Miles's Water Babies

[fasstrack]

I started listening to this months ago but today was relaxed enough to HEAR it. It is genius. 2 things jump out at me: 1. this was a little different than other recordings of this quintet in that they-Miles, Wayne, Herbie-played (blew) more on the tunes. The other discs were more about the themes and them being dynamically building showcases for Tony. 2. Miles's growth as a player from the 50s, when he was already great, is amazing. His sound and conception are much deeper. The way he gets right inside Wayne's harmony-pretty new then-is almost like he wrote the tunes himself. The solo on the first tune is poetry. People who say Miles didn't change his playing, just the settings, need to 'listen louder'. The other secret weapon is Herbie. His harmonic ear is amazing-also bringing Wayne's concept way out. Ron is an anchor for floating, lyrical music with built-in internal rhythm. These guys got to go to every job knowing they were paid to be innovators. Amazing.

Edited September 13, 2012 by fasstrack

[JSngry]

You ever get into Wayne's Super Nova? Some of the same tunes, interpreted much differently. Either way, those are great tunes.

And how about Side Two of this album? Something even more more different!

[CJ Shearn]

Water Babies is terrific. By then, the band was as one, and my friend and I were talking over dinner about just how dynamic Tony was then.

[fasstrack]

You ever get into Wayne's Super Nova? Some of the same tunes, interpreted much differently. Either way, those are great tunes.

And how about Side Two of this album? Something even more more different!

Yeah, I loved Supernova. I liked Maria Booker holding back tears singing Dindi b/c she idolized Wayne-unless that's liner note BS. Of course Dindi itself is so beautiful it brings tears. I also dug Odyssey of Iska, also w/guitar (Gene Bertoncini). That title tune is like being carried away by a squall. Intense stuff and a little more out than Wayne in Miles's period.

[jazzbo]

Side One is fascinating. I've loved Side Two since the lp was released, that side just picked me up and hurled me forward then and still does now.

[.:.impossible]

This was one of the first Miles albums I ever bought. Plan 9 Records in Midlothian, VA used to carry Miles Davis Sony Japan CDs. I bought Them up over time, but this was one of the first, and remains a favorite. I'm sure I've gushed about it ether here or bnbb in the past.

A good friend also had Supernova back then. I finally found a copy of my own this past year. Really great to hear the difference in the way this music is approached. Is any of this material also on Speak Like A Child? I can't remember.

[fasstrack]

This was one of the first Miles albums I ever bought. Plan 9 Records in Midlothian, VA used to carry Miles Davis Sony Japan CDs. I bought Them up over time, but this was one of the first, and remains a favorite. I'm sure I've gushed about it ether here or bnbb in the past.

A good friend also had Supernova back then. I finally found a copy of my own this past year. Really great to hear the difference in the way this music is approached. Is any of this material also on Speak Like A Child? I can't remember.

I don't think on Speak Like.. but Little One is on Maiden Voyage. 81 has been recorded by Ron, its composer. also in trio by Ron, Herbie, Tony. The matetial of this band saw lots of action. BTW Speak like.. was arranged by Thad Jones, another trumpet player (actually cornet and flugelhorn) who refused to stand still. I'd love for someone to write a righteous bio. The VV Orch., under John Mosca, is still playing his charts.

[Guy Berger]

Fasstrack, I like what you wrote here. My initial reaction was also that side 1 was more about blowing than compositions relative to the group's "core 6" albums, but I have changed my mind since. Maybe it is true compared to something like "Footprints" or "Masqualero", but generally speaking these performances would fit right im with the Sorcerer and Nefertiti albums.

Speaking of side 2, I think "Two Faced" is one of Wayne's best and most underrated compositions. Are there any other interpretations?

[7/4]

Isn't Chick on this also?

[jazzbo]

Yes, Side Two only.

[fasstrack]

Thanks, Guy. All these refs. to 'side 2' are amusing. If l had space I'd have a turntable and get my LPs back-dinosaurs support dinosaurs. So since I have it on CD I'm assuming y'all mean from track 5 on, w/the Rhodes. Yes. that's a whole other thing, probably another session. I'm guessing Herbie, not Chick, is playing by the feel, funkiness. and content. Anyway, the long track that featured Ron, check out the soft doubled melody on Rhodes. It's subtle enough to be one of the great soft guitar players, like Jim Hall. It's a beautiful use of the Rhodes, and I can see where Miles was coming from. I know he said he had to change (sometimes I wonder if that's a commercial-or at least a head trip), but I wish he would've hung here just a bit longer. Who knows what else this collection of minds and spirits could have accomplished? But I guess bands don't last forever, people move on. As Miles himself observed (We left each other in a positive place, and you can't ask for more than that'.

[jazzbo]

From the Losin site:

November 11, 1968 (2 items; TT = 31:19)

Columbia Studio B, New York NY

Commercial for Columbia

Miles Davis Quintet

Miles Davis (tpt); Wayne Shorter (ts); Chick Corea (el-p); Herbie Hancock (el-p); Dave Holland (b); Tony Williams (d, perc)

1 Two Faced (W. Shorter) 18:00

As the tune is winding down, Davis says, "Teo, you got enough of that..."

2 Dual Mr. Tillmon Anthony Williams Process (new take 1) (M. Davis) 13:19

Listed on the sleeve and label as "Dual Mr. Tillman Anthony (William Process)," but since Tony Williams' full name is Tillmon Anthony Williams, the title is more likely to be as listed here. Davis (and perhaps also Gil Evans) is the composer

http://www.plosin.com/MilesAhead/Sessions.aspx?s=681111

[Guy Berger]

Thanks, Guy. All these refs. to 'side 2' are amusing. If l had space I'd have a turntable and get my LPs back-dinosaurs support dinosaurs. So since I have it on CD I'm assuming y'all mean from track 5 on, w/the Rhodes. Yes. that's a whole other thing, probably another session. I'm guessing Herbie, not Chick, is playing by the feel, funkiness. and content. Anyway, the long track that featured Ron, check out the soft doubled melody on Rhodes. It's subtle enough to be one of the great soft guitar players, like Jim Hall. It's a beautiful use of the Rhodes, and I can see where Miles was coming from. I know he said he had to change (sometimes I wonder if that's a commercial-or at least a head trip), but I wish he would've hung here just a bit longer. Who knows what else this collection of minds and spirits could have accomplished? But I guess bands don't last forever, people move on. As Miles himself observed (We left each other in a positive place, and you can't ask for more than that'.

It's funny you mention the sides vs CDs. I routinely use that terminology despite not being around for the LP era.

I also agree that it's too bad that Miles lingered so briefly in the transitional music of 1968. Listening to the music on the In a Silent Way sessions box (which includes side 2 of WB), you realize this was a massive road not taken. Musical history could have been very different if we'd first heard the unedited "shhhh... peaceful"