JSngry

It's stuff like this why you shouldn't wake up.

I'm not seeing that?

Teams That Play The Prevent Defense Teams That Play The Wishbone Offense A Green Goddess

What's interesting about the Sutherland versions is that they don't all strictly adhere to the B-section being a simple half-step-up minor 7 chord.

I'd have thought that the logical US label would be Chisa (Hugh Masakela's label, and home to the Crusaders around that time), but looks like it was never released in the US: http://www.discogs.com/Miriam-Makeba-A-Promise/master/175807 http://www.allmusic.com/album/a-promise-mw0000541360/releases

I've begun to hear "Tutu" in some unlikely places (the most recent being the gas pump area of an urban convenience store at 3 AM) ...and always enjoy it when it happens.

Try Morton Gould (cue to 1:19) via Ahmad Jamal (cue to 1:36) Coltrane was playing it at the Sutherland in March of 61, but I don't know if the titling was retroactive or not.

GARK! Forgot about that one. That's probably the most gonzo electric Miles album there is, too. He's actually on two cuts on Get Up With It — "He Loved Him Madly" and "Calypso Frelimo" — but he only plays flute on both. He's actually on two cuts on Get Up With It — "He Loved Him Madly" and "Calypso Frelimo" — but he only plays flute on both. Well hell, I pulled out the LP to check the credits before posting that & only saw him listed once...just checked again, and sure enough, there he is, twice. Maybe I need some glasses like Miles wore on the cover...

Oh yeah - the 7/11/73 Olympia/Paris show has been officially released, although not by Columbia. That's pretty good too. http://www.amazon.com/Live-Olympia-07-11-1973/dp/B00004RJJQ

Can no one recommend an album? He's only on one official Columbia album - On The Corner (and one cut, briefly, on Get Up With It, which is a killer album, but not really reflective of the music Miles made when Liebman was in the touring band). On The Corner is a landmark in music for reasons having nothing to do with Liebman. Not everybody likes it, though! There's some bootlegs, though, that showcase him better, particularly the 6/19/73 Tokyo show that was released as Black Satin: That one's a pretty amazing set, period. But truthfully, I don't know that Liebman really hit on his own voice in any context until sometimes in the 80s, a time that saw him drop tenor altogether and focus on soprano in a conscious move to get away from the Trane thing. I know a lot of people who dig his 70s work, but I don't really hear the "core" to it myself. I do think he found it, though, even if I appreciate it a lot more than I love it.

Got it today and very much like it. The bass solos are wonderful, especially "By Myself". The group cuts are not "amazing" except in the sense that these people came, had and did this thing, and are now gone, all of which is amazing in and of itself. It's not necessarily a "hit the ground running" thing, but damn does it get good in a lot more than a few places...very "real" like that, it is. And Clifford Jordan, man, he SPEAKS. And Cherry's in good shape too. Blackwell is just a tad slow to get going here and there, but it's just here and there and he never doesn't not get there. If I was to "recommend", I'd say that if the lineup and the time/place caught your attention right away, then by all means go ahead. The vibe is there. If you're not really familiar with all that, then there might be beter places to start (but you'll want to come here eventually). And if you have little to no interest, then this won't change your mind. For certainly, though - it's definitely not "not good".

I think it looks LRC-ish. Now THIS is bootleg!

I find it neither boring nor lightweight, so no heavy lifting required.

http://www.youtube.com/watch?v=lTMJvLG-hVQ

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.

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?

Wasn't he also going to law school (or taking pre-law classes) at that time?

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.

No wonder my blogged download sounds like a ripped CD! Whoever Fresh Sounds stole it from did a really good job - the blend is amazing, and the room sound is impeccably balanced into the band sound. Like I said, the actual writing and playing is not really my thing, but still, it's played and recorded so well that it brings a pleasure of its own on those terms.

All the best on the upcoming journey home. Continue to travel well.

Not that I'm aware of...but supposedly Bernstein heard it and flipped over it, for whatever that's worth.

PM sent on Stan Getz At Large

Ok...you guys pay more attention to hairlines than I do (or have ever even considered doing!)...who knew? I still believe that the clothes were more interesting than the hairline, and not just with Miles, but I also know people who don't check out your shoes, they check out your socks (which is why I love going full-on Leon Roppolo whenever possible), so, it just goes to show, different strokes, and all that.

I like the colors ok, but...that photo is from, when, 1959? There are some Val Wilmer photos taken from around the same time that would have made really spectacular covers. Are they dated? Yeah, sure, but when you put "1969" right there on the cover, it's not like you're running away from anything. That cover is like this one in reverse: I like the colors ok, but...that photo is from, when, 1959? That cover is not from 1959, Yeah, tsat's my point - that Prestige cover was using a photo of one era to sell the music of another. Other than the sweat & hairline(?), there's really nothng in that photo that ties it to it's time. Is America still scared of 1969? There are other photos that would have been a lot more definitive about "1969". That Val Wilmer book has beaucoup pix of everybody in the band looking really period-sharp, not just Miles (there's one of Wayne playing tenor in this really killer vest/puffy-sleve-shirt combo...that band dressed with the same swagger with which they played). This one is just a big orange Miles sweaty-head. Fortunately, the music will be a lot more than just that!