Yo Miles 3/4/00 cdr offer
RCSinko
Anyone interested send me your lists. More info on the show below.
Ron
YO MILES!
AT THE FILLMORE AUDITORIUM
MARCH 4, 2000
Wadada Leo Smith (trumpet)
Henry Kaiser (guitar)
Michael Manring (bass)
Chris Muir (guitar)
ROVA SAX QUARTET (reeds):
Bruce Ackley
Steve Adams
Jon Raskin
Larry Ochs
Tom Coster (keyboards)
Special Guests: Karl Perazzo (percussion; of Santana), Steve Kimock
(guitars; formerly with KVHW and Phil and Friends, and occasionally with
Zero), and Steve Smith (drums; formerly with Journey, now with Vital
Information)
1st Set (1:20?)
Hollywuud/ Big Fun
Moja-NNE
Wadada and Karl ->
Right Off ->
Yesternow ->
Corrado ->
Drums and Percussion ->
Bitches Brew
Saxophone Quartet: Little Church/Sivad ->
Agharta Prelude
2nd set (1:20?)
Calypso Frelimo ->
Star People ->
Calypso Frelimo ->
Miles Dewey Davis III/Great Ancestor
Improv >
Black Satin
Manring Solo "Nefertiti" >
Ife >
Great Expectations >
Maiysha >
Ife
Willi (For Dave)
True to the spirit of Miles Davis's early-to-mid 1970's "fusion" of jazz
with rock, funk and African music, YO MILES! enthralled the nearly
sold-out Fillmore audience last night with an often
awe-inspiring improvisational artistry. As the sounds of YO MILES!
soared and spiraled through the chandeliers of the Fillmore, they were also
accompanied by "Joe Light Show," a psychedelic light show involving only
late 1960's and early 1970's technology, but as
effective and communicative as any modern system. This powerful
combination of lights and music made the evening at least as
unforgettable an event as the most recent YO MILES! gig at the
Fillmore last October during San Francisco's Jazz Festival.
The first set featured brilliant renditions of a variety of Miles Davis
themes, including a dense and funky "Right Off" with a magical intro by
Karl and Wadada, and a thrilling "Bitches Brew." It's worth getting the
tapes of this show (which will be circulated; there were tapers!) solely
for the bewilderingly riveting Steve Smith and Karl Perazzo solo. The
first set closed with a raging "Agharta Prelude" that had a slow, steady,
reggae-flavored opening, but which vibrated in funk by the close.
A gorgeous version of Wadada Leo Smith's original composition, "Miles
Dewey Davis III/Great Ancestor," highlighted the second set, as did a
magnificent "Ife > Great Expectations > Maiysha > Ife" exploration. There
was also an enchanting intro to "Black Satin," featuring the trio of
Perazzo, Manring and Wadada. The show-closing "Willi (for Dave)" began
with a mesmerizing solo on alto by Steve Adams, steadily and patiently
built into a soulful, orchestral fury, and finished with dizzying sustained
feedback. Though some clamored for more, the house lights went up
immediately after the band members excited the stage.
There had been rumors in the few days preceding the show that Carlos
Santana might play. All night, there was a Gibson Les Paul center stage by
the drum riser plugged into a Fender amp. Though some
speculated that it was Santana's, it was actually Kaiser's, for use by one of
the guitarists if their gear went down. And though, in the middle of a
samba-enthused, semi-spacey portion of "Maiysha", Karl Perazzo
appeared to motion wildly to someone backstage to come out and play, it
turns out he was motioning to the legendary percussionist Armando Peraza,
who, like Carlos Santana, was also in attendance. Though neither Carlos nor
Armando made an appearance on stage, their contributions would have only
made an unforgettable event that much more memorable; they were
certainly were not necessary.
