Lee Morgan and Miles Davis
George & Cynthia Geder
Did LM and MD ever dialogue or play together.
What did they think of each other?
Are there any published articles regarding the two?
I didn't see LM's name in MD's autobiography.
Any thoughts?
George Geder
Joel Schoenblum
George and Victor,
IMHO, Miles was probably one of the least gracious jazz trumpeters
in history. And although I have tons of his stuff (and I'm a
trumpeter) I think he was much over-rated. No trumpeter today
missing notes like Miles did could get a recording contract.
Lee Morgan (and Diz, of course) would have wiped the bandstand
up with Miles. That's why with the zillions of recordings out
there of Miles there ain't much with other legends. It's usually
up and comers like Wallace Roney where he (WR) doesn't get to solo
much.
- Joel Schoenblum
Keeho Kang -FT-~
Lee is mentioned once in Miles' autobiography, near the end, when Miles
muses upon the fate of all the young up-and-coming trumpet players. He
mentions Woody Shaw and Freddie Hubbard in the same paragraph.
Keeho Kang
Intel, Corp.
5000 W. Chandler Blvd.
Chandler, AZ 85226
Marc Sabatella
Joel Schoenblum wrote:
> I think he was much over-rated.
I have expressed this opinion in the past, but for considerably different
reasons, so I must diagree strongly with you here.
> No trumpeter today
> missing notes like Miles did could get a recording contract.
Precisely the problem with today's music business. Too much emphasis on
technical polish, too little on originality.
Of course, one could also argue about the extent to which Miles' "missed" notes
were in fact actually missed and not deliberately smeared, but I will certainly
grant that, particularly on earlier recordings, Miles probably did miss more
notes than the "average" trumpet player in his position. I'm not sure how
significant this is, though. No one rates pitchers in baseball solely on how
many home runs they give up; what counts is their overall record.
> Lee Morgan (and Diz, of course) would have wiped the bandstand
> up with Miles.
In a contest of classical or bebop technique, perhaps. But neither would have
likely to have recorded anything remotely like the "Birth Of The Cool" sessions
or the "Workin'" series or "Kind Of Blue" or the "Plugged Nickel" set or "Miles
Smiles" or "Bitches Brew". Criticizing Miles for not playing like Lee is like
crticizing Miles for not pitching like Koufax - it's an apples-and-oranges
comparison.
> That's why with the zillions of recordings out
> there of Miles there ain't much with other legends.
No, just people like Sonny Rollins, John Coltrane, Bill Evans, Tony Williams,
Herbie Hancock, Wayne Shorter, or John McLaughlin. True, most were
"up-and-comers" when they recorded with Miles. Can you really say anything
different about Lee Morgan or Diz or anyone else, for that matter?
I think "all-star" sessions are overrated, anyhow - I'd much rather hear a
recording of a regular working band with a solid group concept than a pickup
session of musicians who normally have little interaction.
--
Marc Sabatella
--
ma...@fc.hp.com
http://www.fortnet.org/~marc/
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.
Victor Sgornikov
Good Day,
I seem to recall hearing an interview in which Miles was asked
about how his style had developed, and evolved, and which trumpet players
had most influenced him. His response (as best I can remember) was that he
was constantly forced to strive for his own individual sound, and approach.
In looking about at the great trumpet players of the day, he found Dizzy
to be somewhat of an intimidating presence (both technically, and in terms
of his strong personality), and Lee Morgan was "all over the place".
By this, I assume that he meant the aggressive, attacking style, with
seeminly effortless jumps between higher, and lower pitch tones that were
characteristic of Lee's playing.
I wish that I could more clearly recall the details of this interview,
documentary, or whatever. Perhaps someone else can fill in the details.
..Vic
----------------------------------------------------------------------
Vic Sgornikov ac...@nortel.ca (613) 765-2957
Broadband Networks, Ottawa, Ontario, Canada
----------------------------------------------------------------------
The opinions herein expessed in no way reflect those of my employer,
.., and in fact, depending on my mood, ...
may not even be ones that I'll admit to.
----------------------------------------------------------------------
AK...@worldnet.att.net
I have not read Miles' autobiography. Does he mention "Fats" Navarro?
Aaron Keys
george b.
Joel Schoenblum <sc...@lucent.com> wrote:
>IMHO, Miles was probably one of the least gracious jazz trumpeters
>in history. And although I have tons of his stuff (and I'm a
>trumpeter) I think he was much over-rated. No trumpeter today
>missing notes like Miles did could get a recording contract.
