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miles of granite

for the xvth granite mix i decided to feature the artist who i have most recordings of, miles davis – it’s a long mix – nearly an hour and a half. instinct led me from one track to another. here’s the mix and after it the details and then some comments on the tracks.

granite 15

Granite Mix 15
Artist Title Album
Miles Davis Mood ESP
Charles Mingus/Miles Davis Nature Boy Blue Moods
Miles Davis Nem Um Talvez The Complete Jack Johnson Sessions
Miles Davis Footprints The Bootleg Series Vol. 2 Live In Europe 1969
Miles Davis Pacific Express The Complete Miles Davis at Montreux 1973-1991
Miles Davis It Never Entered My Mind Workin’
Miles Davis Swing Spring Miles Davis & The Modern Jazz Giants
Miles Davis Johnny Bratton The Complete Jack Johnson Sessions
Miles Davis The Time Of The Barracudas Quiet Nights
Miles Davis Right Off In Concert

first of all one of my favourite tracks from one of my favourite albums. esp was the first album of what is known as the 2nd great miles davis quintet which was somehow a perfect band when this was recorded tony williams was 19 herbie hancock was 24 and wayne shorter was already doing some of the best writing that was going on in the mid sixties. ron carter was writer or co-writer of 3 tracks on the album including this one and they’re all good. after that he didn’t contribute any compositions to the following 5 albums he was involved with possibly due to the fact that he was an incredibly busy musician during the period he was with the quintet playing on over 50 recording sessions for albums with other artists.

back to 1955 for a track from a session that had problems according to miles in his autobiography

something went wrong at this session and nothing ever really clicked, so the playing didn’t have any fire. I don’t know what it was – maybe the arrangements – but something definitely went wrong…

but I’ve always enjoyed this track, written by proto-hippy eden ahbez, first recorded by nat ‘king’ cole, frank sinatra recorded a version in 1948 and it’s worth recording miles’ frequent assertion that his phrasing was heavily influenced by sinatra, although also worth bearing in mind that he gave a lot of credit also in this respect to charlie christian. as in another quote from the afore-mentioned book

charlie christian influenced my approach to the trumpet and also influenced the phrasing of frank sinatra and nat ‘king’ cole

next is one of 5 versions of this tune by hermeto pascoal that have been released, 2 from a session on may 27 1970 and 3 from a session shortly after on june 3 (although one of them ended up with a different title – selim). given that there were apparently at least 19 takes on the 1st session there could be a few other versions hanging round in the vaults. ian carr doesn’t even bother to mention the 2 that were released when he wrote his critical biography of miles and in paul tingen’s miles beyond he describes them as ‘ear-grating’. much as i like the latter book i find this opinion like a lot of tingen’s other critical opinions are not worth heeding.

the 1st of 3 live recordings in the mix is a version of a wayne shorter composition – probably his most famous. in the sleeve notes (written by josef woodard) to the set that contains the track there is the following quotation from an interview 20 years later with miles

you could tell what part of the note, what part of the sound you could play off of. wayne had some different, each run had. we used to play footprints and the way we were playing it, nobody else could play it like that except for me and wayne.

it’s july again only 16 years later. this is a john mclaughlin composition that was briefly in the setlist. there was an afternoon set and an evening set on the 14th – both long sets, over 2 hours. this track is from the evening set. a week later the band similarly played 2 sets in london at the royal festival hall – i’m pretty sure i was at the 2nd set. ian carr was also there with a backstage pass and he relates seeing miles at the end of the last set

as soon as he got down the two short flights of steps and out of the audience’s sight, two large men were waiting for him, and each grabbed an arm and supported him as he suddenly sagged and almost caved in

given that wayne shorter has already featured on 2 of the above tracks you would expect me to include at least one track featuring john coltrane but sadly this has not happened i didn’t plan it that way. this is the only track in the mix which was at the period of the 1st great quintet. but on this track chosen late at night reflectively the saxophone laid out.

this comes from another controversial recording session. some reports reckoned that there was a fight between miles and monk.

…i just told him to lay out when i was playing, because i wasn’t comfortable with the way he voiced his changes…i wanted to hear space in the music…so I just told him () to come into the music a little after i played. and that’s what he did. there wasn’t any argument…monk was a gentle person, gentle and beautiful, but he was strong as an ox. and if i had ever said something about punching monk out in front of his face – and i never did – then somebody should have just come and got me and taken me to the madhouse, because monk could have just picked my little ass up and thrown me through a wall.

i love all of these tracks that I’ve put on this mix. obviously. but this is another of the great sessions. i wish monk and miles had recorded more together. listening to this session was the 1st time i heard both of them and at the time monk knocked me out more than miles. his solos seemed to come from another mysterious dimension.

and johnny bratton is the 3rd appearance of john mclaughlin in the mix if you include his composition pacific express. recorded on february 27th 1970 this is the sort of thing that some people fail to understand. here’s a good clip that deals with this subject.

from an album reviled by the man himself but which nevertheless has some great moments. this tune was also recorded on the gil evans album the individualism of gil evans and miles got a co-credit for the arrangement. in the end that is a better track but he doesn’t actually play on it and despite the history taken in isolation this is a great track and there’s something actually quite unique about it. if they’d had time and money to complete the album properly this would be a masterpiece and maybe it is anyway.

finally another album written off by various critics or in my words vastly under-rated. when i first heard it back in the early seventies i immediately thought it was brilliant. to me it was great that the instruments were all levelled out in the mix and i assumed that this was deliberately done and i still do. producer teo macero wasn’t an idiot and they wouldn’t have put the record out if they hadn’t got decent quality recordings. it needs to be listened to loud ideally through headphones. with open ears and an open mind. carlos garnett on saxophone and cedric lawson on keyboards for example maybe didn’t go on to have brilliant careers but i don’t think they let the side down at this gig.

