Paul Harvey Seminal Essay If I Were The Devil

Paul Harvey Seminal Essay If I Were The Devil-32
Miles gave preference to live-band drummer Jack De Johnette because of his “deep groove,” [6] invited Lifetime organist Larry Young instead of Hancock, and also added session bassist and Columbia producer Harvey Brooks.Together with Zawinul and Mc Laughlin, Young and Brooks had played on a session Miles organized for his wife, Betty Mabry, a few weeks earlier to record her first and ultimately unsuccessful solo album, .

Miles gave preference to live-band drummer Jack De Johnette because of his “deep groove,” [6] invited Lifetime organist Larry Young instead of Hancock, and also added session bassist and Columbia producer Harvey Brooks.Together with Zawinul and Mc Laughlin, Young and Brooks had played on a session Miles organized for his wife, Betty Mabry, a few weeks earlier to record her first and ultimately unsuccessful solo album, .It was like a fugue, or motif, that we all bounced off of.

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In terms of personnel, musical conception, and sonic textures, the album was a direct descendant of its predecessor, are both dominated by circular grooves, John Mc Laughlin’s angular guitar playing and the sound of the Fender Rhodes electric piano.

However, Miles related in his autobiography how he wanted to expand the canvas on included 13 musicians and was the result of three days of recording.

August of 1969 marked Miles Davis’ boldest venture yet into undiscovered country.

This time there was no more holding back, no more tentative experimentation, no more “walking on eggshells.” The album that emerged,, was groundbreaking, beginning with its stark title and Abdul Mati Klarwein’s memorable cover painting.

A finishing touch, and a stroke of genius, was Miles’ instruction to Maupin to play only the bass clarinet, adding a very distinctive and enigmatic sound to the brew.

According to Miles, the approach he had developed of presenting musicians with musical sketches they had never seen before was also integral to the making of a fact that is confirmed by Joe Zawinul. He chose a few and then made sketches of them.” [8] “The night before the first studio session we rehearsed the first half of the track ‘Bitches Brew,'” drummer Lenny White recalled. Jack De Johnette, Dave Holland, Chick Corea and Wayne Shorter were all there.But Bitches Brew’s ferocity and power carried a momentum that was much harder to turn around.The hypnotic grooves, rooted in rock and African music, heralded a dramatic new musical universe that not only gained Miles a new audience, but also divided it into two groups-each side looking at this new music from totally different, and seemingly unbridgeable, perspectives.On the third day the rhythm section consisted of as many as 11 players: three keyboardists, electric guitar, two basses, four drummers/percussionists and a bass clarinet.Miles had pulled out the stops in his search for a heavier bottom end..Miles’ live and studio directions were strongly diverging around this time, with the studio experiments pioneering new material-incorporated elements of rock, soul and folk that only gradually filtered through to the live stage.But in July of 1969 Miles’ live quintet began performing “Spanish Key,” “Miles Runs the Voodoo Down” and “Sanctuary,” all of which would appear on .The recording’s enormous influence on the jazz music scene was bolstered by the fact that almost all the musicians involved progressed to high-profile careers in their own right.In the early 1970s, Joe Zawinul and Wayne Shorter (with percussionist Airto Moreira) were involved in Weather Report, Herbie Hancock and Bennie Maupin set up Mwandishi, John Mc Laughlin (with Billy Cobham) created Mahavishnu Orchestra and Chick Corea founded Return to Forever with Lenny White.In the words of Quincy Troupe, these two groups were like “oil and water.”[4] signaled a watershed in jazz, and had a significant impact on rock.In combination with Miles’ fame and prestige, the album gave the budding jazz-rock genre visibility and credibility, and was instrumental in promoting it to the dominant direction in jazz.

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