Miles - On the Corner and Beyond

[marcello]

Yes. . . but what if Bob has really good sounding tapes of Duffy performances?

Wow!

That would be mighty cool, of course!

That's what I assume. I talked to him very briefly about it a couple of weeks ago during a chance encounter. He was in the process of getting a release from the club owner, who I used to work for when I was a kid.

[GregK]

can anyone who speaks with "Bob" ask him about the possibility of a box of the 74-75 live material (i.e., the Agharta/Pangaea era)?

[jazzbo]

Hmmmm. . . . he had quit working on Miles projects was the big news a while back. . . I'd be surprised if HE produced the next boxes if there are next boxes. (But I'm not speaking for him, I don't even speak with him!)

[bobbelden]

This is my latest project while I was working on the Miles box set....

MILES FROM INDIA

PRODUCED BY BOB BELDEN

ARRANGED BY BOB BELDEN AND LOUIZ BANKS

Executive Producer: Yusuf Gandhi

Additional Production: John McLaughlin, Adam Holzman, Robert Irving III, Vince Wilburn, Jr., Scott Kinsey

MILES FROM INDIA track listing

CD 1

1 Spanish Key 20:04

2 All Blues 09:22

3 Ife (fast) 08:44

4 In A Silent Way (intro) 02:4

5 It's About That Time 10:12

6 Jean Pierre 11:05

CD 2

1 So What 08:16

2 Miles Runs The Voodoo Down 09:05

3 Blue In Green 13:13

4 Great Expectations 08:39

5 Ife (slow) 14:22

6 Miles From India 07:06

Louis Banks: Piano, Fender Rhodes, Arranger

Shankar Mahadevan: Indian Classical Vocals

Sikki Gurucharan-vocals

Rakesh Chaurasia: Flute

Rudresh Mahanthappa: Alto Sax

Kala Ramnath: Carnatic Violin

U. Shrinivas-mandolin

Dilshad Khan: Sarangi

Brij Narain: Sarod

Ravi Chari: Sitar

Vikku Vinayakram: Ghatam

Selva Ghanesh: Kanjira

Sridhar Parthasarathy: Mridangam

Taufiq Qureshi: World Percussion

A. Sivamani: World Percussion

Gino Banks: Drums

Wallace Roney-trumpet

Dave Liebman: soprano sax, tenor sax, flute, indian flute

Gary Bartz: soprano and alto sax

Marcus Miller-bass clarinet

John McLaughlin-guitar

Pete Cosey: guitar

Mike Stern-guitar (courtesy of Heads Up Records)

Adam Holzman: keyboards and mini-moog

Robert Irving III: Fender Rhodes, Hammond B-3, synths

Chick Corea: acoustic piano (courtesy of Concord Records)

Ron Carter: acoustic bass (courtesy of Blue Note Records)

Benny Rietveld: electric bass

Michael Henderson: electric bass

Jimmy Cobb: drums

Lenny White-drums

Vince Wilburn, Jr.-drums

Ndugu-drums

Badal Roy: tablas

Recorded November 2006-July 2007 in: 

Mumbai, India

Madras, India

New York, NY

Saylorsburg, PA

Los Angeles, CA

Chicago, Ill.

Label: Times Square Records in Manhattan

Release date: Winter 2008

SCHEDULED AND PENDING CONCERTS:

May 9, 2008 Town Hall, NYC

May 31, 2008 San Francisco Jazz Festival, CA

PS: No Duffy's, no other boxes planned....

[bertrand]

Any hope of a reissue of Weather Report's 8:30, with all the tracks? It can fit onto one CD...

Bertrand.

[sidewinder]

PS: No Duffy's, no other boxes planned....

Thanks for the update. Too bad !

[GregK]

PS: No Duffy's, no other boxes planned....

Damn. How much begging do we have to do?

[Chuck Nessa]

[rostasi]

Ummm, why?

http://tinyurl.com/2s5doh

[JSngry]

It's amazing to me how quickly the new music gelled once all the "established jazz musicians" got outta the rhythm section mix (even though if Al Foster qualifies as one, he sure didn't play the music like one). In less than a year, that shit got real tight.

Has anybody bothered to break down the component rhythmic parts of "Mtume"? Something pretty heady is going on there, & I can hear it a lot clearer on the CD than I can my old LP....

[Soulstation1]

i might need this set one day

[Stefan Wood]

i might need this set one day

Actually, you need it NOW!!!! Hearing the unedited cuts is something else!

[7/4]

i might need this set one day

Actually, you need it NOW!!!! Hearing the unedited cuts is something else!

Just what I need to hear. I was trying to put this off until a later date when there's more funds.

[Chuck Nessa]

It's amazing to me how quickly the new music gelled once all the "established jazz musicians" got outta the rhythm section mix (even though if Al Foster qualifies as one, he sure didn't play the music like one). In less than a year, that shit got real tight.