With all respect, how would Monk fare judged by this standard? Did he
"miss" too many notes too? Ironic how these two innovators, both of whom
exemplified a less is more philosophy in their playing, are criticized for
their lack of technical proficiency.
Michael Zlotnick
Marc Sabatella wrote:
>
> In a contest of classical or bebop technique, perhaps. But neither would have
> likely to have recorded anything remotely like the "Birth Of The Cool" sessions
> or the "Workin'" series or "Kind Of Blue" or the "Plugged Nickel" set or "Miles
> Smiles" or "Bitches Brew". Criticizing Miles for not playing like Lee is like
> crticizing Miles for not pitching like Koufax - it's an apples-and-oranges
> comparison.
>
I totally agree. Miles's introversion is very attractive, as is his
emphasis on the horn's mid-range. With Dizzy and Lee, a lot of it is
just "attack-attack-attack." Miles gave the listener time to breathe,
and time to think.
Michael
Perttu Raivio
>>>> Ac dixit "Joel" == Joel Schoenblum:
Joel>
Joel> I think he was much over-rated. No trumpeter today
Joel> missing notes like Miles did could get a recording contract.
Which is precisely what makes the modern, sales-oriented music
business so bland and disappointing. When no one is allowed to
make any mistakes, businesswise or in their playing, we don't
get enough experimentation, reaching out for that something
special, which results in either great art or glorious
disasters.
--
We feel sorry for people who don't drink because when you get up in the
morning, that's as good as you're gonna feel for the rest of the day.
-- Dean Martin
Keeho Kang -FT-~
Joel Schoenblum wrote:
>
> George and Victor,
>
> IMHO, Miles was probably one of the least gracious jazz trumpeters
> in history. And although I have tons of his stuff (and I'm a
Certainly, in his autobiography, Miles does not seem to have any
lack of confidence in his own musical ability. But I didn't get the
impression that he put down too many other musicians, either
(besides Eric Dolphy, of course, with that famous "standing on his
foot" quote).
> trumpeter) I think he was much over-rated. No trumpeter today
> missing notes like Miles did could get a recording contract.
> Lee Morgan (and Diz, of course) would have wiped the bandstand
> up with Miles. That's why with the zillions of recordings out
To each their own opinion, but I'm just curious...One of the reasons
I like Miles so much is because of the way he played the blues. One
shining example comes to mind...Miles' solo on "Straight, No Chaser"
on the album Milestones. To my ears, that solo is pure genius (or
at the very least a template of what a solo should be for those
trying to play on the blues) from the beginning where he quotes and
develops the last phrase of Cannonball Adderley's solo, then quotes
and develops the "Saints" phrase, and eventually works the solo to a
blistering climax with the E above the staff (concert D). And along
the way, you'll notice Miles using Red Garland to good advantage,
taking a few ideas from his comping. There's not a sixteenth note
in the whole solo (unless you count the gliss's). Definitely not
the way Freddie or Lee would play it.
You say you have tons of Miles' stuff...like I said I'm just
curious:
What's your take on that solo? just nice background buzzing, or
what?
For contrast, name a solo by another player that you think is
exemplary.
Miles' technique wasn't the greatest (but it was still damn good,
imho); but that didn't stop him from getting his incredible ideas
across.
> there of Miles there ain't much with other legends. It's usually
> up and comers like Wallace Roney where he (WR) doesn't get to solo
> much.
>
> - Joel Schoenblum
Keeho Kang
Martin Milgrim
Keeho Kang -FT-~ <kk...@sedona.intel.com> wrote:
>Joel Schoenblum wrote:
>>
>>I think he was much over-rated. No trumpeter today
>> missing notes like Miles did could get a recording contract.
>> Lee Morgan (and Diz, of course) would have wiped the bandstand
>> up with Miles. That's why with the zillions of recordings out
>
>imho); but that didn't stop him from getting his incredible ideas
>across.
>
For what it's worth, I recall sitting at the defunct nightclub,
'Slug's' in NYC between sets with Freddie Hubbard one evening back in the
early '70s. This was before VCR's. Freddie was bemoaning the fact that
he wasn't going to be able to catch Miles on the Dick Cavett TV show that
night. Freddie thought Miles was tremendous.
