Miles Davis - Spanish Key

Miles Davis Live at Antibes Jazz Festival, Antibes, France, 1969!

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Miles In India

Watch out for the 2CD 'Miles In India' release.  To give  you some appetite you can read a review here already.

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Paul Buckmaster : The Chitinous Ensemble

Paul Buckmasters Chitinous recording from 1971 resembles a lot to Miles' work of that period. No wonder since they met in that period and Paul Buckmaster collaborated with Miles. You gotta try this recording out !



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Miles...From India

This landed in the mailbox :

Revelatory 2-CD Set Features Over Two Dozen
Musicians From U.S. & India Recorded Around The Globe
Reinterpreting Miles Davis Classics


Features Miles Davis Alumni and Renowned Indian Classical & Jazz Musicians Interpreting Tunes From
Classic Davis Albums

Selected Live Dates To Follow
Including New York and San Francisco

In a startlingly original recreation of music associated with jazz legend Miles Davis, co-producers Bob Belden and Louiz Banks have recast familiar themes from such landmark recordings as Bitches Brew, In A Silent Way, and Kind of Blue with an East Meets West sensibility on Miles...From India. An incredibly ambitious project involving two dozen musicians from two separate continents recording in studios around the world, Miles...From India is a cross-cultural summit meeting that puts a provocative pan-global spin on such Miles classics as "All Blues," "Spanish Key," "So What," "It's About That Time" and "Jean Pierre."

Sitar and tablas, ghatam and khanjira, mridangam and Carnatic violin blend seamlessly with muted trumpet and saxophones, screaming electric guitar and grooving electric bass lines, piano, upright bass and drums on this profound fusion of Indian classical and American jazz. Recorded in Mumbai and Madras, India and New York, Chicago and Los Angeles, the music on Miles...From India was performed by classical and jazz musicians from India with the addition of musicians who have recorded or performed with Miles Davis over the span of five decades. The 2-CD set is scheduled for an April 15 release on the New York-based Times Square Records.

Producer-archivist Belden, renowned for his Grammy Award-winning reissue work on a series of Miles Davis boxed sets for Sony/Columbia, explains the genesis of Miles...From India. "Yusuf Gandhi, who heads Times Square Records, and I have had conversations about doing this for the past several years. Yusuf had the connection to India and an understanding of Indian classical music along with an appreciation for jazz and also fusion music. So we had some mutual interests there. At some point we were talking about potential projects and I was just in the process of doing the On The Corner boxed set. Of course, Miles incorporated tabla and sitar on those sessions from 1972, so I suggested revisiting Miles' Indian influenced music using some of those guys from On The Corner along with some Indian classical musicians and calling it Miles...From India. Yusuf said, 'Perfect,' and that was it."

Adds Gandhi, "Jazz musicians have always listened to Indian music and Indian musicians know jazz. Right now there are so many great young musicians in India that people in America have never heard of. You hear about the Ravi Shankar family and other prominent musicians from India, but you don't hear about the younger musicians who are out there doing innovative things. So we wanted to get some of them into the picture on this project."

The Miles alumni included on the sessions are saxophonists Dave Liebman (1972-74) and Gary Bartz (1970-71), guitarists Mike Stern (1981-84), Pete Cosey (1973-76) and John McLaughlin (1969-72), bassists Ron Carter (1963-69), Michael Henderson (1970-76), Marcus Miller (1981-1984), Benny Rietveld (1987-91), keyboardists Chick Corea (1968-72), Adam Holzman (1985-87) and Robert Irving III (1980-88), drummers Jimmy Cobb (1968-63), Leon 'Ndugu' Chancler (1971), Lenny White (1969) and Vince Wilburn (1981, 1984-1987) and tabla player Badal Roy (1972-3). The Indian contingent is represented by keyboardist Louiz Banks, drummer Gino Banks, American-born alto saxophonist Rudresh Mahanthappa, sitarist Ravi Chari, Vikku Vinayakram (a charter member of Shakti) on ghatam, V. Selvaganesh (a member of Shakti and Remember Shakti) on khanjira, U. Shrinivas (from Remember Shakti) on electric mandolin, Brij Narain on sarod, Dilshad Khan on sarangi, Sridhar Parthasarathy on mridangam, Ranjit Barot on drums,
Taufiq Qureshi
and A. Sivamani on percussion, Kala Ramnath on Carnatic violin, Rakesh Chaurasia on flute and Shankar Mahadevan & Sikkil Gurucharan on Indian classical vocals.
With the Indian musicians first laying down the foundation of the tracks at studios in Mumbai and Madras, the Miles alumni then added on their parts back in the States. All the parts were then digitally edited into a coherent whole so that, for instance, on a tune like "Blue in Green" you get the sense of an organic, real-time call-and-response going on between Mike Stern's keening guitar lines (recorded in New York) and Shankar Mahadevan's impassioned vocals (recorded in Mumbai).

