What does it sound like?:
I’m slowly working my way through Miles Davis’ recording career in a haphazard fashion, jumping back and forth and just following my nose.
This LP dates from 1970, and is the result of Davis’ usual working practice by that time, jamming for hours in the studio and allowing producer Macero Parker free reign to edit down the results to two sides of vinyl.
It’s much, MUCH looser and rawer than the lush sound of the preceding, more well known LPs, In a Silent Way and Bitches Brew. Probably due to the fact that he’s ditched the triple Fender Rhodes piano attack and the principle sound is just guitar, bass and drums, with the occasional trumpet skronk over the top. There’s a little Herbie Hancock organ solo in there, but apparently that was just the result of Herbie wandering into the studio halfway through a jam and having a little noodle.
The drums are rock drums, Billy Cobham I believe. The guitar by John McLaughlin is shockingly raw – the hoary old anecdote goes that Davis asked him to play guitar as if he’d never played before, so he sounds like Pete Townsend.
If you listen to this with your jazz head on, you’ll think this sounds like a brave, new muscular sound.
But if you listen to this with a rock and roll head, it actually sounds a little flat and passé. Like a bunch of jazz players trying to copy ’68 Hendrix, Can or Velvet Underground but unable to truly let loose. In that way, it reminds me in a funny way of ’50s British session musicians (schooled principally in jazz and swing) trying to recreate US rock and roll but ending up sounding twee (see Cliff vs Elvis, for example).
So I’m unconvinced so far, but it might grow on me. It’s pleasant enough, and I haven’t played it loud in the car yet, where it might truly shine.
What does it all *mean*?
It means I’m probably going back to Sketches of Spain for a while, which is truly otherworldly, innovative music, unashamed of its own lushness.
Goes well with…
Moving, not sitting. Probably best to enjoy on a long walk or a long drive. And not in company.
Release Date:
Might suit people who like…
The kind of bluesy, aimless jams that make up a lot of Hendrix vault stuff. And possibly… drugs (am I wrong in detecting a slightly stoned vibe to this recording?).
Slight slip of the brain?
The producer’s name is Teo Macero.
I do like “Jack Johnson” but not as much as “In a Silent Way”, “On the Corner” “Big Fun” or “Get Up With It”.
Yes, slip of the brain! Wrote this on my mobile with only my brain to help me. Think I did all right under the circumstances!
What do you reckon to the live albums from this era? I have Agharta, which features “Theme From Jack Johnson”. It’s quite challenging…
For all you anniversary heads out there, Miles gone 25 years yesterday. Sigh.
I like this record a lot (side one more than side two). I kind of get where you’re coming from with the distinction you make between jazz and rock heads, but I reckon the rhythm section is good enough to lift it out of tired rock cliche.
I agree with Kid. In fact, I’ll go further and say I love it, especially McLoughlin’s guitar. The Complete box set is amazing, possibly my favourite box set. Some tracks ended up on the studio sides of Live Evil. Maybe, the On The Corner box set just beats it.
I downloaded this yonks ago after you raved about it on the Old Place (and burned it to a CD, of course). I remember liking it a lot; I really should dig it out.
It’s good to know someone takes notice of me!
I’ll definitely let it simmer for a bit. Took me about a decade to appreciate Kind of Blue!
I agree with Tigger – the box set is amazing. By far the most revealing of the single album Miles boxes, with loads of unreleased tracks (not just alt takes). Here’s one, ‘Duran’:
I hadn’t realised the ex-surfer acoustic stoner had crossed timespans with Davis. Wow!!
Surprised to read a tepid review of this album. From the incredibly powerful photo on the cover to that McLaughlin riff jumping out at you from the get go this has been a favourite since my teens. Perhaps that’s it – such a formative record heading me in multiple directions – back to the cool era ,forward to funk and fusion.
Having seen the biopic recently and reviewed on the blog I’ve been having a Miles fest and this electric period has really captivated me. Gotta be played loud , bass up. The working of Teo Macero in pasting all this stuff together and via tape (!!!!) has me wishing there was a film about him working on this in the studio.
I don’t think Miles is skronking on this, certainly not like Pharoah Sanders, he just chimes in or is edited in adding to the groove , bringing it back.
Nah, it’s a cracker of a record. In fact, I’m gonna put in Right Now
Couldn’t agree more. With this and many other Miles albums you have to remember the context. Nobody was playing like this at the time and pushing the boundaries like Miles. Sure, it may sound a trifle dated now but back then it was….wow! And then, of course, there are his albums that remain challenging even in a modern context, like Agharta.
Have you ever checked out The Individualism of Gil Evans? Highly recommended if you like Sketches of Spain.
Also highly recommended is Out of the Cool, which is well, er, cool. Great band, great arrangements.
Spooky – been on rotation in the car
I love Out Of The Cool.
A quick comment on the Elvis/Cliff remark?
Cliff did about 10 (i.e. 10 more than any other Brit) rock ‘n’ roll songs c.’58-’59 that absolutely nail it. Not remotely twee.
Also, when Brian Matthew embarked on a mammoth Elvis v. Cliff weekly trawl through all their 60s hits (it was about 15 years ago and we didn’t think the already knocking-on Matthews was going to ever get to the end of it!), out of every 4 songs, I reckon Cliff had the better one on 3 occasions.
Back to Miles…..