Miles Davis

[Cunamara]

Just because.

For me there's no greater artist, and after all these years Miles and Pres are still my favorite improvisers. You can sing every note of their classic work. But Miles also changed music in more ways than just his soloing. The creative spirit is a restive spirit---looking ahead and not standing still. He never stood still and always took chances. He's my hero...

If you want to play jazz there are a few musicians that you need to study. Louis Armstrong and Miles are two of them. For jazz guitarist, Charlie Christian is another. Between those three musicians you would learn most everything you need to know to play jazz. Joel, this is a great idea for a study group.

[princeplanet]

If you want to play jazz there are a few musicians that you need to study. Louis Armstrong and Miles are two of them. For jazz guitarist, Charlie Christian is another. Between those three musicians you would learn most everything you need to know to play jazz....

Well, within limitations... I could just as easily say you need Charlie Parker and Wayne Shorter - it'll cover more ground...?

[grahambop]

Whatever you say. I don't 'google'. I use my ears, or ask someone who knows more than me.

It's a totally different tune, harmonically and in all ways, after the 4th bar.

Can we talk about something else, please?

Well I'm sorry to keep banging on about this, but the guy who actually got his hands on the nonet's original scores from Miles' estate (to prepare them for publication for Hal Leonard) says that 'Deception' actually had Shearing's title (Conception) written on the parts! But I agree that Miles' version is very different.

Journal of Jazz Studies vol. 7, no. 2, pp. 192–257 (Fall 2011)
The Miles Davis Nonet Manuscripts Lost and Found:
From Manuscript to Publication
Jeffrey Sultanof

quote: DECEPTION [a.k.a. CONCEPTION] (Miles Davis) Arrangement probably begun
by Miles Davis and completed by Gerry Mulligan
This is Miles’s take on George Shearing’s “Conception” and in fact, Shearing’s
title appears on the parts. The extant parts are in two different hands: the
recognizable hand of Gerry Mulligan, and another hand unidentified at present.
The parts give the impression that the piece was cobbled together, although it
was probably written specifically for the March 9, 1950, recording date.

Full article PDF: http://www.google.co.uk/url?sa=t&rct...PYmeu5-xImOxQX

[fasstrack]

Well I'm sorry to keep banging on about this, but the guy who actually got his hands on the nonet's original scores from Miles' estate (to prepare them for publication for Hal Leonard) says that 'Deception' actually had Shearing's title (Conception) written on the parts! But I agree that Miles' version is very different.

Journal of Jazz Studies vol. 7, no. 2, pp. 192–257 (Fall 2011)
The Miles Davis Nonet Manuscripts Lost and Found:
From Manuscript to Publication
Jeffrey Sultanof

quote: DECEPTION [a.k.a. CONCEPTION] (Miles Davis) Arrangement probably begun
by Miles Davis and completed by Gerry Mulligan
This is Miles’s take on George Shearing’s “Conception” and in fact, Shearing’s
title appears on the parts. The extant parts are in two different hands: the
recognizable hand of Gerry Mulligan, and another hand unidentified at present.
The parts give the impression that the piece was cobbled together, although it
was probably written specifically for the March 9, 1950, recording date.

Full article PDF: http://www.google.co.uk/url?sa=t&rct...PYmeu5-xImOxQX

OK. Thanks for being a gentleman about it. Man, would I love to see those scores! I bet they're viewable at the Institute of Jazz Studies---who are nice people, from Dan Morgenstern on down. I went there to look at Nat Leslie's amazing piece for Fletcher Henderson, Radio Rhythm. But I never saw it, b/c there was no street parking anywhere near Rutgers!

If they have the nonet scores and Radio Rhythm I'm going again, parking or no. I'll take a rickshaw to see those...

[fasstrack]

If you want to play jazz there are a few musicians that you need to study. Louis Armstrong and Miles are two of them. For jazz guitarist, Charlie Christian is another. Between those three musicians you would learn most everything you need to know to play jazz. Joel, this is a great idea for a study group.

I would definitely add Lester Young to that list as a game-changer. Charlie Parker, too, obviously---but Pres and Christian are like two faces of Janus where jazz is concerned. It may have been born in Congo Square, but it matured---the rhythm got smooth and the beginning of the new style happened in the Midwest, especially in Kansas City.

If you really want to study something essential (I've been checking it out daily) go to Ethan Iverson's Do the Math site. There's a discussion with Lee Konitz about the Basie-era Pres solos. There are around 10 transcribed by Iverson and you can listen to provided recordings for each by clicking sound right underneath. They discuss each solo, but you can listen and draw your own conclusions. (I also posted about it on FB). These are works of genius that belong to the ages. No Charlie Parker w/o Lester Young. Nothing comes from nothing...

[grahambop]

OK. Thanks for being a gentleman about it. Man, would I love to see those scores! I bet they're viewable at the Institute of Jazz Studies---who are nice people, from Dan Morgenstern on down. I went there to look at Nat Leslie's amazing piece for Fletcher Henderson, Radio Rhythm. But I never saw it, b/c there was no street parking anywhere near Rutgers!

If they have the nonet scores and Radio Rhythm I'm going again, parking or no. I'll take a rickshaw to see those...

I think he says something about that in the PDF article, but I got a bit confused as to whose scores are where (i.e. Miles', or Gil Evans', or Gerry Mulligan's?). I'm not sure all of them are viewable by the public.

[grahambop]

Here's an interesting account by Dave Liebman about joining Miles' group:

Dave Liebman: When Miles Came Calling - JazzTimes

[fasstrack]

I think he says something about that in the PDF article, but I got a bit confused as to whose scores are where (i.e. Miles', or Gil Evans', or Gerry Mulligan's?). I'm not sure all of them are viewable by the public.

I was guessing that they all are in the archive at the Institute for Jazz Studies, Dana Library, Rutgers. I could be wrong.

When I have time I will call them and find out---and post what I did find out.

I DO know that Gil Evans's big band scores are available in book form---AND in CONCERT! I used to have it and it was an education reading and following with the recordings.

It's in OUR keys, guys...