Miles Davis Quintet Teatro dell'Arte, Milan, Italy October 11 1964 Personnel: Miles Davis: trumpet Wayne Shorter: tenor sax Herbie Hancock: piano Ron Carter: bass Tony Williams: drums
@@JamesVibe In the super cool live B&W TV vid of Miles playing "So What" that can also be found on RU-vid the musicians can be seen blazing up in the background during the extended solos.
I love how Shorter just lets it rip between 7:00 and 8:00. I personally tend to gravitate much more toward hyper-melodic solos, but there's no defeating right out expression through such an extension of self. And Hancock, as always, moves freely around the changes as he decides is necessary. So fortunate to still have them both around.
When you start to notice the communications they have with each other while playing jazz becomes a different form of entertainment all together. This seems so fun.
Tony Williams was put on this earth to show us how to play jazz drums. What an amazing musician. To be that young and have that kind of musicality is beyond comprehension. It is truly a gift that he took full advantage of. If you compare what he was doing to the other players at the time he was so unique. RIP Tony. Your spirit lives on in all of us.
Wayne Shorter at this time thought he had to fill Coltrane's shoesHe killed the solo...... like, it sort of died midstream. One can kill it good or kill it bad. This wasn't his true self playingI believe over time Herbie straightened him out. Wayne Shorter is one of my all-time favorite composers. He later got the "less can sometimes be more" thing.The REAL DEAL here is the communication between Herbie and Anthony, especially during Herbie's "let's straighten this thing out again" solo.Of course, Ron carter was right there the entire time.In case anyone reading this cares, I have been listening to these guys... THIS EXACT COLLECTION OF GUYS TOGETHER AS A UNIT for 35 years, almost everyday. I consider this collection of geniuses to be the best group of musicians that ever existed. The pinnacle/ethos if you will of musicianship. I just wantedto hip everyone to the fact that Wayne probably was nervous as hell, drank too much coffee before getting on stage and was "possessed" , if you will, by the fantom of his idol................Coltrane.Other than that, who couldn't love anything these guys ever did. Check out Live at the Plugged Nickel...........maybe best ever !Thanks for reading.
I feel you on that! But I actually love Shorter's attempts to emulate the Coltrane sheets of sound thing. It's especially successful in his work with Blakey, particularly Free For All!!!
I am with you. I like hearing Waynes's take on Trane, for sure more than Brecker or Liebman doing it. As Frank is probably aware, if you are listening to a player constantly, that player's phrasing and ideas will show in your playing. consciously and unconsciously. how could Wayne Shorter not have been listening to Trane constantly over the previous 8 years and trying, like Brecker to figure out how he got that sound? I think he becomes aware at points that he is simply Blowing Trane licks and flurries, and pulls back and says, okay this is some blues, this is me. Or maybe Miles told him "play like Trane That's what the people want to hear". He did tell musicians what and how to play. He used to tell Garland to play the big money lick octaves and block chords, at times when Red would rather have played his beautiful, long bouncy, crystal clear lyrical single lines.
His solo was fine especially the juju quote. Dude This was a fragile period for the quality of Miles' trumpet playing. The consistency of the 50s is ebbing away while at the same time there are super creative spikes like "The hallucinogenic My Funny Valentine" just recorded this same year at the opening of Lincoln Center. Miles was stumbling over a hyper intuition that served to help create the entire aesthetic vision for the Quintet. But even hyper intuitive improvisation and telepathic group dynamics are still served by disciplined practice. Just goes to show never stop practicing just an opinion. The brilliant Wayne Shorter composed moments of "Iris" "Fall" Neffertiti etc. Are just around the bend.
you are absolutely right, this is one of the most radical combo of forward thinking musicians of all time. in the mid 60s jazz was as experimental as electronic music is now and these guys were at the front line of it.
Frank Nevins, Live at the Plugeed Nickel was out of this world brother. Four and More was also great. Herbie was introduced to Miles by Donald Byrd and the rest is history
Sublime music by sublime musicians! Herbie's still with us. The rest of these musical angels, thank you for blessing us with this heavenly gift, you have done His work wondrously, and may you all forever rest in peace! SMIB
Thank the stars for that. I'm 69 yrs. old and staring my own demise in the face, and can't quite keep up with who's around or not anymore, but thanks for pulling my coat tail to that info.
Wow, and it seemed like just yesterday you were waxing on The Who's 'Love, Reign, O'er Me' (which, now I don't mind saying is a tune I never cared for that much). Bravo, Man, Bravo. And thank you.
331paradiddle You are almost right. It was the Miles Davis group, but not this line-up which paved everything. It was the legendary version of the group recorded the "Kind of Blue", which had Coltrane, Evans, Aderley, Chambers and Cobb. Coltrane and Evans in particular are fan favorites. They had so many copycats afterwards, it's not even funny.
Well Frank, I'm a huge Wayne Shorter fan myself. You're observations nailed it, but for me as a bassist, Ron Carter and Tony Williams are over the top here. Ron Carter was incredibly fluid and musical. Williams ever so refined. They were a rhythm section sent from heaven. Sorry if my comments fall short.
Great Ron Carter composition that has become a standard over the years. Never noticed before how tall Carter is. Wayne Shorter is my all time fav tenor player after Trane. Funny, Miles had the guys looking like the Fruit of Islam with those bow ties. 😂
Que de talents autour de Miles !! Jeunes , motivés , fantastiques.. J ai eu l occasion d ecouter Wayne , 2 years ago, c est plus tout a fait ca ... Alors qu Hancock demenage furieusement encore ... Merci de me afire decouvrir cette merveile de Live !!
When they go to 4/4 swing at 2:49 is that improvised or rehearsed? If it's improv did Miles lead them to swing or Tony? I ask because I'm trying to learn this stuff. Amazing performance. Sucks you in from beginning to end.
+Chad Livingston The change to 4/4 swing is simply genius stuff, this is my all-time favorite version of All Blues. I think it was improv, but I know it was Tony Williams who led up to that. Such an impeccable, mind-blowing drummer.
Ron Carter said (paraphrased) "people assume the leading impetus for innovation came from the piano and horn players, but it often came from the rhythm section" Since the bass is the ultimate boss when it comes to pulse, I am going to assume that Carter started playing 4/4 and Williams heard it in a nano second and followed him. Ron thinking "i am so tired of this same old 3/4 riff, let's see what they do with THIS". Williams set it up here, but they may have done it previous to this performance, and who knows who came up with it first?
Tony Williams (RIP) and I are exactly the same age. Here, he is at 18 yrs old actually DRIVING the rhythm and time of this legendary Miles Davis' band. Tony, along with Sonny Payne, Gene Krupa, Buddy Rich, Elvin Jones, Philly Joe Jones, Pappa Joe Jones, Chick Webb - maybe a few others - and LARRY CLARK (Indianapolis based/ not an international star but fabulous) are the most >lyrical drummers< in the entire history of Jazz percussion.
I've listened to Kind of Blue more times than I can count. Sheer perfection. I'd like to see live renditions of "Blue in Green" and, my favorite, "Flamenco Sketches." Need Coltrane for that.
Ladies and Gentlemen..........This Is Jazz.........This Is Bop..........Live and Uncut......The Musicians gathered here are considered Miles Davis’s Second Greatest Quintet..... Herbie Hancock on Piano, Tony Williams on Drums, Ron Carter on Bass and Wayne Shorter on Saxophone......
contactkeithstack I think he's just running starting on a note other than the tonic. Looks like his C scale (concert Bb) which is over the the song in G which is basically just playing the relative minor over a major chord... But I could also be totally incorrect haha