Martin Milgrim
Joel Schoenblum
Keeho Kang -FT-~ wrote:
> To each their own opinion, but I'm just curious...One of the reasons
> I like Miles so much is because of the way he played the blues. One
> shining example comes to mind...Miles' solo on "Straight, No Chaser"
> on the album Milestones.
with Clifford Brown, Lee Morgan, Kenny Durham, Freddie Hubbard, and
the king Diz. It is just an opinion. I know sax players who don't
like Charlie Parker's style, and *that* really gets me wide eyed.
I'm sorry I don't recall the Straight No Chaser solo, but I can give
you Charlie Parker's "Au Privave" as a typical Miles blues solo which
I think nothing wow about. Miles technique involves lots of space, a
really dry sound (almost like there's no bell on the horn), and
precarious phrases where you don't know what note is going to be
split next (like Chuck Mangione).
> For contrast, name a solo by another player that you think is
> exemplary.
>
There's almost no jazz trumpeter I don't like, including Miles as much
as I've flamed him. I'm just not wow'd by Miles. Never liked any
version of Round Midnight he's ever done. And I don't think Monk ever
did either.
Bop: Take Kenny Durham's solo on Room 608 with Horace Silver as an
example. Wowwwww!!!!! I couldn't stop listening to it for a while.
Blues: Take almost any solo Lee Morgan has ever played as another
example. Love his version of Night In Tunisia. For blues, how about
Diz on Bloomdido. Wowwwww! Hubbard on Watermellon man is another tasty
blues example, although simple I know. Miles couldn't play like that
because it involved making nice sound with the horn.
other: Clifford Brown on "I Get You Under My Skin" with Dinah Washington
and Maynard "used to bop but now just make noise in the high register"
Ferguson. Brownie's ballads were warm and wonderful.
MHO.
- Joel Schoenblum
Anders Ahlstrom
Joel Schoenblum,sc...@lucent.com,Internet writes:
Keeho Kang -FT-~ wrote:
Bop: Take Kenny Durham's solo on Room 608 with Horace Silver as an
example. Wowwwww!!!!! I couldn't stop listening to it for a while.
I hate to see the name of the fine trumpeter Kenny D o r h a m misspelt.
Anders Ahlstrom
PS: Listen to his, and also Hank Mobley's, solo in "Prince Albert" with
Blakey*s quintet at Cafe Bohemia, for instance).
Jeff Beer
In article <327909...@lucent.com>,
Joel Schoenblum <sc...@lucent.com> wrote:
>George and Victor,
>
>IMHO, Miles was probably one of the least gracious jazz trumpeters
>in history. And although I have tons of his stuff (and I'm a
>missing notes like Miles did could get a recording contract.
>Lee Morgan (and Diz, of course) would have wiped the bandstand
>up with Miles. That's why with the zillions of recordings out
>up and comers like Wallace Roney where he (WR) doesn't get to solo
>much.
I think Miles' trumpet chops are extraordinary, but it is spent
in unusual areas. Should have kept my post from several months
ago. Suffice to say, you should realize that when this topic
came up before, I pointed out via the CD time counter certain sections
of Miles solos. What were clams and mistakes for one person was
sensational burning playing for others. That is what I mean
by spending technique in unusual areas. In addition, a case could
be made that someone like Woody Shaw sacrifices musicality
in his attack in order to make those fast wide skips, whereas
Miles does a lot with his attack (and release), and if people miss that,
they get all disappointed because he doesn't play fast hard bop
lines like Clifford or Freddie.
That being said, where Miles' genius is most at play is his
leadership, to use the cliche, he makes those around him play better.
If he seems to be a point guard that can't shoot, he can get the ball into
the post better than anybody else.
Jeff
tomb...@jhunix.hcf.jhu.edu
In article <327909...@lucent.com> Joel Schoenblum <sc...@lucent.com> writes:
>George and Victor,
>
>IMHO, Miles was probably one of the least gracious jazz trumpeters
>in history.
He was always very polite to me.
And although I have tons of his stuff (and I'm a
>trumpeter) I think he was much over-rated. No trumpeter today
>missing notes like Miles did could get a recording contract.
I don't know if that's true--it sounds too stupid even for
record industry weasels to believe.
>Lee Morgan (and Diz, of course) would have wiped the bandstand
>up with Miles. That's why with the zillions of recordings out
>there of Miles there ain't much with other legends.
I guess his fear of competition is what led him to hire such technical
wimps as John Coltrane, George Coleman, Cannonball Adderley, Sonny
Rollins, Wayne Shorter--guys who couldn't possibly blow him off
the bandstand.