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Throughout the evening, Kaiser and Smith alternated effortlessly between
their roles as
performer and conductor, making sure there was air and space to the music
-- which was
wondrously (perhaps
overwhelmingly to some) dense and complex, and only occasionally
cacophonous. Whether only
five or twelve musicians performed at one time, though, the music had a
penetrating potency
that is likely still, even a day later, scrambling the brains of some audience
members. The playing by Manring, Kaiser, Steve Smith and Wadada Leo Smith
alone revealed a
stunning grasp of Miles Davis's electric
repertoire.
Although the emphasis last night was arguably more on collaborative
improvisation than on
individual soloistic expression, there were nevertheless numerous solos
taken by everyone, and
almost all were of the highest caliber of musicianship imaginable. Steve
Adams's alto solos in
"Right Off" and "Willi (for Dave)"; Chris Muir's spine-tinglingly precise,
Frippian-like
fretwork during "Corrado"; Wadada's masterful, exceptional trumpet playing
throughout
everything; Larry Och's solo during "Moja"; Bruce Ackerly's and Steve
Kimock's mind-blowing
contributions to "Bitches Brew"; Coster's Hammond and Rhodes action in
"Yesternow" and
"Black Satin"; Kaiser's bluesy riffing during "Star People" (sandwiched in
"Calypso
Frelimo"); all should be heard to be believed. The professionalism of
the musicians last night
deserves the highest praise. Let's hope for more from Henry Kaiser,
Wadada Leo Smith, and YO
MILES! in the future!
A beautiful poster was distributed post-show last night, and it is sure to
become a collector's
item, because last night's show, sad to say, was the last Bill Graham
Presents Fillmore
Auditorium show. SFX is taking over, so all future posters will say SFX
on them. On the bright
side, I cannot imagine a more musically impressive and
inspiring show to mark BGP's final presentation at the Fillmore. Though
I've had some negative
things to say about BGP at times over the years (haven't we all?), I thank
BGP for their many
years of service to the Bay Area music community, and for caring about the
fans of the shows it
presents. SFX will almost undoubtedly, and
regrettably, not be able to equal or exceed that care and concern. BGP,
we're gonna miss you
when you're gone...
<<
}FRIDAY
}SEPTEMBER ONE
}AT THE FILLMORE IN SF
}
}YO MILES! will be:
}Wadada Leo Smith trumpet
}Henry Kaiser guitar
}Greg Osby sax
}Tom Coster keyboards
}Mike Keneally guitar
}Chris Muir guitar
}John Tchicai sax
}Michael Manring bass
}Steve Smith drums
}Karl Perazzo percussion
}+ some SURPRISING GUESTS
}
}with the J.O.E. light show
The YO MILES! band:
Wadada Leo Smith trumpet & co-leader
Ishmael Wadada Leo Smith, trumpet - player, multi-instrumentalist,
composer and improviser has been active in the creative contemporary
world music for over thirty years. He was born in 1943. He has appeared
on more than one hundred recordings; with dozens under his name as a
leader. Several of his most succesful projects were on the ECM label. Most
recently he has 3 new releases on John Zorn1s Tzadik label.
He has taught at the University of New Haven 1975-'76, the Creative
Music Studio in Woodstock, NY. 1975-'78, and Bard College 1987-'93. He
is currently the Dizzy Gillespie Chair at the California Institute of the Arts
1993-present. He is a member of B.M.I., AMRA, Association for the
Advancement of Creative Musicians.
His compositions has been performed by other contemporary music
ensembles: AACM -Orchestra, Kronos Quartet, Da Capo Chamber Player,
New Century Players, San Francisco Contemporary Music Players,
Contemporary Chamber Players (University of Chicago),
Some of the artists Mr. Smith has performed with are : Muhal Richard
Abrams, Anthony Braxton, Leroy Jenkins, Roscoe Mitchell, Lester Bowie,
Richard Teitelbaum, Joseph Jarman, George Lewis, Cecil Taylor, Andrew
Cyrill, Oliver Lake, Anthony Davis, Carla Bley, David Murray, Don
Cherry, Jeanne Lee, Milton Campbell, Henry Brant, Richard Davis, Tadao
Sawai, Ed Blackwell, Sabu Toyozumi, Peter Kowald, Kazuko Shiraishi, Han
Bennink, Misja Mengelberg, Marion Brown, Kazutoki Umezu, Kosei
Yamamoto, Charlie Haden, Kang Tae Hwan, Kim Dae Hwan and Tom Buckner,
among many others.
