i once was lost....but now i'm found



not the specific song Herbie references, but likely from the same european tour
god... Tony Williams was a beast at 18.



Miles: 37
Shorter: 30
Carter: 26
Herbie: 23
Williams: 18

what were you doing in your mid 20s?

and what it looks like when Miles isn't happy with Herbie

that uppermost vid is awesome.. turn poison into medicine.

it's wat my Dad has been trying to teach me for so long, If you find yourself in an uncomfortable situation, the next thing out of your mouth must intend to solely improve the situation.

the next notes out of Miles' Trumpet

while we're on the topic of 'angry' Miles.

a quote from this article: http://www.jazz24.org/2014/02/argume...64-live-album/

with this back story, and if you know the album version of the songs, you can almost equate this to make-up sex.

the complete 2+ hour version





also interesting because it features the more than capable George Coleman on tenor sax. Coleman played with Ray Charles and BB King in the early 50s before transitioning to playing jazz with the likes of Max Roach, Jimmy Smith, and Kenny Burrell before joining Miles. Coleman was replaced soon after this recording with Wayne Shorter on tenor and the second Great Quintet was complete.

i should also add i was incorrect in my notes on the second video (Agitation) from a few posts ago. the video was from 1967 (not 1963).

So What, your Sunday Morning Jazz....

Sunday Lunch Jazz;

Sunday Evening Jazz:

i'm pretty sure i could hum three bars and the powerhouse of Miles and Trane would turn it into a Jazz standard....good lord that duo was good.

something i found particularly interesting about this version: after the intro Miles has the first verse solo from ~1:52 until ~2:37. Classic Miles from this period...very emphatic notes and even more powerful space between those notes.

Trane starts the second verse around ~2:37 and blows his head off...who the hell can follow that?

when Trane finishes the second verse around 4:20 Wynton Kelly has the dubious job of following Trane and starts the third verse with his piano solo and it sounds extremely weak and timid compared to the Miles & Trane verses he has to follow (hmmm...i wonder why Herbie was recruited to join the band?)....Miles recognizes this, even after spending the past 5 minutes smoking a joint off stage, and immediately starts playing little bursts of the theme on trumpet to help round out Kelly's solo and bring things back to where they need to be.

and i think this brings us back to what Schlitz said above

Miles was all about advancing the music, not punishing what was played.

and here's the chord structure from Ahmad Jamal's 1955 album that started it all



fast forward to 1:36 if you can't wait for it

There's something else about him that I've always found hard to explain. It's a type of open mindedness, or perhaps a species of practicality. It allows him to hear something, anything at all, and think: Hey, I can use that!

I picture Thomas Alva Edison the same way: I see him picking up a scrap of wire and saying, "Hmmmm, I'll take this and invent the light bulb .. or maybe the phonograph..."

totally agree. it's like he was so good (and possibly bored because he was so good) at playing within the rules that he pounced on any nugget of inspiration that originated outside of the norm....often times coming from a musically 'wrong' place.
i have a hunch he enjoyed the challenge of salvaging what initially appears to be a musical wreck into something so much more.

Sunday Jazz:

GMT Sunday jazz:





I've been in an Errol Garner mood for the last couple of days.

It's raining, so why not...

Raining here too, compared to what:

nice pick...that's fire.

https://nllerandi.bandcamp.com/album...-room-sessions

don't let the first 3 minutes make you hit stop...they're just messing around. it's worth a listen



Binky's Beam starting around 23:30 is the jam

A typical lazy-day picnic at Parris Island.



Clarinet ftw

Sunday night Jazz:

and now for something slightly different

and something else slightly different (once again with Steve Allen on piano)



so many aspects of what he does is a prelude to modern day rappers.

Australian future soul group, Hiatus Kaiyote