Satchmo's Jive Essence 42

Antonio · 06-25-2009, 02:26 AM

Satch, i know how frustrating it feels to have your album reviews go uncommented. all i can really say is keep at it, just because people haven't been commenting doesn't mean they don't view the thread. this is a good thread you have going and i'm looking forward to what else you have coming up.

i'd also like to say thanks for the review on Low End Theory, it led me to downloading a really good album. also kudos for Leviathan and Double Nickels on the Dime

SATCHMO · 06-25-2009, 02:45 AM

Thanks. New review will be up sometime this evening.

boo boo · 06-25-2009, 06:52 AM

This is a wonderful idea for a thread.

Great call on Double Nickels, Low End Theory and What's Going On.

Quote:

Originally Posted by SATCHMO

This is album is largely considered a song cycle. Similar to what most of us more familiarly know as a concept album, a song cycle not only shares the same lyrical and narrative themes but stays within a dominant key, time signature, and rhythm structure as well, often returning to the central musical theme from whence it came. This album, even for Motown soul, is very jazzy and laid back in nature. More notably, besides Gaye, are the contributions of legendary bassist James Jamerson providing the soulful forward momentum that propels the album from beginning to end and tenor saxophone player Eli Fountain interjecting his own musical commentary often reinforcing and affirming Marvin's own. Make no mistake, The Funk Brother's as a whole are a cohesive and intuitive musical entity and one must notice while listening the way in which all the musicians seem to nod and "amen" the sentiments expressed by Marvin throughout the course of the album; both musicians and singer perpetuating and promoting the call to its purpose.

I couldn't have said it better myself.

Jamerson really is the greatest rock/pop bassist of all time.

SATCHMO · 06-25-2009, 10:59 PM

#32 Miles Davis - Bitches Brew

"He just got up there and blew it and put it on an lp and all over the world they stopped in their tracks when they heard it. They stopped what they were doing and they listened and it was never the same after that. Just never the same"
- Ralph Gleason

The musical career of Miles Davis was so prolific that he can easily be credited for creating more sub-genres of jazz than most jazz musicians have albums in their discography. However as much as you may hear accolades in praise of such jazz timeline milestones (pun intended) as Kind of Blue and Birth of the Cool, I think more than any album Miles ever recorded nothing set the jazz world on its ear quite as unexpectedly as Bitches Brew.

Choosing this album for this paticular entry in the list was a bit of a conundrum for me, and the reasons why I decided to is, despite that this is largely "free jazz fusion", it is very accessible. It is the album that provided me with a direct entry into the world of jazz appreciation many years ago after many failed attempts with other jazz albums to really understand and appreciate what I was listening to. The other reason is it represents the standard by which all other jazz fusion albums are judged, so it might be best to have an awareness of such an amazing album before going down any other experimental avenues in this remarkably confounding sub-genre of music.

Historically this is a profound album on so many different levels. For one this was a double album clocking in at just over 90 minutes long. For an album that, at the time was as experimental as this album was, a 90 minute album would have been seen as a very unwise decision.
Second the density of the individual instrument tracks on any one song would have been considered overkill in most recording situations. 3 drummers, 2 or 3 bass players. 3 electric pianos, 2 saxophones, a guitar and trumpet each with individual channel tracks just on Pharoah's Dance alone is a prime example of just how busy parts of this album can be. It definitely pushed the envelope of contemporary engineering capabilities.
Third the album released in 1970 represented definitive turning away from the traditional in the world of jazz. This was certainly not the first attempt of a jazz musicians mixing two ecclectic styles of music or even experimenting with electric instrumentation. It was Miles' third attempt alone and the album released previous to Bitches Brew, In a Silent Way, can definitely in retrospect be seen as a prelude to this album, albeit it is certainly a much safer and tame enterprise; It definitely lived up to it's title through its overall style and musical rhetoric. Miles' playing, unlike previous albums, is both psychedelic and agressive and a good many studio effects that were just coming into their own like tape delays and artistic overdubbing were liberally employed on this album by producer Teo Macero. This album represented the sought after fusion of Jazz style with rock instrumentation and timbre in a way that would never be duplicated, but a good overview of the history of jazz fusion as a genre will clearly show that it wasn't from lack of trying.
Lastly this album while adhering to the ideal theme and mood set by Davis is almost completely improvisational. While in most circumstances the words "jazz" and "improvisation" aren't normally at odds with each other, one listen to this album will certainly put that seemingly insignificant fact into perspective. At various points throughout the album you can clearly hear Miles whispering to his ensemble "Keep it tight like that" or "ok, chill out".