Jack Woker
Tom Reeves wrote:
>
> Jeff Beer <jb...@in219b.iit.edu> wrote in article
> <55u20e$3...@condor.cns.iit.edu>...
> > >
> > >IMHO, Miles was probably one of the least gracious jazz trumpeters
> > >trumpeter) I think he was much over-rated.
>
> "Miles Ahead," the cut "I Don't Wanna Be Kissed." Atrocious, 8th grade
> trumpet playing. Yes, he was inventive, but who can excuse the lousy
> chops?
Maybe his chops aren't up to snuff on that track, but you listened 500
times! There must be something there, wouldn't you say? I might also
add that this is one of the tracks on which they used an alternate
(inferior) take on the first CD release. Might that be what you heard?
jack
Tom Reeves
Robert J. Dewar
Well,you ain`t gonna make a living or many friends casting aspersions
on Miles Davis.He wasn`t perfect,of course but he is an artist who
trascended jazz,much as Ali became bigger than boxing.After Miles,who is
carrying the standard?A young friend of mine asked me (from his pop/rock
perspecitve) who is the big guy out there,who is leading the charge?
Wynton? Carter? Ornette? Somehow,I don`t think so.There are many great
players out there,but the music needs someone who can crystalize fans,
insiders,writers and the general public (like my young friend) and create
a buzz around Jazz,such as existed in the big band era.
OK,I`m donning my asbestos suit! MY first post that doesnt` pester
someone about CD rec`s.
If it isn`t obvious already,I`m a non-musician so I don`t know if Miles
was a poor player technically.I`ll simply invoke the old cliche` about
"I`d rather hear one note from Miles than....blah,blah,blah"
When I was growing up,I hung around musicians.They liked a lot of music
that the general public just couldn`t get.A lot of Ornette,Archie Shepp,
and free jazz.I loved that stuff as well,but only after many listenings
and with many conversations with the guys.
That`s how I see the role of someone who would pick up DAvis` mantle.
An educator,an innovator...Not too much to ask,eh?
Robert J Dewar
Jeff Beer
In article <01bbd042$c44b2aa0$3a06cfa9@default>,
Tom Reeves <tcre...@execpc.com> wrote:
B
>> >trumpeter) I think he was much over-rated.
>
>To be sure. I was listening today (for the 500th time) to track ten of
>"Miles Ahead," the cut "I Don't Wanna Be Kissed." Atrocious, 8th grade
>trumpet playing. Yes, he was inventive, but who can excuse the lousy
>chops?
That's how I used to think.
Jeff
glen...@avid.com
If the playing is that atrocious, why have you listened to it 500 times?
-----------------------------------------------------------------------
This article was posted to Usenet via the Posting Service at Deja News:
http://www.dejanews.com/ [Search, Post, and Read Usenet News]
Gary Milliken
>In article <01bbd042$c44b2aa0$3a06cfa9@default>,
> "Tom Reeves" <tcre...@execpc.com> wrote:
>> To be sure. I was listening today (for the 500th time) to track ten of
>> "Miles Ahead," the cut "I Don't Wanna Be Kissed." Atrocious, 8th grade
>> trumpet playing. Yes, he was inventive, but who can excuse the lousy
>> chops?
>
>If the playing is that atrocious, why have you listened to it 500 times?
I may be mistaken, but I believe Mr. Reeves failed to convey to his
audience that he was being sarcastic... uh, I mean, humorous. A few
smiley-faces might have helped. In other words, he's listened to the
music 500 times, so he loves it and has learned to see past the so-called
"lousy chops". Besides, there are many far better examples of Miles'
lousy chops than "I Don't Wanna Be Kissed".
GM
P. Washington
Tom,
Based on responses to your note on Miles, I guess irony/sarcasm doesn't
play well on the internet. You were making the point that you can look
beyond any technical limitations that Miles had and hear the beauty and
inventiveness of his music...were you not?
Bruce Yettra
In article <5692bd$e...@condor.cns.iit.edu>, jb...@in219b.iit.edu (Jeff
Beer) wrote:
> In article <01bbd042$c44b2aa0$3a06cfa9@default>,
> Tom Reeves <tcre...@execpc.com> wrote:
> B
> >> >trumpeter) I think he was much over-rated.
> >
> >To be sure. I was listening today (for the 500th time) to track ten of
> >"Miles Ahead," the cut "I Don't Wanna Be Kissed." Atrocious, 8th grade
> >trumpet playing. Yes, he was inventive, but who can excuse the lousy
> >chops?
