out on the brilliant musicians who live today, play today and inspire those who are willing to live, breath and hear in the moment..... I would *love* to hear if Mr. Schaap has ANY clue about what goes on in music today...does anyone have any doubt what the answer is?? me I havn't heard him in years - is he still doing what he used ot do in the A.M. on KCR? does nyone know? Quote Link to comment Share on other sites More sharing options...
clifford_thornton Posted November 15, 2012 Report Share Posted November 15, 2012 It seems to me that a number of people - writers/websites - have recently been revisiting the late '90s foment surrounding David S. Ware (RIP) and Matthew Shipp. While not a groundswell, I think that music is, if not being canonized, at least garnering more notice. And it seems to me like Gerry Hemingway still gets talked about a fair amount - indeed, those Hat Huts were swell. One thing I've noticed is that whether you live in NYC or Austin or wherever, there will always be those performances that are either surprisingly poorly-attended or surprisingly well-attended. Who the fuck knows what moves people to go to a gig or skip it, ultimately? I've heard some lame recordings of classic lineups and great recordings of people whom otherwise I wouldn't seek out, so again, who knows? Quote Link to comment Share on other sites More sharing options...
Steve Reynolds Posted November 15, 2012 Report Share Posted November 15, 2012 You see! I know you see - I read what you write, certainly some fresh aie here and there - I am much alone sometimes (lonely new yorker?? I duuno - I live in Jersey...and am from Boston originally) Yes - I believe one day that a certain amount of *this* music as people like Ken Vandermark or Joe Morris has refereed to it will garner some more notice, but I think my point may be that it is available now and all it takes is a bit of time and patience from a few more listeners. I was around the net in those days of the David S Ware quartet and there *was* quite a bit of discussion as there was about Joe Maneri or Thomas Chapin and many others - there was more of an enthusiam to discuss the music and the scene was certainly more well attended than today - point is the deififcation of the dead lions saps the current vibrant music of it's strength - never have I see so much panting over anotyher fine Miles bootleg recording from the late 60's - I know we never heard it and the music is wonderful - but is it all that to hear 6 discs and never hear Avram Fefer or Steve Swell or Layfayette Gilchrist or the Tony Malaby's Novela, for jah's sake?!?! I dunno about anybody else but you ever hear that band LIVE? I did - twice - first time pretty damn good - had to hold onto my you know what to keep from getting blown through the roof!!! Is Kris Davis a genius (she arranges this stuff and plays the baddest ass silent piano since John Tilbury until it is like Schlippenbach might have entered the world even if she might not touch a key for 8 minutes ) well is she that good? yes pretty damn special pianist/composer/arranger.... YES - just like any of the other greats -s he just happens to live today.... ever want to see and HEAR that band?!?!? - you would think that even if they came to your town, many listeners be holed up listenin' to old re-issues or another version of Gingerbread Boy....not that there is anything wrong with that.... Quote Link to comment Share on other sites More sharing options...
GA Russell Posted November 15, 2012 Report Share Posted November 15, 2012 What Miles albums are considered the best with Liebman? Quote Link to comment Share on other sites More sharing options...