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geology mixes music

granite mix 8

My new granite mix celebrates my purchase of a record deck a couple of weeks ago. So apologies for the odd bits of crackle, rumble and one little glitch where there’s an elision – I won’t say where. It’s an eclectic mix of 16 tracks about 50 minutes long and mostly the music is from USA artists, but then in a sense USA music is world music because of the nature of how the country came together, not forgetting those peoples who were there a long time before the European putsch (for want of a better word).

The sound of Nancy Wilson is a happy one. Her music makes me happy. Once upon a time I thought that happiness was the most important thing in life. As I got older I realised that I was prepared to trade.

Now the start of 3 non-USA artists in a row. The first Jamaica Independence Festival was in 1962 and so Derrick Morgan‘s Festival 10 presumably dates from 1971. The history of musical beefs must include the rivalry between Derrick and Prince Buster that happened in the 60s. Presumably there are even earlier examples. Has anyone written a book about this yet?

The Hungarian band Vujicsics is named after the composer and musicologist Tihamer Vujicsics and specialises in playing traditional Serb/Croat music which infiltrated southern Hungary. The album is probably the only one I have from the Hannibal Records label which was formed by the great Joe Boyd.

Elsewhere on this website I make a reference to the fact that people often associate my guitar playing with Brazilian music. It’s nothing I’ve ever deliberately set out to do, but if there’s one Brazilian guitarist I’ve particularly listened to and enjoyed over the last 20 odd years it’s Baden Powell. The vocalist on this track is Janine de Waleyne, a French singer who was also an early exponent of the Ondes Martenot.

There’s a lovely feeling about Nat King Cole‘s singing in Spanish despite the fact that his pronunciation is pretty atrocious. I believe that in all he recorded 3 Spanish albums, the example here being from the last one.

Hillbilly Jazz Volume 2 is an obscure reissue I bought somewhere. Originally the material may have been released on a double album by Flying Fish Records. The most helpful link I can find is related to the violin player Vassar Clements.

Arthur Lyman, the so-called King of Lounge Music, was proper Hawaiian. Part of the appeal of Exotica was experimentation with a new technology – Stereo recording techniques. Actually stereo had been around for quite a while but it wasn’t until the 50s that ordinary people (fairly well off ones in those days) could afford to have a stereo system at home. Is there an equivalent to the stereo revolution today? Some people want to have great sound but it’s more about ease of adding music to your devices. I expect there’s a book about this. Trouble is it will be out of date in a couple of years time.

Third Ear Band is effectively the only UK product here but then the only other European countries are Hungary, Croatia, Serbia & Austria. Please write a book about this.

Charles Mingus wrote a book and it is called Beneath The Underdog. There’s also a film and the website isn’t bad. Or you could just listen to Debussy’s Images.

Jimmy C Newman‘s middle name is Yves but C stands for Cajun.

In 1866 in Wilkes County, North Carolina, Thomas C Dula brutally murdered Laura Foster in a case that may also have involved another woman, venereal disease and pregnancy. Frank Proffitt‘s grandmother knew Laura slightly and it is also the first song Frank can remember hearing his father pick on the banjo.

The thing about King Curtis is that he was the right player at the right time and there’s a phenomenal number of recordings that he has participated on that are not documented. I don’t know – what do you think? – could be a book? Throw in another murder to finish it off.

Harp Of New Albion is a great unappreciated work by Terry Riley and of course harks back and shows the influence of LaMonte Young, to quote from Terry’s sleeve-notes,

The application of just intonation to the piano was the brilliant inspiration of my long-time friend and mentor LaMonte Young, whose masterpiece. The Well Tuned Piano forever changed the way many of us hear the instrument.

and finally the cliché-free joe zawinul who would not have described himself as cliché-free before a few hours he spent sometime on maynard ferguson‘s houseboat.

here’s the mix

Granite Mix 8
Artist Title Album
Nancy Wilson It’s Time To Go How Glad I Am
Derrick Morgan Festival 10 Reggae Power Volume 2
Vujicsics Seljančica Serbian Music From Southern Hungary
Baden Powell Ate-Eu Images On Guitar
Nat King Cole Solamente Una Vez More Cole Español
Hillbilly Jazz Last Song For Shelby Jean Volume 2
Arthur Lyman Moon Of Manakora Taboo Volume 2
Third Ear Band Dragon Lines Alchemy
Charles Mingus Self Portrait In Three Colors Ah Um
Jimmy C Newman Jambalaya All Star Country Roundup
Frank Proffitt Tom Dooley North Carolina Songs & Ballads
King Curtis Soul Theme At Small’s Paradise
Terry Riley Land’s End The Harp Of New Albion
Joe Zawinul Sharon’s Waltz Money In The Pocket