Bitches Brew starts out in a very laid back way with Pharoah's Dance. Miles' ensemble sets the scene in a way that can almost be seen as a consecration of sacred musical space. This lead in continues for over 2 minutes into the song luring the listener in until Miles the mystic hits subtly with his horn. The feel of Pharoah's Dance is very primal and ancient, which is the dominant theme of the album itself. The second half of side one commences with the 27 min. long Bitches Brew which is the equivalent to having your soul forcibly removed from your body. Not many other descriptive words are appropriate for such an ineffable piece of music. As an ex-girlfriend of mine once commented upon listening to the song "It sounds like schizophrenia with a migraine".

The second disc provides some, but not much respite from the improvisational chaos invoked by the first half of the album. Spanish Key is a relatively upbeat and funky track yet still staying true to the albums mystical theme. The second song, aptly titled John McLaughlin is largely a showcase of the new up-and-coming member of Davis' ensemble and is the only track on the album to be free of Miles' trumpet playing. Miles Runs the Voodoo Down is a bluesy break in the chaos bringing the tempo and structure to its steadiest and most organized level, which serves to make up for Miles his lack of appearance in the previous track. The closing track Sanctuary is a combination keyboardist Joe Zawinul's composition of the same name and Miles' interpolation of the melody of his classic song I Fall in Love to Easily.

There is one difficulty i have in recommending this album. Treat it like a caveat. While this album is, as i said, very accessible, one is really tempted to treat something so experimental and improvisational as Bitches Brew as Background music. Don't. This album is extremely demanding of full and attentive listening. There is so much going on in the little nooks and crevices of this album that, at least upon your first listen, give it your undivided listening attention. Put headphones on, or listen in proper proximity to high quality speakers, and please excuse the cliche but turn it up, way up. There's so many individual instrument tracks at play on this album that you should be in a listening position to take advantage of the three-dimensional soundstage that really opens up and makes itself present when this album is listened to properly.

Lastly it has always been my own personal opinion that Miles' best trumpet playing is on this album. Whereas the majority of Miles' reputation is largely built on his reputation as a visionary and a bandleader, this album really shows what Miles had in him, and that he could really blow it out.

The Abominable Homan · 06-26-2009, 12:00 AM

Quote:

Put headphones on.

You couldn't have given better advice. I first heard that album only about a week ago, and at first I found it good but didn't see how it was as amazing as people claim. Then about halfway through I started using my headphones and was immediately blown away.

Excellent recommendation and write up.

SATCHMO · 06-26-2009, 12:05 AM

Quote:

Originally Posted by The Abominable Homan

You couldn't have given better advice. I first heard that album only about a week ago, and at first I found it good but didn't see how it was as amazing as people claim. Then about halfway through I started using my headphones and was immediately blown away.

Excellent recommendation and write up.

Thank you

There's so much happening on this album as far as individual recorded instruments. Electric basses overdubbed onto acoustic basses, electric pianos left, right and center, left and right drum sets, miles talking throughout the session etc. You really need to create an attentive soundstage to truly appreciate this album. I'm glad you took my advice before I even gave it.

Antonio · 06-26-2009, 06:01 AM

i may have to, actually^, hehe

i'll give it another listen as soon as i'm through with some albums i got

SATCHMO · 06-26-2009, 10:03 AM

Quote:

Originally Posted by Antonio

i may have to, actually^, hehe

i'll give it another listen as soon as i'm through with some albums i got

Well, it stands to reason that this album is not for everyone.

