robertoart

A 15 year old boy! The post-coital conversation for Clash must have been riveting. They must have shared so much.

Yeah, it's a bit of a dig I don't. I'd rather read about it here. Maybe you could regale us with your opinion about where they were coming from. Read Cook's Blue Note book by any chance?

Just received this automated email from local seller... As stated in the listing, the estimated delivery time is 4 - 8 business days after payment has cleared. This allows us to transfer stock from the different warehouses holding our stock. As you might have seen, we offer over 320,000 different titles and as such we use multiple warehouses in different states. Your purchase will get on our late-week warehouse transfer to us to be packed, which means it will be posted to you on Monday. This still leaves plenty of time for Australia Post to get your purchase to you within the listed time. Please let us know if there are any issues though I guess it's on it's way from the US.

Yes I see your point. Certainly when I first read it, I thought it one of the more interesting interviews with Miles. I also was picking up on the fact Cook said just enough to claim Miles new music was a more welcome direction than where he ended up at the end of the first Electric period. Then again, for a writer who lived through the full experience of the British Punk and New Wave movement - and the big influence the Harmolodic/Punk Jazz era had in Europe - he possibly had some collateral damage and felt the new Miles music a bit of a relief. But Electric Miles part-2 only had peripheral -if any- connection to either of those scenes. I wonder how he (Cook) responded to the other extremes of Marsalis and Zorn?

I think it means quite a bit. Especially in relation to music criticism, and the arts in general. Although over in England I get the impression that Ronnie Scott's generation represented a kind of working class 'everyman's' response to Jazz. While Richard Cook's generation was very much an intellectual /academic response. Although it seems Cook was a bit of an outsider initially, if this obit is accurate. Therefore, to a certain extent, it looks like I've been driven into the covers. Still, he's old man went to Cambridge...so the boundaries been saved at least On the positive side, his dissatisfaction with Deleuze and Guattari references in writing about Improv suggests he may have been a Zizekian

For some singing, look up the David Murray album Interboogieology on Black Saint, with vocalist Marta Contreras on two tracks.

Well this interview has been posted here twice recently, but got lost in the board upgrades. Some of the things I found interesting I posted into the Liebman thread. Namely that if Davis had a definite Pop melody project in mind, then his initial choice of musicians for the second Electric phase seems counter-intuitive. As for Richard Cook, his own commentary in this interview seems sycophantic to say the least, and probably just what Davis wanted to hear. This is the same Richard Cook who labelled Marvin Cabell's playing 'wretched'. I also noticed, during a recent scan of an old Wire magazine review, Richard Cook (in a review of one of those Phillip Morris tours,) also describing Jon Faddis's musical histrionics as 'wretched' as well. I would have thought someone who (in all likelihood), received the full benefit of the toffee English public school system - and then most likely Cambridge or Oxford - would have had a better repertoire of critical insults. Thank god he wasn't a musician, Miles might have hired him for the band.

You'll just have to listen to the next one instead. Are You Glad To Be In America. RSJ and Grant Calvin Weston, two for the price of one. The Rough Trade one is a better mix than the Artist's House release though. And it's mastered by the legendary Porky Peckham - Britain's own post-punk Rudy Van-Gelder. Incidentally TOCB has a VanGelder stamp in the dead wax Yes, I like Are You Glad to Be in America. I have the Artists House issue - an album which I just realized discounts my assertion (in another thread) that all the AH albums came with booklets. And now that you pointed out that Tales of Captain Black has a Van Gelder stamp, I've started fetishizing it as an object. There could be worse things to fetishize about.