"All the forms were set based on my reduction of the song as a lead sheet," explains Belden, "and then Louiz figured out how to make it fit into the cultural norms of India. And the beauty of it is these Indian guys really know how to play that music. And once they got the groove in their mind, that was it. So essentially, everything we did was a first take. They showed up with their instruments, we rolled the tape and that was it."

"Jean Pierre" was similarly structured with the Indian musicians (Ranjit Barot on drums and Rakesh Chaurasia on flute) laying down their parts to a click track. Later on in the States, drummer Vince Wilburn and keyboardist Robert Irving III added their parts in Chicago while guitarist Mike Stern and keyboardist Adam Holzman added theirs in New York. "But I had Robert Irving reacting to what the Indian drummer put down when he played while Adam Holzman reacted to what Vince had played," explains Belden. "So you had all these people reacting to different things they didn't hear, and when you mixed them together it worked."

Belden adds that for this Miles...From India project he relied on technology that didn't exist five years ago. "We used the internet a lot in dealing with file sharing sites. And I was also able to use SKYPE to produce two sessions at the same time in different locations from my apartment. For 'It's About That Time' I had Ndugu Chancler playing drums on the West Coast and Robert Irving in Chicago playing Hammond B-3 organ, and we were all connected in a video conference via SKYPE. They were playing back their parts, suggesting stuff, conversing back and forth with me producing back in my New York apartment. In fact, you can make a whole record that way. You leave less carbon footprints that way."

Gandhi, who also heads up the Hip-Bop label, admits that he is astonished by the seamless illusion of real time interaction that this digital technology is able to create.

"Every time I listen to 'Spanish Key,' the way that Mike Stern comes into it when the percussionists are playing...it's almost as if he were there with them."

Some of the other highlights of this remarkable concept project include: a version of "All Blues" in 5/4 that features the regal rhythm tandem of bassist Ron Carter and drummer Jimmy Cobb (the latter recorded on the original 1959 Kind of Blue session); a 9/4 rendition of "So What" (also from Kind of Blue) featuring bassist Carter, pianist Chick Corea and drummer Ndugu Chancler interacting with a crew of Indian percussionists and konokol vocalists; a ripping, distortion-laced Pete Cosey electric guitar solo alongside Michael Henderson's groove-heavy electric bass lines, Dave Liebman's flute and Kala Ramnath's carnatic violin work on a fast version of "Ife" (from Big Fun and The Complete On The Corner Sessions); some melodic sarod playing by Pandit Brij Narain on a faithful rendition of Joe Zawinul's lyrical anthem "In A Silent Way"; some hauntingly beautiful muted trumpet work by Wallace Roney alongside Shankar Mahadevan's emotive vocals on "Blue In Green"; Marcus Miller's mysterious bass clarinet alongside Roney's trumpet and Ravi Chary's sitar on "Great Expectations"; and some potent, jazzy soloing from trumpeter Roney, tenor saxophonist Liebman and soprano saxophonist Gary Bartz on a slow version of "Ife."

The lone commissioned work on Miles...From India is the stirring title track, composed, produced and performed by guitarist John McLaughlin with his Remember Shakti bandmate U. Shrinivas on electric mandolin, Louiz Banks on piano and Sikkil Gurucharan on vocals.

