Miles Ahead
by: Miles Davis
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Sales Rank: 13069
Sales Rank: 13069
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Rating:  - * It's time for tale-telling ... Either as its own or as part of the elegant boxed set collecting all of the orchestral collaborations between Miles Davis and Gil Evans, "Miles Ahead" finds the ripe Davis crossing into previously unchartered lands for him - playing in front of a large-scale orchestra conducted by Gil Evans. Unlike the other orchestral collaborations, "Miles Ahead" has no specific theme or flavor to it, but it was the first of such albums, and its music stood tall because of its newness and daring approach, hence its name. In "Miles Ahead," Evans' orchestra serves as a bed of gentle flowers for Davis to walk upon while playing his delicate and meaningful musical statements. The orchestra includes five trumpets, three trombones (and a bass trombone), three French horn players, a tuba player, three doublers between flute and clarinet, a bass clarinetist, Lee Konitz on alto, and Paul Chambers and Art Taylor on bass and drums, respectively, but rather than crush the sensitive Miles under its size and power, it surrounds and supports him with a soundscape of astonishing beauty and prods him to produce morsel after morsel of song from his flugelhorn. Not only were these some of the top improvisers in jazz (Konitz) and studio musicians (the ubiquitous Jimmy Cleveland), but Gil Evans could be possibly the fairest and most brilliant of orchestrators to ever enter the realm of jazz. Amazing in 1956 and equally impressive over fifty years later, "Miles Ahead's" numbers are not head-solo-head treatments or even "orchestral introduction then trumpet glory" sequences, either; any possible combination of the above instruments you can imagine is used in the recording. Miles glides over the brass and reeds during rubato passages of the title track, or slowly convinces the diatonic notes of his instrument to come forth with solely the bass clarinet supporting him. The resulting music is swinging, or lilting, or extravagantly magnificent, or even plaintive, but always stunningly beautiful. Gil Evans is among the select group of musicians and composers whose voicings were golden 100% of the time (Ravel, Bill Evans, McCoy Tyner, etc.). The ten selections connect together in a ten-part suite, some of which was rehearsed without Miles (before he came to the studio and after he left). Springsville opens the album in fervid fashion, Miles' flugelhorn romping through the uptempo piece as if announcing a new man in town. The chords change so quickly that there seems to be no settling of a tonic, presenting no problem to the soloist. "Maids of Cadiz" slows the boat down, perhaps stopping at a village of beauteous (but forbidden?) maidens. The melody is lamented and unleashes percussive accents from the brass and silky chords of every type imaginable for Miles to gently state the melody over. Dave Brubeck's "Duke" could have been the "hit" of Side A of the record, featuring a half-time, happy, swinging melody that Miles states over rhythmic tuba and bouncy bass and drums - the solo section starts out with only horn accompanied by bass and drums, with strictly diatonic movement by the soloist joined by occasional preaching from the horn section. "My Ship," possibly one of jazz's most beautiful melodies, finds Evans really digging into the heart of the song to milk it for every note in the four and a half minutes of his orchestral rendition - the major ninth chords (with French horns stating the top note) create an unbelievably calm effect, combining nicely with Davis' subtle vibrato (Davis respecting the melody, barely embellishing it). Side A (I'd imagine, anyway) closes with the title tune, with Davis climbing down from his lookout tower and riding with the rest of the orchestra in a rhythmically unison statement. Davis solos over the mirthful chords, again, with such a diatonic approach - no tensional notes, no harmonic edge - yet his scalar flights fit perfectly with the rest of the orchestral palette. "Side B" (let's stick with the LP theme) revisits the depressing minor mode with "Blues for Pablo," evoking the feeling that the boat has reached a city's commanding citadel fronted by a tough, demanding guard up front. For a large portion of this one, Miles steps out of the way and lets the orchestra release crunchy, dissonant voicings, bluesy figures, and punchy trumpet bombs. "New Rhumba" is definitely the "hit" of Side B, featuring an even more rhythmically appealing melody than "Duke." This masterpiece by Ahmad Jamal was the sole requested addition by Davis, and its sus4 chords and syncopated figures create a listening experience that is simply a testament to the orchestral wisdom of Evans. "Meaning of the Blues" slows the tempo back to the mellow Saturday night vibe, as if Miles were enunciating a story, the meaning of the blues, to a handful of listeners fascinated in his musical lore. The melody's chordal structure is similar to a combination between "Summertime" by Gershwin and "Wave" by Jobim - a mix of morose melodic statements and hopeful chords that look to the horizon. J.J. Johnson's "Lament," another candidate for jazz's most gorgeous melody, once again evokes the image of the orchestra surrounding Miles in a sizeable circular hedge (those who have seen any footage of this collaboration know that the orchestra did, indeed, form a circle, with Miles in the middle), and rather than his drowning, the result is his piercing tone stating the melody over the supporting horns. "Lament's" beauty simply can't be overstated, with its sequence of minor ninth chords (which Evans was a master of) finally resolving to a beautiful major destination at the end. The album closes with "I Don't Wanna Be Kissed," which could be the most conventionally jazzy of the melodies, following a rhythm changes structure and giving Miles a bass-drums solo background. The resulting music is so delicate and fine-spun - the orchestra ended its journey at the rose garden and along its tour doesn't hit a single thorn. If you are listening to the version of Miles Ahead as part of the boxed set, you'll notice that every track has an alternate take. Good Lord, talk about "double or nothing!" So the