.:.impossible Posted November 4, 2004 Report Share Posted November 4, 2004 I've been thinking lately about Victor Feldman's short stint with Miles Davis and the possibilities of what would have occurred had Victor rolled the vibraphone into the rehearsal back in 1962. The fact that Miles chose a musician equally as proficient on piano as he was on vibraphone would have made him a perfect, though very early, transitional musician into Miles' electric world. When Victor was a part of Cannonball's band, he would have Wynton Kelly play piano. Miles definitely had some time with Wynton Kelly. That would have worked! I just find it interesting that he would choose a musician equally as proficient on vibes as he is on piano and not have any rehersal tapes to show for what might have been. I know Miles didn't start experimenting with electric guitar and electric piano until Circle In the Round (1967), and electric piano and electric bass until Filles De Kilimanjaro and Water Babies which wasn't until 1968, but I'm thinking that the vibraphone would have been a logical step toward utilizing electric piano. Going back to Circle In the Round, Herbie plays a celeste that sounds oh so close to a vibraphone sans vibrato and Miles plays bells and chimes when he isn't playing trumpet! Imagine an extension of this sound, similar to the multiple keyboardists he would be utilizing years later. Quote Link to comment Share on other sites More sharing options...
mikeweil Posted November 4, 2004 Report Share Posted November 4, 2004 As far as I remember Cannonball Adderley encountered Victor Feldman first on the occasion of his "Cannonball Meets the Poll Winners" LP for Riverside, an all-star affair with Wes Montgomery and Ray Brown, who all had just won down beat polls. Cannonball brought in Louis Hayes, and Orrin Keepnews contracted Victor Feldman who had built up a reputation as a reliable player through his L.A. studio work after his move there from Britain, and because his vibes might give a different sound to the band. They knew nothing about Feldman's jazz proficiency then and were amazed when he presented some of his tunes at the piano - they ended up having him play some tunes on piano and using two of his tunes. Cannonball had a hard time talking Feldman into joining his band - the latter hesitated to give up his lucrative studio musician's life for touring stress, and Miles may have had similar problems. At least he says so in his autobiography. If I remember correctly, Miles did not record with a vibraphonist other than Milt Jackson on two Prestige dates - I find it telling that he mentions these in his autobiography but does not use a single word on Bags' musical qualities. I doubt that he was attracted to the vibes sound. I think the resemblance to the Fender Rhodes piano sound is rather superficial. Miles says he began to like the sound after he heard Joe Zawinul play it in Cannonball's band - that was several years later. Quote Link to comment Share on other sites More sharing options...
.:.impossible Posted November 5, 2004 Author Report Share Posted November 5, 2004 I know Miles played with Teddy Charles, and Buddy Montgomery as well, around 1960. Maybe he wasn't interested... but that doesn't explain the celeste on Circle In the Round. But it does explain why Circle In the Round really does stand alone in his discography... What year was the poll winners? Victor recorded a leader date in 1958 featuring, the then unrecorded, Scott LaFaro and Stan Levey. The Rhodes can sound like a vibraphone with the right modules and the right touch I guess. I'm more thinking of the keyboard playing on Circle In the Round where Herbie Hancock is using a celeste. Quote Link to comment Share on other sites More sharing options...
mikeweil Posted November 5, 2004 Report Share Posted November 5, 2004 The Poll Winners LP was recorded on two days in may and June, 1960. Remember "Circle in the Round" was not issued at the time - it could mean Miles was dissatisfied with the results. Maybe he already wanted a Rhodes back then, but a celeste was all the studio had to offer, or the Rhodes was broke or out of tune - that happened easily to them. To detune a celeste - almost impossible (no pun intended). Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted November 5, 2004 Report Share Posted November 5, 2004 You guys have WAAAAYYYY to much free time. Quote Link to comment Share on other sites More sharing options...
jazzbo Posted November 5, 2004 Report Share Posted November 5, 2004 C, I'm glad you are having fun with your vibes! I actually think he chose Victor for his pianistics and songwriting and that he didn't have any intention to go beyond the traditional strings and hammers acoustic piano in his band at that time, he was still thinking in terms of traditional jazz quintet instrumentation. Wouldn't surprise me at all if it were the composition(s) that sealed the deal for Miles to pursue Victor as a more permanent chair; he did use the tunes for some time after. . . ! Quote Link to comment Share on other sites More sharing options...
.:.impossible Posted November 5, 2004 Author Report Share Posted November 5, 2004 Thanks Lon. I am having a great time. Things are moving along pretty quickly, I think. I haven't started into the songbook yet, and probably won't for a while. So much to learn. I guess the reason I brought all of this up is because I have a certain sound in my head... sorry to waste your time Chuck! Quote Link to comment Share on other sites More sharing options...
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