Guest the mommy Posted February 3, 2007 Report Posted February 3, 2007 star people is pretty good. the drums are recorded in a bad/good way that makes the album sound more "different" than it is. Quote
B. Clugston Posted February 6, 2007 Report Posted February 6, 2007 If nothing else, try Aura. It's a breed apart. I'm only slightly familiar with this period of Miles's career, but "informed sources" tell me that the best stuff was live. Hence, if you are interested (and loaded) you should skip the studio recordings and go for the Montreux box. Guy The eight discs with Sco are pretty good (though the afternoon and evening sets are pretty much identical). It's also interesting hearing the band with Robben Ford on guitar. But the rest of the Montreux gigs (except the big band) are bogged down by cheese-strewn synths. Funny how the final few years of Miles' work sound the most dated. Quote
JSngry Posted February 6, 2007 Report Posted February 6, 2007 Funny how the final few years of Miles' work sound the most dated. In 100 years (definitely 500 years), it's all going to sound dated... Quote
Chuck Nessa Posted February 7, 2007 Report Posted February 7, 2007 Funny how the final few years of Miles' work sound the most dated. In 100 years (definitely 500 years), it's all going to sound dated... Not necessarily in the way B. meant. Quote
JSngry Posted February 7, 2007 Report Posted February 7, 2007 No, of course not, but the whole notion of "dated" this close after the fact is one I find, uh...peculiar at best. Depends on whose ears its being heard through, and when. Plenty of times when "dated" sounds come back recontextualized (on widely varrying levels) to become "in" again. Hell, the whole Bitches Brew "sound", long thought to be "dated", is making a comeback, sometimes as mere replication, sometimes as a starting point. Not for me to posit on the "wisdom" of that one way or the other, just to point out that I'd use a lot of words to describe something before I'd use "dated". Stuff keeps coming back around, and I'm hearing echoes of Miles' 80s work in today's "Neo-Soul" movement (along with lots of other "dated" sounds), and that's supposedly an "underground" sound of "today". Remember in the 70s when James Brown was considered "dated"? Who's saying that now? So the whole notion of what does and doesn't sound "dated" is one which I shy away from. Now, "outmoded", that's a term I can sink my teeth into. That goes more to function than to actual sound. But sound itself, how do you put a "date" on it? Once it's been created, it's going to circle around indefinitely and will most likely land at any number of different stops in the process. Quote
Chuck Nessa Posted February 7, 2007 Report Posted February 7, 2007 I think this is a "popular music" mode. Not one I choose to follow. Quote
clifford_thornton Posted February 7, 2007 Report Posted February 7, 2007 I have spent enough time with rock records that now, to me, sound rather dated. For me this doesn't happen as often with jazz records, whether they were recorded fifty years ago or ten. Quote
B. Clugston Posted February 7, 2007 Report Posted February 7, 2007 I get the whole Bee Gees/ABBA/whoever are cool/no they aren’t/yes they are again cycle. The problem with late-’80s Miles is it sounded dated at the time. Same goes for most of the lame synth pop of the era. It was the modern equivalent of bad kazoo. Quote
Chuck Nessa Posted February 7, 2007 Report Posted February 7, 2007 If nothing else, try Aura. It's a breed apart. To get an idea of what Aura "might have been" check out the Millelborg/Knudsen/NHOP recording called Heart to Heart. It's on Storyville. Quote
clifford_thornton Posted February 7, 2007 Report Posted February 7, 2007 (edited) I'm with you, Clem. It just, for me, doesn't happen with jazz LPs as much. If you're talking NZ/Flying Nun, I'm not as up on that as I should be... educate, pls. I was merely concurring with the "pop" end of the jazz spectrum which, whether right or not, has been my reading of late-late-late Miles. Edit: senseless r&r name-drops removed. Edited February 7, 2007 by clifford_thornton Quote
clifford_thornton Posted February 7, 2007 Report Posted February 7, 2007 I should add, nearly got taken to court for spinning NY Dolls recently... Quote
ep1str0phy Posted February 7, 2007 Report Posted February 7, 2007 At the same time, the fervent regressivism of many modern rock bands piques the mind to just how good a lot of rock's yesteryear was. Am I the only Battered Ornaments fan here? Quote
ep1str0phy Posted February 7, 2007 Report Posted February 7, 2007 They produced two albums--both with PB compositions, but the latter w/o Brown (you're familiar?...). I swear by Mantle-Piece (the Ornaments album sans Brown)--nothing against PB, only that that ensemble seemed to understand transparency and groove in the UK jazz-rock vein better than many of their peers. The first BO album (with Pete) is a little too stridently clever to rank with me (Aylerisms and all), but Pete's lyrics were a gift, I find, with an interpreter who didn't milk them for the sentiments behind the obscurities (like Spedding, or even Jack Bruce, who made the subtler elements of PB vaguer, if anything). I'm honestly not that familiar with Hawkwind, but you've piqued my interest. Quote
Tony Pusey Posted February 8, 2007 Report Posted February 8, 2007 Dunno how Hawkwind got in here but looking at that Silver Machine clip reminded me what wonderous breasts the dancer ( Stacy? ) had, as I recall the only reason we went to see the band was to see them. ( the breasts that is.) Quote
