Cyrene

A lot of you have probably experienced something very similar, but i'll tell this anyway. Way back when HMV had a designated jazz section (before it became amalgamated with Johnny Cash, Judy Garland and Muddy Waters - ie. everything outside of pop/rock), I was in the Leeds branch, leafing through the Blue Notes and Prestige etc. when two young lads walked through. They were maybe 13 and evidently in the wrong part of the store. They looked at me, then at the CDs in my hand, and one just simply said, "Jazz. w***er's music". I really did laugh out loud.

[quote name='BetaFunk' timestamp='1382310797' post='2250588'] As well as having every LP he's made i've managed to see Ornette live in every decade since the 70s and he never ceases to amaze me. Fabulous music whatever anyone wants to calls it. [/quote] Hats off.

Matt sold me his Steel Leather. Cheers Matt for the courteous, straightforward deal. T

[quote name='Beer of the Bass' timestamp='1380881517' post='2231815'] One of the things I like about In a Silent way is the minimalism of the drums. I mean, they've got Tony Williams sat behind a kit, one of the all-time great drummers and he plays hi-hat only for the whole of side one and mostly snare rim for much of side two, only using the whole kit for a few minutes of the album. It strikes me you'd need some real confidence to do something as sparse as that! [/quote] From start to finish it's an ensemble masterclass in economy and beautiful understatement. The out-takes (as well as Filles) point to this. Like i said above, it wasn't all about grabbing on the coat-tails of funk during this period; Miles was concerned with far more than that.

Lovely. Enjoy!

[quote name='Lowender' timestamp='1380676989' post='2228909'] That was the beginning of the end of Miles. There's some very cool stuff but it misses more than it hits and the years have not been kind. Miles loved Sly and the Family Stone and wanted to do a funky, atmospheric psychedelic thing with jazz improvisation. One of the bass players on the album is Harvey Brook who worked with The Doors. It sorts worked in spots. But as Miles continued in that direction it became a lot of meandering, noisy w***ing. [/quote] But of course it wasn't all about trying to emulate Sly and the burgeoning funk scene, and 'missing'; Miles was increasingly preoccupied with the work of Stockhausen and Varese. In terms of incorporating those dense textures and breaks from the compositional atructures people had been used to with jazz and rock, he pretty much nailed it.

[quote name='BetaFunk' timestamp='1380652784' post='2228557'] If you like this though there's lots more to discover with numerous Miles Davis live recordings of this period and the albums that came later. You see i'm really excited writing this and know what's coming. Imagine how exciting it's going to be if you don't know what the next album brings. Essential listening! [/quote] I'm excited for you too! Miles' golden period for me was long; from the new quintet (with Coleman then Shorter) right through to Pangaea. Never a dull moment.

The last few days it's been a Fiesta Road Worn Jazz.

Arctic Monkeys, AM. A succession of rudimentary riffs tied together by half-arsed lyrics and disparate song structures.

Hot Red red Jaguar bass, CAR PS Bass VI and some chrome covers for my P.