Zarko · 06-26-2009, 10:40 AM

Bitches Brew is an interesting one... I like it, but considering the credit it is given in his overall body of work, it has always fallen short with me. Much prefer Silent Way, 'Round About Midnight, KOB, Sketches and Live Evil over it.

Alas, top notch review Satch.

Kamikazi Kat · 06-26-2009, 02:29 PM

Having trouble finding a place to download Bitches Brew and Lady Soul. If anybody wants to send me a PM for either of them, it would be greatly appreciated.

Anyways, great review Satchmo. I've heard the name of this album and of course Davis's name being thrown around by music fans, but I never got interested enough to go out seeking this album. Sometimes it takes something more profound then just a "you should check out mile davis, he is a musician that plays jazz!" to really make me want to sink my teeth into an artist's discography, your review did a good job of peaking my interest. I always love having insight into an artist or album before I listen, especially their history and all, it makes the listening experience better for some reason. Maybe I prefer focusing on one individual at a time, instead of having somebody post a long wall of china sized block of text filled with musicians and bands that I need to check. These kinds of threads are a much more organic way of getting into music and you do a great job of introducing people to bands or musicians they have never heard of.

06-25-2009, 10:59 PM	#74 (permalink)
SATCHMO Al Dente Join Date: Mar 2005 Location: Texas Posts: 4,708	#32 Miles Davis - Bitches Brew "He just got up there and blew it and put it on an lp and all over the world they stopped in their tracks when they heard it. They stopped what they were doing and they listened and it was never the same after that. Just never the same" - Ralph Gleason The musical career of Miles Davis was so prolific that he can easily be credited for creating more sub-genres of jazz than most jazz musicians have albums in their discography. However as much as you may hear accolades in praise of such jazz timeline milestones (pun intended) as Kind of Blue and Birth of the Cool, I think more than any album Miles ever recorded nothing set the jazz world on its ear quite as unexpectedly as Bitches Brew. Choosing this album for this paticular entry in the list was a bit of a conundrum for me, and the reasons why I decided to is, despite that this is largely "free jazz fusion", it is very accessible. It is the album that provided me with a direct entry into the world of jazz appreciation many years ago after many failed attempts with other jazz albums to really understand and appreciate what I was listening to. The other reason is it represents the standard by which all other jazz fusion albums are judged, so it might be best to have an awareness of such an amazing album before going down any other experimental avenues in this remarkably confounding sub-genre of music. Historically this is a profound album on so many different levels. For one this was a double album clocking in at just over 90 minutes long. For an album that, at the time was as experimental as this album was, a 90 minute album would have been seen as a very unwise decision. Second the density of the individual instrument tracks on any one song would have been considered overkill in most recording situations. 3 drummers, 2 or 3 bass players. 3 electric pianos, 2 saxophones, a guitar and trumpet each with individual channel tracks just on Pharoah's Dance alone is a prime example of just how busy parts of this album can be. It definitely pushed the envelope of contemporary engineering capabilities. Third the album released in 1970 represented definitive turning away from the traditional in the world of jazz. This was certainly not the first attempt of a jazz musicians mixing two ecclectic styles of music or even experimenting with electric instrumentation. It was Miles' third attempt alone and the album released previous to Bitches Brew, In a Silent Way, can definitely in retrospect be seen as a prelude to this album, albeit it is certainly a much safer and tame enterprise; It definitely lived up to it's title through its overall style and musical rhetoric. Miles' playing, unlike previous albums, is both psychedelic and agressive and a good many studio effects that were just coming into their own like tape delays and artistic overdubbing were liberally employed on this album by producer Teo Macero. This album represented the sought after fusion of Jazz style with rock instrumentation and timbre in a way that would never be duplicated, but a good overview of the history of jazz fusion as a genre will clearly show that it wasn't from lack of trying. Lastly this album while adhering to the ideal theme and mood set by Davis is almost completely improvisational. While in most circumstances the words "jazz" and "improvisation" aren't normally at odds with each other, one listen to this album will certainly put that seemingly insignificant fact into perspective. At various points throughout the album you can clearly hear Miles whispering to his ensemble "Keep it tight like that" or "ok, chill out". Bitches Brew starts out in a very laid back way with Pharoah's Dance. Miles' ensemble sets the scene in a way that can almost be seen as a consecration of sacred musical space. This lead in continues for over 2 minutes into the song luring the listener in until Miles the mystic hits subtly with his horn. The feel of Pharoah's Dance is very primal and ancient, which is the dominant theme of the album itself. The second half of side one commences with the 27 min. long Bitches Brew which is the equivalent to having your soul forcibly removed from your body. Not many other descriptive words are appropriate for such an ineffable piece of music. As an ex-girlfriend of mine once commented upon listening to the song "It sounds like schizophrenia with a migraine". The second disc provides some, but not much respite from the improvisational chaos invoked by the first half of the album. Spanish Key is a relatively upbeat and funky track yet still staying true to the albums mystical theme. The second song, aptly titled John McLaughlin is largely a showcase of the new up-and-coming member of Davis' ensemble and is the only track on the album to be free of Miles' trumpet playing. Miles Runs the Voodoo Down is a bluesy break in the chaos bringing the tempo and structure to its steadiest and most organized level, which serves to make up for Miles his lack of appearance in the previous track. The closing track Sanctuary is a combination keyboardist Joe Zawinul's composition of the same name and Miles' interpolation of the melody of his classic song I Fall in Love to Easily. There is one difficulty i have in recommending this album. Treat it like a caveat. While this album is, as i said, very accessible, one is really tempted to treat something so experimental and improvisational as Bitches Brew as Background music. Don't. This album is extremely demanding of full and attentive listening. There is so much going on in the little nooks and crevices of this album that, at least upon your first listen, give it your undivided listening attention. Put headphones on, or listen in proper proximity to high quality speakers, and please excuse the cliche but turn it up, way up. There's so many individual instrument tracks at play on this album that you should be in a listening position to take advantage of the three-dimensional soundstage that really opens up and makes itself present when this album is listened to properly. Lastly it has always been my own personal opinion that Miles' best trumpet playing is on this album. Whereas the majority of Miles' reputation is largely built on his reputation as a visionary and a bandleader, this album really shows what Miles had in him, and that he could really blow it out. Last edited by SATCHMO; 06-30-2009 at 11:12 PM.