Ban Ki Moon Moon Martin Martin Plaza

You can't afford them

Larry The Lair Larry Zbyszko Leapin Lanny Pofo Lance Gibbs Mr Tibbs Sydney Poitier

Just ordered mine locally. Hoping they are already in the warehouse over here. In the box marked fragillly. If it's not here within two days, I'll know it's still on it's way from America. Looking forward to the liner notes as much as the music as well. Ollie Matheus sounds like a very interesting character

You'll just have to listen to the next one instead. Are You Glad To Be In America. RSJ and Grant Calvin Weston, two for the price of one. The Rough Trade one is a better mix than the Artist's House release though. And it's mastered by the legendary Porky Peckham - Britain's own post-punk Rudy Van-Gelder. Incidentally TOCB has a VanGelder stamp in the dead wax

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. Agreed 100%. The argument that "it will never undergo the same re-evaluation as the 70s music" is a total straw man, re-evaluation is not a binary choice between "this is commercial garbage" and "this is amazing, innovative, classic music". True it's not a binary choice. But I suspect the people who didn't much like the 70's music back in the day, really changed their minds or came to admire it with new found vigour as the decades rolled by. Some might of, but probably not much re-evaluation went on amongst those there at the the time. And most of the On The Corner and after stuff was too ugly (in a good way) to be incorporated into the 'cleaner' Fusion legacy of the rest of the 70's and 80's. It occupied a dark corner until the re-evaluation happened by younger listeners - generations later - who found it had something useful to contribute and enjoy, parallel to the music they were making and listening to for themselves. It just fitted in with the new beginnings of the digital age. I can't see how the 80's Miles would really have the same kind of influence in the future. But I will enjoy looking out for it if it happens. Yesterday, I had my itunes library playing in the background, and some music came on that I couldn't identify, the synths made me think it must have been some 80's Miles, I was waiting for the trumpet to happen, but it was Ronnie Foster's Cheshire Cat album.

It's for a good cause, apparently.

Here's an online scan of the booklet for anyone else that might be curious. Including the infamous 'harmolodic guitar clef Any insights welcome. Also this interesting recollection from one of Blood Ulmer's ex-students. It has some good writing about the difference between street musicians and the academy. http://www.myspace.com/theelectricson/blog/495500705

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?

I forgot about this. MTV Miles. Only 6004 views

They both performed at the Rumble In The Jungle concerts in Sep. 1974. Larry Carlton was in the band then. I thought David T Walker replaced him? So maybe it was recorded post Zaire. Maybe the recording was a result of contacts made from that tour perhaps? http://www.youtube.com/watch?v=_BUUs3TNL-g

Yes that's possibly true. Perhaps with the Scofield statement, he was suggesting (and I'm putting words in his mouth here but - so what ), that Miles wanted a hit record, and he was prepared to trivialise his music to get one. Certainly if I listen to Star People (as I did in the day when it first appeared), I can't see any potential connection to the mainstream top ten. Later recordings begin to have content less far removed from that outcome though. I think if Miles had of been working even a decade or so later (when Pop music had completed the move beyond the Michael Jackson moment and into the urban Rap one), it would have been almost certain he would have found a preconceived - or perhaps even an organic collaboration - that would have given him the 'total crossover' hit. But in the Eighties/early Nineties, it's harder to imagine what that would have sounded like. Maybe something like 'Rise' with Miles playing trumpet instead of Herb Alpert

Bloody Scofield I stood in a semi-full boutique bar for what seemed like an eternity watching him play his boring, over harmonised tunes, only for him to come out for his encore and play a Bflat Blues. Just about one of the best Bflat blues I've ever heard. Made the rest of the night totally worthwhile re-point about having greater success, yes you do make it sound like a best of all possible worlds outcome. I came across this old interview with Ornette last night. I think it's a famous interview - or at least it was to me when I read it as an impressionable teenager back in the day. The interview talks about Ornette's desires for much the same thing as Miles. "Denardo now functions as Prime Time's manager, having taken over that slot from - and this is one of my favourite facts in Ornetteology - Sid Bernstein, manager of pop songstress Laura Branigan and the fellow who brought the Beatles and the Bay City Rollers to America"...."The second meeting was at the Moers festival in 1981. There he announced that he had now found the key to the mass audience that with Sid Bernstein's business strength behind him would proceed to unlock the door". The interviews filled with other interesting asides, including one about the interior life of Blondes that echoes something similar I seem to recollect Miles also saying, though I may have mixed that up down the years. http://www.thewire.co.uk/in-writing/interviews/ornette-coleman_prime-time-and-motion

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.

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.

It's certainly 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'.

Why did Chewy get banned?