True Miles didn't have the "good" chops of the "good" trumpet player like a
Clifford Brown did. Miles played like Miles, & is one of few players who is
instantly recognizable. I'd rather look at a photograph that Ansel Adams
took with an instamatic camera, than a lesser talent with a Nikon. Who do
you think would take a better picture? It's the singer not the Song!!!! I
think that a large part of Miles lyrical charm comes from his playing the
trumpet the way it "shouldn't" be played!
--
"I've had enough, my box is clean, you know what I'm saying, & you know
what I mean." ...odds & ends
Pjazz
In article <56440o$l...@news.jhu.edu>, tomb...@jhunix.hcf.jhu.edu says...
>>
>>IMHO, Miles was probably one of the least gracious jazz trumpeters
>>in history.
>
>
>>missing notes like Miles did could get a recording contract.
>
>I don't know if that's true--it sounds too stupid even for
>record industry weasels to believe.
>
>>Lee Morgan (and Diz, of course) would have wiped the bandstand
>>up with Miles. That's why with the zillions of recordings out
>>there of Miles there ain't much with other legends.
>
>I guess his fear of competition is what led him to hire such technical
>wimps as John Coltrane, George Coleman, Cannonball Adderley, Sonny
>Rollins, Wayne Shorter--guys who couldn't possibly blow him off
>the bandstand.
>
>
>
It sounds to me that if you listen a tune by Lee Morgan, Kenny Dorham, Freddie Hubbard, Donald Byrd, Art Farmer, Tommy Turrentine, Roy Eldridge, Harry Sweets, that many times you'll find something else to knock. What happened to playing what you feel? Isn't jazz about innovation & creativity?
PJ
PS
Are you the Trumpet player Tom Browne?
Ted Phillips
I think some folks are missing the point on Miles here. Sure Miles
fluffed a lot of notes. Sure Miles had a fairly limited range. Sure
Lee Morgan could play circles around him (especially in his "Blue Trane"
period...Whew!). Sure Miles was indiscrete and often downright boorish
in person.
But Miles added that unquantifiable "edge" to all the songe he played.
He was capable of eliciting a wide range of emotions from his listeners,
and challenging his listeners to examine the very way they listen to
music. I can't tell you how many times I've listened to Kind of Blue --
and yet every time I listen to it, I think I hear something new or
different. I can't tell you how many times I've listened to Bitches
Brew and stormed away after one side -- angry or confused or just plain
exhausted. The sheer intensity of the music makes my pulse quicken.
So when I hear Miles fat-finger a note or three, it seems
inconsequential to his message. The force of his drive and the depth of
his feeling make me realize that his skill as a musician dwarfs his
technical skills as a trumpeter.
$0.02.
TedP
Ron Santen
I
>In article <56440o$l...@news.jhu.edu>, tomb...@jhunix.hcf.jhu.edu says...
>>
>>In article <327909...@lucent.com> Joel Schoenblum <sc...@lucent.com> writes:
>>>George and Victor,
>>>
>>>IMHO, Miles was probably one of the least gracious jazz trumpeters
>>>in history.
>>wimps as John Coltrane, George Coleman, Cannonball Adderley, Sonny
>>Rollins, Wayne Shorter--guys who couldn't possibly blow him off
>>the bandstand.
Of course, and he didn't have a clue about rhythm sections either -
what a silly idea to think that agroup of incompetents like Philly Joe Jones, Red Garland
and Paul Chambers could ever jell into a cohesive section.
Then there were his choices of teaming with Gil Evans ( a totally illiterate arranger compared
with Nelson Riddle) and Bill Evans (who made Liberace look good).
I mean who in their right mind would have bought Kind of Blue when it first came out, when there
was so many great Shorty Rogers and Al Hirt records available?
Ron Santen
David Gascon
glen...@avid.com wrote:
>
> X-Article-Creation-Date: Wed Nov 13 12:54:14 1996 GMT
> X-Originating-IP-Addr: 152.165.153.179 ()
> X-Authenticated-Sender: glen...@avid.com
> Lines: 11
>
> In article <01bbd042$c44b2aa0$3a06cfa9@default>,
> "Tom Reeves" <tcre...@execpc.com> wrote:
> > To be sure. I was listening today (for the 500th time) to track ten of
> > "Miles Ahead," the cut "I Don't Wanna Be Kissed." Atrocious, 8th grade
> > trumpet playing. Yes, he was inventive, but who can excuse the lousy
> > chops?
>
Do I not detect just a touch of irony in Tom's posting? Seems to me the
500 times are a dead giveaway...
