Would MILES have sent this?

[tangom...@mac.com]

I would love it if you would take a few minutes to read the following.
Please note that Pat LaBarbera and Terry Clarke are well known, long
in the tooth, world class jazz musicians.
The other players know how to play as well!
I'd love opinions on this letter.

_________________________________________________________________________
To: Terry Clarke; Robi Botos; Pat LaBarbera; Pat LaBarbera; Mark
Cashion
Subject: Week 3 - FIVE WEEKS FOR MILES set list and gig details

Hey MILES Week 3 crew!

To prep for our event just listen to Live at the Plugged Nickel over
and
over and over... I put Disc 5 up on Brownman.com for those who need
something to listen to in MP3 format... the spirit of the whole thing
is
really captured there I feel (that's the 2nd set from Dec 23, '65):
http://storage.brownman.com/FiveWeeks/Week3/
(right click the MP3s and choose "save as" to save them to your
Hard-dive).

Dress is... well... could we all do 1965 type black suits so we look
the
part? :)

We scheduled to hit at 9pm, so if we can be setting up at 8pm and off
the stage at 8:30pm, that would be grand. (We have been consistantly
starting at 9:30pm, just so you know, but it's good to be setup and
clear of the stage by 8:45pm at the latest).

===========================================
FIVE WEEKS FOR MILES - Week 3
"Plugged Nickel" - The Shorter Years
http://miles.brownman.com
===========================================
Set 1
===========================================
- Agitation (bass solo last - morphing into "Footprints")
- Footprints (ala 1968 Sweden Live. vamp fade at end
into Brown on "Funny Valentine" theme)
- My Funny Valentine (free-ish, until blowing. and
end Scott starts "So What")
- So What (so fast we can barely play it. improvise ending)
- I Fall In Love Too Easily (vamp and fade. Brown will
state "Oleo" theme off the tail end of tune)
- Oleo (fast.)
- The Theme

===========================================
Set 2
===========================================
- If I were a Bell (fast. changes. then I-VI-II-V on cue)
- Stella (Brown melody right off of tail of "Bell".)
- All Of Me (medium. mess with statement of theme. changes
once. then I-VI-II-V)
- Round Midnight (free-ish statement of melody, time for
blowing.)
- All Blues (tenor plays line to start...)
- Green Dolphin St (fast. move between latin and
swing. for blowing - swing tenor - latin trumpet)
- The Theme
===========================================

Just some things I noted about the Plugged Nickel Box I'd like us to
also be doing, as part of our "tribute":

1) Rhythm section (particular Tony) is very interactive
with the soloists
2) Hot Tempos should be *really* hot.
3) Freeness/avant-garde chops throughout
4) 2 horns never double a theme. so let Brown state
all initial themes (ie - first A), Pat playing
guidetone-ish Wayne-ish counter-lines
5) When the soloist restates tempos on occasion,
rhythm section chases them into the new time...
6) Don't worry about forms sometimes - sit on a vamp
and create atmospheres. Be it burning, or haunting.
let the tunes breath like Miles band did in '65.
7) As Wayne described in his book "Footprints", it was Tony's
scheme for them to play everything in an unexpected
fashion... to surprise themselves and reach for new
directions at the same time... so let's all do the
same... lots of stretching... non-traditional
approaches to this age-old standards... if we can
effectively do that, that's the best Tribute to this
period of Miles' life I can think of. :)
8) Have a great gig guys and thanks for being part of this!

_______________________________________________________________________________________
At this point he goes on and on about the Plugged Nickel session, but
I think you get the gist.

[larc...@bellsouth.net]

On Dec 4, 9:55 am, tangomont...@mac.com wrote:

Paint me very skeptical. Where's the 4-letter words we've all come to
know and love when Miles uses the king's english?

Chris

[sgo...@changethisparttohardbat.com]

Did Miles dictate so much to his musicians? I could be wrong, but in
every example I'd heard about, he encouraged them to just do whatever
they felt like doing. That's probably why his groups sounded so
different depending on who was in it.

[Joey Goldstein]

This is just a note the Nick Ali, aka "The Brownman", has sent to the
musicians he is using on an upcoming gig, which happens to be a tribute
to Miles.

I don't know what you think it is, but that's what it is.
Why this is circulating the Internet is beyond me. But I guess somebody
probably thought that Nick is going a bit overboard in his instructions
to all these real strong players.

--
Joey Goldstein
<http://www.joeygoldstein.com>
<http://homepage.mac.com/josephgoldstein/AudioClips/audio.htm>
joegold AT sympatico DOT ca

[hw]

"Joey Goldstein" <nos...@nowhere.net> schrieb im Newsbeitrag
news:fj4tvh$c7s$1...@news.datemas.de...

> This is just a note the Nick Ali, aka "The Brownman", has sent to the
> musicians he is using on an upcoming gig, which happens to be a tribute to
> Miles.
>
> I don't know what you think it is, but that's what it is.
> Why this is circulating the Internet is beyond me. But I guess somebody
> probably thought that Nick is going a bit overboard in his instructions to
> all these real strong players.
>
>

would've been funny if the band indeed played "All of Me".....

[EBjazz]

I doubt Miles would have written such a note.
This is a note from a band leader to his band regarding a gig. Miles would
expect everyone to know what he wanted.

Eb

<tangom...@mac.com> wrote in message
news:6f9d3230-014a-44e7...@l16g2000hsf.googlegroups.com...

[Greg Evans]

And to be fair, Miles' group would not have been trying to
specifically *recreate* a particular sound or feeling. Their sound
came out of the players themselves, plus whatever group dynamic had
organically grown out of the musicians previously playing and
rehearsing together.

A bandleader using hired-for-the-purpose players (as opposed to an
already-cohesive group) might justifiably feel the need to spell out
some of the details before the performance, let the musicians know
what was expected for the gig - especially if the group was going to
attempt to REPRODUCE a particular historical setting and style. Okay,
that email could maybe be viewed as being a *leetle* OCD, but given
the circumstances I don't see anything about it egregiously horrible
enough to justify putting it on the web for folks to make fun of or
sneer at. I'm sure most of us could tell far more nightmarish bad-gig
tales....

[sgo...@changethisparttohardbat.com]

In rec.music.makers.jazz Greg Evans <fa...@bogus.com> wrote:
: I'm sure most of us could tell far more nightmarish bad-gig tales....

I certainly could. And like you, I didn't think the letter was that bad.