robertoart Posted November 16, 2012 Report Share Posted November 16, 2012 (edited) It's certainly You see! I know you see - I read what you write, certainly some fresh aie here and there - I am much alone sometimes (lonely new yorker?? I duuno - I live in Jersey...and am from Boston originally) Yes - I believe one day that a certain amount of *this* music as people like Ken Vandermark or Joe Morris has refereed to it will garner some more notice, but I think my point may be that it is available now and all it takes is a bit of time and patience from a few more listeners. I was around the net in those days of the David S Ware quartet and there *was* quite a bit of discussion as there was about Joe Maneri or Thomas Chapin and many others - there was more of an enthusiam to discuss the music and the scene was certainly more well attended than today - point is the deififcation of the dead lions saps the current vibrant music of it's strength - never have I see so much panting over anotyher fine Miles bootleg recording from the late 60's - I know we never heard it and the music is wonderful - but is it all that to hear 6 discs and never hear Avram Fefer or Steve Swell or Layfayette Gilchrist or the Tony Malaby's Novela, for jah's sake?!?! I dunno about anybody else but you ever hear that band LIVE? I did - twice - first time pretty damn good - had to hold onto my you know what to keep from getting blown through the roof!!! Is Kris Davis a genius (she arranges this stuff and plays the baddest ass silent piano since John Tilbury until it is like Schlippenbach might have entered the world even if she might not touch a key for 8 minutes ) well is she that good? yes pretty damn special pianist/composer/arranger.... YES - just like any of the other greats -s he just happens to live today.... ever want to see and HEAR that band?!?!? - you would think that even if they came to your town, many listeners be holed up listenin' to old re-issues or another version of Gingerbread Boy....not that there is anything wrong with that.... It's certainly great that you can be so present on the live music scene. With regard to the lack of topics devoted to 'what's happening in NYC last nite" it would definitely be valuable to read more about that. However, rarely does anything worth reading tend to eventuate from those kinds of discussions. As your posts in this topic indicate - they usually don't move beyond lists of names and an accompanying sloganeering thumbs up. Perhaps on a forum board, people more intimately connected to audiences and scenes, are shy of being too candid, critical and specific of 'in the moment' or emerging players, for various reasons I suppose. Usually it is with a bit of time and recordings/other documentations and considered memories that the most insightful and valuable posts/topics are made. Then again, perhaps something insightful can be squeezed out of the experience of seeing Cecil Taylor at five feet. Was it boring? Why was it boring? Does your mind wander less at five feet than it does 'in the listening room'? But it must be a dandyish existence to have the luxury of thinking, 'gee I really feel like watching Mike Stern play Giant Steps tonight' I wonder if he's playing at a bar near me'. Edited November 16, 2012 by freelancer Quote Link to comment Share on other sites More sharing options...
robertoart Posted November 16, 2012 Report Share Posted November 16, 2012 It seems to me that a number of people - writers/websites - have recently been revisiting the late '90s foment surrounding David S. Ware (RIP) and Matthew Shipp. While not a groundswell, I think that music is, if not being canonized, at least garnering more notice. And it seems to me like Gerry Hemingway still gets talked about a fair amount - indeed, those Hat Huts were swell. One thing I've noticed is that whether you live in NYC or Austin or wherever, there will always be those performances that are either surprisingly poorly-attended or surprisingly well-attended. Who the fuck knows what moves people to go to a gig or skip it, ultimately? I've heard some lame recordings of classic lineups and great recordings of people whom otherwise I wouldn't seek out, so again, who knows? Possibly because it's Classic in the good sense of the term. It's a kind of holistic music that is more fulfilling than fusion/collage. It's one big thing rather than a series of parts. I doubt that music will have a use by date. Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 16, 2012 Report Share Posted November 16, 2012 (edited) It's a kind of holistic music that is more fulfilling than fusion/collage. It's one big thing rather than a series of parts. I doubt that there is anything in the tactile world that is not a fusion/collage, although it's easier to see the closer one is to the actual time of fusing/collaging. I'd even go so far as to argue that the more "holistic" something appears to be, the more fused it has actually become and/or the further away the receptor (or even the thing itself) is from the actual origins. Something being "one big thing" instead of "a series of parts" is far more often than not as much a matter of perception and/or individual selection than it is an actual quantifiable reality. Edited November 16, 2012 by JSngry Quote Link to comment Share on other sites More sharing options...
Guy Berger Posted November 16, 2012 Report Share Posted November 16, 2012 (edited) I was around to hear the same criticisms levelled at the first electric period that are now being levelled at the second. I lived long enough to see them fade as the inevitabilty - and logic - of that music revelaed itself, and I expect to live long enough to see the same thing happen again with the second period This is an interesting discussion. It seems to me like there has already been a fair amount of re-evaluation of the 80s music, especially as more live recordings have circulated. I don't think we will ever see it exalted at the same level as the 70s music for multiple reasons, but (for example) I would guess its reputation has held up better than that of the music W Marsalis made during the same period. By the way, "Jean Pierre" was included in the recent Murray-Waldron duets disc. Any other examples of 80s Miles entering the repertoire? Edited November 16, 2012 by Guy Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 16, 2012 Report Share Posted November 16, 2012 It seems to me like there has already been a fair amount of re-evaluation of the 80s music, especially as more live recordings have circulated. I don't think we will ever see it exalted at the same level as the 70s music for multiple reasons.. The live shows are indeed where so much of this stuff was fully realized...and I don't know that the music was made to be exalted per se...I think Miles had gotten all that out of his system and wanted to challenge the popular culture (which is not the same as Pop Culture) for personal reasons at least as much as he did musical ones - but still on his terms, with his "flavor" still intact by the time it was all said and done. And why not, really? Why the hell not? What better victory against/revenge on your enemy than getting through his doors on your terms? Living and dieing on your own terms w/o ever even trying to get through those doors is certainly a viable alternative, as well as an equal victory, but is it better, especially in terms of what can actually be done with it? The culture will be monetized at some point. The question is - who will be "out of the way" when it is? And why will that be - or not be? Quote Link to comment Share on other sites More sharing options...