This kind of East Meets West cross-cultural fusion has been going on since George Harrison played sitar on the Beatles' "Norwegian Wood" (from 1965's Rubber Soul). Fellow Brit guitarist and Harrison colleague Brian Jones followed suit in 1966 by playing sitar on the Rolling Stones' hit single "Paint It Black." John McLaughlin investigated South Indian classical music forms on the Mahavishnu's 1971 debut The Inner Mounting Flame and Miles Davis took the plunge by incorporating tablas and sitar on 1972's On The Corner. Some important Indo-American fusion projects that have subsequently been released include McLaughlin's Shakti (1975) and Remember Shakti (1999), Mickey Hart's Diga Rhythm Band (1976) and Planet Drum (1991), Talvin Singh's Asian flavored drum 'n' bass recording Anokha (1997), Bill Laswell and Zakir Hussain's Tabla Matrix (2000), Karsh Kale's Realize (2001) and Broken English (2007) and Anoushka Shankar's Rise (2005) and Breathing Under Water (2007). The all-star Miles...From India (2008) session represents the next step in the evolution of Indo-American jazz fusion.
Various Artists - MILES...FROM INDIA
Times Square Records - April 15, 2008
There will be a handful of live concerts celebrating the collaboration...the first two scheduled are in New York and San Francisco with more to come...Among the artists performing at these first two dates are RON CARTER, LENNY WHITE (pictured below l-r), WALLACE RONEY, PETE COSEY, BADAL ROY, RUDRESH MAHANTHAPPA, LOUIZ BANKS, BENNY REITVELD and more tba...
May 9 - Town Hall, 123 W, 43rd St. New York, NY
8pm - Tickets: $40-$45

May 31 - SF Jazz Festival, The Palace of the Fine Arts,
3301 Lyon St. - San Francisco, CA - 8pm -
$25/$30/$36/premium $56 - Box Office: 415-567-6642
Brad Riesau at DL MEDIA
(p) 909.744.0704
(e) brad@jazzpublicity.com
This email was sent to jasonweiss@mindspring.com, by brad@jazzpublicity.com
DL Media | 124 N Highland Ave | Bala Cynwyd | PA | 19004

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Miles Davis - The Comeback Sessions Vol. 2


Miles Davis - Comeback Sessions, Volume 2 
So What (J) SW 187 (CD-R) 

1 Miles Count Mar 2, 1978 0:04
2 Untitled Tune Mar 2, 1978 4:28
3 Untitled Tune Mar 2, 1978 0:04
4 Untitled Tune Mar 2, 1978 7:12
5 Bass Improvisation Mar 2, 1978 0:33
6 Back Seat Betty (M. Davis) Jan 1981 15:09
7 Back Seat Betty (M. Davis) Jan 1981 18:31

March 2, 1978
Miles Davis (org); Larry Coryell (g); Masabumi Kikuchi (keyb); George Pavlis (keyb); T.M. Stevens (el-b); Al Foster (d)

January 1981
Miles Davis (tpt); Bill Evans (ss, ts, fl); Barry Finnerty (g); Marcus Miller (el-b); Al Foster (d); Sammy Figueroa (perc)

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Complete On The Corner Sessions

Whiles it's a long weekend take your time to sit back and relax with a  long review by Greg Tate on the newly released Miles Davis - The Complete On The Corner Sessions!

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Miles Davis : The Complete On The Corner Sessions

Paul Tingen wrote for The Guardian a critic on the new Miles Davis box set : The Complete On The Corner Sessions. 
The most hated album in jazz

At the time, everyone loathed Miles Davis's On the Corner - even the people who played on it. But now, reports Paul Tingen, some of the coolest names in music are proud to name it as a major influence.

Paul Tingen
Friday October 26, 2007


Within weeks of its release in 1972, Miles Davis's On the Corner had become the most vilified and controversial album in the history of jazz. "Repetitious crap," wrote one critic. "An insult to the intellect of the people," remarked another. Even the musicians who played on the album were bewildered. "I didn't think much of it," recalls saxophonist Dave Liebman. "It was my least favourite Miles album," says Paul Buckmaster, the British composer and arranger who supplied musical sketches for the sessions, and turned Davis on to the music and method of Karlheinz Stockhausen.

The history of music is full of works that were derided on first public exposure - Stravinsky's Rite of Spring (1910), Ornette Coleman's Free Jazz: A Collective Improvisation (1960), the Sex Pistols' Never Mind the Bollocks (1977) - but within a few years enjoyed a critical rehabilitation. By contrast, On the Corner remained shunned, if not forgotten, for decades. All the more striking, then, that 35 years after its first release it is hailed by many outside the jazz community as a visionary musical statement that was way ahead of its time.

Jamie Morrison, drummer with post-punk band the Noisettes, is one of them. "On the Corner is a huge influence on us," he says. "I love the rhythm section, and the way you're just thrown into the music at the beginning. It's really punk in its attitude. It's so offensive, and pushes boundaries at the same time."

He is echoed by Paul Miller, aka electronic and hip-hop musician and producer DJ Spooky. "I'm highly influenced by the collage process producer Teo Macero applied on the album," he says.