Gee, and I thought it was the other way around.

typo edit

Edited November 17, 2007 by Chuck Nessa

[JSngry]

What, about Al Foster?

Sure, why not...

[dave9199]

I would love to hear Rated X with out Miles's keyboard. It's wayyyyy too high in the mix. It sounds really interesting underneath.

[JSngry]

I'm being reminded anew just how engrossing the sound of Miles' electric trumpet w/wah-wah was in the context of this music. More than one observer at the time (and since) refers to something like an "electronic jungle" of sound, and even allowing for all the "easy answers" that type phraseology allows for, it still seems to aptly get to at least one of the essences of this music.

I'm not so sure that in some very essential ways that this is not the period of his music that captures an essence of Miles Davis that the rest of his music either ignores, hints at, or aspires to. Which is not to say that those other musics are "missing" anything (if anything, it is this music that is "lacking" damn near everything that those other musics had in glorious abundance), but only to say that this music emphasizes something of a type of deeply personal part of Miles that those other musics didn't. perhaps even couldn't allow for.

All I can say is that when I hear that trumpet electrified and wah-wahed deep inside those guitars and percussions and electricities, I hear and feel a deep fundamentality of a sort that has nothing to do with "trumpet" or "solo" or "jazz" or anything like that. I hear a one-ness of purpose and sound that could have only come from one source, and it is a source that Miles seems to have felt very justified in both seeking and obtaining.

It's in no way a "perfect" music. It's better than that. It's real.

[jazzbo]

The thing that is fascinating to me in this era of Miles is somewhat along the lines of what Jim is talking about: Miles' trumpet is so bold and new and different. . . he is finally really involved in "new directions in music" entirely.

So many others at the same time and later were playing "jazz trumpet" fused with these new forms. . . Miles was playing something new . . . and if he did dip back into a bag that had the dust of ages on it. . . he dropped his hand into the prmal blues bag.

[Stefan Wood]

Yes, there is something new in his playing during this period. However, after a first listen to the box set, I hear things that remind me of his playing in the 50's and 60's. I forget which of the sidemen said it, but he said that Miles was not playing that much different than before, but in a new context.

[jazzbo]

Well, doesn't really seem that way to me! Certianly it isn't done in a vacuum and no one can completely block out their earlier life or experience or work. Some of the blues playing strikes me as from before sure, but most of that that strikes me that way is earlier than the period of this box. . . .

Edited November 19, 2007 by jazzbo

[Peter Johnson]

Man, I am loving this box. But does anyone have (forgive me if this is in the liners, but I didn't see it) the way to "program" the discs to get the order of the original album?

Thanks.

[B. Clugston]

Man, I am loving this box. But does anyone have (forgive me if this is in the liners, but I didn't see it) the way to "program" the discs to get the order of the original album?

Thanks.

Which album? The original On the Corner is on Disc 6. You won't be able to program Get Up With It since "Honky Tonk" is on the Jack Johnson box.

[JSngry]

It's a cliche to say that he used the wah-wah as an elctronic plunger, but it's not untrue either. Yet, there's more to it than that, becuase he wasn't using just the wah-wah to color his sound, he was using the electric sound of the horn as well, and he was using them in a quite unified way. And he was likewise integrating his playing into the group sound in a way that was indeed new.

One of Chick Corea's favorite lines about the late-60s/early 70s electric bands was that when Miles was playing, it was a beautifully focused music, but when he stopped, it often became a bunch of self-indulgent jamming. Regardless of how you feel abou that, I think the point that Miles could bring an entire group together by the power & specificity of his playing is obvious. But in this music, he got the group together on its own terms and then didn't so much "lead" them as he did give them further shape and definition by... "melting" inside/into them and their sound. Of course, it was his concept of the sound into which he was melting, but it was also a sound that was a lot more texturally complex and rhytmically entwined (again, if somebody can "do the math" on "Mtume", I'll be grateful) than any he'd made before, and yes, I do think it might have been the most, oraganically purest "original" music he ever made, although if you see a humorous irony bordering on the contradictory-yielding-the-truth between "organic" and "original", then we're probably thinking along the same lines...

[JSngry]

So many others at the same time and later were playing "jazz trumpet" fused with these new forms. . .

You could say that Miles himself was doing that up to and including the Live/Evil band. I would, although advisedly.

But this band, this music, this was...unique. And beautiful.

[jazzbo]

Exactly, by this "period" I really meant this specific one after the Live/Evil band. The "jazz fusion trumpet" previously was pretty damned awesome, I'll take it over any of the other practicioners. And the playing on "It's About that Time" (studio) and "Go Ahead John" (multitracked) are about my favorite Miles playing. . . PERIOD.