JFR
As much as I have a lot of respect for Miles I agree with some of the
comments. I think the media grabbed ahold of his "unique" personality
and promoted him as a controversial genius. Even though he bashed
them, they loved it.
I also agree that his best quality was his leadership. Also, his
approach of never looking back (listen to that lions)....
In <01bbd042$c44b2aa0$3a06cfa9@default> "Tom Reeves"
<tcre...@execpc.com> writes:
>
>
>
>Jeff Beer <jb...@in219b.iit.edu> wrote in article
><55u20e$3...@condor.cns.iit.edu>...
>> In article <327909...@lucent.com>,
>> Joel Schoenblum <sc...@lucent.com> wrote:
>> >George and Victor,
>> >
>> >IMHO, Miles was probably one of the least gracious jazz trumpeters
>> >in history. And although I have tons of his stuff (and I'm a
>> >trumpeter) I think he was much over-rated.
>
gkorn...@aol.com
How many jazz lovers were brought into jazz by Miles Davis and Kind of
Blue. It seems to me that Miles Davis brought a new, while less agile
style, that brought a moodiness and a sense of tension to his playing. On
the Blue Note Volume I Cd Leonard Feather quotes another critic who stated
that "Miles' tone reminded him of a man walking on eggshells." While
Miles stayed in mid range on much of his solos, when he went anywhere near
high there was more tension and release than other players who live in the
high range. Any comments on my amateur critique?
cptc...@aol.com
I like both Miles and Lee Morgan but you can't really compare the two,
it's two different types of trumpetting. Lee is right out of Clifford who
is right out of Louis Armstrong. Lee plays with authority, while Miles
holds back more and is more fond of mutes. His tone is too breathy
sometimes. I think a good example of poor technique by Miles as well as
poor soloing is on those early bebop pieces with Bird, except for Now's
The Time
(IMO) There are only six real Miles LPs - Birth of the Cool, Workin,
Walkin, Bags Groove, Kind of Blue, and In A Silent Way. All others you can
take em or leave em. I think Miles Ahead is an interesting album, and I
like I Don't Want to Be Kissed by Anyone but You. Listen to the original
version of the song Miles Ahead itself (from Blue Haze) for some blatank
klinkers.
Marc Sabatella
cptc...@aol.com wrote:
> (IMO) There are only six real Miles LPs - Birth of the Cool, Workin,
> Walkin, Bags Groove, Kind of Blue, and In A Silent Way.
Well, one could pick nits on particular selections, but did you deliberately
leave out everything recorded with Shorter/Hancock/Carter/Williams? I'd take
almost any of those CD's over any of the ones you mentioned.
--
Marc Sabatella
--
ma...@fc.hp.com
http://www.fortnet.org/~marc/
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.
cptc...@aol.com
>Well, one could pick nits on particular selections, but did you
deliberately
leave out everything recorded with Shorter/Hancock/Carter/Williams? I'd
take
almost any of those CD's over any of the ones you mentioned.<
Actually, I did leave out Round About Midnight.
ESP is a classic also, but I prefer Shorter/Hancock with Miles and John
McLaughlin.
Paulo César Sobral dos Reis
I had that same opinion until I found the complete Plugged Nickel.
It was like the re-birth of jazz music.
Jeff Beer
In article <19961120140...@ladder01.news.aol.com>,
<cptc...@aol.com> wrote:
>>Well, one could pick nits on particular selections, but did you
>deliberately
>leave out everything recorded with Shorter/Hancock/Carter/Williams? I'd
>take
>almost any of those CD's over any of the ones you mentioned.<
>
>Actually, I did leave out Round About Midnight.
>ESP is a classic also, but I prefer Shorter/Hancock with Miles and John
>McLaughlin.
>
>
Four and More?
Jeff
cptc...@aol.com
Four and More is really good too, although the songs are played awfully
fast.
Adam Schneit
My favorites are the Prestige quintets (Cookin', Relaxin', Workin',
Steamin'). To me, they are the essence of what Miles was all about. I also
love the Gil Evans collaborations and and the 60's stuff. And there's
something incredible about "Live-Evil"- the intensity of Miles' playing on
the funky tunes, and the beauty of "Sivad" and "Selim." I just can't get
enough of that album.
Jeff Beer
In article <19961121145...@ladder01.news.aol.com>,
<cptc...@aol.com> wrote:
>Four and More is really good too, although the songs are played awfully
>fast.
because they can...
Jeff