robertoart Posted November 16, 2012 Report Share Posted November 16, 2012 (edited) It seems to me like there has already been a fair amount of re-evaluation of the 80s music, especially as more live recordings have circulated. I don't think we will ever see it exalted at the same level as the 70s music for multiple reasons.. The live shows are indeed where so much of this stuff was fully realized...and I don't know that the music was made to be exalted per se...I think Miles had gotten all that out of his system and wanted to challenge the popular culture (which is not the same as Pop Culture) for personal reasons at least as much as he did musical ones - but still on his terms, with his "flavor" still intact by the time it was all said and done. And why not, really? Why the hell not? What better victory against/revenge on your enemy than getting through his doors on your terms? Living and dieing on your own terms w/o ever even trying to get through those doors is certainly a viable alternative, as well as an equal victory, but is it better, especially in terms of what can actually be done with it? The culture will be monetized at some point. The question is - who will be "out of the way" when it is? And why will that be - or not be? Well the pejorative tone to Scofield's 'Miles just wanted a hit so bad' comments is that it was all ego at least in regard to that anyway. Nothing musically or culturally altruistic about it. Obviously the bigger picture he had for the music overall had grander ambitions. But you would probably have to hear from those there at the time to get a clearer picture of the truth of this. FFS he even had Robben Ford in the band at one point. It really took him a long time to let go of the 'Fusion guitar player identity' as part of his music. Edited November 16, 2012 by freelancer Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 16, 2012 Report Share Posted November 16, 2012 And here's what I don't get - why is Miles Davis "wanting a hit" or having so much ego, or whatever, why are these perceived as negative things, especially when the polar opposites are "being totally unknown" and "have no power to assert over one's own life"? Think about this - let's say for the sake of argument that, yeah, Miles wanted money, recognition, fame, adulation, stardom, respect, all that, and that he wanted it on as global a scale as he could get it, and he wanted it from playing music that was The Unmistakable Sound Of Miles Davis. First - who would not want him to have that, just automatically shut down at the possibility of it maybe even starting to come true, who would be about that, and why? And then second - who would want him to get some of that but not all of it, you know, you got enough, now stop. Who would want that, and why? So John Scofield (whose playing I often enjoy, his work with Miles especially) thinks it's silly or vanity or something that Miles wanted a hit. Does John Scofield have it in him to have a true hit and then build a brand to survive past his own demise, a legacy to pass on to both his family and his world? No, I don't think he does, but I also don't think he needs to. But I do think it's wise to notice what people who do have those abilities beyond just playing really well do with them, and Miles...Miles had it in him to keep climbing the world until the world pushed him off (or even thought about trying). It's a game that he played very well right up to the end, and what he left in any manner of regards is significant in areas that John Scofield will never ever have an inkling of considering., that thing being "all about the music" ya' know...when there's so much more to play with, if you have the fire for it. Quote Link to comment Share on other sites More sharing options...
marcello Posted November 16, 2012 Report Share Posted November 16, 2012 That's a lot of really heavy lifting there Jim, to explain some really boring lightweight music! Just one man's opinion, you know. Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 16, 2012 Report Share Posted November 16, 2012 I find it neither boring nor lightweight, so no heavy lifting required. Quote Link to comment Share on other sites More sharing options...
JETman Posted November 16, 2012 Report Share Posted November 16, 2012 I believe that some here may need to switch to decaf! Quote Link to comment Share on other sites More sharing options...
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