JSngry

You're not.

Howzabout Album of the Month?

I keep tellin' y'all, it's a franchise. Opportunities are available. Inquire through the Home Office.

When this phukker starts to load,just hit the back button once or twice. That'll take care of it.

You could say that Miles himself was doing that up to and including the Live/Evil band. I would, although advisedly. But this band, this music, this was...unique. And beautiful.

It's a cliche to say that he used the wah-wah as an elctronic plunger, but it's not untrue either. Yet, there's more to it than that, becuase he wasn't using just the wah-wah to color his sound, he was using the electric sound of the horn as well, and he was using them in a quite unified way. And he was likewise integrating his playing into the group sound in a way that was indeed new. One of Chick Corea's favorite lines about the late-60s/early 70s electric bands was that when Miles was playing, it was a beautifully focused music, but when he stopped, it often became a bunch of self-indulgent jamming. Regardless of how you feel abou that, I think the point that Miles could bring an entire group together by the power & specificity of his playing is obvious. But in this music, he got the group together on its own terms and then didn't so much "lead" them as he did give them further shape and definition by... "melting" inside/into them and their sound. Of course, it was his concept of the sound into which he was melting, but it was also a sound that was a lot more texturally complex and rhytmically entwined (again, if somebody can "do the math" on "Mtume", I'll be grateful) than any he'd made before, and yes, I do think it might have been the most, oraganically purest "original" music he ever made, although if you see a humorous irony bordering on the contradictory-yielding-the-truth between "organic" and "original", then we're probably thinking along the same lines...

And I say right back atcha!

Alright, this is Post 25K, a gift from me to you all: Enjoy!

I'm being reminded anew just how engrossing the sound of Miles' electric trumpet w/wah-wah was in the context of this music. More than one observer at the time (and since) refers to something like an "electronic jungle" of sound, and even allowing for all the "easy answers" that type phraseology allows for, it still seems to aptly get to at least one of the essences of this music. I'm not so sure that in some very essential ways that this is not the period of his music that captures an essence of Miles Davis that the rest of his music either ignores, hints at, or aspires to. Which is not to say that those other musics are "missing" anything (if anything, it is this music that is "lacking" damn near everything that those other musics had in glorious abundance), but only to say that this music emphasizes something of a type of deeply personal part of Miles that those other musics didn't. perhaps even couldn't allow for. All I can say is that when I hear that trumpet electrified and wah-wahed deep inside those guitars and percussions and electricities, I hear and feel a deep fundamentality of a sort that has nothing to do with "trumpet" or "solo" or "jazz" or anything like that. I hear a one-ness of purpose and sound that could have only come from one source, and it is a source that Miles seems to have felt very justified in both seeking and obtaining. It's in no way a "perfect" music. It's better than that. It's real.

Nah, better of letting it go.

I'm hearing lots of Esther Phillips too, only without the "quirkiness" of Eshter's later voice. This woman can sing, and she don't take for no bullshit. Some y'all just might wanna check her out.

Having had a runny nose like that myself a few times...

A man's gotta have standards.

How....sharing of them!

Didn't know they were married. You're right, an interesting fellow.

I think these complete takes actually reduce the perceived "problems" with the backing bands that the editing created. Not to say that it makes anything go any smoother, because....nah, that just ain' gonna happen. But here, the slop, where it exists, is in place from start to finish and it actually hits a groove of its own. Yeah, start with the Vee-Jay stuff. But just know that there's this little bit of...MESS awaiting that reaps rewards of its own.

What, about Al Foster? Sure, why not...

Only know a very little bit of her work (Feeling Orange But Sometimes Blue, which is some strong stuff) & her new one on Verve (which seems a bit held back for far too much of the material), but damn, does this woman have a voice and a spirit. Reminds me of the attittude of Nina Simone channeled through a voice like Chakka Khan's, if Chakka's voice was Dexter Gordon's tenor. Anyway...anybody else into this (seemingly) totally badass chick?

I'll put it this way - on the album w/Dizzy, if it wasn't for Dizzy, I don't know if I'd have remembered it.

The only two I can think of without having to think about it are Sinatra's on Only The Lonely & Chico Hamilton's from Chic Chic Chico. The Sinatra is about as good as it gets, and the Chico thing is sublime, what with it being a quartet of Szabo, Stinson and, no, not Charles Lloyd, but Harold Land. Plenty of other good versions, but those are the two for me.

There was a Mainstream side of them live w/Dizzy, early 70s, good stuff.

She's good!

The one on Flying Dutchman, with the naked lady on the cover, is one of the best albums he ever did. Perhaps even the best, all things considered. But that's arguable, to be sure. The one on Bluebird is a collection of some of his other Flying Dutchman stuff, and is a darn good collection. Lots/most of the material on it is from 3 Shades of Blue, which was a collaboration with Johnny Hodges & Leon Thomas.