Guest youmustbe Posted February 8, 2007 Report Posted February 8, 2007 Pop music can sound 'dated' because it's vocals based....Jazz being instrumenatl, no...Bix doesn't sound dated to me, even though the background might be and so on. Like with Miles, the background, synths et al, might sound 'dated', Miles never does. That's why he is/was Miles Davis. First time I saw Milt Jackson backstage visiting Miles was like in 69, at Village Gate. I would see him over the years at Miles' concerts. Last time was '88 or so, at Avery Fisher, JVC. I saw him walking out and said, 'Bags, I thought you hated this stuff?' And he replied, 'I do, but it's Miles.' So yeah, who cares about the background. And by that time was there anyone that could have 'played' with Miles anyway? Quote
Guest youmustbe Posted February 8, 2007 Report Posted February 8, 2007 And oh yeah, the reason I don't like the Cellar Door is because it's in a club, and that band/music had outgrown a club vibe. Check out the Electric Factory gig 11/17 in Philly. Or the Fillmore West from October. I heard it at the Au Go Go club, annoying, what with the time restraints of club sets, especially when half the set was taken up by Keith noodling on some proto synth, and at the Beacon in concert, killing! (Never got the tapes of that that I was promised!) Quote
Guest donald petersen Posted February 8, 2007 Report Posted February 8, 2007 my favorite parts of that miles band (cellar door-ish) were the keith jarrett solo electric breakdowns. that is some of the best stuff ever recorded. and about chris spedding-i think i mentioned in another thread that i can imagine an alternate universe where chris spedding was john mclaughlin (the british guy miles brought in) and wherever you imagine that could go. but i liked spedding a lot more than mclaughlin back then. i wasn't there, of course. but what i hear. spedding went to the dark side rather quickly, though. Quote
sidewinder Posted February 8, 2007 Report Posted February 8, 2007 but what i hear. spedding went to the dark side rather quickly, though. Within a few years he was being featured on David Essex albums (which was the first place I heard him) ! Quote
sidewinder Posted February 9, 2007 Report Posted February 9, 2007 Indeed, I'd forgotten about that one ! Quote
felser Posted February 9, 2007 Report Posted February 9, 2007 Motorbiking! He was a "guitar for hire", showed up all over the place, some memorable, most not. His late 60's/early 70's solo stuff was pretty interesting. Quote
ep1str0phy Posted February 10, 2007 Report Posted February 10, 2007 Where I've heard him I've enjoyed him (the Ornaments, Bruce, Mike Westerbrook). At its best--like on Harmony Row--his playing was absolutely galvanizing. Fortunately, I haven't slogged through the lame-ish rockabilly/punk preening of his later years, although I'm holding out a pretty weak hope for a reunion with Jack. Quote
JSngry Posted March 6, 2007 Report Posted March 6, 2007 Someone posted this info on the Miles list: MILES DAVIS BEY-ON-D THE CORNER Note that these track listings and notes are still being finalised, but you get a good idea of what's in store. > CD1 > > 1. Red China Blues (A) 4:07 > 2. Black Satin (E) 5:20 > 3. On The Corner/New York Girl/Thinkin' Of One Thing And Doin' Another/Vote For Miles (B) 19:59 > 4. One And One © 6:09 > 5. Helen Butte/Mr. Freedom X (master) © 23:18 > 6. Big Fun (K) 2:30 > 7. Holly-wuud (K) 2:52 > > track 1 from stereo LP master of GET UP WITH IT (KG 33236) > tracks 2-5 are the stereo LP master of ON THE CORNER (KC 31906) > tracks 6 & 7 are the masters for 45 single (4-45946) > CD 2 (78:00) > > 1. On The Corner (session reel) (B) 19:41 from 6/1/72 > 2. On The Corner (tk 4) (B) 5:56 from 6/1/72 > 3. One And One (session reel) © 18:15 from 6/6/72 > 4. Helen Butte/Mr. Freedom X (session reel) © 23:37 from 6/6/72 > 5. Jabali (co 112578 what take??) (D) 10:51 from 6/12/72 > CD 3 (70:00) > > 1. Ife (D) 21:34 > 2. Untitled “Test” (master edit no co #)) (F) 14:28 from 8/23/72 > 3. Rated X (G) 6:51 > 4. Untitled (co 112991 tk 14) (H) 17:39 from 11/29/72 > 5. Untitled (co 112991 tk 15) (H) 9:13 from 11/29/72 > > track 1 from stereo LP master of BIG FUN (PG 32866) > track 3 from stereo LP master of GET UP WITH IT (KG 33236) > > Beyond the corner -2- > > CD 4 (58:00) > > 1. Billy Preston (I) 12:36 > 2. Untitled Original A (co 112995 - tk 1) (J) 12:48 from 73-01-04 > 3. Big Fun/Holly-wuud (co 113845 - tk2) (K) 6:30 from 7/26/73 > 4. Big Fun/Holly-wuud (co 113845 - tk3) (K) 7:03 from 7/26/73 > 5. Untitled (co 113846 tk 5 or 5b in protools) (K) 3:20 from 7/26/73 > 6. Untitled (co 117297 tk 4 need to edit) (M) about 16 min from of 9/18/73 > > track 1 from stereo LP master of GET UP WITH IT (KG 33236) > > > CD 5 (64:25) > > 1. Calypso Frelimo (L) 32:08 > 2. He Loved Him Madly (N) 32:17 > > Both tracks from stereo LP master of GET UP WITH IT (KG 33236) > > > CD 6 (74:00) > > 1. Maiysha (O) 14:53 > 2. Mtume (O) 15:11 > 3. Mtume (take 11) (O) 7:27 from 10/07/74 > 4. Untitled Original D (co 121772 tk 2 overlapped) (P) 18:39 from 11/6/74 > 5. Untitled E (co 121773 tk 14) (P) 12:00 from 11/6/74 > 6. Untitled Latin/Minnie Ripperton (co 121827 tk 7) (Q) 4:01 from 5/5/75 > > tracks 1 & 2 from stereo LP master of GET UP WITH IT (KG 33236) This has confirmed from within the pipeline. Quote
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