06-25-2009, 02:45 AM	#72 (permalink)
SATCHMO Al Dente Join Date: Mar 2005 Location: Texas Posts: 4,708	Thanks. New review will be up sometime this evening.

06-26-2009, 10:40 AM	#79 (permalink)
Zarko Barely Disheveled Zombie Join Date: Sep 2008 Location: Australia Posts: 1,196	Bitches Brew is an interesting one... I like it, but considering the credit it is given in his overall body of work, it has always fallen short with me. Much prefer Silent Way, 'Round About Midnight, KOB, Sketches and Live Evil over it. Alas, top notch review Satch.

06-26-2009, 02:29 PM	#80 (permalink)
Kamikazi Kat Music Addict Join Date: Dec 2008 Location: Michigan Posts: 329	Having trouble finding a place to download Bitches Brew and Lady Soul. If anybody wants to send me a PM for either of them, it would be greatly appreciated. Anyways, great review Satchmo. I've heard the name of this album and of course Davis's name being thrown around by music fans, but I never got interested enough to go out seeking this album. Sometimes it takes something more profound then just a "you should check out mile davis, he is a musician that plays jazz!" to really make me want to sink my teeth into an artist's discography, your review did a good job of peaking my interest. I always love having insight into an artist or album before I listen, especially their history and all, it makes the listening experience better for some reason. Maybe I prefer focusing on one individual at a time, instead of having somebody post a long wall of china sized block of text filled with musicians and bands that I need to check. These kinds of threads are a much more organic way of getting into music and you do a great job of introducing people to bands or musicians they have never heard of.