Henry Kaiser guitar, co-leader
Widely recognized as one of the most creative and innovative guitarists,
composers, improvisers, and producers in the fields of rock, jazz and
contemporary experimental music, California-based musician Henry
Kaiser is one of the most extensively recorded as well, having appeared on
more than 180 recordings, representing a wide range of musical idioms:
contemporary composition, experimental improvisation, as well as world
music, blues, jazz, folk and rock. His works, in total, have sold more than
850,000 albums. Evidence of his exceptional musical breadth and
versatility can be found in a few of the extraordinary artists with whom he
has recorded. and/or performed: Herbie Hancock, Zakir Hussain, Richard
Thompson, David Lindley, Bill Laswell, Steve Lacy, Anthony Braxton,
Terry Riley, Jim O'Rourke, Ryuichi Sakamoto, John Zorn, Bill Frisell,
Yuji Takahashi, John Medeski, Jerry Garcia, John Abercrombie, and Cecil
Taylor. Mr. Kaiser1s A WORLD OUT OF TIME series of recordings
introduced the world to the music of Madagascar with one of the
better-selling modern roots music CDs of all time with 140,000 units
sold internationally.
Greg Osby sax
Post-bop saxophonist Greg Osby was born April 3, 1960 in St. Louis,
playing in a series of R&B, funk, and blues units throughout his teen years
before attending Howard University. Upon graduating from the Berkley
School of Music, he settled in New York City and went on to play behind
Jack DeJohnette, Andrew Hill, Herbie Hancock, and Muhal Richard
Abrams; during the mid-'80s, Osby also served alongside Steve Coleman,
Geri Allen, Gary Thomas, and Cassandra Wilson as a member of the
renowned M-Base Collective. Making his solo debut with 1987's Sound
Theatre, Osby went on to record several sets for the JMT label, also
earning notice for his impressive contributions to Hill's 1989 date,
Eternal Spirit, and its follow-up But Not Farewell; with 1990's Man-Talk
for Moderns, Vol. X, he cut his first headling session for Blue Note, with
subsequent efforts for the company (including 1993's 3-D Lifestyles and
1995's Black Book), pioneering a distinctive fusion of jazz and hip-hop.
While 1996's Art Forum captured the saxophonist in an acoustic setting,
Osby continues exploring new avenues with each successive release,
capturing the improvisational intensity of his live dates with 1999's
Banned in New York and reuniting with Hill and fellow elder statesman Jim
Hill for the following year's The Invisible Hand.
Mike Keneally guitar
Mike Keneally has played and recorded with Frank Zappa, Steve Vai, XTC,
Joe Satriani, Eric Johnson, Robert Fripp, etc. He is a touring member of
Steve Vai1s band and produces his own solo and group projects, which are
constantly touring.
John Tchicai sax
John Tchicai will probably always be remembered for his alto playing on
John Coltrane's monumental Ascension recording, but he's actually spent
most of his life in Europe playing tenor sax. His style during the free
period had a dry tone and featured a staccato attack; his later material has
had a fuller, more soulful and earthy sound. Tchicai began playing violin at
age ten, then clarinet and alto sax at 16. He studied saxophone three years
at the Royal Conservatory in Copenhagen. Tchicai met Archie Shepp at a
festival in Helsinki in 1962. That same year he made his recording debut
in Warsaw leading a quintet. Tchicai moved to New York in 1963. He played
with Shepp and Don Cherry in The New York Contemporary Five, and with
Roswell Rudd and Milford Graves in The New York Art Quartet in 1964 and
1965. Both bands toured Europe and recorded. Tchicai also recorded with
the Jazz Composers Guild and with Shepp, John Coltrane and Albert Ayler.
