MOG

Superb post for this piece of sublime music. I've always noticed that in addition to his musical genius, Miles had a knack for making his band sound the best. He's always found the perfect of individual talents to fit his composition, the aptest personalities to make his sound true to his intention. That is what Miles such a great band leader - along with Ellington, he is a true musical "symbyotist."

Now I may sound like a vain sycophant but I'd like to thank you for taking the time to share your knowledge and expertise with us. Your posts are descriptive enough to grab the visitor's attention but never so explicit as to deflower the music. Best of all, you never use any pedantic magisterial jargon which could deter people like me.

Your informed contributions are truly a great addition to MOG . Many thanks indeed.

PS: Re Miles's bands, which formation of his is your favourite?

Bartleby, thanks for all of that. The feedback you give is very astute and encouraging and makes me want to continue writing for Mogsters.

I think you're right about the way Miles chose his band members. Picking the right players was the first step towards creating consistently great music.

I think the quintet with Shorter, Hancock, Carter and Williams was the best band he ever put together. Their studio albums were E.S.P., Miles Smiles, The Sorcerer, Water Babies, Nefertiti, Miles In The Sky, and Filles De Kilmanjaro. Their outstanding live performance was the Live At the Plugged Nickel collection.

I think the adhoc bands that created "Bitches Brew" and "In A Silent Way" rank with this best performing band even though those existed in the studio only for the few days necessary to complete those recordings. The "Silent Way" band added Joe Zawinul and John McLaughlin to this quintet I list as the best. The "Bitches Brew" band added Joe Zawiniul, John McLaughlin, Benny Maupin, Larry Young, Don Alias, Lenny White, and Harvey Brooks to the band I list as number 3.

The units that Coltrane played in, the quintet with Philly Joe Jones, Red Garland and Paul Chambers and the sextet with Jimmy Cobb drumming, Cannonball Adderley, Chambers and Bill Evans count for me as next best. The quintet did Workin', Relaxin', Cookin', Steamin', Round About Midnight and Milestones. The sextet did Miles '58 and Kind Of Blue

The quintet with Shorter, Chick Corea, Dave Holland and Jack DeJohnette counts as number 3. This band participated in Bitches Brew with others added and in live recordings at the Filmore East and Filmore West with Keith Jarrett added, but mostly was documented in videoed performances. With Shorter out and Gary Bartz replacing him, this was the band that did the "Isle of Wight" performance.

The quintet that preceded the quintet with Shorter, with George Coleman as the tenor saxophonist, is my number 4. This unit did the live recordings "My Funny Valentine", "Four and More", and "Live in Europe".

The quintet that followed the Kind of Blue sextet with Hank Mobley, Wynton Kelly, Paul Chamber and Jimmy Cobb was my number 5 Miles unit. These guys did the "Live at the Blackhawk" recordings and "Someday My Prince Will Come".

Number six are the bands with floating membership of the mid-70's that usually included Dave Leibman as the saxophonist, Michael Henderson as bassist, Mtume, the percussion player, Al Foster as drummer, and Pete Cosey and Reggie Lucas, guitar. These guys did "Keep Up With It", and the live recordings "Pangae" and "Agharta".

All of the albums that I list, I recommend without reservation except for "Live In Europe" because of sound quality, and "Pangae" and "Agharta" because of the uneven playing in those live performances, and the "Live at The Fillmore" recordings because those include noise laden freak-out episodes on nearly every night's performance that can be hard to listen to.

Here's what was so great about Miles' band with Shorter, Williams, Hancock, and Carter.

First, the three main soloists in the band, Miles, Shorter, and Herbie Hancock, each seem to have had direct links with Tony Williams' mind and Tony with them. For me, when the members of a jazz band have a mental link with their drummer, and the drummer is a great musician, all is well, all is acceptable, all is forgiven. Tony could invent never before heard rhythm ideas, seemingly at will every few seconds, and the soloists could instantly respond and send Tony in a direction they liked.

Second, the rhythm section, pianist Hancock, bassist Carter, and drummer Williams were a wonder unit within themselves and could playfully stretch the music any way that they could imagine. Proteus's kids. They could each play separate and against each other and then snap back into synchrony with the nod of a head. They could fall into grooves that would make you delirious.

Third, every member had an instantly recognizable instrumental voice and personality. And their personalities were deep. You never felt that you knew if they were going to be playful, fierce, delicate, poetic or mournful. The moods that showed in their music always varied.

Fourth, Miles could change the whole complexion of how the band played with a single gesture. He was that powerful and they were that sensitive. And if anyone made a seeming mistake while he was playing, he could frequently transmute that into great music.

Many many thanks again. Your reply has surpassed your original post. I feel truly privileged to be able to read your expert jottings on Miles's musicians and his discs. - I'm afraid these recommendations of yours will only further my music addiction.

I would like to second what Bartleby said.
Phenomenal reading - sincere thanks for this posting.
I think you could say unequivocally that 'Forward' was what Miles represented to music. It never ceases to amaze me how much he pushed the envelope and consistently gathered musicians that pushed with him. So much landscape heretofore unknown until Miles went exploring. He changed the scene _every_ time he picked up the horn.