Bassist Jah Wobble chips in: "On the Corner is fantastic, because this same riff comes back to you again and again. You can't do it with any old riff." And New York guitarist Gary Lucas, who has come through the Captain Beefheart school of warped aesthetics, loves the "ominous, dense, swampy jungle of urban desperation its dub-like grooves conveyed".

So it seems On the Corner simply went underground, only to emerge again when the world was ready for it. The release this week of The Complete On the Corner Sessions, a six-CD box set, is timely. It's worth pointing out, though, that the re-evaluation of On the Corner has been going on since the early 1990s, when hip-hop artists began quoting it as an influence. "It was the first hip-hop/house/drum'n'bass/breakbeat album I'd ever heard," explains American musician and longtime Village Voice writer Greg Tate.

Since then, the list of musicians who have namechecked Miles Davis's electric music in general, and On the Corner in particular, has become seemingly endless; knowing and liking the album appears to have become indispensable in the hipness stakes. On the Corner's influence can be heard in the music of such varied artists as Underworld, Radiohead, Sonic Youth, Red Hot Chili Peppers, David Byrne and Squarepusher.

Yet, the mainstream jazz community still won't touch On the Corner with a barge pole. And whatever remains of jazz-rock continues to be too deeply in thrall of the pyrotechnics aspect of such 1970s bands as Mahavishnu Orchestra to take any notice of On the Corner's repetitive funk, which was the antithesis of virtuosity.

So what is this most mysterious and outré of albums? The culmination of Davis's two-decade-long quest for the African roots of his music, On the Corner has a huge, extended rhythm section rotating around circular, one-chord bass riffs. But there were a number of other things that set the album apart. First there were the influences of Stockhausen, Paul Buckmaster, and Ornette Coleman's atonal "harmolodics". These were superimposed over grooves and bass riffs that were more tightly circumscribed than ever before. On the opening track, the bass plays the same few notes for 20 minutes. Inundated by an ocean of rhythm instruments, including sitar, tabla and three electric keyboards (played by Chick Corea and Herbie Hancock, among others), and without any harmonic development, the soloists had very little space, and became merely strands in a tangle of grooves and colours.

In addition, producer Teo Macero did his wild cut-and-paste thing, which he had pioneered on Miles Davis's In a Silent Way and Bitches Brew. Here, he went deeper than before into overdubbing and studio effects territory. According to The Complete On the Corner Sessions producer Bob Belden: "The original album version was an effect. In essence, it's compression in a narrow stereo field to make the music work on AM radio."

Why go to such trouble for AM radio? The answer lies in what the more anti-commercial members of the jazz community considered to be Davis's biggest sin: having already been accused of "selling out" for incorporating rock influences, he asserted that On the Corner was his effort to go mainstream and reach the kids in the streets. Predictably, this impenetrable and almost tuneless concoction of avant-garde classical, free jazz, African, Indian and acid funk bombed spectacularly, leading to decades in the wilderness. As far as the jazzers were concerned, it completed Davis's journey from icon to fallen idol.

But the story doesn't end there. In the three years following On the Corner's release, Davis managed to take a few more steps in the same direction. In the spring of 1973, seemingly tired of the constraints imposed by huge rhythm sections, he trimmed his band down to seven players and fronted it with Pete Cosey, a fearsome electric guitarist whose jaw-dropping exploits still sound advanced today. The band were at their best live, and their ferocious acid-funk improvisations can be heard on the staggering live double albums Dark Magus, Agharta and Pangaea.

Most of the 1973-75 material on The Complete On the Corner Sessions sounds tame by comparison to those three albums.But the box set also contains Davis's acid-funk band's only studio album, Get Up With It, which includes a meditational homage to Duke Ellington, He Loved Him Madly - a half-hour-long track that Brian Eno has quoted as a major influence on his ambient direction.

In the past few years, there have been signs that this 1973-75 output is also heading for a radical reappraisal. Julian Cope aptly wondered, "Are there any others who took up the baton from Miles after his funk ensemble collapsed? I hear the influence in post-punk but that's about it." Barring a few tributes, this music still appears to be buried in a time capsule of its own, waiting to be discovered.

·Paul Tingen is the author of Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991. The Complete On the Corner Sessions is out on Sony Legacy on Monday.

· This article was amended on Monday October 29 2007. We misspelled Red Hot Chili Peppers as Red Hot Chilli Peppers. This has been corrected.

Guardian Unlimited © Guardian News and Media Limited 2007

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