listener can enjoy the album and listen through it once more, the second set different enough (in terms of melodic interpretation and improvisations) to keep things interesting. Miles Ahead finds Miles and Gil Evans lamenting the world, celebrating its vastness, and creating an unspeakably variegated image of moods in the process. "Recommended" doesn't work - in lieu, how about, "there should be no opinion allowed - this music is artistically (and arguably aesthetically pleasingly) groundbreaking?" kc Rating:  - * Miles jazzes up something resembling an orchestra ... And the result is this terrific CD. This was the first recording of the Davis-Evans collaborations, so the sound seems more tentative and experimental than their later work. The songs too are not among Miles' more familiar repertoire, so it is hard to tell if he is reaching the type of interpretation and effect that he is trying for. I guess that's why when I played this at a jazz-themed poker party of mine, two neophytes asked me why I was playing "elevator music". (Lucky for them I didn't put on Metheny / Mehldau!) Still, the recording is clean, the music is good, and (hey!) it's Miles Davis (man). Try it, you'll like it. Rating: - * orchestral classic ... Groundbreaking stuff! Somehow, when people speak of the demise of big bands they tend to overlook the modern(ist) versions of the form - either Gillespie's various big bands or the glorious collaboration of Miles Davis and the arranger Gil Evans... Cool jazz has rarely sounded so subtle and intelligent, flugelhorn has rarely sounded so lyrical, big band has rarely sounded so smooth, with the occasional brass stings, sometimes even shrieks (very typical for otherwise very calm Evans' orchestral work), complementary to the leader's sensitive playing (Miles is the only soloist of the album). Originally, on the vynil record, the songs were connected into a continuous suite, at the same time marking the modern approach and suggesting how connected this new movement was to the father of jazz orchestration- Duke Ellington (for whom one of the songs is named "The Duke"). In the original liner notes the great French jazz critic Andre Hodier discusses shortly that link as well as pointing out how fresh, unique and original this Miles' and Gil's collaboration actually is. Personally, I actually prefer "Sketches of Spain" ( Sketches of Spain ) and "Porgy and Bess" ( Porgy and Bess ) to this album, but that's just a matter of nuances in the listener's taste. You should compare these Davis-Evans collaborations for yourselves and make your own lists... Basically, quite different than Miles' small group work (see for instance Milestones and Somethin' Else ), this orchestral opus equally highlights the Davis unique importance to modern jazz, at the same time serving as the best possible credit for his magnificent arranger Gil Evans. p.s. As a purchase option, check out this amazon link Original Album Classics Rating: - * (3.5 stars) I don't like this nearly as much as I should ... A so-called classic that I nevertheless can't give more than three and a half stars to in good faith. Much of that has to do with my small-group prejudice (yeah, I like Duke Ellington, but come on - who doesn't?) Miles here is backed by nineteen guys, and none of them do any soloing but Miles. It's very rigorously structured - first, the big band (and Miles) play the theme, then Miles begins his solos while the other nineteen guys do nothing but chime in occasional harmonies. And then there's the fact that the songs are so short. Miles' music works perfectly in extended settings, so I can honestly say I'm not too keen on him doing three-to-five-minute songs (which are, again, so tightly structured that Miles rarely has an opportunity to truly let his creative side loose). The thing I like about this record, though, is its emotional range. You've got your token quiet, moody songs ("The Maids of Carnez", "My Ship", "Lament"), your uptempo fun stuff ("New Rhumba", "Springsville", title track), some Latin ("Blues for Pablo") some blues ("The Meaning of the Blues"), and some rather hokey traditionalist big-band jazz ("The Duke", "I Don't Wanna Be Kissed (By Anyone But You)"). And it must be said that I don't find a single song on this album flat-out bad. Some could've been better, yes, but none of these songs are insulting or anything. So yeah, good stuff, but hasn't Miles done better? Of course he has. Rating: - * Another Miles Davis masterpiece! ... It doesn't get much better than this. Recorded in 1957, this suite of ten songs (with four bonus tracks) has Miles Davis playing the much mellower sounding flugelhorn with spellbinding orchestration by Gil Evans. I was amazed to realise that the 19-piece orchestra in question is made up of horns only. Even Wynton Kelly's piano can only be heard on take 7 of the remake of "Springsville", one of the bonus tracks. There's not a violin or cello in sight but the sound is still full, lush and warm. It's incredible fun to listen to. This was the first of four Columbia collaborations between Davis and Evans. I already have another - the excellent Sketches of Spain - but can't wait to find out what the other two are and get my hands on them. Davis' lyricsm and attention to detail almost literally jumps out of the speakers. Listened to as a suite, (a continuous blend of ten independent but related pieces of music, I'm told, in the very informative and comprehensive inner-sleeve notes), this is one beautiful body of work but I can still pick out a few favourite parts: "Springsville" (both versions), "The Maids of Cadiz", "My Ship", "Miles Ahead", "Blues for Pablo", "New Rhumba" (that tune makes me beam from ear to ear every time I hear it. I'd rhumba but I don't know how) and "Lament". Another Miles Davis masterpiece, no question. |
Continuing a fortuitous tradition of capturing the Sondheim legacy on video recordings, this performance was filmed before a live audience in Los Angeles during the 1982 national tour. Almost 20 years later, Hearn returned to the role opposite Patti LuPone in an acclaimed concert production. But Sweeney Todd is an especially compelling experience in this 1982 version, complete with the clever staging tricks (e.g., the barber's chair) and as close to the original cast as we're likely to see. --David Horiuchi