He has also played with Cecil Taylor and with various San Francisco-based
ensembles. He settled in Northern California and in 1994 appeared at the
Monterey Jazz Festival, still playing in an advanced but relatively
thoughtful style; subsequent recordings include 1995's Love Is Touching,
1997's Adapt or Die, 1999's Moonstone Journey and 2000's Infinitesimal
Flash.
Michael Manring bass
On a typical week bassist Michael Manring may be found doing anything
from an international tour with New Age keyboardist Suzanne Ciani to an
avant-improv-core
club gig with guitar innovator Henry Kaiser to a folk festival with
celebrated troubadour John Gorka to a recording with the experimental
post-metal trio, Attention Deficit with Tim Alexander (Primus) and Alex
Skolnick (Testament). Building on the conceptions of his teacher, the late
bass legend Jaco Pastorius,
Michael has developed an entirely new approach to the instrument that
includes unorthodox tunings, techniques and methodologies. He has honed
his skills on over a
hundred recordings as a session musician and thousands of concerts
throughout the Americas, Europe and Asia. One of his most rewarding and
intimate musical collaborations was with the acoustic guitar genius
Michael Hedges. Through Hedges, Manring was introduced to Windham Hill
records where he was quickly signed as house bassist and solo artist. His
four solo albums with the Windham Hill/BMG group (Unusual Weather,
Toward the Center of the Night and Drastic Measures on Windham Hill;
Thonk on High Street) have earned him an international reputation as "a
master of the fretless bass without rival."
(Guitar Club Magazine, Italy). He has also garnered two gold records,
Grammy and Bammie nominations, a Berklee School of Music Distinguished
Alumni Award and numerous Bass Player Magazine Reader's Poll awards
including 1994 Bassist of the Year.
Steve Smith drums
A member of the multi-platinum band Journey, Steve Smith has played
with many jazz, fusion, and rock bands, Smith (and his current band, Vital
Information) features many styles of music performed with a small-group
and large-group ensemble. He is the current drummer for The Buddy Rich
band is proabbly the state-of-the-art jazz fusion drummer today.
Karl Perazzo percussion
Currently a featured meember of the Santana band. he has also recorded and
played with Malo, Jorge Santana, Cal Tjader, Dizzy Gilespie, Andy Narrel,
Ray Obiedo, Tom Coster, Pete and Coke Escovedo, Dennis Chambers, Sheila
E., The Artist, Mariah Carey, Paquito D' Rivera and is on the latest John
Lee Hooker album.
Karl Perazzo has also sat in with the best in Latin Music, such as Tito
Puente, Machete, Ruben Blades and others. Perazzo is not only known
nationally, but internationally as well. He is known to have recorded with
some of the best acts in Japan and Italy.
In addition to all of the above, Karl has also performed on an array of TV
shows, such as American Bandstand, Soul Train, Solid Gold, Jay Leno,
Johnny Carson, David Letterman, The Grammies, The American Music
Awards, and was the first percussionist to be invited to sit in with The
Arsenio Hall Show house band on more than one occasion, and to perform on
his 100th show.
Tom Coster keys
He was in a jazz/rock group called the Loading Zone on electric piano. After
a stint with Gabor Szabo in 1971, Coster spent 1972-78 with Santana. He
played at the 1978 Montreux Jazz Festival with Billy Cobham, spent a
couple of years outside of music and since then has primarily led his own
fusion-oriented bands other than an association with Vital Information. He
has since recorded as a leader for Fantasy, Headfirst and JVC
+ special guests to be announced. ( one is Steve Kimock)